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Speaker 1: This is a podcast from Minute Media.

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Speaker 2: Four and three and two and one. Let's go, guys.

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It is the Surely You Can't Be Serious? Podcast, Part

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two Beastie Boys Licensed Ill.

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Speaker 3: Today, we're gonna go by track by track through license

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to me and.

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Speaker 2: I thought I had something. I had nothing.

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Speaker 3: I was just like you are not rhyming and stealing

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right there.

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Speaker 2: I got Ali Baba and the forty Thieves just took

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those thoughts right out of my head.

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Speaker 3: Center stage on the mic, We've got our friend def

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Dave back. Dave, how are you doing tonight.

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Speaker 4: I'm on the cool check in. I'm hanging out with

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

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Speaker 2: That's awesome.

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Speaker 4: I got some chef Woyer d cooling on the pot.

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

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I'm ready to talk about life you.

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Speaker 2: Oh my gosh. Yes, strong, and he's coming strong. So

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

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Speaker 3: Just in case you're jumping in at this point, you

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may want to go back to last episode where we

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did kind of an overview of the Beastie Boys. We

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introduced Dave, we kind of talked about our relationship to

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the album and then kind of how the Beastie Boys

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

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

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

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number one March.

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Speaker 2: Seventh of e seven.

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Speaker 3: You know what, it knocked out of the number one spot.

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Not in sterio. You're warm though You're close, Dave.

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Speaker 2: You know what?

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Speaker 3: It knocked out the number one spot?

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Speaker 4: I think I do?

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Speaker 3: Okay, what you got?

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Speaker 4: It ended the seven week reign of Slippery When Wet.

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Speaker 3: That's exactly right. Yes, that's exactly right. And it was

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number one for seven weeks and then it got knocked

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out by an album that we have podcasted on. You

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know what, It knocked it out of the number one spot.

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Speaker 2: I got nothing, Dave.

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Speaker 5: Joshua Tree, the Joshua Tree, but you too.

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Speaker 4: Let me tell you something about that. First of all,

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Licensed Ill matched Slippery When Wet with seven weeks in

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

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had the benefit of two number one hits. Joshua Tree

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had three number one hits, huh, and Licensed to Ill

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had none. It had seven singles and only one the

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top twenty and that was Fight for Your Right to

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Party and it peaked out at number seven. So I'll

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look at that, the same day that the album went

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number seven, the.

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Speaker 2: Same day that the album hit number one.

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Speaker 4: Yeah, so what that tells me is radio was slow

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to catch up with what was happening with kids all

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across the country. We knew about the Beastie Boys and

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we were buying up the album, but radio had not

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caught up with this. And we see this album go

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to number one and stay there despite lack of airplay

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because there were no big hits that charted off of

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this album.

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Speaker 3: Pretty remarkable. I totally you get it. But you know,

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despite the lack of radio play, Fight for Your Right

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was on about every fourth song on MTV, you know

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what I mean.

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Speaker 2: It was absurd how often they were playing the song.

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Speaker 3: But it was a great video.

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Speaker 2: Oh we loved it. We loved it. Okay, So we'll

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get we'll get to that here, that video when that

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comes in. Before we jump full on into the album,

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Let's talk a little bit of about the cover of

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the album, all right. So it's it's iconic. You've got

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this American Airlines Bowen seven twenty seven. You see the

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tail on the front cover of the album, and then

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when you open it up you realize that the plane

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is crashing into the side of a mountain yep, and

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it kind of resembles like a joint being crushed out

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or something like that. The artwork was created by a

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guy named Steven Byram and another guy named World be

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Omes and World be Ohms, and it's been it's been

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kind of imitated, like Eminem had an album where he

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imitated it. But one of the things that you showed

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me that I did not know about is the number

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on the side that if you hold it up to

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the mirror or just read it backwards, the threes become

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ease and it says.

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Speaker 3: Yeah, it's it's three mt a e And if you

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turn that around backwards, it's eat me. Even the album

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cover is making joke.

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Speaker 2: So yeah, So Eminem kind of duplicated it on his

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album called Kamakazi.

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Speaker 3: We would kind of be remiss if we didn't talk

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about what the album was originally going.

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Speaker 2: To be called.

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Speaker 3: Okay, we can't say that, I know we are family friendly.

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We'll dance around it a little bit. I do think

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it's part of the story how they sort of evolved

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from obnoxious teenage frat boy crazy men to respected artists

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that we have later on today. So the album was

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originally titled Don't be a f right.

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Speaker 2: Another name for a cigarette in England, right, and Capitol

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

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what does License to Ill mean?

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Speaker 4: The word ill was simply the opposite of chills. So

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it was just a part of the lingo. If you

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

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you were doing something stupid, you were either ill or

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you were illing. And there was a keep in mind

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just after the Raising Hell album has come out and

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there was a track on there called you Be Illan,

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

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and just went with the lingo.

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Speaker 3: I've got a quick funny story on the title of

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

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this is a while bag. Think back thirty five years.

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Joan Rivers had her own talk show and she was

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

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are to promote their album License to Kill, and you

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can hear these people off screen.

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Speaker 2: They're like, it's ill.

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Speaker 3: It's ill, Joan. She's like, I'm sorry, let me do

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

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

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So they finally get her to say license to Ill,

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and she's like, that's a stupid title.

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Speaker 2: She said, you guys.

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Speaker 3: Would have gone platinum in four weeks instead of seven

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weeks if you had a better title than Licensed to Ill.

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But I just thought it was really funny. Joan Rivers

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thought it was a really dumb title.

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Speaker 2: So out of touch.

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Speaker 4: Yeah, this album. I cannot overstate how massive this album

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was for me my graduating class. We were in tenth

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grade at the time. It came out in eighty six.

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I discovered in early eighty seven. This took over our school.

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We absolutely went nuts over this album and this group.

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It really defined that school year for all of us.

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Not only is it still the number one selling debut

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album and def jam history, it is the top selling

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debut album for Columbia Records, and it proved to be

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a perennial seller, stayed as a top seller in their

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catalog list, and even as of the two thousands, it

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was selling like five hundred thousand units a year, so

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it has continued to be a massive hit.

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Speaker 3: What high school did you go to?

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Speaker 4: I was at Hardway High School in Columbus.

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Speaker 3: Give a shout out to the Fighting Farmers or whatever

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they are.

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Speaker 4: Shout out to the Hardaway Hawks class of eighty nine. Yes,

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my crew, cool kid Chris clayboy E in the Chiff

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Bad Goldie Rocks the boyd Wonder.

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Speaker 2: So did you say that your mascot was the Hogs.

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Speaker 4: Hawks Hawks like the Atlanta Hawks.

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Speaker 2: Well? See, okay, So here's the connection that Dave and

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I discovered whenever he started emailing us about this, because

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

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

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

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

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

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

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but I was born there when I moved to Arkansas,

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

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

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Dave and I and that it should happen to circle

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itself around. Wow.

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Speaker 4: It was released in November of eighty six. By February two,

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it was certified gold and platinum on the same day.

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By April they had gone multi platinum at three million

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

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

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Speaker 3: I saw it in the Walmart five dollars bind.

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Speaker 2: The other day. That's the CD I have in my car,

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and once again I will promote by that CD. Spend

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the five bucks. The sound quality is much better on

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the CD than it is on Spotify or YouTube or

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album music or any of those things.

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Speaker 3: There's something better about having a CD or record tangibly

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

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

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of eighty six. We just crossed the thirty fifth anniversary

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

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

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Speaker 2: Now, I just want to say this. We posted something

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

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

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a goof album and that they were being goofy, and

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

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all of that, but this album and Dave is a

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testament to it right now. This album was a huge, momentous,

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

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

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Everybody loved this album when it came out, and I

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

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about five years later with the with the grunge movement.

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It spoke to those people who they were ready for

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

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guys were obviously rebelling against the establishment.

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Speaker 3: Okay, we ready to go, Ready, all right, we are

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

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gate is a song called Rhyming and Stealing.

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Speaker 1: The Rest.

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Speaker 2: All right.

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Speaker 3: They're coming hard right out of the gates with the

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strong led Zeppelin rock samples. I think they're doing the

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smart thing by catching the rock crowd right out of

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the game.

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Speaker 2: Absolutely. This drum beat is one of the most unmistakable

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drum beats in drumming history. And they get a nice

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little record scratch right at the beginning that plays as

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

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and it's kicking butt right out of.

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Speaker 4: The game Monster start to the album. You just immediately

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

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

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never heard When the Left be Breaks. This was new

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to me. I was offended later when I found out

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that led Zeppelin had stolen from Hot Start to the album.

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The verses everything they're written away to kind of frame

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the Beastie Boys as pirates a love song. It's a

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home run right out of the gate.

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Speaker 2: The idea for me, at least.

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Speaker 3: The ryman and stealing, I mean they're stealing hooks and

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stealing beats and stealing bits of songs and then setting

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their own rhymes to it.

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Speaker 2: I mean, just the samples on this song alone.

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Speaker 3: You've got When the Levee Breaks by led Zeppelin, You've

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got Sweet Leaf by Black Sabbath, and then you also

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have I Fought the Law by the Clash.

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Speaker 2: Let's just think about this just for a second. So

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they're referring to Ali Baba and the forty thieves. That's unquestionable,

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right they repeat that one. They start off by talking

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

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talking about Pieces of eight and these are all like

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

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talking about being an ill bee boy and are already talking

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

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

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

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little smart too. Okay.

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Speaker 4: I love the references. What strikes me, and this is

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gonna be true throughout the album, is that even though

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

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almost a comedy approach or a parody of hip hop,

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

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

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

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

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Speaker 2: I'm with you.

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Speaker 3: I can tell the bridge where they say Ali Baba

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and the forty Thieves about twenty times. You can't hardly

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miss that reference. You know, the other stuff kind of

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flies under the radar, do you guys? Watch the thirty

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for thirty on ESPN. Yeah, I caught one the other day.

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I was a big nineteen eighty six New York Mets fan,

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and so I watched that thirty for thirty and they

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were using Ryman and Steeling as putting it to the

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highlight videos for that year, So that was pretty cool.

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Speaker 4: This is one of the few tracks on the album

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that was not released as a single, but it is

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one of my favorite.

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Speaker 3: This one should have been a single.

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Speaker 4: So when they went on the License to Ill tour,

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

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

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

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but they did not do They started with Ryman and

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Steel and I remember it very clearly. Their opening act

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was Fishbone. They were a hardcore punk band, but when

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the VC Boys came on, those lights came on and

273
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flooded the crowd, and then the when the levee breaks,

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drum beat comes in they come stomping out on the stage.

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The place went absolutely nuts awesome.

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Speaker 3: So with the drum beat for Ryman and Steeling.

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Speaker 2: Ad Rock and Mike Dee went over to MCA's house

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and he had set up the loop.

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Speaker 3: Had it strung all across his house where he had

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looped manually the drum.

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Speaker 2: Beat for when the levee breaks.

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Speaker 3: Today, Hey, we would do that on a computer, it'd

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

284
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it sounded fantastic today.

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Speaker 2: On garage band there's a button. There's a loop button,

286
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and it'll give you a whole list of loops that

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

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was a new thing. It was something not many other

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

290
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even though they're hip hop, he is still bringing some

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

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All right.

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Speaker 3: That brings us to song number two on the album.

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This song is called the New Style.

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Speaker 2: And on the cool check in set a stage.

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Speaker 6: On the mic and with putting it on wax, it's the.

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Speaker 3: New Style four and three's and one on the mic.

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This stuffer's lie, what.

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Speaker 6: Never got more?

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Speaker 3: Just a great song right off the back. This was

301
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released as the third single released No Remember six of

302
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eighty six.

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Speaker 2: Yeah, so this one he actually they've sampled some other

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00:16:05,440 --> 00:16:07,639
things what have you got on? Samples on this one justly?

305
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Speaker 3: Okay, So this song samples drop the Bomb by Trouble Funk, Yeah,

306
00:16:12,840 --> 00:16:16,480
Peter Piper by run DMC, Yep, cool is Back by

307
00:16:16,519 --> 00:16:20,279
Funk Inc. Two three Break by the b Boys, Click

308
00:16:20,320 --> 00:16:21,559
of the Switch by ACDC.

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Speaker 2: That's it.

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Speaker 4: The song is great. I love the song. I'm down

311
00:16:24,600 --> 00:16:26,480
with MCA, Mike D and U ain't I got more

312
00:16:26,519 --> 00:16:34,840
juice than Picasso's Got paint. It is the third single

313
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from the album. So the part where it breaks down

314
00:16:37,639 --> 00:16:40,879
and he says, let me clear my throat, that was

315
00:16:40,960 --> 00:16:44,399
an inside joke. So last week I explained that Elo

316
00:16:44,519 --> 00:16:47,840
Coolja had been making home demos and sending them to

317
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record labels, and it was the one that was sent

318
00:16:50,200 --> 00:16:53,080
to Deaf Jam that Adam Horovitz found and gave it

319
00:16:53,120 --> 00:16:56,440
to Rick Rubin. Well, as it turns out, at the

320
00:16:56,440 --> 00:16:59,519
beginning of that tape, the demo before I Need to

321
00:16:59,519 --> 00:17:03,440
Beat Star, you hear Ell say on tape let me

322
00:17:03,519 --> 00:17:07,799
clear my throat. Well, for whatever reason, the Beast Boys

323
00:17:07,799 --> 00:17:11,279
thought that was hilarious. They got a big kick out

324
00:17:11,319 --> 00:17:13,759
of that. So that is the reference that's in a

325
00:17:13,799 --> 00:17:15,839
new style when he says let me clear my throat.

326
00:17:15,920 --> 00:17:17,799
That was an inside joke for them because it came

327
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off of ELL's original demo that he had seen in

328
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This one.

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Speaker 3: Hit the US Hot Black Singles reached number twenty two.

330
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Speaker 2: Okay, so I'm gonna throw this out there. It says

331
00:17:26,519 --> 00:17:29,839
part of the lyrics say because I'm October thirty first,

332
00:17:29,880 --> 00:17:32,279
that's my date of birth. I got the party and

333
00:17:32,319 --> 00:17:35,559
you know what I did the smurf. Now, I'll say

334
00:17:35,839 --> 00:17:39,720
as Ad Rock was born on October thirty first. It

335
00:17:39,799 --> 00:17:43,640
is actually his birthday October thirty first, in addition obviously

336
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to being Halloween. But what's the smurf?

337
00:17:47,240 --> 00:17:49,319
Speaker 4: It must be a dance. He does the smurf, the

338
00:17:49,319 --> 00:17:52,200
Popeye and the Jerry Lewis. He likes Bullwinkle, but he

339
00:17:52,359 --> 00:17:57,279
doesn't like Brutus love it.

340
00:17:57,359 --> 00:17:59,640
Speaker 3: I feel like we've got like the fourth Beastie Boy

341
00:17:59,680 --> 00:18:04,440
with us today. Moving on to track number three, This

342
00:18:04,599 --> 00:18:49,359
song is called She's Crapty.

343
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Speaker 2: Around. So I just want to say. The lyric that

344
00:18:36,799 --> 00:18:38,599
always jumps out of me at this one is the

345
00:18:38,640 --> 00:18:45,519
cab driver recognized the girl from the back of her head.

346
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Speaker 3: So wildly, Oh my gosh. The one that jumps out

347
00:18:50,279 --> 00:18:52,519
to me is her name is Lucy, but they call

348
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her Loose.

349
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Speaker 2: What do you think about this one, Dave?

350
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Speaker 4: I like it. It's catchy. I wouldn't put it in

351
00:19:00,279 --> 00:19:02,559
the top tier of the songs on the album, but

352
00:19:03,039 --> 00:19:06,200
I never skip it. That led Zeppelin sample drives it again.

353
00:19:06,319 --> 00:19:09,000
I was ignorant of led Zeppelin when I was experiencing

354
00:19:09,000 --> 00:19:11,319
this album. New it's kind of cliche for rap at

355
00:19:11,359 --> 00:19:14,279
the time, but I loved it. I absolutely loved what

356
00:19:14,319 --> 00:19:16,519
they did in this era, which is basically brag about themselves.

