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Speaker 1: What's up everyone?

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Speaker 2: This is Dirk Smith, longtime fan of one of the

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more radical podcasts out there. It's Surely you Can't Be Serious?

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Speaker 3: Hello everybody, Welcome back to the Shureley You Can't Be

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Serious podcast. Today we are going through our top five

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of nineteen seventy nine, plus two honorable mentions. We've been

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working on this all day. How do you feel about it?

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Speaker 1: Well, sometimes you get in those positions where you're like, hey,

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we're going to record an episode today and they were like, oh, wait,

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no we're not. And so it's scramble as pivot right, alter,

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fade back, shoot, And I'm hoping that we score with

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this one because we literally put this together in maybe

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the last four or five hours.

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Speaker 3: Yeah, we did nineteen seventy nine. How old are you

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in nineteen seventy nine?

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Speaker 1: I turned four in nineteen seven in October of seventy nine.

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Speaker 3: Okay, so I turned six in nineteen seventy nine. I

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do remember some of these songs playing on the radio

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while I'm riding around with my parents or my uncle Mike, grandparents,

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that type of thing.

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Speaker 1: Yep.

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Speaker 3: So I'm excited to jump into this because I have

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great nostalgic memories of a lot of these songs, and

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they're awesome songs. So you've already said you've got a

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whole list of babies over there.

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Speaker 1: I got some babies that I couldn't figure out how

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to kill, and so I'm honestly hoping you have them

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so that I can just mark them off my list

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and hopefully talk about other songs, all the songs that

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I love from nineteen seventy nine, which is again an

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amazing year. If you haven't heard our nineteen seventy eight

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Top five, go back and check that one out. That

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is one of my favorite episodes of all time. I

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was blown away by how many great songs were in

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nineteen seventy eight, But again I was having to kill

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babies in that situation. I mean, I had fifty songs

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that I was choosing from, and so I killed some babies,

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and some of the time that I did it, I

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was like, wait a minute, this came out in seventy eight,

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but it was kind of bigger in seventy nine, So

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I'm just gonna push it off to seventy nine and

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now over here still with a baby to kill. Okay, Jason,

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Before we get rolling for those listeners that we have

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that this is their first episode to hear our top

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five list. Here are a couple of the things that

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you need to know. Number One, if we've ever covered

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the album before in one of our prior episodes, we're

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not going to bring up a song from that album.

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Speaker 3: Right.

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Speaker 1: Also, if we plan to cover the album within the

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next year, we're not going to be pulling songs from

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that album either. So Pink Floyd the Wall is off

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the table, super Tramp Breakfast in America is off the table,

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and those are two huge songs.

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Speaker 3: Well, we did the Patreon episode on September by Earth

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Wind and Fire.

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Speaker 1: That's right, another huge song from nineteen seventy nine.

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Speaker 3: It absolutely would have made my list, but it is

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not eligible because we have already covered it.

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Speaker 1: Yep, guys, if you haven't tuned into our Patreon page,

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please go check it out. You can sign up and

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look at all of the songs that we've covered for

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absolutely free, and then if you decide, hey, I do

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want to hear that episode, you can join our Patreon

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for as little as five bucks a month. Just go

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to patreon dot com, Backslash Surely Podcast and you can

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take a look at our catalog of incredibly fun Patreon

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episodes where we usually do one hit Wonders or other

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kind of uniquer novel song.

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Speaker 3: They're fun, yeah, fun, Great, we'll see you over there.

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Speaker 4: All right.

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Speaker 3: So here's a couple of things from nineteen seventy nine,

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just to get our footing. In nineteen seventy nine, Okay,

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you have ESPN, the Happy Meal, and the Susan B.

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Anthony Dollar all come out. In nineteen seventy nine, you

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have the Iran hostage crisis, you have the Three Mile

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Island incident, and then the Steelers beat my beloved Cowboys

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in the Super Bowl thirty five thirty one.

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Speaker 1: Yeah, and I love it. As we're sitting here and

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I'm trying to cram for this episode, Jason goes, did

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you know in nineteen seventy nine the first robot murder occurred?

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I was like, robot murder. He's like, yes, a robot

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killed a human being for the first time in nineteen

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seventy nine. I was like, what do you have more?

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And he said nope. And I'm like, dang, I'll have

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to research that last.

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Speaker 3: Oh, how crazy is that?

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Speaker 1: I gotta find that story out.

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Speaker 3: Wow, I thought that was against the robot code.

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Speaker 1: I'm just wondering if it was a place called Westworld.

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Speaker 4: I know.

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Speaker 1: Right, Okay, Okay, enough about seventy nine. Let's jump into

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the music. Here we go, starting off number five, Jason

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on go first.

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Speaker 3: Five all right, ded My first song was released in

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September of nineteen seventy nine and hits number one on

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Casey's Top forty December eighth, nineteen seventy nine. Okay, okay,

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very end of nineteen seventy nine. It's the only number

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one hit in the US for this band, although they

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did have another one reached number three, which you're very

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familiar with, all right, And it's the only song to

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chart in the UK. This song wasn't even supposed to

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be on the album. I love when these things pop up, right, yeah,

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all right. So the lead singer of this band wants

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to give a gift to his wife, okay, and so

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he writes a song for her. It's one of those

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deals where it's kind of cheesy, kind of corny. Plays

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it for the band and they're like, no, we like it.

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It needs to go on the album.

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Speaker 1: Well, it's just a little too early for Metallica, So

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it's not nothing else matters.

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Speaker 3: That's right, That's right.

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Speaker 1: Okay.

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Speaker 3: So here's the interesting thing about this song. Yeah, it

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is written for this guy's now wife. But you know

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how a lot of times when you write a song

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for your girlfriend, oh Sherry for instance, right, and then

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a few years down the road, you're like, I freaking

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hate that woman, you know. Right, Well, this guy was

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smart enough not to use her actual name. Okay, yeah,

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all right, you have any guesses so far?

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Speaker 1: Well, I was thinking about Journey even before you said,

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Steve Perry, is it a Journey song?

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Speaker 3: This is not a Journey song.

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Speaker 1: Okay, keep going. Okay.