357
00:19:16,559 --> 00:19:18,680
A lot of these tracks on here come down the

358
00:19:18,680 --> 00:19:20,759
subject matter is just talking about how great they are.

359
00:19:20,839 --> 00:19:24,119
She's Crafty is an exception. She's Crafty actually tells a

360
00:19:24,119 --> 00:19:25,759
bit of a story. There's a couple on here that

361
00:19:25,799 --> 00:19:27,880
tells stories, and she's crafty as one of them. So

362
00:19:27,960 --> 00:19:29,640
it's a little bit of a of a change up

363
00:19:29,680 --> 00:19:32,160
as far as that goes. What they're doing is they're

364
00:19:32,160 --> 00:19:48,480
switching between lines, they're switching off parts, and it's something

365
00:19:48,519 --> 00:19:52,440
that run DMC had kind of made their trademark that

366
00:19:52,640 --> 00:19:56,000
was just with two MC's and VC Boys are taking

367
00:19:56,039 --> 00:19:58,519
the next level with three. All I can say it's catchy,

368
00:19:58,519 --> 00:20:00,640
it's funny. I think it's a funny story. He wakes

369
00:20:00,720 --> 00:20:02,240
up necking the middle of the floor and he'd taken

370
00:20:02,279 --> 00:20:03,480
the bed and the chest of drawers.

371
00:20:03,559 --> 00:20:06,200
Speaker 2: This one is from led Zeppelin The Ocean, which is

372
00:20:06,240 --> 00:20:10,160
on Houses of the Holy. It's unmistakable Zeppelin, Like I

373
00:20:10,200 --> 00:20:12,119
know you not all of us were familiar with it

374
00:20:12,119 --> 00:20:14,519
at the time, but there's no question what it is

375
00:20:14,519 --> 00:20:15,240
when you hear it.

376
00:20:15,480 --> 00:20:19,920
Speaker 4: Rap developed out of a club scene and a breakbeat

377
00:20:19,960 --> 00:20:22,880
culture which they were cutting between records and playing different

378
00:20:22,920 --> 00:20:26,640
records and cutting between them, and that developed, as rap did,

379
00:20:27,079 --> 00:20:31,000
into this sample based approach to the music. And we

380
00:20:31,200 --> 00:20:34,880
were getting sampling and other tracks already before now. But

381
00:20:35,000 --> 00:20:37,799
what Rick Rubin did was he just kind of brought

382
00:20:37,839 --> 00:20:40,440
it out to the foe. Instead of making it a

383
00:20:40,480 --> 00:20:43,559
fill or a little extra gag in the song, he

384
00:20:43,920 --> 00:20:46,640
built the whole song around these samples. He's coming to

385
00:20:46,680 --> 00:20:49,240
the table with a love for hip hop and a

386
00:20:49,240 --> 00:20:52,359
love for rap, but fully educated on rock and roll,

387
00:20:52,759 --> 00:20:54,480
and he's able to take what he had already done

388
00:20:54,519 --> 00:20:56,440
for RUNDI and c and take it to the next

389
00:20:56,519 --> 00:20:59,079
level with this album. So he's just I guess they

390
00:20:59,079 --> 00:21:01,880
got clearance on on these led Zeppelin songs and all

391
00:21:01,920 --> 00:21:03,440
the samples that are throughout the album.

392
00:21:03,519 --> 00:21:06,480
Speaker 3: I read an article with Jimmy Page. They're asking him

393
00:21:06,480 --> 00:21:09,039
about it, and he's like, well, we didn't really give permission,

394
00:21:09,400 --> 00:21:13,440
and he goes, I briefly thought about doing something legally

395
00:21:13,480 --> 00:21:15,799
about it. He's like, but in the end, I was

396
00:21:15,839 --> 00:21:17,480
flattered by it, so I just let it go.

397
00:21:17,759 --> 00:21:21,680
Speaker 4: The whole issue that legal issues surrounding sampling was forced

398
00:21:21,759 --> 00:21:23,680
by the Beast of Boys second album, which was not

399
00:21:23,720 --> 00:21:26,880
produced by Rubin. It was Paul's Boutique in nineteen eighty nine,

400
00:21:27,359 --> 00:21:31,319
and that is a masterpiece of production and technique, and

401
00:21:31,400 --> 00:21:34,240
it's just nothing but samples. But it's also an album

402
00:21:34,279 --> 00:21:37,359
that could It's no longer possible today because the rules

403
00:21:37,359 --> 00:21:39,160
and the laws have changed and it would be too

404
00:21:39,200 --> 00:21:42,000
expensive at this point to ever do again with this album.

405
00:21:42,039 --> 00:21:45,640
Man with Paul's Boutique really kind of shaped copyright law

406
00:21:46,119 --> 00:21:48,559
and shaped entertainment law when it comes to sampling.

407
00:21:48,640 --> 00:21:51,640
Speaker 2: I gotta say, I know that this isn't a big

408
00:21:51,799 --> 00:21:53,759
hit for you, but it was at this point in

409
00:21:54,559 --> 00:21:58,480
the listening that I started dancing in my seat, like,

410
00:21:58,559 --> 00:22:00,440
as I'm going through the album and this is a

411
00:22:00,440 --> 00:22:02,640
good song, next song, this is a good song by

412
00:22:02,759 --> 00:22:05,119
song number three, I'm starting to dance in my seat

413
00:22:05,160 --> 00:22:06,559
as I'm driving to work in the morning.

414
00:22:06,640 --> 00:22:08,640
Speaker 4: You can't help but just enjoy yourself. They just make

415
00:22:08,720 --> 00:22:11,279
it a fun vibe to the whole thing, all.

416
00:22:11,279 --> 00:22:14,119
Speaker 3: Right now, then we are now onto the next song

417
00:22:14,279 --> 00:22:20,440
called Pussy and Effect. Yes, yes, you don't stop the place.

418
00:22:21,920 --> 00:22:30,680
See he forgotten mind the bottles of seconds between it and.

419
00:22:31,759 --> 00:22:36,480
Speaker 2: You don't stop? Did they that? They sampled that later on?

420
00:22:36,519 --> 00:22:37,960
That's in another song, isn't it?

421
00:22:38,039 --> 00:22:40,279
Speaker 3: That's that's I want to Sex you up by Color

422
00:22:40,359 --> 00:22:43,640
Me Bad? Right?

423
00:22:43,759 --> 00:22:44,839
Speaker 2: Are you serious?

424
00:22:45,440 --> 00:22:47,359
Speaker 3: Let's check it rota Oh my gosh.

425
00:22:47,839 --> 00:22:50,519
Speaker 2: The and you don't stop he's saying, is in color

426
00:22:50,640 --> 00:22:53,039
Me Bad, I want to sex you up. I gotta

427
00:22:53,079 --> 00:23:02,160
hear this. No, it's not. It's very well, could do them.

428
00:23:02,200 --> 00:23:06,079
Speaker 4: I don't know that that sounds like slit Rick and

429
00:23:06,160 --> 00:23:08,960
Lotty Dotty. Slit Rick and Dougie Fresh teamed up to

430
00:23:09,039 --> 00:23:14,079
a song called Lotty Dotty to the TikTok you don't stop, Okay, okay,

431
00:23:14,319 --> 00:23:16,759
Lottie Dotty, we like to partty. We don't cross trouble,

432
00:23:16,759 --> 00:23:18,759
we don't bother nobody with just some guys. That's on

433
00:23:18,799 --> 00:23:20,119
the mic, and when we rock up on the mic,

434
00:23:20,160 --> 00:23:20,880
we rock the mic.

435
00:23:21,440 --> 00:23:26,480
Speaker 7: Yeah, wow, I can keep going.

436
00:23:29,079 --> 00:23:29,480
Speaker 2: All right.

437
00:23:29,519 --> 00:23:32,799
Speaker 3: So Posse in effect has three songs that it sampled,

438
00:23:32,920 --> 00:23:35,880
Catch a Groove by Juice, Change the Beat by B Side,

439
00:23:36,039 --> 00:23:39,599
and pee Wee's Dance Yes by Jove.

440
00:23:39,839 --> 00:23:41,480
Speaker 4: Yeah, I remember ye.

441
00:23:41,680 --> 00:23:44,039
Speaker 3: Pee Wee's dance as in pee Wee Herman.

442
00:23:44,799 --> 00:23:51,000
Speaker 4: Yes, he took the the from Joskie Love. You know.

443
00:23:51,039 --> 00:23:53,920
That was pee Wee Herman's little dance routine. And Joe

444
00:23:53,960 --> 00:23:56,319
Ski was this guy's one hit wonder as far as

445
00:23:56,319 --> 00:23:59,079
I know, But he had a rap about pee Wee Herman.

446
00:24:00,480 --> 00:24:02,519
Speaker 3: That is awesome. We need to play a clip on

447
00:24:02,559 --> 00:24:03,079
that right here.

448
00:24:07,480 --> 00:24:16,880
Speaker 4: I don't know how to call it we herd it

449
00:24:18,039 --> 00:24:19,359
And that's from Tequila, I guess.

450
00:24:19,440 --> 00:24:20,240
Speaker 3: Oh fantastic.

451
00:24:20,319 --> 00:24:22,759
Speaker 2: Yeah, I was gonna say that that may be what

452
00:24:22,839 --> 00:24:26,039
pee Rehearman was whatever was in that song, but that

453
00:24:26,160 --> 00:24:29,400
was originally from Tequila, okay, which is what, of course

454
00:24:29,440 --> 00:24:31,160
she does the dance to on top of the bar.

455
00:24:31,359 --> 00:24:35,119
Speaker 4: Right in the movie Yes, when Mike d says, I

456
00:24:35,160 --> 00:24:37,880
travel around the globe, I'm keeping girlies dizzy. My name's

457
00:24:37,960 --> 00:24:40,640
Mike Dan, now watch me, And then they sampled Joskie

458
00:24:40,640 --> 00:24:43,880
Love when he says get busy, y'all, that's Jokie Love.

459
00:24:44,200 --> 00:24:46,160
Speaker 3: Okay, okay, cool, nice.

460
00:24:46,359 --> 00:24:47,319
Speaker 2: This one's really short.

461
00:24:47,319 --> 00:24:49,720
Speaker 3: It's like two and a half minutes were the song.

462
00:24:49,519 --> 00:24:51,480
Speaker 4: Here, Isn't this the one that says I got a

463
00:24:51,480 --> 00:24:53,599
girl in the castle and one in the pagoda? You know?

464
00:24:53,680 --> 00:24:57,079
I got rhyms like abe fda.

465
00:24:56,839 --> 00:25:00,440
Speaker 3: Any song that makes reference to abea tom nine in

466
00:25:00,440 --> 00:25:01,400
my bugs right there.

467
00:25:01,519 --> 00:25:04,319
Speaker 4: There is redeeming value in this album because I was

468
00:25:04,440 --> 00:25:06,480
educational for me. I learned what a pagoda was.

469
00:25:09,119 --> 00:25:10,480
Speaker 2: Did you know who a god was?

470
00:25:10,559 --> 00:25:12,759
Speaker 4: When you yeah, my dad was a Barney Miller fans

471
00:25:12,920 --> 00:25:13,519
Ernie Miller.

472
00:25:13,599 --> 00:25:14,119
Speaker 3: That's right.

473
00:25:15,720 --> 00:25:18,319
Speaker 2: He was also, as you say, he was in the Godfather.

474
00:25:18,599 --> 00:25:21,200
And didn't he didn't he play like Boris carl Off

475
00:25:21,240 --> 00:25:22,160
in a movie as well?

476
00:25:22,319 --> 00:25:25,079
Speaker 3: I don't know, but he definitely could. I do know this.

477
00:25:25,680 --> 00:25:28,680
There is a Beastie Boys tribute band. I looked him

478
00:25:28,759 --> 00:25:35,640
up on Facebook. They are called my Posse and effect.

479
00:25:38,720 --> 00:25:40,880
Give them a lesson, give them a look see to

480
00:25:40,960 --> 00:25:41,640
which you think.

481
00:25:41,480 --> 00:25:44,000
Speaker 4: That's what I like about rap? And when I say

482
00:25:44,079 --> 00:25:46,200
I like rap, I quit liking wrap. At the end

483
00:25:46,240 --> 00:25:48,359
of the eighties, but the part that appeals to me,

484
00:25:49,119 --> 00:25:51,359
the part that appeals to me is the cleverness of

485
00:25:51,400 --> 00:25:54,559
the lyrics and the cleverness of the wrongs. And a

486
00:25:54,599 --> 00:25:56,440
lot of times, you know, when you're talking about this

487
00:25:56,480 --> 00:25:58,160
album is you don't have much more to say other

488
00:25:58,200 --> 00:26:00,960
than I like the beat, and then you start quoting yes,

489
00:26:01,319 --> 00:26:03,400
you know if it makes you smile, it makes you laugh,

490
00:26:03,480 --> 00:26:06,319
and then it's memorable. Pussy and Effect and the next

491
00:26:06,319 --> 00:26:08,759
one's slow Ride to Me are are among my favorite.

492
00:26:08,759 --> 00:26:11,200
They were not released as singles, but to me, they're

493
00:26:11,240 --> 00:26:14,839
almost the purest rap songs on the album. Wear a

494
00:26:14,839 --> 00:26:18,000
Hat not Advisor, I drink bud Weiser, the turntables, up

495
00:26:18,039 --> 00:26:21,240
on the drum, riser, yes on the groove, and the

496
00:26:21,279 --> 00:26:23,359
finals on the platter, you know that I'm flyming. Is

497
00:26:23,400 --> 00:26:24,200
no need to flatter.

498
00:26:24,319 --> 00:26:27,240
Speaker 2: Yeah, the rhymes keep coming and they don't stop.

499
00:26:29,799 --> 00:26:32,079
Speaker 3: The drums at the very beginning of this the little

500
00:26:32,119 --> 00:26:35,000
sample right there that sounds like the drum machine that

501
00:26:35,039 --> 00:26:37,960
they probably paid for with their forty grand that they

502
00:26:38,000 --> 00:26:39,359
got from British Airway.

503
00:26:39,519 --> 00:26:42,000
Speaker 2: I think the forty grand with by their house, but

504
00:26:42,680 --> 00:26:45,480
I think that I think Krick Rubin had the drum

505
00:26:45,519 --> 00:26:48,200
machine that was That was really the selling point for

506
00:26:48,240 --> 00:26:49,200
bringing him into the band.

507
00:26:49,240 --> 00:26:52,519
Speaker 3: All right, Moving on to the next song. This one's

508
00:26:52,519 --> 00:27:14,720
called slow Ride, super catchy. It's making a great use

509
00:27:14,799 --> 00:27:18,519
of that the Lowrider song right there. They sample that hard.

510
00:27:18,680 --> 00:27:22,359
Speaker 2: There's Lowrider, okay, and then there's slow Ride, which was

511
00:27:22,359 --> 00:27:26,119
a fog Hat song too. Yes, but they've they've kind

512
00:27:26,119 --> 00:27:28,119
of borrowed, I mean, because it was the same era

513
00:27:28,279 --> 00:27:31,039
as the Lowriders song. But that the drum beat, you

514
00:27:31,079 --> 00:27:34,119
know where it's from. Tell me, I'm asking you, We

515
00:27:34,160 --> 00:27:36,240
want you to tell me. I think it is called

516
00:27:36,319 --> 00:27:39,119
change the beat by the side, but I'm not sure.

517
00:27:39,200 --> 00:27:41,519
Speaker 3: I'll tell you one thing that I know about these guys.

518
00:27:41,640 --> 00:27:46,599
These dudes love White Castle. It is unmistakable. I think

519
00:27:46,599 --> 00:27:49,680
they mentioned it in about every other song, something about

520
00:27:49,680 --> 00:27:50,240
White Cast.