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Speaker 3: So here's the deal. Even though he did the smart

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thing and not use her actual name in this song

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or for the title of this song, it would have

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mattered because they are high school sweethearts. They've been dating

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since nineteen sixty four, they got married in nineteen seventy

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and are still together today.

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Speaker 1: Wow. Okay, right, yeah, okay, I'm so intrigued. How many

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more so?

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Speaker 3: The lead singer of this band left in nineteen eighty

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four after perhaps their second biggest song of all time. Okay, okay,

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he did have one big hit in nineteen eighty four,

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maybe on the fringe of what you might know. The

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song is called Desert Moon.

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Speaker 1: Ringing the Bell for Me so far?

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Speaker 3: All right, Okay, here's my last best hint. Okay, the

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name of this band is named after a river in Hades,

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so that's Styx, and the song has to be Lady,

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not Lady Dang. Okay you're burning hot though, Okay, you're scorching.

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Speaker 1: Yeah. I was like, I was like, man, I thought

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it was little river band that had Lady in nineteen

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seventy nine. Yeah, so Styx's Lady I think actually came

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out of like seventy four. Maybe. Okay, so it's sticks,

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but I don't know what the song is.

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Speaker 3: It is Styx, and this song is called Babes Sing.

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Speaker 4: You know, it's like it you know it?

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Speaker 1: Oh, great choice, know it's you babe. Man, I don't

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even know. That didn't even appear on my radar. I

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don't even know how I missed it. I guess said

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December seventy nine. Maybe it was just I'm looking too

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early in the year or something. But wow, fantastic song,

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great one, great one, Thank you.

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Speaker 3: It's a makeout hit from nineteen seventy nine when we

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were running aund around to where we didn't care about

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making out.

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Speaker 1: Uh huh.

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Speaker 3: I remember rolling around it with my uncle listening to

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this song. He liked this song a lot.

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Speaker 1: Yeah, that's awesome.

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Speaker 3: All right, to your number five?

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Speaker 1: All right, okay, my number five. The music was written

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by the same guy who wrote the music for The

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Boys of Summer and Heart of the Matter.

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Speaker 3: So those are both Don henleyheads yep, okay, okay.

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Speaker 1: He wrote it at his house using a four track recorder,

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and he was the guitar player for this band. His

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name's Mike Campbell. So Mike Campbell writes the song, the

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music for this song on his four track. He takes

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it in and the lead singer is like, got it.

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He is in a mood because of what's been going

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on with him and his record company and their record company.

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What happened was that same year that they're trying to

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put together this album, ABC Records, who was their record label,

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tried to sell the band's contract to MCA without asking

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the band about it, okay, and so he was just

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kind of furious about this, you know, the treatment of

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the record company. And so the anger and the angst

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behind this song come from that experience. With the record company.

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So he listens to this music that Mike Campbell has written,

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he writes the lyrics like right over what he's written like,

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he doesn't change the arrangement, doesn't know, doesn't add a verse,

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or of course he writes it right over. But the

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problem was that when they got in the studio and

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they tried to record it as a band, they couldn't

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get it right. And they've tried it like one hundred

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times and couldn't get it right, to the point that

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Mike Campbell walked out of the studio and left for

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two days, just didn't talk to anybody for two days,

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just left, came back.

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Speaker 3: Have we talked about this song before?

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Speaker 1: No, okay, we've talked about this band before. Actually we

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talked about this band in our last top five nineteen

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eighty nine. Okay, that's a little bit of a hint

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for you, and keep going. So he came back, they regrouped,

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and they nailed it. The name of the album is

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called Damn the Torpedoes. That album reached number two, was

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at number two for seven weeks, held off every single

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week of that seven weeks by Pink Floyd's The Wall.

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When they recorded this song. A receptionist in the recording

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studio came in heard it and said, that's a hit.

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That's a hit. The band performed it for the first

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time for their first performance on Saturday Night Live in

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nineteen seventy nine. Then when they did Live AID a

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decade later, they closed out their set with this song

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and they were supposed to appear on the MERV Griffin

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Show in person, and they didn't want to appear in person,

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so they said, can we just like make a video?

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And this was nineteen seventy nine, so they thought this

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will be one time that this video shows. Well. Then

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of course two years later MTV happens and MTV is

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looking for videos by American bands, and so this one,

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even though it's a couple of years later, gets some

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heavy rotation. So this song, because of the year and

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because of what was going on in Iran, has some

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import You got it yet? Okay? So Mike Campbell is

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the guitarist for a group called the Heartbreakers.

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Speaker 3: This refugee you got it.

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Speaker 5: Somehow?

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Speaker 3: Some classic rock staple.

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Speaker 1: Man Man, this one. I couldn't get enough of this

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when I was a little kid. I just I wanted

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this over and over. You don't have to live like

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a refugee as such a catchy hook?

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Speaker 4: It is?

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Speaker 1: It just you'll sing it all day long.

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Speaker 3: Gosh, we've got to cover full Moon fever.

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Speaker 1: Oh man, oh heck yeah.

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Speaker 3: Tom Patty, Okay, gone too soon? Love it? Great call,

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great call?

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Speaker 1: Okay, thanks?

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Speaker 3: Number four, number four.

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Speaker 4: Four.

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Speaker 3: All right, I think I'm gonna surprise you with this one.

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This song, although released in November of nineteen seventy eight,

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it peaks out in March of seventy nine. So I'm

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going best fit in nineteen seventy nine. Okay, okay, it

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hits number sixteen, although I have a really hard time

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believing that there are fifteen better songs than this.

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Speaker 1: Did you look up there?

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Speaker 4: I did not?

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Speaker 3: I did not. Okay, all right, so listen to this.

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This song was written by Dan Schlitz.

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Speaker 1: I've got it you keep going though, because I got it,

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you got it, I got it. Here is definitely on

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my radar.

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Speaker 3: Keep on going, all right?

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Speaker 6: All right?

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Speaker 3: So this song was written by Dan Schlitz in nineteen

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seventy six. He shopped it around for a couple of

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years in Nashville before it being recorded by Bobby Bain

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at the urging of Shell Silverstein, which we talked about.

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I light in the attic, the giving tree where the

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sidewalk ends all of.