521
00:27:50,400 --> 00:27:53,119
Speaker 4: So what I'll mention here is that I think part

522
00:27:53,119 --> 00:27:55,759
of the appeal of this group, you know, the whole

523
00:27:55,759 --> 00:27:59,039
world's discovering this group with this album. And so not

524
00:27:59,119 --> 00:28:02,079
only do you have the three, but each of their

525
00:28:02,160 --> 00:28:06,720
voices are very distinct, especially when you contrast King ad

526
00:28:06,799 --> 00:28:10,920
Rock's wine with MCA's gruffness. It just adds to the fun.

527
00:28:11,039 --> 00:28:13,599
But what it also does is it makes them unique.

528
00:28:13,599 --> 00:28:15,839
And I think this is the reason why the BC Boys,

529
00:28:15,839 --> 00:28:19,599
despite being white and despite being these like a party

530
00:28:19,640 --> 00:28:23,240
hardy frap boy types and with all these raunchy lyrics

531
00:28:23,319 --> 00:28:24,799
or whatever and all this rock and roll in it,

532
00:28:25,000 --> 00:28:28,039
the reason they were so accepted by rap fans and

533
00:28:28,079 --> 00:28:31,039
by the hip hop community, both professionals and by the

534
00:28:31,119 --> 00:28:33,880
fans is that they were true to themselves. They didn't

535
00:28:33,920 --> 00:28:36,359
try to sound like anybody else. You could tell that

536
00:28:36,359 --> 00:28:38,200
they were coming at this with a true love for

537
00:28:38,279 --> 00:28:40,519
hip hop, and they weren't making fun of anybody, and

538
00:28:40,559 --> 00:28:42,559
they weren't treating it like a joke. They weren't treating

539
00:28:42,599 --> 00:28:46,279
the form like a joke, even though there was humor

540
00:28:46,400 --> 00:28:48,920
in their content. But again, just those the contrast of

541
00:28:48,960 --> 00:28:51,680
those voices, I think it really carries both possing and

542
00:28:51,680 --> 00:28:52,799
effect and slow ride.

543
00:28:52,960 --> 00:28:54,079
Speaker 3: Yep, I'm totally with it.

544
00:28:54,119 --> 00:28:56,480
Speaker 4: You know, we started off with some rock heavy, some

545
00:28:56,519 --> 00:29:00,000
guitar bassed songs, but these last couple we get away

546
00:29:00,079 --> 00:29:02,119
from that. You know, there's some horns and there's a beat,

547
00:29:02,440 --> 00:29:06,000
but it's not really this driving guitar sound like we

548
00:29:06,200 --> 00:29:08,240
like we started the album off with. So they've kind

549
00:29:08,240 --> 00:29:10,039
of switched scares a little bit honest, and again we

550
00:29:10,039 --> 00:29:12,640
stay away from the guitars mostly in this next song.

551
00:29:12,720 --> 00:29:14,920
Speaker 3: Yeah, I think they switch gears again right here.

552
00:29:14,960 --> 00:29:18,079
Speaker 2: And I just got to say, for like songs, for

553
00:29:18,200 --> 00:29:20,839
song three, and for song four, and for song five,

554
00:29:20,960 --> 00:29:22,920
I'm dancing through all of it. But then we get

555
00:29:22,920 --> 00:29:26,000
to song six, and not only only am I dancing,

556
00:29:26,279 --> 00:29:39,240
but I'm smiling. I really want to come.

557
00:29:40,960 --> 00:29:41,680
Speaker 6: In the morning.

558
00:29:41,839 --> 00:29:45,279
Speaker 3: And even.

559
00:29:46,640 --> 00:29:48,799
Speaker 2: This is like a nursery rhyme song. You've got a

560
00:29:48,880 --> 00:29:53,240
nursery rhyme song, except it is ad rock talking about

561
00:29:53,359 --> 00:29:56,599
having the hots for girl that used to be interested

562
00:29:56,720 --> 00:30:00,240
in mc A, and so MCA wasn't interested in her,

563
00:30:00,359 --> 00:30:03,799
and so he's like, yeah, go ahead and have at it. Girls.

564
00:30:04,200 --> 00:30:05,839
Speaker 3: I totally agree with you, though. This sounds like a

565
00:30:05,880 --> 00:30:08,799
little xylophone that you have in your church nursery.

566
00:30:08,839 --> 00:30:15,079
Speaker 7: You know, it's catchy, it's different. It's so inappropriate. It

567
00:30:15,160 --> 00:30:18,359
was so inappropriate for a guy who's got two daughters.

568
00:30:18,440 --> 00:30:20,759
I'd be like, what what you shut up?

569
00:30:21,319 --> 00:30:24,440
Speaker 2: Shut them out. But back when I was you know,

570
00:30:24,480 --> 00:30:26,039
back when I was thirteen, it was awesome.

571
00:30:26,119 --> 00:30:28,799
Speaker 4: Yeah, exactly. So yeah, when I was fifteen, you know,

572
00:30:28,880 --> 00:30:31,200
I thought this was hilarious. I listened to it now

573
00:30:31,200 --> 00:30:34,480
and I'm like, yikes. You know, it's completely objectifying, you know,

574
00:30:34,559 --> 00:30:36,480
talking about and it's chill to hear them talk as

575
00:30:36,480 --> 00:30:39,240
if they're not real humans or something. But and then

576
00:30:39,480 --> 00:30:41,680
you have them doing your dishes and you know, and

577
00:30:41,720 --> 00:30:43,920
doing your laundry and stuff like that, which you know,

578
00:30:44,079 --> 00:30:46,400
in tenth grade, you know, we think, we think this

579
00:30:46,480 --> 00:30:48,920
is hilarious, and we're and we're quoting this song in

580
00:30:48,960 --> 00:30:51,519
the hallways just to kind of get at the girls

581
00:30:51,559 --> 00:30:53,480
in school, just to give them a hard time. You know.

582
00:30:53,559 --> 00:30:55,400
It is a song that tells a story, and it's

583
00:30:55,400 --> 00:30:57,720
a song that instead of bragging about himself, it's a

584
00:30:57,720 --> 00:31:00,559
song of failure. He ends up not getting girl. But

585
00:31:00,720 --> 00:31:04,279
it's one of those that they are embarrassed about. And

586
00:31:04,559 --> 00:31:07,880
when I did catch the license to Ill tour in

587
00:31:07,960 --> 00:31:10,799
February of eighty seven, they played all but one track

588
00:31:10,960 --> 00:31:13,480
off the album for their set. Yeah, this was the

589
00:31:13,640 --> 00:31:15,240
track that they did not play.

590
00:31:15,400 --> 00:31:18,400
Speaker 3: I show this as the only song they've never performed live.

591
00:31:18,720 --> 00:31:20,039
Speaker 4: I have no reason argue with that.

592
00:31:20,160 --> 00:31:23,319
Speaker 2: So, just on the topic of whether they're feeling bad

593
00:31:23,319 --> 00:31:26,039
about the subject matter of the song, did they still

594
00:31:26,079 --> 00:31:27,920
have a stripper dancing inside of a.

595
00:31:28,680 --> 00:31:32,400
Speaker 3: Stage and bad.

596
00:31:33,400 --> 00:31:36,599
Speaker 4: Yes, they had girls in cages dancing and they're in

597
00:31:36,640 --> 00:31:40,279
their DJ setup looked like a giant six pack of Budweiser.

598
00:31:40,359 --> 00:31:43,160
Speaker 2: I heard them talk about this and they thought it

599
00:31:43,240 --> 00:31:46,680
was a joke. Russell Simmons introduced to guy and said, here,

600
00:31:46,839 --> 00:31:48,759
tell him what you want for your stage show and

601
00:31:48,799 --> 00:31:50,680
he'll get it for you. And they're like, all right,

602
00:31:50,799 --> 00:31:54,640
we want a giant six pack of Budweiser. We want

603
00:31:54,720 --> 00:31:57,279
a stripper in a cage, and we want a h

604
00:31:57,680 --> 00:32:03,200
mouth stick in a box. And he said, all right,

605
00:32:03,279 --> 00:32:05,119
no problem, and sure enough they showed up and the

606
00:32:05,119 --> 00:32:05,920
guy had gotten it all.

607
00:32:06,680 --> 00:32:08,559
Speaker 4: I gotta tell you a personal story about this song.

608
00:32:08,680 --> 00:32:10,359
There was a girl I was dating at the time,

609
00:32:10,400 --> 00:32:12,119
and it was after school was out. We were all

610
00:32:12,119 --> 00:32:14,400
in the hallways and one of the guys came in

611
00:32:14,480 --> 00:32:17,480
to me and asked me where she was, and I

612
00:32:17,519 --> 00:32:20,440
didn't know, but I thought I was hilarious, and I

613
00:32:20,519 --> 00:32:23,400
just sat there and I just said, she's jocking Mike

614
00:32:23,519 --> 00:32:31,000
d to my which was bad because I turned around.

615
00:32:31,039 --> 00:32:34,880
She was actually right there. She heard it, and of

616
00:32:34,920 --> 00:32:37,319
course we all love this album, so we gets a

617
00:32:37,319 --> 00:32:39,759
big laugh. She gets you know, I didn't know she

618
00:32:39,839 --> 00:32:42,440
was there. She's kind of sneak. She was, Uh, she

619
00:32:42,519 --> 00:32:48,279
was crafty, right, she was she and uh that was

620
00:32:48,880 --> 00:32:50,640
That was pretty much the end of us. She did

621
00:32:50,640 --> 00:32:55,480
not appreciate the laugh at her expense, but you know,

622
00:32:56,039 --> 00:32:58,440
if you ask her, she'll probably tell you that that

623
00:32:58,480 --> 00:33:01,279
I'm cheaper than a hot dog with no mustard.

624
00:33:02,000 --> 00:33:02,839
Speaker 2: That's great. Hey.

625
00:33:02,839 --> 00:33:06,079
Speaker 3: You know, the fascinating thing about this song is the

626
00:33:06,119 --> 00:33:08,400
way they wrote it and what they were trying to

627
00:33:08,519 --> 00:33:11,319
model it after. So these guys were sitting around with

628
00:33:11,440 --> 00:33:13,680
Rick Rubin one day, they're on the bus and he's like,

629
00:33:13,720 --> 00:33:16,039
I've got a great idea. Why don't you model a

630
00:33:16,119 --> 00:33:19,200
song after Shout by the Isisley Brothers. You know you

631
00:33:19,279 --> 00:33:21,640
make me bone up?

632
00:33:20,200 --> 00:33:26,119
Speaker 2: Oh yeah, I can totally hear that.

633
00:33:26,200 --> 00:33:29,680
Speaker 3: Oh yeah, for sure, this song is modeled after Shout.

634
00:33:29,880 --> 00:33:31,960
Speaker 6: I like the way that they walk.

635
00:33:33,480 --> 00:33:34,000
Speaker 3: And it's.

636
00:33:39,680 --> 00:33:41,720
Speaker 2: My mind. You got it, that one, That one went

637
00:33:41,799 --> 00:33:43,119
on the blowing mind.

638
00:33:43,319 --> 00:33:47,079
Speaker 3: Yes, yes, okay, well hang on just one more thing,

639
00:33:47,680 --> 00:33:49,920
because Dave, you said this to me this week.

640
00:33:50,359 --> 00:33:51,559
Speaker 2: I thought this was really cool.

641
00:33:51,640 --> 00:33:55,920
Speaker 3: The Goldie Blocks toy Company in twenty thirteen did a

642
00:33:56,000 --> 00:33:59,359
commercial where they took this song, and they changed the

643
00:33:59,480 --> 00:34:03,119
lyrics to be like girl positive about girls who didn't

644
00:34:03,119 --> 00:34:05,319
want to be princesses and dressed in pink and instead

645
00:34:05,319 --> 00:34:07,680
they want to be engineers and be smart and they

646
00:34:07,680 --> 00:34:21,119
have all these super cool toys.

647
00:34:21,480 --> 00:34:25,760
Speaker 4: It was specifically specifically to promote girls to go into

648
00:34:25,880 --> 00:34:30,400
STEM academics. And the entire commercial was a giant like

649
00:34:30,400 --> 00:34:32,840
the rude Goldberg device and was It was directed by

650
00:34:32,840 --> 00:34:35,320
the same guy who directed okay Go video that does

651
00:34:35,360 --> 00:34:35,960
the same thing.

652
00:34:36,280 --> 00:34:37,920
Speaker 3: I love the okay Go videos.

653
00:34:37,960 --> 00:34:38,800
Speaker 2: They're amazing.

654
00:34:39,320 --> 00:34:41,280
Speaker 3: They suit them, but they suit them.

655
00:34:41,679 --> 00:34:41,800
Speaker 2: Right.

656
00:34:41,920 --> 00:34:46,400
Speaker 4: Here's the problem with that. Adam York MCA died of

657
00:34:46,440 --> 00:34:50,159
cancer in twenty twelve, and he had made it his

658
00:34:50,519 --> 00:34:53,920
express wish and his last will that BC Boys music

659
00:34:54,079 --> 00:34:58,280
never be used in commercials, right, And so ad Rock

660
00:34:58,320 --> 00:35:01,480
and Mike d were in a position of having to

661
00:35:01,519 --> 00:35:04,639
ask Goldieblocks like what are you doing? Like you didn't

662
00:35:04,639 --> 00:35:07,280
ask us about this. They didn't need permission because they

663
00:35:07,280 --> 00:35:09,480
had changed it up. It was it was protected as

664
00:35:09,480 --> 00:35:14,280
a parody. Goldieblocks immediately sued the Beastie Boys somehow for

665
00:35:14,320 --> 00:35:16,719
some reason. But the Beastie Boys are looking like they're

666
00:35:16,800 --> 00:35:21,280
against promoting STEM for girls. But what they're really trying

667
00:35:21,320 --> 00:35:25,679
to do was was to look out for MCA's final wish,

668
00:35:25,880 --> 00:35:28,800
and so it was a bad pr hit for both sides,

669
00:35:29,039 --> 00:35:30,559
and it was just kind of an awkward thing where

670
00:35:30,599 --> 00:35:33,800
this was a positive use of their music, but it

671
00:35:33,880 --> 00:35:36,840
still went against what Adam y'all said he wanted. So

672
00:35:37,320 --> 00:35:39,400
they came to an agreement. They settled. I think it

673
00:35:39,480 --> 00:35:42,639
was like a million bucks or something. Goldieblocks agreed to

674
00:35:42,760 --> 00:35:45,719
quit using the song. They kept the commercial but just

675
00:35:45,840 --> 00:35:50,119
used different music, and they paid one million dollars, but

676
00:35:50,199 --> 00:35:53,039
it did not go to the surviving Beastie Boys. It

677
00:35:53,079 --> 00:35:55,960
went to a charity of their choice that promotes stem

678
00:35:56,079 --> 00:35:58,119
education for girls. So it was kind of a win

679
00:35:58,199 --> 00:36:00,639
win all the way around. But they were able to

680
00:36:00,719 --> 00:36:04,039
get their music removed from the commercial. So everybody's happy.

681
00:36:04,119 --> 00:36:08,800
Speaker 2: Okay, are we ready? The song that changed everything?

682
00:36:09,480 --> 00:36:40,079
Speaker 6: Yeah? Let er school man, you don't look down. Come

683
00:36:40,880 --> 00:36:48,280
let your still said no you mist classes a.

684
00:36:48,599 --> 00:36:56,760
Speaker 4: No home learnt The changer breaks class like song changer.

685
00:37:00,239 --> 00:37:06,960
Speaker 6: You gotta fight fight all right, this.

686
00:37:07,119 --> 00:37:09,320
Speaker 2: Is the one. This is the tenth pole. Okay, So

687
00:37:09,760 --> 00:37:12,880
I said, now you know, at song number three, I

688
00:37:12,960 --> 00:37:15,480
started dancing as I'm driving in my chair. I've done

689
00:37:15,760 --> 00:37:18,800
dancing up until I get the song six. At song six,

690
00:37:19,039 --> 00:37:23,679
I'm smiling and dancing, and then when song number seven starts,

691
00:37:24,400 --> 00:37:25,599
I start banging my head.

692
00:37:25,880 --> 00:37:28,239
Speaker 3: We're kind of an awesome stretch right here.

693
00:37:29,079 --> 00:37:29,960
Speaker 4: Oh yeah, for sure.