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Speaker 1: Those Playboy magazine.

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Speaker 3: Right, yes, Okay, well it didn't do anything, so Johnny

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Cash takes a hack at it. It's on Gone Girl, right,

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nothing major.

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Speaker 1: I just got to say, because I know what this is.

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When you said Don Slitz, I was like, I know this.

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He's working as a computer operator at Vanderbilt University, like

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at the graveyard shift. He writes this song. Yeah, and

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he goes and meets with his mentor, guy named Bobdill,

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who was a songwriter. Yep, and he writes it on

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the walk home, except for the last verse.

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Speaker 3: The last verse comes to him. He says, quote, something

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more than me wrote that song. I'm convinced of that.

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I really have no idea where that song came from.

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Months later, it came to me that it was inspired

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by and possibly a gift from my father. His dad

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died in nineteen seventy six. Got it from heaven above.

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Did you know that this song inspired the name of

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a professional football team? I did, not a USFL team.

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If you'll remember, in nineteen eighty three, the USFL Wow.

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Speaker 1: You know, the people who are listening right now both

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know that we know that we both know it, But

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I don't think that they know what it is yet.

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Speaker 6: Right?

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Speaker 3: How about this hint? Yes, this was played on The

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Muppet Show despite having references to cigarettes and whiskey.

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Speaker 1: Wow, this won't be the first time in this episode

285
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that the Muppet Show comes out all right, very good?

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Speaker 3: Okay, So this hit number one on the country charts

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and inspired a movie. And if I say the words, you.

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Speaker 1: Got to know one to hold them and no one

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to fold them.

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Speaker 3: This is The Gambler by Kenny Rogers.

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Speaker 5: Please right, you got to know lending to hold them, no,

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when to fold, no, when the love, when the run.

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Speaker 3: You never count your money.

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Speaker 1: When you're sitting at the table.

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Speaker 4: There'll be time and of count.

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Speaker 1: When thats done. I mean, this song is so freaking iconic,

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so timeless. There is no generation I think since it's

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been released that doesn't love this song. It was the

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beginning of the country crossover.

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Speaker 3: That's right, it really was.

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Speaker 1: I mean at that time there were not songs that

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were crossing over into the mainstream charts from the country,

303
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but this one was. And yeah, inspired the nineteen eighty movie,

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which was the highest rated TV film for that year

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and then spawned four more sequels made for TV sequels after.

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Speaker 3: That probably gave us six Pack starring Kenny Rogers, Diane Lane,

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and Anthony Michael Hall. In nineteen eighty.

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Speaker 1: Three, Fantastic won the Grammy four Best Male Vocal and

309
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Best Country Song, which means it launched Kenny Rogers kind

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of the enduring career. At that point, he went to

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the stratosphere.

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Speaker 5: When you send the table, There'll be time enough come when.

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Speaker 1: You got no, and it launched Don Schiltz's career as well.

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He could quit his job as the graveyard shift computer

315
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operator in Vanderbilt and becoming full time songwriter. He would

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go on to who write several songs, including on the

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Other Hand by Randy Travis.

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Speaker 3: Huh.

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Speaker 1: On the other hand, Yeah, there's a Golden Band. Yep.

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I'm not a country guy, but there are some songs

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that just they meet you. This one, however, I bet

322
00:16:14,000 --> 00:16:17,240
you don't know this one. This song entered the UK

323
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charts in two thousand and seven. The Gambler Yes Here's Why.

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There was a guy named Matt Stevens who was the

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prop forward for the Rugby World Cup and he would

326
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get his acoustic guitar out and play this song in

327
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the dressing room before every game. And so England sort

328
00:16:37,720 --> 00:16:41,200
of adopted it as their unofficial theme song for their

329
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rugby team, and through that it hits the UK charts

330
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in the year two thousand and seven. Nice great song.

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Speaker 3: Love it all right, d Let's talk about your number four.

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Speaker 1: Okay, my number four was written and sung the time

333
00:17:00,679 --> 00:17:04,079
by a Swamper. Okay, you know who the Swampers are. No, well,

334
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they're mentioned by Leonard Skinnyard in Sweet Home, Alabama.

335
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Speaker 3: Okay, I have heard that reference.

336
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Speaker 1: Yes, so the Swampers are the Southern equivalent of the

337
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Wrecking Crew, if you will. They are the studio musicians

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who would play at Muscle Shoals. The Muscle Shoals Rhythm

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Section was their official name, but we talked.

340
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Speaker 3: About that on our Wham Yep.

341
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Speaker 1: George Michael went to record Whisper Over and was disappointed,

342
00:17:31,960 --> 00:17:35,359
surprisingly because it was an amazing place. But yeah, check

343
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that one. There is a documentary out there called Muscle

344
00:17:38,240 --> 00:17:41,960
Shoals that is absolutely fantastic. You would be, I mean,

345
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you got You've got so many incredible songs that have

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been done with these guys Wreitha, Franklin, many many others.

347
00:17:50,359 --> 00:17:54,319
Leonard Skynyrd obviously. But anyway, George Jackson, one of the

348
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members of the Swampers, and a guy named Thomas Jones

349
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wrote this song and they literally they had nothing to

350
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do one day and they just recorded a demo in

351
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their studio B because they had nothing else to do.

352
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The guy they had singing, George Jackson, was black guy,

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and they said, this doesn't have the right feel. This

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is more like a rock and roll kind of song,

355
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and his voice just doesn't sound right. So they got

356
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a guest artist to come in and record the vocals

357
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and they're like, wow, this really sounds like another guy

358
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we know. And when they gave it to that guy,

359
00:18:25,440 --> 00:18:28,599
that's when it became a hit. But before that happened,

360
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before they gave it to the singer who made it

361
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a hit, they were recording it and this guy named

362
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Forrest McDonald shows up in the parking lot like he's

363
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in his parents car, and he walks up and he's like, hey,

364
00:18:40,680 --> 00:18:43,559
just you know, interested in the studio. You know, I'm

365
00:18:43,680 --> 00:18:46,240
play guitar a little bit and was wondering, you know,

366
00:18:46,319 --> 00:18:48,680
if I can see what it's like to do or

367
00:18:48,759 --> 00:18:51,400
recording in a studio or whatever. And they're like, well,

368
00:18:51,400 --> 00:18:53,720
we're working on this song. You want to come in,

369
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And so he comes in. He lays down the lead

370
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guitar for the demo and they're like, well it was

371
00:19:00,359 --> 00:19:02,440
great man, thanks a bunch, and he goes gets in

372
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the car with his parents and he leaves like he's

373
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he is a guy from Hollywood, like he was playing

374
00:19:07,119 --> 00:19:10,359
with Van Halen on the Sunset Strip. Was not a

375
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studio musician. But they've got again, got this demo and

376
00:19:13,920 --> 00:19:14,640
they're like, wait.