694
00:37:30,239 --> 00:37:33,199
Speaker 3: This was released as the fourth single in December of

695
00:37:33,320 --> 00:37:36,920
nineteen eighty six, and as we said before, this was

696
00:37:37,000 --> 00:37:42,599
on about every fourth song on MTV. This video was fantastic.

697
00:37:42,760 --> 00:37:45,840
The song was super catchy. It got to number seven

698
00:37:45,920 --> 00:37:46,800
on the Hot one hundred.

699
00:37:47,079 --> 00:37:50,639
Speaker 2: It was one of the last songs to find its

700
00:37:50,719 --> 00:37:53,159
way onto the album because, and I don't know how

701
00:37:53,239 --> 00:37:56,440
many times we've said this, Rick Rubin comes to him

702
00:37:56,480 --> 00:38:01,079
and says, we need just one more song, and we're

703
00:38:01,239 --> 00:38:03,599
running on a deadline, so you gotta get it in

704
00:38:03,920 --> 00:38:07,039
and in like two hours. Yeah, And so this is

705
00:38:07,119 --> 00:38:09,599
what they come up with. There's a they talk about

706
00:38:09,639 --> 00:38:12,480
a song from Brooklyn, like the band Brooklyn, not the

707
00:38:12,559 --> 00:38:15,679
town Brooklyn, that this song is based on this idea

708
00:38:15,719 --> 00:38:17,159
of you got to fight for you right to party.

709
00:38:17,239 --> 00:38:19,400
But they've definitely got their own lyrics to it, and

710
00:38:19,920 --> 00:38:22,840
it's a goof song again, but they're making fun of

711
00:38:23,320 --> 00:38:27,559
frat guys and party bros. And then when they make

712
00:38:27,599 --> 00:38:31,360
the video, they play the part of frat guy and

713
00:38:31,679 --> 00:38:34,239
party bro, and then when they go do their stage

714
00:38:34,320 --> 00:38:38,079
shows they become those guys, and pretty soon it's their

715
00:38:38,400 --> 00:38:39,119
entire image.

716
00:38:39,320 --> 00:38:41,079
Speaker 3: This is what I thought they were for sure.

717
00:38:41,719 --> 00:38:44,599
Speaker 2: I thought this was a genuine like, this is who

718
00:38:44,679 --> 00:38:46,079
these guys are. Yeah.

719
00:38:46,320 --> 00:38:48,920
Speaker 4: Yeah, it's a hit of adrenaline when this song hits,

720
00:38:49,000 --> 00:38:52,800
right because plusing effects, slow riding girls. We haven't had

721
00:38:52,960 --> 00:38:56,239
that driving guitar yet. And it's catchy and you're dancing along,

722
00:38:56,440 --> 00:39:07,440
but then it just opens with that power chord boom right, niggot,

723
00:39:08,400 --> 00:39:10,679
I mean all of a sudden, you wait, back up.

724
00:39:10,719 --> 00:39:12,239
It's a punch in the face right in the middle

725
00:39:12,360 --> 00:39:15,800
of this album, and it rocks. And yes, it took

726
00:39:15,840 --> 00:39:18,960
over MTV. You saw it in almost every segment, and

727
00:39:19,239 --> 00:39:21,239
it was one you could jump around to bang your head.

728
00:39:21,280 --> 00:39:23,679
It was easy to sing along with. It was the

729
00:39:23,840 --> 00:39:27,400
tenth pole of this album. It was the highest charting

730
00:39:27,480 --> 00:39:30,400
hit they had off this album. This Yeah, this defined

731
00:39:30,440 --> 00:39:33,760
their image and this defined their sound, and it it

732
00:39:33,880 --> 00:39:34,559
was everywhere.

733
00:39:34,679 --> 00:39:37,239
Speaker 3: This is where I enter the scene. So even though

734
00:39:37,280 --> 00:39:39,880
it's the fourth single off License to Ill, I had

735
00:39:39,960 --> 00:39:43,400
not heard anything prior to this. I mean maybe because

736
00:39:43,440 --> 00:39:45,800
I was just whatever it was on MTV. That was

737
00:39:45,920 --> 00:39:49,639
my intake. The video, for me is as much a

738
00:39:49,840 --> 00:39:53,639
part of my nostalgia for this song as the song itself.

739
00:39:53,960 --> 00:39:58,280
The song is fantastic and hilarious and headbanging and all

740
00:39:58,360 --> 00:40:02,280
that stuff, but the video, to me, is equally as

741
00:40:02,519 --> 00:40:06,360
impactful and fun and funny. Do you like parties?

742
00:40:06,960 --> 00:40:11,360
Speaker 7: Yeah, we can invite all our friends and have soda

743
00:40:11,519 --> 00:40:12,719
and pot yeah.

744
00:40:13,639 --> 00:40:17,280
Speaker 2: Yeah. So the video was directed by Rick Manelo and

745
00:40:17,519 --> 00:40:21,960
Adam Dubin, right, yes, So these guys were roommates at

746
00:40:22,159 --> 00:40:27,599
NYU where Rick Rubin was like the floor administrator guy.

747
00:40:27,639 --> 00:40:30,480
What are they called Ara, the ra? Yeah, he was

748
00:40:30,559 --> 00:40:33,440
the RA and he when they decide they're going to

749
00:40:33,480 --> 00:40:36,079
do a video, he goes to I believe it was

750
00:40:36,199 --> 00:40:39,920
Rick Manelo and says, hey, you're into all of these

751
00:40:39,960 --> 00:40:42,039
old movies. I want you to make this video for me.

752
00:40:42,159 --> 00:40:44,679
And Rick is like, no way. If this video is

753
00:40:44,679 --> 00:40:46,639
a flop, I'm gonna be the one that gets blamed.

754
00:40:46,800 --> 00:40:49,079
And so then they go to Adam Dubin, his roommate,

755
00:40:49,159 --> 00:40:51,719
who is a film studies guy, and they said, hey,

756
00:40:51,800 --> 00:40:55,239
will you co direct and that way, nobody can blame

757
00:40:55,280 --> 00:40:58,480
it on either of you. And so these two guys

758
00:40:58,679 --> 00:41:03,679
co direct this video literally in the dorm rooms at NYU.

759
00:41:04,360 --> 00:41:06,880
The guys, one of them, their mom is the one

760
00:41:06,880 --> 00:41:09,480
who gets the pie in the face. Yeah. Yes, And

761
00:41:09,599 --> 00:41:13,559
they've got they've got Flea, they've got Mutt Lane, they've

762
00:41:13,599 --> 00:41:16,840
got Tabithasor and they've got Lall Cool Jay, all of

763
00:41:16,920 --> 00:41:20,079
these folks who were not somebody yet but who are

764
00:41:20,159 --> 00:41:22,840
in this video walking through the door and party long.

765
00:41:22,920 --> 00:41:26,280
And they've got they've got Rick Rubin coming in wearing

766
00:41:26,320 --> 00:41:29,719
a Slayer T shirt right, which, of course is ironic

767
00:41:29,840 --> 00:41:32,119
because we've got a song coming up that's got a

768
00:41:32,159 --> 00:41:35,320
Slayer lead in it. Yep. And Slayer was actually a

769
00:41:35,400 --> 00:41:37,880
band that he was also producing the records fourth time.

770
00:41:38,000 --> 00:41:39,679
Speaker 4: Yeah, so you had members of the Young and the

771
00:41:39,800 --> 00:41:42,000
Useless we're also in this video.

772
00:41:42,400 --> 00:41:42,599
Speaker 2: Yeah.

773
00:41:42,880 --> 00:41:45,159
Speaker 4: And I know that you're teasing Kerry King there, but

774
00:41:45,239 --> 00:41:47,119
we got to say this. He played on this song too.

775
00:41:47,480 --> 00:41:49,559
The solo in this song is Kerry King? Really?

776
00:41:49,679 --> 00:41:51,639
Speaker 2: Okay, I did not know that. Okay, nice. Good.

777
00:41:51,880 --> 00:41:54,639
Speaker 3: Let's talk about Tabitha Sowren for a second. This is

778
00:41:54,719 --> 00:41:58,679
before she was an MTV personality. She just a NYU

779
00:41:58,840 --> 00:42:01,119
student who happened to be friends with Rick Rubin. I

780
00:42:01,159 --> 00:42:02,920
think she's actually blonde. In the video.

781
00:42:03,119 --> 00:42:05,239
Speaker 2: She said she was doing everything she could not to

782
00:42:05,280 --> 00:42:07,360
get a pie in the face because they didn't have

783
00:42:07,400 --> 00:42:09,639
any money to make this video, so they went and

784
00:42:09,760 --> 00:42:11,840
got the whip cream for the pies out of like

785
00:42:11,960 --> 00:42:15,519
an old restaurant trash can. So it was like rancid

786
00:42:15,960 --> 00:42:18,880
whipped cream, and she said it smelled like throw up.

787
00:42:21,880 --> 00:42:24,519
Speaker 3: I saw the storyboards for this, and the funny part

788
00:42:24,559 --> 00:42:28,760
about the storyboards were they were just barely even sketches.

789
00:42:28,840 --> 00:42:33,280
I mean, you're talking like childlike faces figures, but they

790
00:42:33,320 --> 00:42:36,159
were storyboarded exactly like you see the video.

791
00:42:36,440 --> 00:42:38,280
Speaker 2: That's nice. Well, he was a film student, he's any

792
00:42:38,400 --> 00:42:39,440
why were you film student?

793
00:42:39,440 --> 00:42:42,559
Speaker 3: Of course he's in storyboards, storyboards the video, the guy

794
00:42:42,679 --> 00:42:45,960
getting spit on in the face and you know, spiking

795
00:42:46,039 --> 00:42:49,320
the punch, burning stuff, you know, kissing the girl and

796
00:42:49,400 --> 00:42:55,400
all that stuff. This was a teenage boy's dream, burn stuff,

797
00:42:55,679 --> 00:42:58,239
kiss girls, party while your parents are out of town.

798
00:42:58,440 --> 00:42:59,920
Speaker 2: I mean I was fourteen when this came out.

799
00:43:00,079 --> 00:43:00,880
Speaker 3: This is all I wanted to do.

800
00:43:08,559 --> 00:43:10,199
Speaker 4: I gotta tell you this, this is the time for

801
00:43:10,280 --> 00:43:12,920
this story. So this song was of course the biggest

802
00:43:13,000 --> 00:43:15,039
hit they had on the album, and it was climbing

803
00:43:15,079 --> 00:43:18,199
its way up the charts, and it would soon peak

804
00:43:18,360 --> 00:43:21,199
at number seven on the Billboard Hot one hundred at

805
00:43:21,320 --> 00:43:24,360
number seven. It would peak there on March seventh. Just

806
00:43:24,559 --> 00:43:29,639
one week before that, they played a show February twenty eighth,

807
00:43:30,079 --> 00:43:33,679
nineteen eighty seven, in Columbus, Georgia, and I was there

808
00:43:33,760 --> 00:43:38,079
with pretty much my entire tenth grade class on the

809
00:43:38,199 --> 00:43:42,880
floor close to the stage, packed in, absolutely living the dream,

810
00:43:43,679 --> 00:43:46,119
soaking in this entire performance. It was a time of

811
00:43:46,159 --> 00:43:50,480
our lives. It's a touchstone experience for our whole high

812
00:43:50,480 --> 00:43:52,960
school years that we still talk about today. Fight for

813
00:43:53,039 --> 00:43:55,760
Your Right was their big hit, It was their big finale.

814
00:43:56,119 --> 00:43:58,840
They finished the show with fight for Your Right to party.

815
00:43:59,159 --> 00:44:01,760
Before the night was over, they were on the news

816
00:44:02,320 --> 00:44:05,800
before the week was over. City council had met to

817
00:44:05,880 --> 00:44:09,920
discuss the Beastie Boys. So what you had was a

818
00:44:10,039 --> 00:44:13,920
case of a bunch of families thinking that it would

819
00:44:13,960 --> 00:44:17,440
be safe to take their kids to see some white rappers.

820
00:44:18,119 --> 00:44:21,960
But what they got were some obnoxious punk rockers from

821
00:44:22,199 --> 00:44:25,320
New York City who wanted to offend everybody in the house.

822
00:44:25,559 --> 00:44:30,960
You could say. They had another member on stage unveiled

823
00:44:31,079 --> 00:44:34,119
himself at the end of the show. This is where

824
00:44:34,199 --> 00:44:37,039
they had the stage prop that's so notorious for this tour.

825
00:44:37,559 --> 00:44:39,719
It was I can tell you it's true. I saw

826
00:44:39,760 --> 00:44:44,320
it myself, a twenty foot replica of an erection. It

827
00:44:44,519 --> 00:44:46,679
came out aside the box in the back of the stage.

828
00:44:47,400 --> 00:44:50,920
It inflated up and it towered over the crowd and

829
00:44:51,079 --> 00:44:56,119
waved back and forth. It was in embarrassing detail, and

830
00:44:56,559 --> 00:44:59,199
we were all standing there in shock. We cannot believe

831
00:44:59,599 --> 00:45:02,119
what we say. And I just remember the Baci boys

832
00:45:02,159 --> 00:45:04,559
on stage looking up at it and busting out, cracking up,

833
00:45:04,639 --> 00:45:07,480
laughing like they'd never seen it before. This did not

834
00:45:07,599 --> 00:45:09,880
go over well. There were a lot of people clutching

835
00:45:09,920 --> 00:45:12,000
pearls in the audience that night who said that there's

836
00:45:12,039 --> 00:45:14,679
no way this should be allowed. So there were miners

837
00:45:14,880 --> 00:45:17,400
in the audience that they had this prop waving over

838
00:45:17,440 --> 00:45:20,199
everybody at the end of the show. They had scantily

839
00:45:20,320 --> 00:45:23,000
clad women in cages throughout the whole thing. They had

840
00:45:23,440 --> 00:45:26,079
girls in the audience that were lifting their shirts because

841
00:45:26,119 --> 00:45:27,880
the beast of boys were telling them to. It was

842
00:45:28,239 --> 00:45:31,039
highly offensive. It did not fly in Columbus, Georgia. But

843
00:45:31,239 --> 00:45:33,639
as it turns out, they could not find where they

844
00:45:33,679 --> 00:45:37,320
had broken any lass. They had not done anything illegal,

845
00:45:37,559 --> 00:45:40,920
and the leadership and the public said, well, that's not right.

846
00:45:41,119 --> 00:45:44,400
So the very next city council meeting, they passed a

847
00:45:44,840 --> 00:45:49,400
new ordinance, the Lutinis Ordinance, that said basically that they

848
00:45:49,559 --> 00:45:51,719
nobody could do this again. And so the Beast Boys

849
00:45:51,880 --> 00:45:54,960
got away scott free, but now in their wake this

850
00:45:55,360 --> 00:45:58,679
Lutinist Ordinance now existed on the books in Columbus. I

851
00:45:58,840 --> 00:46:02,400
was also there in June of nineteen eighty seven when

852
00:46:02,719 --> 00:46:05,320
ll cool J was headlining and during the song I

853
00:46:05,480 --> 00:46:08,559
Need Love, he got really friendly with a couch that

854
00:46:08,639 --> 00:46:11,920
they had brought out on stage and he was arrested

855
00:46:12,119 --> 00:46:14,960
under this law. After the show, Todd from Queen's was

856
00:46:15,000 --> 00:46:15,800
rubbing on a couch.

857
00:46:16,480 --> 00:46:21,119
Speaker 2: Yeah, yeah, Mak hasn't done that.

858
00:46:23,280 --> 00:46:25,840
Speaker 4: So this is this is something that Ello cool J

859
00:46:26,079 --> 00:46:28,559
went on our Senial Hall at the time to talk about.

860
00:46:28,639 --> 00:46:30,840
He still talks about it on his talk show appearances today.

861
00:46:30,960 --> 00:46:33,199
So I've seen on the internet a clip where in

862
00:46:33,400 --> 00:46:36,800
recent years he was on Jimmy Kimmel talking about this

863
00:46:36,920 --> 00:46:39,679
same incident, so it's not something LL has ever forgotten.

864
00:46:39,800 --> 00:46:42,280
He was arrested. A year later, Bobby Brown was arrested,

865
00:46:42,679 --> 00:46:45,800
and then a year after that, Gene Simmons was arrested

866
00:46:46,320 --> 00:46:49,960
because he apparently mooned at the audience, and after that

867
00:46:50,519 --> 00:46:53,599
they quit enforcing the law. So so Ello Cool Jay

868
00:46:53,920 --> 00:46:57,119
and Bobby Brown and Gene Simmons have the Beastie Boys

869
00:46:57,159 --> 00:46:59,960
to thank for their their arrest record in Columbus, Georgia.

870
00:47:00,360 --> 00:47:03,880
Speaker 3: Gene Simmons bear butt made them cow down and just

871
00:47:03,920 --> 00:47:06,119
say this is not worth it anymore. Have you guys

872
00:47:06,159 --> 00:47:07,960
seen Fight for Your Right revisited?

873
00:47:08,199 --> 00:47:10,599
Speaker 2: You sent me the clip. I've caught a little bit

874
00:47:10,639 --> 00:47:12,800
of it, but just I know who's in it and

875
00:47:12,960 --> 00:47:15,079
what kind of the actions are, and I got to

876
00:47:15,079 --> 00:47:17,199
watch the whole thing. I'm excited to see it. Dave,

877
00:47:17,280 --> 00:47:17,800
have you seen this?

878
00:47:18,559 --> 00:47:23,119
Speaker 3: No, it's a thirty minute video where they Adam Yack

879
00:47:23,480 --> 00:47:27,840
directed this right, but he asked Seth Rogan, Elijah Wood

880
00:47:28,039 --> 00:47:32,960
and Danny McBride to come up with what happened after

881
00:47:33,480 --> 00:47:36,360
the Fight for Your Right party. So they leave the party.

882
00:47:36,400 --> 00:47:38,480
You see them leave the room where they have the

883
00:47:38,559 --> 00:47:41,320
pie fight, and they come downstairs and they run into

884
00:47:41,360 --> 00:47:44,599
people who are asking them. It's Susan Sarandon, Yeah, who's

885
00:47:44,679 --> 00:47:47,000
asking them? What are you guys up to? You guys

886
00:47:47,039 --> 00:47:50,880
are troublemakers. It's Seth Rogan, Elijah Wood and Danny McBride,

887
00:47:50,960 --> 00:47:53,800
all wearing the same attire that the beast Boys wore

888
00:47:53,840 --> 00:47:56,639
in the Fight for Your Right video. They run into

889
00:47:57,880 --> 00:48:01,480
Will Ferrell, John c Riley, Jack Black, who are addressed

890
00:48:01,480 --> 00:48:04,119
in the same attire. So it's like you have beastie

891
00:48:04,119 --> 00:48:05,800
boys against Beastie boys.

892
00:48:05,639 --> 00:48:08,400
Speaker 2: Beastie boys from the future, from the future in a.

893
00:48:08,400 --> 00:48:11,840
Speaker 3: Dolorean, right, Yeah, there is a Delorion, all right, And

894
00:48:12,000 --> 00:48:14,119
so they have this weird dance off and then the

895
00:48:14,239 --> 00:48:16,840
cops show up and it's the real Beastie Boys as

896
00:48:16,880 --> 00:48:17,320
the cops.

897
00:48:18,679 --> 00:48:22,000
Speaker 2: The video is great, it's really funny. I sent it

898
00:48:22,079 --> 00:48:22,199
to you.

899
00:48:22,320 --> 00:48:26,119
Speaker 3: You did watch, I'm sorry, but it's definitely worth a look. Okay,

900
00:48:26,480 --> 00:48:27,519
are we done with Fife?

901
00:48:27,559 --> 00:48:30,000
Speaker 4: You're right, don't fuck You're right, and we're done with

902
00:48:30,159 --> 00:48:31,400
side one? Flip it over.

903
00:48:31,519 --> 00:48:34,360
Speaker 2: Time to hit stop on your tape layer kick it out,

904
00:48:34,400 --> 00:48:38,960
Flip it over side two. Okay, Jason, let's take a

905
00:48:39,119 --> 00:48:42,599
quick break while we do a Shirley Showcase, we have

906
00:48:42,719 --> 00:48:43,800
a special one for today.

907
00:48:43,920 --> 00:48:44,079
Speaker 4: Yeah.

908
00:48:44,159 --> 00:48:46,800
Speaker 3: This is our friend Christopher Weber. He's been interacting with

909
00:48:46,920 --> 00:48:48,800
us for a long time on social media.

910
00:48:48,920 --> 00:48:51,960
Speaker 2: Yeah, he decided to weigh in on our Police Synchronicity

911
00:48:52,159 --> 00:48:54,920
versus Journey Frontiers album. Let's see what he has to say.

912
00:48:55,000 --> 00:48:57,880
Speaker 8: Hey, Jason, INDI, this is Chris Weber down in New Orleans,

913
00:48:58,000 --> 00:49:00,920
and I appreciate the opportunity to get of my final

914
00:49:01,079 --> 00:49:04,599
judgment on a previous matchup. The episode that I chose

915
00:49:05,000 --> 00:49:10,679
pitted the Police's Synchronicity album versus Journey's Frontier albums. I

916
00:49:10,800 --> 00:49:13,079
have to admit when I first heard the matchup, I

917
00:49:13,159 --> 00:49:15,679
thought it was going to be a landslide. But after

918
00:49:15,800 --> 00:49:18,599
listening to the episode, I think both of y'all brought

919
00:49:18,719 --> 00:49:22,280
some really good points that made me think about both

920
00:49:22,320 --> 00:49:26,039
of these two albums. Prior to these two albums being released,

921
00:49:26,440 --> 00:49:29,760
I was a somewhat casual Police fan. I had heard

922
00:49:30,119 --> 00:49:32,840
every little Thing she Does is Magic on the radio,

923
00:49:33,360 --> 00:49:36,880
and I was probably somewhat familiar with Rock Sand due

924
00:49:36,960 --> 00:49:40,320
to forty eight Hours. But for the most part, I

925
00:49:40,519 --> 00:49:43,960
was listening to Journey Escape in the years before this,

926
00:49:44,519 --> 00:49:47,079
so I was very familiar with Journey. I had that

927
00:49:47,159 --> 00:49:49,760
album and I listened to it front to back. When

928
00:49:50,360 --> 00:49:55,159
Synchronicity came out with the advent of MTV, suddenly I

929
00:49:55,360 --> 00:49:57,920
was hearing the songs on the radio. I was seeing

930
00:49:57,960 --> 00:50:01,400
the videos on MTV starting to drive, so I was

931
00:50:01,480 --> 00:50:05,639
buying cassettes to listen into my car. Journey Frontiers. I

932
00:50:05,840 --> 00:50:09,119
was familiar with the singles that were played on MTV.

933
00:50:09,719 --> 00:50:12,199
We'll get to the video in a minute, but really

934
00:50:12,400 --> 00:50:15,519
I did not own this album. However, picking the album

935
00:50:15,679 --> 00:50:18,639
up and looking at the first five songs on the

936
00:50:18,719 --> 00:50:22,519
first side, it's pretty hard to argue that it did

937
00:50:22,719 --> 00:50:26,880
have a lot of radio hits. However, looking at side

938
00:50:27,000 --> 00:50:30,920
two of Frontiers, I feel like the album just drops off,

939
00:50:31,159 --> 00:50:35,599
whereas Synchronicity. I played that cassette tape over and over

940
00:50:35,719 --> 00:50:38,639
and over in my car. Yes, mother is on it,

941
00:50:38,800 --> 00:50:42,000
and that we will say is an acquired taste. But

942
00:50:42,519 --> 00:50:46,400
if you say side two of Synchronicity is the matchup

943
00:50:46,519 --> 00:50:49,800
between side one of Frontiers, I think side one of

944
00:50:49,880 --> 00:50:55,239
Synchronicity with Synchronicity one and Synchronicity two are stronger than

945
00:50:55,360 --> 00:50:59,679
anything that's on side two of Frontiers, I agree the

946
00:50:59,719 --> 00:51:03,679
match would have been even closer had Journey decided not

947
00:51:04,159 --> 00:51:07,840
to take off two songs and save them for soundtracks.

948
00:51:08,079 --> 00:51:11,320
Both songs that were taken off were later featured on

949
00:51:11,480 --> 00:51:15,119
their greatest hits. So ask the Lonely, which was in the.

950
00:51:15,320 --> 00:51:16,519
Speaker 2: Twist of Fate movie.

951
00:51:16,719 --> 00:51:20,519
Speaker 8: Perhaps a throwaway soundtrack there still could have bolstered Side

952
00:51:20,599 --> 00:51:24,679
too of Frontiers, But certainly only the Young, which was

953
00:51:24,880 --> 00:51:27,840
the leadoff track on Vision Quest, which is just a

954
00:51:27,920 --> 00:51:33,079
fantastic soundtrack, one of my two underrated soundtracks.

955
00:51:32,480 --> 00:51:33,320
Speaker 2: Of the eighties.

956
00:51:33,599 --> 00:51:36,599
Speaker 8: Certainly it had only the Young, It had two songs

957
00:51:36,639 --> 00:51:40,039
by Madonna, it had Don Henley, it had a breakout

958
00:51:40,119 --> 00:51:44,360
song with Lunative Fringe with Bred Ryder, and it featured

959
00:51:44,800 --> 00:51:50,119
much maligned singer by Jason John Waite doing his cover

960
00:51:50,280 --> 00:51:55,159
of Change. Change is a Spider song written by Holly Knight,

961
00:51:55,559 --> 00:51:58,480
who also wrote Better Be Good to Me, which was

962
00:51:58,639 --> 00:52:03,079
covered Tina Turner, who also did a cover of John

963
00:52:03,280 --> 00:52:07,920
Waite's Missing You. I believe Jason took issue with John

964
00:52:08,000 --> 00:52:12,559
Waite and his criticism of Open Arms, which was a

965
00:52:12,800 --> 00:52:16,079
song that was in though not featured in a movie

966
00:52:16,440 --> 00:52:19,840
whose soundtrack I also think is a hidden eighties gem

967
00:52:20,360 --> 00:52:25,280
that being the last American Vergin. This soundtrack features Tommy Twotone,

968
00:52:25,639 --> 00:52:30,639
the Police, Oingo Boingo, the Cars, the gleaming Spires, and

969
00:52:31,119 --> 00:52:34,119
you two. If you haven't heard this album, go check

970
00:52:34,199 --> 00:52:34,400
it out.

971
00:52:34,480 --> 00:52:35,159
Speaker 2: It's pretty good.

972
00:52:35,360 --> 00:52:39,159
Speaker 8: Now this gets us to the video for Separate Ways

973
00:52:39,440 --> 00:52:44,360
worlds apart. Yes, some of those early MTV videos were

974
00:52:44,440 --> 00:52:47,960
pretty bad, and this one, I will admit, is comical,

975
00:52:48,280 --> 00:52:50,960
but I do have a particular affinity for it, as

976
00:52:51,000 --> 00:52:53,880
it was filmed in New Orleans and in fact, it's

977
00:52:54,079 --> 00:52:56,679
just a little bit down from where I'm currently working.

978
00:52:56,960 --> 00:53:00,519
I suppose my best defense for it is the eighties

979
00:53:00,800 --> 00:53:04,199
or the decade where we're all playing air guitars and

980
00:53:04,360 --> 00:53:09,119
air drums and perhaps even air synthesizers or keyboards. So

981
00:53:09,280 --> 00:53:12,800
when that song first starts off, who amongst us is

982
00:53:13,039 --> 00:53:17,840
not playing the opening keyboard solo. In addition to that,

983
00:53:18,119 --> 00:53:21,000
I think this song features a couple of wonderful drum

984
00:53:21,119 --> 00:53:24,880
fills that rank up there with In the Air Tonight

985
00:53:25,440 --> 00:53:28,559
and Tom Sawyer. So laugh at it if you must,

986
00:53:28,920 --> 00:53:30,840
but I do have a soft spot for that video,

987
00:53:31,199 --> 00:53:34,480
which brings me to my final judgment. I have to

988
00:53:34,559 --> 00:53:38,280
go with my initial reactions the Police. I'm just more

989
00:53:38,360 --> 00:53:41,360
familiar with that album. All of those songs I know

990
00:53:41,920 --> 00:53:45,280
from beginning to end, and I just think from the

991
00:53:45,400 --> 00:53:47,280
beginning of the album to the end of the album,

992
00:53:47,400 --> 00:53:53,119
it's a much stronger album than Journeys Frontiers. Guys, keep

993
00:53:53,199 --> 00:53:56,000
up the great work. I've enjoyed the show since the

994
00:53:56,119 --> 00:53:58,760
beginning and look forward to more episodes.

995
00:54:01,159 --> 00:54:03,480
Speaker 3: Okay, another vote for synchronicity right there.

996
00:54:04,000 --> 00:54:06,559
Speaker 2: Yeah, and this was the great part about this episode

997
00:54:06,840 --> 00:54:08,920
was that you were confident that you were going to

998
00:54:09,000 --> 00:54:12,559
be picking Frontiers on this one, and then after we

999
00:54:12,800 --> 00:54:15,920
dived into him, you swapped sides and you gave him

1000
00:54:15,920 --> 00:54:16,639
to the right side.

1001
00:54:16,960 --> 00:54:19,599
Speaker 3: Yeah, I did. I switched sides after diving in. I

1002
00:54:19,760 --> 00:54:20,920
surprised even myself.

1003
00:54:21,119 --> 00:54:24,280
Speaker 2: Yeah, poor John Waite. Listen.

1004
00:54:25,400 --> 00:54:28,119
Speaker 3: I know that Chris is coming to his defense here,

1005
00:54:28,199 --> 00:54:32,800
but John Waite made the biggest Wiener love song, and

1006
00:54:32,960 --> 00:54:35,800
for him to dog Jonathan Caine is just so funny

1007
00:54:35,840 --> 00:54:37,840
to me. But the cool thing Chris Weber sent us

1008
00:54:37,920 --> 00:54:41,400
pictures of the wharf down at New Orleans where they

1009
00:54:41,480 --> 00:54:44,159
actually filmed the Separate Ways video, So that was really cool.

1010
00:54:44,280 --> 00:54:47,480
Speaker 2: Chris, thank you so much. The instruments. Yeah, thanks Chris,

1011
00:54:47,559 --> 00:54:50,159
we really appreciated We had a great time listening to

1012
00:54:50,199 --> 00:54:51,920
two year showcase. Mat Man.

1013
00:54:52,000 --> 00:54:55,599
Speaker 3: Thanks for interacting with us and appreciate you listening. All right,

1014
00:54:55,679 --> 00:54:59,400
let's get back to side too of licensed Ill No

1015
00:55:00,039 --> 00:55:22,360
Who Let's go man.

1016
00:55:22,480 --> 00:55:25,840
Speaker 2: Bring the hard rocker coming man. That is awesome. So

1017
00:55:26,239 --> 00:55:27,840
the music on this one, the guitar riff?

1018
00:55:27,920 --> 00:55:28,039
Speaker 4: Is it?

1019
00:55:28,119 --> 00:55:31,159
Speaker 2: The sample? It sounds so much like something? Is it?

1020
00:55:31,400 --> 00:55:31,880
Speaker 3: Is it?

1021
00:55:31,960 --> 00:55:34,239
Speaker 2: I love rock and roll, I've got a's got a

1022
00:55:34,360 --> 00:55:36,360
strong I love rock and roll vibe to it.

1023
00:55:37,239 --> 00:55:39,559
Speaker 3: We get the we get a sampling of Jones Jett

1024
00:55:39,599 --> 00:55:41,239
here in a minute, But I don't think it's on

1025
00:55:41,320 --> 00:55:41,679
this one.

1026
00:55:41,800 --> 00:55:44,079
Speaker 2: All right, Well, it's just dang good guitar.

1027
00:55:44,239 --> 00:55:47,719
Speaker 4: Then, well, the title is a reference to No Sleep

1028
00:55:47,800 --> 00:55:51,480
Till Hammersmith by Motorheads, but I'm not familiar with that song.