377
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Speaker 3: Wait, this guy just appears out of the blue and

378
00:19:16,720 --> 00:19:18,599
lays down the lead guitar.

379
00:19:18,920 --> 00:19:21,240
Speaker 1: Yes, that's exactly what happened.

380
00:19:20,960 --> 00:19:23,880
Speaker 3: Like he walked out of the heavens exactly.

381
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Speaker 1: Okay, his parents sat in the car with the air

382
00:19:26,319 --> 00:19:30,640
conditioner on while he walked in and laid down a

383
00:19:30,759 --> 00:19:33,799
lead guitar track on one of the most iconic songs of

384
00:19:34,160 --> 00:19:35,079
all time.

385
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Speaker 3: What okay, So keep going.

386
00:19:37,920 --> 00:19:41,160
Speaker 1: So they have this song, they give it to this

387
00:19:41,400 --> 00:19:46,160
artist and he changes everything except for the course of

388
00:19:46,160 --> 00:19:47,799
the song, like which is the title of the song

389
00:19:48,119 --> 00:19:50,960
as well. He's like that part's great. He changes everything,

390
00:19:51,279 --> 00:19:53,079
but this is the way he puts He's like, I

391
00:19:53,119 --> 00:19:55,720
was feeling really generous that day, so it didn't take

392
00:19:55,759 --> 00:19:58,359
any songwriting credit, despite the fact that it changed all

393
00:19:58,400 --> 00:20:01,440
of the lyrics and he gave them all the songwriting

394
00:20:01,480 --> 00:20:04,960
credit to George Jackson and Thomas Jones. Okay, he has

395
00:20:05,000 --> 00:20:06,920
gone on to say, that was the dumbest thing I

396
00:20:06,920 --> 00:20:07,839
have ever done.

397
00:20:07,920 --> 00:20:10,559
Speaker 3: That's a huge mistake, if it's as big as you're saying.

398
00:20:10,519 --> 00:20:14,319
Speaker 1: Huge mistake. So the singer comes in, he tries to

399
00:20:14,359 --> 00:20:17,799
record it with the muscle shoals rhythm section. It doesn't

400
00:20:17,799 --> 00:20:20,440
sound as good. Okay. He tries to bring in his

401
00:20:20,480 --> 00:20:23,319
own band, it still doesn't sound as good. So finally

402
00:20:23,400 --> 00:20:26,039
they're just like, well, let's just take the voice off

403
00:20:26,039 --> 00:20:28,640
the demo and put this singer's voice on the demo

404
00:20:28,920 --> 00:20:31,119
and use that, and that is the song that we

405
00:20:31,240 --> 00:20:32,279
have today.

406
00:20:32,480 --> 00:20:33,640
Speaker 3: Ooh okay.

407
00:20:34,400 --> 00:20:37,440
Speaker 1: In the song, the singer changed some of the lyrics

408
00:20:37,599 --> 00:20:41,920
because he wanted to express his distaste for disco, which

409
00:20:42,319 --> 00:20:45,559
had been popular but was fading in popularity at that moment.

410
00:20:45,799 --> 00:20:49,319
Right for me, I can kind of remember hearing the

411
00:20:49,400 --> 00:20:53,759
song in my young youth in the seventies, but really

412
00:20:53,839 --> 00:20:58,480
it came back to life in full force in nineteen

413
00:20:58,680 --> 00:21:02,079
eighty three because of a Tom Cruise movie where he

414
00:21:02,160 --> 00:21:03,839
performed the song in his underwear.

415
00:21:04,079 --> 00:21:07,759
Speaker 3: Oh, this is Bob Seger old time rock and roll.

416
00:21:08,160 --> 00:21:13,200
Speaker 5: Just take those old records off show, still listen to

417
00:21:13,680 --> 00:21:17,960
base Today's music got.

418
00:21:17,759 --> 00:21:18,759
Speaker 6: The same sound.

419
00:21:23,079 --> 00:21:25,519
Speaker 3: I mean this to me is nineteen eighty three Tom Cruise,

420
00:21:25,599 --> 00:21:31,119
Risky Business, all that stuff. That's great. Okay, yes, Bob Seger.

421
00:21:31,480 --> 00:21:35,680
Speaker 1: Bob Seger rewrote the lyrics, didn't take any credit, and

422
00:21:35,759 --> 00:21:40,079
so he gets none of the royalty rights for this song.

423
00:21:40,519 --> 00:21:43,319
Has no call on whether the song gets used or not,

424
00:21:43,680 --> 00:21:46,240
although he did say he liked how it was used

425
00:21:46,240 --> 00:21:48,039
in Risky Business. He just thought it was kind of

426
00:21:48,039 --> 00:21:50,519
cool that Tom's standing around his underwear to this.

427
00:21:50,759 --> 00:21:52,200
Speaker 3: Now good job.

428
00:21:52,279 --> 00:21:56,799
Speaker 1: Sadly it's now being used in Catford commercials. But that's

429
00:21:56,839 --> 00:21:59,240
the twenty first century for you. By the way, the

430
00:21:59,519 --> 00:22:02,759
guitarist name was for Forrest McDonald. He did go on

431
00:22:02,839 --> 00:22:07,079
to have a decent career as a guitarist in studio recording.

432
00:22:07,759 --> 00:22:08,799
Speaker 3: So he wasn't an angel.

433
00:22:09,279 --> 00:22:11,519
Speaker 1: Wasn't an angel. He was actually a real person.