1029
00:55:51,639 --> 00:55:54,119
Speaker 3: And you're telling us that Kerrie King from Slayer actually

1030
00:55:54,159 --> 00:55:56,920
plays the guitar on this one as well as right, You're.

1031
00:55:56,880 --> 00:55:59,199
Speaker 4: Right, yes, he plays on both. Well, I'll just give

1032
00:55:59,199 --> 00:56:02,440
you my reaction to the song. Go ahead, I mean, boom,

1033
00:56:02,960 --> 00:56:04,719
you come right off a fight for your right, boom

1034
00:56:04,760 --> 00:56:08,000
you hit this? You got the boom boom pow the beat.

1035
00:56:08,159 --> 00:56:20,199
You cannot listen to this song and Stay Still. So

1036
00:56:20,920 --> 00:56:23,440
nineteen eighty six was a busy year for Rick Rubin.

1037
00:56:23,519 --> 00:56:26,800
He not only produced Raising Hell and Licensed to Ill,

1038
00:56:26,920 --> 00:56:29,519
but he also produced the album for Slayer. He was

1039
00:56:29,599 --> 00:56:32,039
working with Slayer at the same time, and so he

1040
00:56:32,519 --> 00:56:35,800
brought carry King over to play the guitar solo on

1041
00:56:35,960 --> 00:56:38,480
this song. But he's more known for some reason for

1042
00:56:38,559 --> 00:56:42,000
this song for the solo that he brings in. And

1043
00:56:42,079 --> 00:56:43,920
I didn't know this until I was researching for the podcast,

1044
00:56:43,960 --> 00:56:45,920
but he's also playing the solo. I don't think he

1045
00:56:45,960 --> 00:56:47,559
plays throughout the whole song, but he does play the

1046
00:56:47,599 --> 00:56:50,760
solo and Fight for Your Right bring in that hard rock,

1047
00:56:50,920 --> 00:56:54,760
that true rock guitar bang your head element to both

1048
00:56:54,760 --> 00:56:56,360
of these songs back to back on this album.

1049
00:56:56,440 --> 00:56:58,400
Speaker 3: You Know, the interesting thing I found about it is

1050
00:56:58,440 --> 00:57:01,119
that carry King didn't really liked this song. He didn't

1051
00:57:01,119 --> 00:57:05,480
really like the Beastie Boys, and the Beastie Boys didn't

1052
00:57:05,480 --> 00:57:07,840
really like him. They didn't really get each itty.

1053
00:57:07,840 --> 00:57:09,559
Speaker 2: It's just kind of like a Lemon to a Lime

1054
00:57:09,679 --> 00:57:15,639
or a Lime to a Limon. I gotta say the

1055
00:57:15,760 --> 00:57:20,760
guitar solo on this one is not good bad, it's terrible.

1056
00:57:21,000 --> 00:57:23,239
It's it might be good in a different song.

1057
00:57:23,440 --> 00:57:25,760
Speaker 9: But it's like it's I mean, you can't take the

1058
00:57:25,840 --> 00:57:29,920
guitar solo from you know, beat it and throw it

1059
00:57:30,119 --> 00:57:33,719
into the chords from Walk This Way or something.

1060
00:57:33,800 --> 00:57:34,679
Speaker 2: It just doesn't work.

1061
00:57:34,880 --> 00:57:36,519
Speaker 3: He intentionally played out of tune.

1062
00:57:36,840 --> 00:57:39,000
Speaker 2: Yeah, it just sounds it sounds wrong, but that's what

1063
00:57:39,079 --> 00:57:39,679
they were going for.

1064
00:57:40,000 --> 00:57:42,519
Speaker 10: I mean, I literally when I first heard this, I thought, Okay,

1065
00:57:42,599 --> 00:57:45,800
these are just the beastie boys just trying to fingertap

1066
00:57:45,920 --> 00:57:47,920
on whatever they can do on the press board, just

1067
00:57:48,000 --> 00:57:50,679
to sound as weird and crazy as they possibly can't.

1068
00:57:50,840 --> 00:57:53,119
Speaker 3: This is a parody of hair metal once again. We

1069
00:57:53,199 --> 00:57:57,400
have a fantastic music video. It starts out it's really funny.

1070
00:57:57,519 --> 00:57:59,960
They knock on the door, The producer answers the door

1071
00:58:00,119 --> 00:58:02,880
or they're like, hey, guys, where's the band? And they're like,

1072
00:58:03,480 --> 00:58:04,079
where's the band?

1073
00:58:04,159 --> 00:58:05,719
Speaker 2: He's like, where are your instruments? And they pull out

1074
00:58:05,760 --> 00:58:06,119
a record.

1075
00:58:07,599 --> 00:58:10,159
Speaker 3: He grabs the record and he smashes it over their

1076
00:58:10,199 --> 00:58:11,719
head and he's like, get out of.

1077
00:58:11,719 --> 00:58:13,159
Speaker 2: Here, you guys, you're not the band.

1078
00:58:13,679 --> 00:58:15,400
Speaker 3: And as soon as he shuts the door, they knock

1079
00:58:15,440 --> 00:58:17,840
on it again. They opens it up and they're they're

1080
00:58:18,000 --> 00:58:20,360
got the big wigs on and they're like, dude, we're

1081
00:58:20,480 --> 00:58:23,960
like the Bend Man. I've been waiting for you boys,

1082
00:58:24,039 --> 00:58:24,320
Let's go.

1083
00:58:24,480 --> 00:58:27,800
Speaker 2: And so they're parodying Cara Metal once again, and it

1084
00:58:28,000 --> 00:58:30,400
ends with the hot girl going away with the gorilla.

1085
00:58:30,519 --> 00:58:33,440
Speaker 3: Right, Yes, I think the gorilla was Rick Rubin, right.

1086
00:58:36,639 --> 00:58:41,360
The lead dancer in this video. Her name is Ruth Collins.

1087
00:58:42,039 --> 00:58:42,920
Is that ring a bell with you?

1088
00:58:43,039 --> 00:58:45,639
Speaker 2: Guys? I'm gonna say no on this. Have you ever

1089
00:58:45,679 --> 00:58:46,920
watched Cinemax After Dark?

1090
00:58:47,159 --> 00:58:47,199
Speaker 3: No?

1091
00:58:49,159 --> 00:58:50,400
Speaker 2: Yes you have? You know you have?

1092
00:58:52,159 --> 00:58:58,519
Speaker 3: Yes, you have? Okay, She's been in Cemetery, High Which Academy,

1093
00:58:59,280 --> 00:59:06,599
and galact Jigglow. She is known more for her body

1094
00:59:06,760 --> 00:59:07,920
than for anything else.

1095
00:59:08,199 --> 00:59:11,639
Speaker 2: So if you're knowing me, she did not show her

1096
00:59:11,719 --> 00:59:15,440
acting chops in the Jigglo from Space or whatever.

1097
00:59:15,519 --> 00:59:17,320
Speaker 3: He showed more than her acting jobs.

1098
00:59:19,039 --> 00:59:20,960
Speaker 4: You know, I might recognize her if you showed me

1099
00:59:21,000 --> 00:59:21,559
the back of her.

1100
00:59:23,320 --> 00:59:25,079
Speaker 2: Google search Google.

1101
00:59:27,960 --> 00:59:29,960
Speaker 3: All right, well, this is a legit song though, I mean.

1102
00:59:30,039 --> 00:59:33,320
Jay Z performed this song on his All Points West

1103
00:59:33,440 --> 00:59:35,239
festival in two thousand and nine.

1104
00:59:35,559 --> 00:59:38,280
Speaker 4: Oh yeah, I love the sequencing of this album because

1105
00:59:38,280 --> 00:59:40,719
you start out with some hard hitting rock, you kind

1106
00:59:40,719 --> 00:59:42,039
of slow it down a little bit and get away

1107
00:59:42,039 --> 00:59:44,360
from the guitar, and then right when it sucks you in,

1108
00:59:44,760 --> 00:59:46,559
boom it hits you with fight for your Right and

1109
00:59:47,079 --> 00:59:49,639
no sleep till Brooklyn, back to back, and then they

1110
00:59:49,760 --> 00:59:51,679
change gears again going into the next song.

1111
00:59:51,800 --> 00:59:52,000
Speaker 2: Yeah.

1112
00:59:52,119 --> 00:59:56,079
Speaker 3: This was the sixth single released March first of nineteen

1113
00:59:56,079 --> 00:59:59,280
eighty seven. Yep, cool, love this one, love this song,

1114
00:59:59,440 --> 01:00:02,079
love these two songs. Rock it out all right. The

1115
01:00:02,159 --> 01:00:06,079
next song song number two on side to Paul Revere.

1116
01:00:06,559 --> 01:00:09,960
Now here's a little story I got to tell about

1117
01:00:10,039 --> 01:00:11,159
three bead brothers.

1118
01:00:11,239 --> 01:00:12,079
Speaker 6: You know so well.

1119
01:00:12,519 --> 01:00:18,519
Speaker 3: It's sounded way back in history without read a little

1120
01:00:18,559 --> 01:00:19,960
healthy named Paul Revere.

1121
01:00:22,000 --> 01:00:23,960
Speaker 2: So the next song that we've got coming up has

1122
01:00:24,000 --> 01:00:27,800
an example of a backwards drum beat, which I'm not

1123
01:00:27,880 --> 01:00:31,239
sure that I have heard anybody before. These guys did

1124
01:00:31,320 --> 01:00:35,320
it do this style of drum beat in their song

1125
01:00:35,480 --> 01:00:38,599
as the underlying drum beat for the entire song.

1126
01:00:38,880 --> 01:00:39,079
Speaker 5: Look.

1127
01:00:40,039 --> 01:00:42,039
Speaker 6: I ran into a guy, his name is MC.

1128
01:00:42,480 --> 01:00:47,000
Speaker 2: I said, he said, Hi, I love it. I love it.

1129
01:00:47,079 --> 01:00:49,559
And so this one, this is the story on this one.

1130
01:00:50,280 --> 01:00:54,400
How it was inspired is great. So it starts with

1131
01:00:54,719 --> 01:00:58,920
them they're waiting outside a recording studio for run DMC.

1132
01:00:59,159 --> 01:01:04,360
When all of the sudden they see Joe Roun Simmons running.

1133
01:01:04,840 --> 01:01:08,519
He run is running towards them. He runs down the street.

1134
01:01:08,639 --> 01:01:12,119
He's screaming incoherently. He gets to the Beastie Boys and

1135
01:01:12,239 --> 01:01:15,519
he says, here's a little story I got to tell.

1136
01:01:16,199 --> 01:01:20,480
And after that he's they're confused, and he says, that's

1137
01:01:20,559 --> 01:01:22,920
the song, And from that point on worked up the

1138
01:01:23,000 --> 01:01:24,320
rest of the lyrics.

1139
01:01:25,119 --> 01:01:28,519
Speaker 4: And it mythologizes the origin of the Beastie Boys and

1140
01:01:28,840 --> 01:01:32,000
how they met, and it sets it in kind of

1141
01:01:32,039 --> 01:01:35,000
an Old West setting, at least the best imagery I get.

1142
01:01:35,119 --> 01:01:38,000
And it's the A to eight drum machine pattern that

1143
01:01:38,119 --> 01:01:40,800
they recorded and then strung up backwards on a tape

1144
01:01:40,840 --> 01:01:43,119
machine and played it backwards. It was MCA's idea and

1145
01:01:43,559 --> 01:01:45,840
a unique sound. You know right away what song you're

1146
01:01:45,840 --> 01:01:47,360
listening to as soon as this thing starts.

1147
01:01:47,599 --> 01:01:52,199
Speaker 2: And again they're throwing in those kind of educated references.

1148
01:01:52,639 --> 01:01:55,039
Paul Revere's the name of the horse from Guys and Dolls.

1149
01:01:55,239 --> 01:01:59,440
Speaker 3: This was the second single, released August thirteenth to eighty six.

1150
01:02:00,079 --> 01:02:01,920
This is still three months before the release of the

1151
01:02:01,960 --> 01:02:04,159
album YEP. I got a quick funny story about this one.

1152
01:02:04,320 --> 01:02:04,559
Speaker 4: Okay.

1153
01:02:04,880 --> 01:02:07,360
Speaker 3: So I was talking to my buddy Doug Gray. Yeah,

1154
01:02:07,440 --> 01:02:09,960
shout out to my buddy Doug Gray. Doug, He's like, hey, man,

1155
01:02:10,199 --> 01:02:11,840
what are you guys working on this week? I said,

1156
01:02:11,880 --> 01:02:15,159
we're doing Licensed Deale by the Beastie Boys. And as

1157
01:02:15,400 --> 01:02:18,320
soon as I got those words out of my mouth,

1158
01:02:18,519 --> 01:02:20,840
he came back with, here's a little story I'd like

1159
01:02:21,000 --> 01:02:21,960
to tell and just.

1160
01:02:22,360 --> 01:02:24,000
Speaker 2: Rule out the words man.

1161
01:02:24,079 --> 01:02:27,000
Speaker 3: And Doug is not exactly the guy that I would think, oh,

1162
01:02:27,400 --> 01:02:28,800
do all the words to Paul Revere.

1163
01:02:29,000 --> 01:02:34,239
Speaker 2: No, to see, Doug is straight laced, typer intelligence, you know,

1164
01:02:34,639 --> 01:02:36,679
just a very cool cat kind of guy, and he

1165
01:02:36,760 --> 01:02:39,719
says some funny, dry stuff from time to time. I

1166
01:02:39,800 --> 01:02:41,679
love being around it. But to see him roll out

1167
01:02:41,760 --> 01:02:43,960
some Beastie Boys on Paul Revere, I would have just

1168
01:02:44,440 --> 01:02:46,000
I would have just been dumbstruck.

1169
01:02:46,159 --> 01:02:49,320
Speaker 3: It was unleashing of the lyrics right there. They were

1170
01:02:49,480 --> 01:02:50,199
all coming.

1171
01:02:51,719 --> 01:02:53,480
Speaker 4: I know this whole song. I could sit here and

1172
01:02:53,599 --> 01:02:57,880
do it from start to finish. Honestly, it's one of

1173
01:02:57,960 --> 01:02:58,480
my favorite.

1174
01:02:58,480 --> 01:02:59,119
Speaker 3: It's a great one.

1175
01:02:59,199 --> 01:02:59,320
Speaker 2: Man.

1176
01:02:59,480 --> 01:03:01,559
Speaker 4: So let me tell you this. So the Licensed Ill

1177
01:03:01,639 --> 01:03:04,880
Tour continues in nineteen eighty seven, and it continues to

1178
01:03:05,159 --> 01:03:07,960
create controversy wherever they go. They are in England in

1179
01:03:08,119 --> 01:03:12,039
May and they've already got politicians there wanting to ban

1180
01:03:12,239 --> 01:03:14,639
them from the country because they think they're so offensive,

1181
01:03:15,079 --> 01:03:18,480
which is exactly the publicity they want. While they were

1182
01:03:18,519 --> 01:03:20,840
in England on their tour, they played a show in

1183
01:03:20,960 --> 01:03:24,119
Liverpool and while there they got out on stage and

1184
01:03:24,280 --> 01:03:28,039
immediately the crowd turns hostile and starts throwing beer bottles

1185
01:03:28,039 --> 01:03:30,760
at them and stuff like that. So for their own safety,

1186
01:03:30,800 --> 01:03:32,880
they have to abandon just like ten minutes into the show,

1187
01:03:33,159 --> 01:03:35,119
they run off the stage. They have to come up

1188
01:03:35,159 --> 01:03:37,000
with a way to continue the show, but they've got

1189
01:03:37,039 --> 01:03:40,039
to fend off all these bottles that are being thrown

1190
01:03:40,079 --> 01:03:42,519
at them, so they decide to do it with a

1191
01:03:42,559 --> 01:03:43,360
whiffleball bat.

1192
01:03:48,119 --> 01:03:50,320
Speaker 3: And they just happen to have a whiffleball bat on

1193
01:03:50,519 --> 01:03:51,920
tour with them backstage.