434
00:22:11,720 --> 00:22:18,119
Speaker 3: Okay, all right, to my number three number three three, okay,

435
00:22:18,279 --> 00:22:21,599
So this song was released in June of nineteen seventy nine.

436
00:22:21,640 --> 00:22:25,480
It peaks out at number sixteen October of nineteen seventy nine.

437
00:22:25,720 --> 00:22:28,920
This song is about a woman who's cheating on her boyfriend.

438
00:22:29,200 --> 00:22:33,039
The boyfriend happens to be the narrator of this song,

439
00:22:33,319 --> 00:22:36,519
and at the end of the song, she discovers that

440
00:22:36,599 --> 00:22:40,960
her boyfriend is cheating too. And it's not the Pina Colada.

441
00:22:41,680 --> 00:22:42,319
Speaker 4: I can see a.

442
00:22:42,359 --> 00:22:45,160
Speaker 1: Nikolada song, but that's it can't be what it is?

443
00:22:45,200 --> 00:22:46,480
All right, all right, keep going.

444
00:22:46,319 --> 00:22:48,759
Speaker 3: Stay with me on this Okay. The writer of this song,

445
00:22:48,960 --> 00:22:51,640
who we talked about a little bit during our nineteen

446
00:22:51,680 --> 00:22:55,200
eighty four episode, says that this is a true story

447
00:22:55,440 --> 00:22:58,640
that he watched through the window as his girlfriend got

448
00:22:58,640 --> 00:23:01,920
out of a corvette and gave the driver a long,

449
00:23:02,119 --> 00:23:06,799
loving kiss. Oh why the song was almost called I

450
00:23:06,880 --> 00:23:12,559
Freaking Hate Corvette drivers. Okay, I do think if you

451
00:23:12,680 --> 00:23:16,559
play the song Nothing Can Change This Love by Sam Cook,

452
00:23:17,160 --> 00:23:19,319
you will get a hint of this song.

453
00:23:19,960 --> 00:23:22,039
Speaker 1: Well, I'm not familiar with the Sam Cook songs.

454
00:23:22,119 --> 00:23:24,200
Speaker 3: You play this song from Sam Cook and see if

455
00:23:24,200 --> 00:23:25,640
you happen to recognize it.

456
00:23:25,720 --> 00:23:35,759
Speaker 1: Okay, yeah, bog a million, Okay, So I had a

457
00:23:35,799 --> 00:23:38,640
song in my head that I was wondering about, and

458
00:23:38,720 --> 00:23:41,200
that song sounds like it is this journey.

459
00:23:41,799 --> 00:23:42,720
Speaker 3: This is journey.

460
00:23:42,960 --> 00:23:45,680
Speaker 1: Is this loving touch and squeezing.

461
00:23:45,440 --> 00:23:50,119
Speaker 3: It is loving touching squeezing it. Good job you figured

462
00:23:50,119 --> 00:23:50,640
it out.

463
00:23:50,519 --> 00:24:01,640
Speaker 7: Yeah said we try love him, touch him speezevam job.

464
00:24:03,960 --> 00:24:07,440
Speaker 3: Excellent job. So here's the deal. Steve Perry calls this

465
00:24:07,519 --> 00:24:16,440
song love justice because true story discovered his girlfriend cheating

466
00:24:16,480 --> 00:24:20,440
on him. Well, guess what I'm cheating two now the

467
00:24:20,559 --> 00:24:22,920
end of the song. I know I've told you this

468
00:24:22,960 --> 00:24:24,680
story before. I was on a ski trip one time,

469
00:24:24,759 --> 00:24:27,119
back before cell phones when all you can do is

470
00:24:27,160 --> 00:24:29,799
look out the car and play cassettes and count cows

471
00:24:29,839 --> 00:24:32,640
and stuff like that. So me and my college buddies

472
00:24:32,640 --> 00:24:37,519
we counted the nas at the end of this song.

473
00:24:37,720 --> 00:24:38,279
Speaker 1: That's right.

474
00:24:39,039 --> 00:24:43,640
Speaker 3: No, no, there's twenty two nas perverse and it repeats

475
00:24:43,680 --> 00:24:58,720
seven times. That's one fifty four nas. But here's the thing.

476
00:24:59,279 --> 00:25:02,839
It never once occurred to me that maybe the non

477
00:25:02,920 --> 00:25:08,680
nana nas are like a child playground going and manh yeah,

478
00:25:09,640 --> 00:25:12,599
that never occurred to me until I started thinking about

479
00:25:12,599 --> 00:25:16,319
the nos. The nas, The nas love a touch and

480
00:25:16,319 --> 00:25:20,559
squeezing by journey. Okay, all righty to your number three?

481
00:25:20,880 --> 00:25:24,119
Speaker 1: Okay, my number three. This band had had some songs

482
00:25:24,119 --> 00:25:29,119
before this, but this was their first song without any strings.

483
00:25:29,440 --> 00:25:29,799
Speaker 3: Okay.

484
00:25:30,039 --> 00:25:32,519
Speaker 1: They recorded this song without their string section, and they're

485
00:25:32,559 --> 00:25:35,359
like any of these guys, and they fired them. So

486
00:25:35,680 --> 00:25:38,599
by the time this song is recorded and done, there's

487
00:25:38,680 --> 00:25:42,319
only four members left of this band. This is this

488
00:25:42,440 --> 00:25:48,000
band's highest charting song. The singer of this song actually

489
00:25:48,000 --> 00:25:52,160
came up with the rhythm by looping some other sounds together. Okay,

490
00:25:52,440 --> 00:25:55,519
And even though he did that, he still counts in

491
00:25:55,599 --> 00:25:58,480
at the beginning of the song. He still goes one, two, three, four,

492
00:25:58,519 --> 00:26:02,000
even there's no drummer, no to like he's already got

493
00:26:02,000 --> 00:26:04,200
the rhythm, okay, because he just liked how the count

494
00:26:04,240 --> 00:26:08,000
in sounded, even though it's already on like a drum loop. Okay,

495
00:26:08,960 --> 00:26:12,480
all right. So this song has been used as theme

496
00:26:12,559 --> 00:26:16,119
song for Astronauts. In nineteen seventy nine, when the song

497
00:26:16,200 --> 00:26:19,039
came out, the band, as kind of a tongue in

498
00:26:19,079 --> 00:26:25,119
cheek joke, dedicated it to Skylab because Skylab was at

499
00:26:25,119 --> 00:26:26,960
that point falling to Earth.