1194
01:03:52,199 --> 01:03:53,000
Speaker 2: I like these guys.

1195
01:03:53,199 --> 01:03:56,280
Speaker 4: While the music's playing, they are taking swings at the

1196
01:03:56,360 --> 01:03:59,119
bottles being thrown at them, trying to protect themselves and

1197
01:03:59,199 --> 01:04:01,119
knocking it back, and star of the crowd love it.

1198
01:04:01,280 --> 01:04:03,079
So this did create a problem.

1199
01:04:03,159 --> 01:04:03,280
Speaker 6: Though.

1200
01:04:03,320 --> 01:04:06,280
Speaker 4: There was one girl that took an injury around her

1201
01:04:06,360 --> 01:04:09,280
eye and she claimed that Adam Horovitz had been the

1202
01:04:09,320 --> 01:04:11,639
one to hit her, but anyway, he ended up arrested

1203
01:04:11,679 --> 01:04:13,239
after the show and spent the night in jail.

1204
01:04:13,360 --> 01:04:15,360
Speaker 3: Hey, he may have spent the night in jail, but

1205
01:04:15,360 --> 01:04:16,599
at least he can hit Yeah.

1206
01:04:18,880 --> 01:04:19,320
Speaker 2: Love this one.

1207
01:04:20,000 --> 01:04:21,880
Speaker 4: I'm tempted just to wrap the whole thing, but it's

1208
01:04:22,119 --> 01:04:24,400
very catchy and it's it's like a one two three

1209
01:04:24,440 --> 01:04:26,199
punch in the middle of this album coming after five.

1210
01:04:26,320 --> 01:04:29,639
You're right, there's until Brooklyn right into Paul Revere. I mean,

1211
01:04:29,719 --> 01:04:33,360
my goodness, the album does not stop. So Paul Revere

1212
01:04:33,719 --> 01:04:38,320
samples from It's Yours, the very first song that Rick

1213
01:04:38,400 --> 01:04:41,000
Rubin produced. He did it for Sheila Rock. Yeah, you'll

1214
01:04:41,039 --> 01:04:43,719
hear that familiar sound from Paul Revere. You hear the

1215
01:04:43,840 --> 01:04:45,840
very beginning of It's Yours if you listen to that.

1216
01:04:46,599 --> 01:04:48,480
Speaker 2: Awesome. All Right, we've done with Paul Revere.

1217
01:04:48,719 --> 01:04:50,440
Speaker 4: Well never but go ahead, haha.

1218
01:04:51,000 --> 01:04:53,840
Speaker 3: Now we're moving on to the first single release to

1219
01:04:53,920 --> 01:04:56,960
the album. This song is called hold It Now, hit It.

1220
01:05:07,000 --> 01:05:14,159
Speaker 4: Yeah, it's time to get you.

1221
01:05:17,239 --> 01:05:21,559
Speaker 2: So talking samples. This one contains a bunch. We've got

1222
01:05:22,159 --> 01:05:24,960
birtha butt boogie by the Jimmy Castor bunch, We've got

1223
01:05:25,119 --> 01:05:27,719
dropped the Bomb and Let's Get Small by Treble Funk,

1224
01:05:27,760 --> 01:05:30,280
we Got Funky Stuff by Cooling the Gang, we Got

1225
01:05:30,400 --> 01:05:33,599
Taken You to the Marti Grab by Bob James, Christmas

1226
01:05:33,639 --> 01:05:37,039
Wrapping by Curtis Blow and lotted down by Dougie Fresh

1227
01:05:37,199 --> 01:05:41,280
and mcrickey d. The Lion Pump It Up Homeboy gets

1228
01:05:41,320 --> 01:05:45,039
sampled later on by Eric B and Rakeeem on their

1229
01:05:45,119 --> 01:05:47,719
song As the Rhyme Goes On, and by Iced Tea

1230
01:05:47,880 --> 01:05:50,320
on his song You Don't Quit. And then the Lion

1231
01:05:50,400 --> 01:05:54,719
beer drinking, breath stinking, sniffing Glue was sampled by Doctor

1232
01:05:54,840 --> 01:05:58,000
dre No the one You're expecting this time not the

1233
01:05:58,199 --> 01:05:59,880
fat One on Easy Ease Boy.

1234
01:06:00,800 --> 01:06:03,320
Speaker 4: Yes, so this was one of the very first songs

1235
01:06:03,400 --> 01:06:06,039
recorded for the album. It came out as a single

1236
01:06:06,079 --> 01:06:09,960
I think in April, yes, early, Yes. So this was

1237
01:06:10,039 --> 01:06:12,880
ahead of most of the sessions for the album, and

1238
01:06:13,039 --> 01:06:16,280
it was one that Run in particular Run DMC, but

1239
01:06:16,320 --> 01:06:19,960
particularly Run absolutely loved and Russell loved it. This song

1240
01:06:20,119 --> 01:06:23,360
got them excited and really I think encouraged them to

1241
01:06:23,440 --> 01:06:25,760
push the BC Boys. It probably got them on the

1242
01:06:25,840 --> 01:06:28,599
Raising Hell tour and all of that now because of

1243
01:06:28,639 --> 01:06:31,320
all those samples. As you're reading that off, I'm thinking

1244
01:06:31,360 --> 01:06:33,800
to myself, this is probably one of the more heavily

1245
01:06:33,920 --> 01:06:36,639
produced cuts, and it probably took a lot of the

1246
01:06:36,800 --> 01:06:39,440
most work from Rick Ruben to be able to piece

1247
01:06:39,480 --> 01:06:41,320
all this together. And so I'm kind of putting this

1248
01:06:41,400 --> 01:06:43,719
timeline in my head and I'm going to guess that

1249
01:06:43,960 --> 01:06:47,480
this song is the result of Ruben coming off the

1250
01:06:47,559 --> 01:06:50,719
Madonna tour early, because by coming off the road, he

1251
01:06:50,800 --> 01:06:53,360
was able to first songs to come out ahead of

1252
01:06:53,400 --> 01:06:56,559
the regular sessions and for it to be so heavily produced.

1253
01:06:57,039 --> 01:06:59,679
I'm thinking he was spending a lot of time really

1254
01:07:00,280 --> 01:07:03,039
this down and getting the sound right. And I love it.

1255
01:07:03,159 --> 01:07:05,000
I love the energy of it. I love the scratching

1256
01:07:05,079 --> 01:07:07,320
on the whistle sound, and the lyrics are hilarious.

1257
01:07:07,679 --> 01:07:11,679
Speaker 3: Yeah, it's it's fun. It's really fun, all right, love

1258
01:07:11,719 --> 01:07:12,320
it a lot.

1259
01:07:12,199 --> 01:07:14,360
Speaker 2: Of fun, high energy. I'm with you on everything.

1260
01:07:14,880 --> 01:07:16,039
Speaker 3: Are we done talking about?

1261
01:07:16,119 --> 01:07:16,920
Speaker 2: Hold it now? Hit it?

1262
01:07:17,440 --> 01:07:20,559
Speaker 4: Sure? Let's go all right, I'm dying.

1263
01:07:20,360 --> 01:07:22,679
Speaker 3: To talk about the next song. The next song on

1264
01:07:22,719 --> 01:07:42,760
the album is called Brass Monkey, Brass Monkey.

1265
01:07:44,119 --> 01:07:47,079
Speaker 2: Monkey Smokey Chunky.

1266
01:07:49,480 --> 01:07:53,239
Speaker 3: This song was released as the fifth single January fifth

1267
01:07:53,360 --> 01:07:54,280
nineteen eighty seven.

1268
01:07:54,800 --> 01:07:57,639
Speaker 2: It is so catchy. I love this one. Here the

1269
01:07:57,920 --> 01:08:00,880
ingredients for a normal brass moment. You're gonna have one

1270
01:08:00,960 --> 01:08:05,239
part dark rum, one part vodka, and one part orange juice,

1271
01:08:05,679 --> 01:08:11,519
which sounds delightful. But what was happening back in the seventies,

1272
01:08:11,559 --> 01:08:13,920
eighties and nineties is there was a company called the

1273
01:08:14,000 --> 01:08:18,680
Hueling Company that produced pre mixed beer and other mixed drinks,

1274
01:08:19,239 --> 01:08:22,439
and they had basically the brass monkey in a can,

1275
01:08:22,800 --> 01:08:25,159
and that was the drink of choice for the beastie

1276
01:08:25,199 --> 01:08:27,640
boye and that is where the song came from. That

1277
01:08:27,720 --> 01:08:29,479
sounds like a poor man's mimosa.

1278
01:08:30,920 --> 01:08:35,159
Speaker 4: There was also a homemade recipe for brass monkey that

1279
01:08:35,279 --> 01:08:37,920
was basically malt liquor and orange juice, and I cannot

1280
01:08:37,960 --> 01:08:39,560
imagine how awful that must be.

1281
01:08:41,600 --> 01:08:44,960
Speaker 3: Okay, So the term brass monkey comes from the phrase

1282
01:08:45,560 --> 01:08:48,920
it's cold enough to freeze the balls off a brass monkey.

1283
01:08:49,800 --> 01:08:52,000
Speaker 2: Are you guys familiar with this term? This is a

1284
01:08:52,119 --> 01:08:52,920
nautical term.

1285
01:08:53,439 --> 01:08:56,960
Speaker 3: Back when ships had to carry cannon balls, they had

1286
01:08:57,000 --> 01:08:59,920
to stack them in pyramids, right, okay, But to keep

1287
01:09:00,119 --> 01:09:02,319
them from rolling around on the deck, he had a

1288
01:09:02,359 --> 01:09:06,640
piece of iron that had concave like spots for all

1289
01:09:06,680 --> 01:09:09,920
the foundation balls to sit in, and that was called

1290
01:09:09,920 --> 01:09:12,159
a brass monkey. And if it got really cold, those

1291
01:09:12,439 --> 01:09:15,479
things would shrink and the balls wouldn't fit right. And

1292
01:09:15,680 --> 01:09:19,560
that is where the term brass monkey, of which the

1293
01:09:19,800 --> 01:09:22,680
drink was based on. Okay, you're learning something.

1294
01:09:22,880 --> 01:09:25,359
Speaker 2: I am learning something. Okay, So so for real, if

1295
01:09:25,359 --> 01:09:26,960
we're gonna get if we're gonna do this, let's go

1296
01:09:27,119 --> 01:09:29,760
even a little bit further. I mean, if def Dave

1297
01:09:29,840 --> 01:09:31,279
can go back to eighteen ninety, I.

1298
01:09:31,279 --> 01:09:33,319
Speaker 3: Can go back to World War two.

1299
01:09:34,039 --> 01:09:39,920
Speaker 2: World War two. A guy named Steve Donger. Steve Donger, the.

1300
01:09:42,319 --> 01:09:43,800
Speaker 3: Steve the Donger need food?

1301
01:09:43,920 --> 01:09:45,479
Speaker 2: What do you mentioned about it? I gotta sleep under

1302
01:09:45,520 --> 01:09:50,159
A guy named after a Dutch stor. He was an

1303
01:09:50,239 --> 01:09:54,920
advertising executive. He named the drink after a World War

1304
01:09:55,039 --> 01:09:59,920
two spy named H. E. Rasky. Alan Kaufman, who Kraft

1305
01:10:00,119 --> 01:10:02,880
the series of stories about this spy, created the ad

1306
01:10:02,960 --> 01:10:07,319
campaign using an old photo of his father as Rasky's image.

1307
01:10:07,680 --> 01:10:11,279
So he was named after a purported World War two spy,

1308
01:10:11,520 --> 01:10:12,800
although probably fictional.

1309
01:10:13,439 --> 01:10:14,800
Speaker 3: Double ow. Brass monkey.

1310
01:10:16,760 --> 01:10:19,439
Speaker 4: Very good. Yeah, so we're coming off. Hold it now,

1311
01:10:19,520 --> 01:10:21,680
hit it and then that whatever that is, we're hearing

1312
01:10:21,720 --> 01:10:24,760
it the first sound of this song, that honking kind

1313
01:10:24,800 --> 01:10:28,680
of scratching I don't know. Is that a sampled horn

1314
01:10:28,680 --> 01:10:31,000
they're scratching in. I don't know. But as soon as

1315
01:10:31,039 --> 01:10:34,720
you hear it, boom, you're dancing again. It's immediately just

1316
01:10:34,840 --> 01:10:37,560
completely rejuvenates you. Even though you're just coming off of

1317
01:10:37,680 --> 01:10:40,520
a high energy song, you're just right back into it.

1318
01:10:40,640 --> 01:10:42,960
When I was at the concert in nineteen eighty seven,

1319
01:10:43,239 --> 01:10:46,840
I everybody was bringing in Brass Monkey. Everybody was sneaking

1320
01:10:46,880 --> 01:10:49,720
in Brass Monkey. You see it everywhere, and it was

1321
01:10:49,840 --> 01:10:51,920
like the crowd they loved, fight for you right at

1322
01:10:51,960 --> 01:10:53,800
the end of the show. But that crowd was there

1323
01:10:53,880 --> 01:10:57,079
ready to get down with Brass Monkey. And when this

1324
01:10:57,239 --> 01:11:00,760
song started, when those opening notes sounded, there was a

1325
01:11:01,039 --> 01:11:03,760
surge towards the stage. It scared me. We got caught

1326
01:11:03,840 --> 01:11:06,119
up in it and everybody went nuts like that. The

1327
01:11:06,159 --> 01:11:08,159
crowd went to a whole other level right as this

1328
01:11:08,279 --> 01:11:10,840
song started, and we all got pressed forward kind of unwillingly.

1329
01:11:10,920 --> 01:11:13,079
I think I was lifted off my feet just by

1330
01:11:13,159 --> 01:11:15,359
the press of bodies. There were at least two girls

1331
01:11:15,399 --> 01:11:18,479
I can remember that I was friends with that fainted.

1332
01:11:18,720 --> 01:11:21,840
They fainted and would have fallen out except they couldn't fall.

1333
01:11:21,880 --> 01:11:24,439
There was no room to fall they had and we

1334
01:11:24,680 --> 01:11:27,399
kind of, like Fireman Carrie, kind of passed them along

1335
01:11:27,479 --> 01:11:29,439
and got them outside of the crowds they get some

1336
01:11:29,560 --> 01:11:30,039
fresh air.

1337
01:11:30,159 --> 01:11:31,960
Speaker 3: Okay, I got I got a song I gotta play

1338
01:11:32,000 --> 01:11:34,760
for you. Okay. This song is called Bring It Here

1339
01:11:34,880 --> 01:11:36,399
by Wild Sugar. Are you familiar with this?

1340
01:11:37,359 --> 01:11:59,600
Speaker 2: No? Check it out? Wow?

1341
01:12:00,600 --> 01:12:01,960
Speaker 4: They took it right from it, didn't they.

1342
01:12:02,199 --> 01:12:03,840
Speaker 3: They stole that right from them?

1343
01:12:04,039 --> 01:12:04,239
Speaker 10: Yeah?

1344
01:12:04,479 --> 01:12:06,760
Speaker 2: Yeah, unmistakably them for sure.

1345
01:12:07,560 --> 01:12:10,439
Speaker 4: Good fine, thank you? What year is that from?

1346
01:12:10,680 --> 01:12:11,640
Speaker 2: Nineteen eighty?

1347
01:12:12,600 --> 01:12:13,199
Speaker 3: Nineteen eighty?

1348
01:12:13,319 --> 01:12:13,680
Speaker 2: There you go.

1349
01:12:14,199 --> 01:12:16,479
Speaker 3: Okay, I've got a great personal story I want to

1350
01:12:16,479 --> 01:12:19,159
share about brass Monkey. Okay, Okay, I'm gonna poke a

1351
01:12:19,199 --> 01:12:21,640
little fun at our friends in Texas for just a second. Okay,

1352
01:12:23,119 --> 01:12:26,920
all right, So the University of Texas has a special

1353
01:12:26,960 --> 01:12:29,279
teams coach who left his family.

1354
01:12:29,079 --> 01:12:29,960
Speaker 2: To be with the stripper.