500
00:26:27,799 --> 00:26:29,759
Speaker 3: Okay, I remember that.

501
00:26:30,200 --> 00:26:33,799
Speaker 1: And so this song has a part in it where

502
00:26:33,799 --> 00:26:38,000
it's got a word. Now. I always thought, listening to

503
00:26:38,079 --> 00:26:43,480
the song that the word was the name Bruce, and

504
00:26:43,559 --> 00:26:47,039
I thought they were singing to Bruce Springsteen, right, Bruce.

505
00:26:47,359 --> 00:26:49,920
And I'm apparently not the only one because there are

506
00:26:49,960 --> 00:26:52,680
so many people that thought that this word was Bruce

507
00:26:53,279 --> 00:26:56,839
that they started singing that word instead of the word

508
00:26:57,000 --> 00:26:59,680
that they use, which is Bruce.

509
00:27:00,160 --> 00:27:03,160
Speaker 3: What and the word groose.

510
00:27:02,880 --> 00:27:05,480
Speaker 1: If you're wondering, you know, since that is the lyric

511
00:27:05,559 --> 00:27:08,759
that is the song, what that word means. It doesn't

512
00:27:08,799 --> 00:27:13,920
mean anything what. It is just a placeholder, scatty lyric

513
00:27:14,039 --> 00:27:17,440
that he threw in there and then, like Maurice White

514
00:27:17,599 --> 00:27:18,640
with body.

515
00:27:18,359 --> 00:27:20,839
Speaker 3: Yeah, yeah, he did not.

516
00:27:21,400 --> 00:27:24,119
Speaker 1: Let the lyric get in the way of the groove,

517
00:27:24,599 --> 00:27:29,000
and he kept the word groose to. This song is

518
00:27:29,279 --> 00:27:33,119
about a girl who thinks she's too good for the

519
00:27:33,119 --> 00:27:39,759
guy she's with. She feels like he is bringing her down.

520
00:27:40,119 --> 00:28:18,160
Speaker 3: This is e l O, don't bring me down.

521
00:28:04,680 --> 00:28:04,960
Speaker 5: Poos.

522
00:28:06,400 --> 00:28:09,759
Speaker 1: So I'm not sure if they shortened their name because

523
00:28:10,200 --> 00:28:13,440
Electric Light Orchestra was very long to say, or because

524
00:28:13,480 --> 00:28:15,759
they fired their string section and they were no longer

525
00:28:15,759 --> 00:28:18,119
an orchestra. Okay, yeah, that's good.

526
00:28:18,200 --> 00:28:21,400
Speaker 3: That's a good clue, Yeah, Ello, yell, I love that song.

527
00:28:21,519 --> 00:28:22,400
Don't Bring Me Down.

528
00:28:22,279 --> 00:28:24,799
Speaker 1: I got I've got two traveling Wilbury so far.

529
00:28:24,960 --> 00:28:26,960
Speaker 3: In this way? Wow, I didn't even think about that.

530
00:28:27,119 --> 00:28:29,160
Speaker 1: And Tom Patty, I don't think I have a number one.

531
00:28:29,200 --> 00:28:31,839
George Harrison my campbell too. My campbell was that's three.

532
00:28:31,880 --> 00:28:32,440
I got three.

533
00:28:32,680 --> 00:28:34,359
Speaker 3: That dang right on to my number two.

534
00:28:34,559 --> 00:28:38,400
Speaker 1: I guess so okay, two alight.

535
00:28:38,400 --> 00:28:39,920
Speaker 3: I'm gonna dance around this one for a little bit

536
00:28:39,960 --> 00:28:41,440
because I don't want you to get it right off

537
00:28:41,480 --> 00:28:41,799
the bat.

538
00:28:41,839 --> 00:28:42,559
Speaker 1: Okay.

539
00:28:42,640 --> 00:28:45,119
Speaker 3: This was released in September of nineteen seventy eight. It

540
00:28:45,160 --> 00:28:48,599
does peak out at number five in January of nineteen

541
00:28:48,640 --> 00:28:51,440
seventy nine. When it peaks out at number five, the

542
00:28:51,519 --> 00:28:54,359
four songs in front of it easily could have been

543
00:28:54,400 --> 00:28:57,359
considered for this list. Number four is you Don't Bring

544
00:28:57,440 --> 00:29:01,799
Me Flowers? Love it Barbistro in Okay. Number three is

545
00:29:01,839 --> 00:29:05,160
My Life by Billy Joel. Almost made my list. Maybe

546
00:29:05,200 --> 00:29:07,319
it'll be on yours. We'll see. Number two is La

547
00:29:07,359 --> 00:29:10,839
Freak by Chic one of your favorites. Love it, and

548
00:29:10,960 --> 00:29:13,519
number one is Too Much Heaven by the Beegis that's huge?

549
00:29:13,599 --> 00:29:14,960
Speaker 1: Yeah, we covered that one.

550
00:29:14,720 --> 00:29:17,759
Speaker 3: Now, then this song was written by a person that

551
00:29:17,759 --> 00:29:24,400
we've already talked about, okay, and was inspired by when

552
00:29:24,400 --> 00:29:27,119
he was in high school. At the time, they didn't

553
00:29:27,119 --> 00:29:29,799
have call waiting, and so he was sitting at a

554
00:29:29,799 --> 00:29:32,960
dinner table with his parents and the phone rings, and

555
00:29:33,000 --> 00:29:36,759
then the operator would interrupt and say these three words.

556
00:29:36,920 --> 00:29:39,839
You have another phone call. And then they got a

557
00:29:39,960 --> 00:29:44,240
third phone call, all for this guy named David, because

558
00:29:44,279 --> 00:29:47,519
it was multiple girls calling the house to speak with

559
00:29:47,640 --> 00:29:48,920
him at the same time.

560
00:29:49,279 --> 00:29:53,640
Speaker 1: So this guy named David. Yes, he also included his

561
00:29:53,680 --> 00:29:57,880
middle name whenever he no. Okay, so it is not

562
00:29:57,960 --> 00:29:58,559
davidly Roth.

563
00:29:58,799 --> 00:30:02,960
Speaker 3: The subject of this is about love, but it really

564
00:30:03,039 --> 00:30:04,400
is about what love.

565
00:30:04,279 --> 00:30:05,720
Speaker 1: Is not, okay.

566
00:30:06,480 --> 00:30:09,799
Speaker 3: So, for example, it's not in the way that you

567
00:30:09,960 --> 00:30:12,880
hold me. It's not in the way that you say

568
00:30:12,920 --> 00:30:13,400
you care.

569
00:30:17,319 --> 00:30:19,599
Speaker 1: You're doing such a good job of not singing the

570
00:30:19,680 --> 00:30:22,440
lyrics that I know, but keep going.

571
00:30:22,640 --> 00:30:26,759
Speaker 3: It's not the way that you treat my friends. It's

572
00:30:26,839 --> 00:30:30,319
not the way you'll stay to the end. It's not

573
00:30:30,400 --> 00:30:33,039
the way you look or the things that you say

574
00:30:33,079 --> 00:30:35,960
that you'll do. Here's your last hint. They knew this

575
00:30:36,079 --> 00:30:37,680
was going to be a hit, and so they talked

576
00:30:37,680 --> 00:30:40,279
to their guitarists. They said, you got to bring it, man,

577
00:30:40,799 --> 00:30:43,440
this is a great song. We need a killer guitar solo.

578
00:30:43,519 --> 00:30:45,960
And when he played the guitar solo, the band was

579
00:30:46,119 --> 00:30:48,720
jumping up and down in the control room because he

580
00:30:48,920 --> 00:30:49,759
freaking slays it.

581
00:30:49,799 --> 00:30:52,759
Speaker 1: Okay, I didn't want to interrupt you. Okay, hold the

582
00:30:52,799 --> 00:30:53,799
line by Toto.

583
00:30:54,039 --> 00:31:20,039
Speaker 4: That's it.

584
00:31:21,119 --> 00:31:27,559
Speaker 3: Bobby Kimball's sweaty, cocaine fueled vocals on this so freaking awesome.

585
00:31:28,240 --> 00:31:29,559
I love this song.

586
00:31:29,640 --> 00:31:32,279
Speaker 1: Yeah, it's fantastic. So so David must be David.

587
00:31:32,359 --> 00:31:34,240
Speaker 3: It was his last name, David Page.

588
00:31:34,279 --> 00:31:37,599
Speaker 1: I was like, that's not Porch, it's Page, gotcha, Okay, yeah,

589
00:31:37,720 --> 00:31:40,440
David Page. Wow. I would not have guessed that David

590
00:31:40,480 --> 00:31:42,799
Page was a big heartbreaker, but you know, I only

591
00:31:42,799 --> 00:31:43,880
saw him in his later years.

592
00:31:43,880 --> 00:31:45,200
Speaker 3: You can sing and play the keys.

593
00:31:45,400 --> 00:31:49,079
Speaker 1: Yeah, that's true. And boy did Steve Luke atter bring

594
00:31:49,160 --> 00:31:55,119
it when he did that guitar iconic song, great one.

595
00:31:55,279 --> 00:31:57,640
Speaker 3: Go back to our total episodes, which aren't we think

596
00:31:57,680 --> 00:32:01,200
are some of our best episodes. Yeah, that's great, great,

597
00:32:01,480 --> 00:32:04,279
all right, you're number two, sir, all right, number two.

598
00:32:04,720 --> 00:32:10,000
When the singer sang this song, she was in a backbrace. Okay.

599
00:32:10,680 --> 00:32:13,920
Speaker 1: She had been an accident and been like rehabbing for

600
00:32:13,960 --> 00:32:17,039
six months before she sang it. Oh, Okay, So before

601
00:32:17,079 --> 00:32:19,880
I get there, I'll tell you about the songwriter. The songwriter,

602
00:32:20,319 --> 00:32:26,240
his name is Dino Ferrabs. Good old Dino, good old

603
00:32:26,240 --> 00:32:26,960
Dino Ferrabs.

604
00:32:27,039 --> 00:32:27,359
Speaker 3: Okay.

605
00:32:28,079 --> 00:32:30,759
Speaker 1: Now, a lot of people put a lot of meaning

606
00:32:30,839 --> 00:32:34,000
behind this song. Different groups have adopted this song because

607
00:32:34,039 --> 00:32:35,920
it is such an anthem of a song.

608
00:32:36,119 --> 00:32:36,440
Speaker 3: Okay.

609
00:32:36,680 --> 00:32:40,759
Speaker 1: But he says, this song came about when I got

610
00:32:40,799 --> 00:32:44,839
fired from writing for Motown Records. Okay. He had been

611
00:32:44,880 --> 00:32:47,640
writing for them as a staff writer for seven years

612
00:32:47,799 --> 00:32:50,559
and they fired him. And so he was sitting on

613
00:32:50,559 --> 00:32:53,000
his bed, didn't know what he was going to do,

614
00:32:53,160 --> 00:32:55,079
didn't know if he was going to make it. He

615
00:32:55,200 --> 00:32:59,319
turned on the TV and he heard his song being

616
00:32:59,400 --> 00:33:05,119
performed by Rare Earth for this movie called Generations. Okay,

617
00:33:05,440 --> 00:33:07,920
he said it was an omen. I knew I was

618
00:33:07,960 --> 00:33:11,359
going to make it. Now he's not Dono nobody. He

619
00:33:11,559 --> 00:33:14,440
wrote for Rare Earth a song that you know called

620
00:33:14,559 --> 00:33:16,839
I Just Want to Celebrate. Yeah, I do know that song.

621
00:33:16,960 --> 00:33:19,920
So the guy with that credit got fired from Motown. Well,

622
00:33:20,000 --> 00:33:22,880
another guy who had worked for Motown named Freddy Parron

623
00:33:23,000 --> 00:33:27,319
had also left them, and these guys got together with

624
00:33:27,440 --> 00:33:30,839
Deno Ferbris. Now Freddy Parrin was also no slouch.