1355
01:12:30,439 --> 01:12:36,720
Speaker 3: Okay, stay with me now, all right, I'm just gonna

1356
01:12:36,720 --> 01:12:39,239
poke fun at them for just a second. Okay. Now,

1357
01:12:39,319 --> 01:12:43,119
the stripper's name, get this is Pull Assassin.

1358
01:12:47,560 --> 01:12:47,880
Speaker 6: Okay.

1359
01:12:48,359 --> 01:12:50,479
Speaker 3: I can just imagine Pull as Sasson.

1360
01:12:50,159 --> 01:12:53,159
Speaker 2: Talking to your friends like I got myself a college

1361
01:12:53,239 --> 01:12:55,800
coach and they're like oh yeahhoo, and she's like, well,

1362
01:12:55,840 --> 01:12:57,199
he's a special teams coach.

1363
01:12:59,560 --> 01:13:03,159
Speaker 3: So miss Pole Assassin has a stress animal.

1364
01:13:03,960 --> 01:13:07,720
Speaker 2: That's a monkey. I'm not making this up. You guys

1365
01:13:07,760 --> 01:13:09,640
can look at this. I'm not making this up.

1366
01:13:10,000 --> 01:13:13,199
Speaker 3: So on Halloween, Miss Assassin and our good friend mister

1367
01:13:13,239 --> 01:13:16,920
Special Teams Coach have children come over for trick or treaty.

1368
01:13:17,079 --> 01:13:23,800
So the monkey bites a child. Okay. So that weekend,

1369
01:13:24,159 --> 01:13:29,760
Iowa State plays Texas in Ames. Okay, and what song

1370
01:13:29,840 --> 01:13:42,119
do they play? Fifty billion times? John Reed, that's for you, buddy,

1371
01:13:46,640 --> 01:13:52,079
all right, it is college football. Okay, So it's done. Well.

1372
01:13:52,159 --> 01:13:54,439
Speaker 4: Just quick note on Brass Monkey. It was the only

1373
01:13:54,560 --> 01:13:57,560
other single release from this album that cracked the top

1374
01:13:57,720 --> 01:14:01,920
fifty of Billboard one hundred okay, number forty eight, forty.

1375
01:14:01,720 --> 01:14:06,000
Speaker 3: Eight okay, cool, moving on, moving on, Okay, moving on

1376
01:14:06,199 --> 01:14:09,239
to the second last song on this album. This song

1377
01:14:09,359 --> 01:14:13,800
is called slow and Low, Let it Flow, Let go

1378
01:14:14,439 --> 01:14:15,199
so Low.

1379
01:14:30,760 --> 01:14:32,520
Speaker 2: This is the one that they sampled from Flip to

1380
01:14:32,560 --> 01:14:33,520
Switch for ACDC.

1381
01:14:33,720 --> 01:14:37,960
Speaker 4: Right right, So this song was written by run DMC

1382
01:14:38,279 --> 01:14:41,000
and it was intended for the King of Rock album

1383
01:14:41,039 --> 01:14:43,439
which came out in eighty five. Run DMC recorded a

1384
01:14:43,479 --> 01:14:46,079
demo of it, but they decided not to include it

1385
01:14:46,159 --> 01:14:48,359
on their album, so they never did a finished track,

1386
01:14:48,760 --> 01:14:51,760
but you can hear their demo. You can hear the

1387
01:14:51,840 --> 01:14:54,720
run DMC version of slow and Low on the expanded

1388
01:14:55,119 --> 01:14:57,079
edition of the King of Rock album that they put

1389
01:14:57,079 --> 01:15:01,079
out a couple of years ago. Bull on Spotify, you

1390
01:15:01,159 --> 01:15:01,640
can find it.

1391
01:15:01,760 --> 01:15:03,359
Speaker 3: Let's play right here the.

1392
01:15:05,079 --> 01:15:14,920
Speaker 2: South Bloat that is the boat Wow, there you go,

1393
01:15:15,359 --> 01:15:17,199
different but still awesome.

1394
01:15:17,399 --> 01:15:20,119
Speaker 4: Yeah, yep. And I think that they gave it to

1395
01:15:20,159 --> 01:15:22,359
the Bacie Boys, who of course had to rewrite just

1396
01:15:22,399 --> 01:15:24,920
a couple of lines. They the bac Boys put their

1397
01:15:24,920 --> 01:15:27,079
own name in it, and then they added the rhyme

1398
01:15:27,159 --> 01:15:30,239
about h white Castle fries only come in one side.

1399
01:15:32,319 --> 01:15:34,800
Speaker 2: Side what you.

1400
01:15:35,079 --> 01:15:38,039
Speaker 3: Get there, you ain't seed nothing.

1401
01:15:40,119 --> 01:15:40,520
Speaker 2: Anything.

1402
01:15:40,600 --> 01:15:45,199
Speaker 4: Everything else came from run DMC's version of the song.

1403
01:15:45,319 --> 01:15:47,600
So I think it was the right move. I think

1404
01:15:47,640 --> 01:15:49,920
it's better with the BC Boys. It's better with three

1405
01:15:50,039 --> 01:15:53,000
voices doing it, I think, and the finished production from Ruben.

1406
01:15:53,039 --> 01:15:55,479
I mean, this is a song where the bass drops hard.

1407
01:15:57,000 --> 01:15:59,600
Speaker 3: We will get gone with the boys.

1408
01:16:08,039 --> 01:16:10,960
Speaker 2: It's great dynamics to what you've had, because I mean

1409
01:16:11,079 --> 01:16:14,279
you've you've got amazing song after amazing song after amazing

1410
01:16:14,359 --> 01:16:17,039
song that are all rocking in your face. And yes,

1411
01:16:17,159 --> 01:16:19,359
this one's still rocked, but you're right, it's that kind

1412
01:16:19,399 --> 01:16:23,319
of more subdued rock. And at this point you've absolutely

1413
01:16:23,439 --> 01:16:26,840
bought in and you can take this little break from

1414
01:16:27,000 --> 01:16:29,720
the hard and go in with this more funky style.

1415
01:16:30,239 --> 01:16:32,520
Speaker 4: Yeah. I think one of the strengths of this album

1416
01:16:32,720 --> 01:16:35,039
is the sequencing to come off of Hold It Now,

1417
01:16:35,159 --> 01:16:39,319
Hit It and Brass Monkey to This is a good move.

1418
01:16:39,439 --> 01:16:42,640
This was the oldest song on this album. They recorded

1419
01:16:42,680 --> 01:16:44,680
this in eighty five, so this predates Hold It Now,

1420
01:16:44,760 --> 01:16:46,439
Hit It. It was the It was the first one

1421
01:16:46,479 --> 01:16:49,239
they ever did. There's something about this being released as

1422
01:16:49,239 --> 01:16:52,520
a single. I'm not sure what was different about this release.

1423
01:16:52,680 --> 01:16:55,680
It's not always listed as a single in their discography,

1424
01:16:55,880 --> 01:16:59,159
but it did get some kind of exposure in eighty

1425
01:16:59,239 --> 01:17:01,760
five prior to to the album coming out. But that's

1426
01:17:01,760 --> 01:17:03,000
all I got on before we.

1427
01:17:03,159 --> 01:17:05,439
Speaker 2: Jumped to the very last song. There is a song

1428
01:17:05,720 --> 01:17:07,720
that was supposed to be on the album where they

1429
01:17:07,760 --> 01:17:10,359
had done some sort of version of I'm Down by

1430
01:17:10,399 --> 01:17:11,000
the Beatles.

1431
01:17:11,279 --> 01:17:13,039
Speaker 3: Right, but this is interesting.

1432
01:17:13,239 --> 01:17:16,479
Speaker 2: It couldn't make it onto the album because Michael Jackson,

1433
01:17:16,600 --> 01:17:19,199
who had bought the rights to all of the Beatles' music,

1434
01:17:19,640 --> 01:17:23,600
said no and pissed off Paul McCartney majorly. They used

1435
01:17:23,640 --> 01:17:25,760
to be friends until Michael Jackson brought up all the

1436
01:17:26,159 --> 01:17:28,479
back ye publishing for all the Beatles songs and then

1437
01:17:28,560 --> 01:17:30,239
told the Beastie Boys no, okay.

1438
01:17:30,399 --> 01:17:33,079
Speaker 3: So that moves us to the last song on the album.

1439
01:17:34,000 --> 01:17:36,920
Speaker 2: What's the time? It's time to get ill? What's the time?

1440
01:17:37,119 --> 01:17:37,760
Time to get ill?

1441
01:17:37,840 --> 01:17:39,239
Speaker 4: Time to get ill? Lost?

1442
01:17:39,319 --> 01:17:42,920
Speaker 6: The ties to get hell wast the tie? Time a

1443
01:17:42,960 --> 01:17:44,159
get hell lost?

1444
01:17:44,199 --> 01:17:45,600
Speaker 4: The time again?

1445
01:17:45,760 --> 01:17:45,960
Speaker 6: Hell?

1446
01:17:58,520 --> 01:17:58,800
Speaker 2: All right?

1447
01:17:58,840 --> 01:17:59,840
Speaker 3: I want to close it out.

1448
01:17:59,760 --> 01:18:00,359
Speaker 2: With a bang.

1449
01:18:00,520 --> 01:18:02,680
Speaker 4: But this one for me, the star of this track

1450
01:18:02,920 --> 01:18:05,560
is the production. I love all the samples, the sampling

1451
01:18:05,680 --> 01:18:08,600
and the scratching they just make this track. Of course,

1452
01:18:08,840 --> 01:18:11,000
the interchange in the voices and the contrast and the

1453
01:18:11,119 --> 01:18:13,600
voices carries this also, just like it has through the

1454
01:18:13,600 --> 01:18:16,640
whole album. You're getting Green Acres and Mister Ed and

1455
01:18:16,760 --> 01:18:19,119
create Split Water Revival all at the same time.

1456
01:18:25,720 --> 01:18:33,119
Speaker 3: I Am mister Ed, the famous Mister.

1457
01:18:37,680 --> 01:18:43,680
Speaker 2: Fantastic album with two songs that have horses in them. Yeah,

1458
01:18:43,760 --> 01:18:46,119
the dynamics that they use on this one and the

1459
01:18:46,159 --> 01:18:49,520
crazy sampling for sure, But they have more dynamics and

1460
01:18:49,640 --> 01:18:52,199
more variation in this last song than they've had on

1461
01:18:52,319 --> 01:18:54,520
any other song on the album, and it totally knocks

1462
01:18:54,560 --> 01:18:55,159
it out of the park.

1463
01:18:55,439 --> 01:18:57,960
Speaker 3: Listen to the songs that they sample on this song. Okay,

1464
01:18:58,159 --> 01:19:00,279
I'm Gonna Love You just a Little More Baby by

1465
01:19:00,319 --> 01:19:03,039
Barry White, I Love Rock and Roll by Jone Jet,

1466
01:19:03,600 --> 01:19:07,520
That that scream That owl that's jone Jet Down on

1467
01:19:07,560 --> 01:19:11,760
the Corner by CCR Green Acres, the Green Acres television

1468
01:19:11,840 --> 01:19:12,319
theme song.

1469
01:19:12,520 --> 01:19:14,199
Speaker 2: They must have been watching Nick at Night when they

1470
01:19:14,279 --> 01:19:14,760
came over.

1471
01:19:15,560 --> 01:19:17,920
Speaker 3: And then they also did the Mister Ed TV theme

1472
01:19:18,079 --> 01:19:20,640
gucc You Time by Schoolly d, The Party Scene by

1473
01:19:20,760 --> 01:19:25,840
Russell Brothers, Rocket in the Pocket by Sharon Yes, Custard

1474
01:19:25,920 --> 01:19:29,319
Pie by led Zeppelin, and Nothing from Nothing by Billy Preston.

1475
01:19:29,479 --> 01:19:31,479
Speaker 2: That's a lot of samples. There's a lot of samples,

1476
01:19:31,520 --> 01:19:33,520
and I'm really glad that they finished off the album

1477
01:19:33,560 --> 01:19:36,880
with another led Zeppelin song, because you gotta you Gotta

1478
01:19:36,960 --> 01:19:38,279
dance to the Lady that brought you man.

1479
01:19:38,800 --> 01:19:45,920
Speaker 3: Yeah, By the way, I've visited mister Ed's gravesite in Telequah, Oklahoma. Wow,

1480
01:19:46,399 --> 01:19:48,600
there is a gravestone, says mister ed.

1481
01:19:48,920 --> 01:19:50,640
Speaker 2: You got anything for us on this one, David.

1482
01:19:50,520 --> 01:19:52,600
Speaker 4: I don't have anything particular for the song, but it's

1483
01:19:52,640 --> 01:19:54,680
just a lot of fun. This album's over before you

1484
01:19:54,800 --> 01:19:58,680
know it. There's literally not a song to skip, and

1485
01:19:58,760 --> 01:20:02,079
it's just good. It's just good. It's fun, it's exciting.

1486
01:20:02,199 --> 01:20:05,359
Every track hits and and you just have a good

1487
01:20:05,399 --> 01:20:06,800
time where you got to smile on your face the

1488
01:20:06,840 --> 01:20:07,279
whole time.

1489
01:20:07,439 --> 01:20:09,720
Speaker 2: I agree, that's well said, you know, just a good,

1490
01:20:09,920 --> 01:20:14,800
great album front to back. And so next week we're

1491
01:20:14,840 --> 01:20:18,479
gonna be coming back with the other side of the

1492
01:20:18,600 --> 01:20:21,640
coin on this one, right, I mean, the two groups

1493
01:20:21,800 --> 01:20:26,800
that basically brought this music and this genre to its

1494
01:20:26,960 --> 01:20:29,640
peak in the mid eighties. We're going to come back

1495
01:20:29,760 --> 01:20:34,720
with run DMC, raising hell excited and excited, and we're

1496
01:20:34,760 --> 01:20:37,600
gonna come back with Deaf Dave again. David Wright is

1497
01:20:37,640 --> 01:20:40,000
going to be with us again to about the history

1498
01:20:40,119 --> 01:20:44,279
of Run DMC and probably wrapped for that matter. And

1499
01:20:44,439 --> 01:20:47,720
then we're gonna jump in track back track and give

1500
01:20:47,880 --> 01:20:48,920
and we're going to race him.

1501
01:20:48,800 --> 01:20:51,279
Speaker 3: That and then we're all gonna give our final judgment.

1502
01:20:51,399 --> 01:20:53,760
Speaker 2: Right, Well, I'm gonna I'm gonna do the Wave and

1503
01:20:53,920 --> 01:20:57,479
maybe the Dolphin and probably backspin or two and then

1504
01:20:57,560 --> 01:21:00,800
I will get my friend. They they thank you very much.

1505
01:21:01,000 --> 01:21:03,760
Speaker 3: We will see you next week for part two.

1506
01:21:03,960 --> 01:21:06,640
Speaker 2: Dear listener, if you have been with us this long,

1507
01:21:06,760 --> 01:21:09,600
please hit the follow button, Please hit the subscribe button.

1508
01:21:10,000 --> 01:21:13,720
Check us out on Twitter and Facebook at Shirley Podcast.

1509
01:21:14,399 --> 01:21:16,800
Check us out on Patreon. If you want to be

1510
01:21:16,880 --> 01:21:22,199
a member who is a subscribed contributor to our podcast,

1511
01:21:22,319 --> 01:21:25,239
you will become an executive producer and you can do

1512
01:21:25,359 --> 01:21:27,600
that for as little as five bucks a month. But

1513
01:21:28,000 --> 01:21:30,800
by all means, engage us. Tell us what your favorite

1514
01:21:30,840 --> 01:21:34,640
track is on this album on Raisin Hell, and let

1515
01:21:34,760 --> 01:21:37,880
us know what you think of these two amazing bands

1516
01:21:38,000 --> 01:21:41,760
and albums. We'll see you next week, See you next week.

1517
01:21:41,760 --> 01:21:42,720
Speaker 4: Awesome. Thank you guys.

1518
01:21:43,079 --> 01:21:43,560
Speaker 2: Thanks Dave.