625
00:33:31,119 --> 00:33:32,319
Speaker 3: I recognize his name.

626
00:33:32,240 --> 00:33:35,559
Speaker 1: Wrote ABC and I Want You Back by the Jackson five. Huh.

627
00:33:35,599 --> 00:33:39,519
They got together, they did well. They wrote the Peaches

628
00:33:39,559 --> 00:33:41,519
and Herb song Reunited.

629
00:33:41,240 --> 00:33:44,519
Speaker 3: Reunited and it feels so good.

630
00:33:44,920 --> 00:33:48,519
Speaker 1: That's the one. And then they had this song and

631
00:33:48,559 --> 00:33:50,759
they didn't know who to give it to. They had

632
00:33:50,799 --> 00:33:53,160
tried it a couple of times, couldn't figure out how

633
00:33:53,160 --> 00:33:55,079
to give it to, and eventually they just said, Okay,

634
00:33:55,480 --> 00:33:58,279
the next diva that comes along that we get the

635
00:33:58,319 --> 00:34:01,160
opportunity to record with, we're going to give her this song.

636
00:34:01,359 --> 00:34:05,680
And as it turns out, this singer's production company, her

637
00:34:05,799 --> 00:34:09,400
record company called and said, hey, we're looking for help

638
00:34:09,480 --> 00:34:14,119
on the production of her version of this song called Substitute,

639
00:34:14,119 --> 00:34:17,599
which was a Righteous Brother song that she's now covering. Okay, okay,

640
00:34:18,119 --> 00:34:21,119
and so they said, well, we've got this other song.

641
00:34:21,400 --> 00:34:25,159
She agreed to put their song on as the side

642
00:34:25,239 --> 00:34:28,119
B to this Righteous Brother's Substitute song.

643
00:34:28,199 --> 00:34:28,559
Speaker 3: Okay.

644
00:34:28,800 --> 00:34:30,960
Speaker 1: Now, once they were done recording the two songs, there

645
00:34:31,000 --> 00:34:34,360
wasn't anybody in the studio that thought that the Righteous

646
00:34:34,400 --> 00:34:38,039
Brothers song was better. Right, everybody said that is the

647
00:34:38,079 --> 00:34:41,519
superior song. We should make that one the A side

648
00:34:41,639 --> 00:34:44,920
and substitute the B side. But the record company president

649
00:34:45,039 --> 00:34:48,679
said no, We said, this is a side that's B side,

650
00:34:48,800 --> 00:34:51,119
and that's the way we're releasing it, and that's the

651
00:34:51,159 --> 00:34:52,320
way it got released.

652
00:34:52,639 --> 00:34:56,400
Speaker 3: Interesting. Okay, I love this. But because the world is

653
00:34:56,440 --> 00:34:58,679
not stupid, right, Aya, Jay's.

654
00:34:58,559 --> 00:35:03,840
Speaker 1: Started playing this song at discos. Radio stations started playing

655
00:35:03,880 --> 00:35:06,320
this song as a single, and it got so much

656
00:35:06,360 --> 00:35:10,400
popularity that eventually the record label said, okay, let's do

657
00:35:10,440 --> 00:35:13,480
it again and we'll flip it this time. So eventually

658
00:35:13,639 --> 00:35:17,519
this song was released as the A side. It reached

659
00:35:17,719 --> 00:35:20,920
number one in March of nineteen seventy nine. It won

660
00:35:21,400 --> 00:35:23,760
the Grammy. It is the only song, by the way,

661
00:35:24,320 --> 00:35:29,280
that has won a Grammy for Best Disco Record, because

662
00:35:29,519 --> 00:35:31,400
it was the first time and the last time that

663
00:35:31,400 --> 00:35:34,440
the Grammy's ever had that as a category. Okay, so

664
00:35:34,519 --> 00:35:38,000
this is a full on disco song. V H one

665
00:35:38,440 --> 00:35:41,119
said that this was the number one dance song of

666
00:35:41,320 --> 00:35:41,920
all time.

667
00:35:42,159 --> 00:35:42,760
Speaker 3: Wow.

668
00:35:43,320 --> 00:35:48,159
Speaker 1: So the rest of what the songwriter Diino Feribus said

669
00:35:48,400 --> 00:35:50,559
when he was jumping up and down on the bed

670
00:35:50,920 --> 00:35:54,239
was I'm going to make it. I will be a songwriter.

671
00:35:55,760 --> 00:35:57,360
I will survive.

672
00:36:00,239 --> 00:36:04,239
Speaker 8: Your mind keep thinking I could never live without you, Bama.

673
00:36:04,400 --> 00:36:08,159
Speaker 9: So but then I've spent so many nights thinking how

674
00:36:08,159 --> 00:36:09,000
you're getting wrong?

675
00:36:09,119 --> 00:36:10,280
Speaker 3: And I was wrong?

676
00:36:11,159 --> 00:36:12,639
Speaker 4: Did I learn how to get it?

677
00:36:15,840 --> 00:36:18,599
Speaker 3: This is Gloria gaynor I will survive.

678
00:36:19,519 --> 00:36:23,000
Speaker 1: So not only did Freddy Parrin write this song produce

679
00:36:23,079 --> 00:36:25,039
this song, he also is the guy playing the piano

680
00:36:25,119 --> 00:36:25,639
at that intro.

681
00:36:26,480 --> 00:36:31,599
Speaker 3: Nice this is a karaoke al timer, absolutely.

682
00:36:35,480 --> 00:36:38,920
Speaker 1: Sure, weren't you in.

683
00:36:39,039 --> 00:36:41,920
Speaker 9: One trying to hurt him good bye didn't.

684
00:36:44,119 --> 00:36:44,320
Speaker 3: Play?

685
00:36:49,559 --> 00:36:52,559
Speaker 1: And this one. I remember watching the movie In and

686
00:36:52,599 --> 00:36:57,599
Out Yes, where Kevin Klein is trying to decide whether

687
00:36:57,639 --> 00:36:59,800
he's gay or not, and like, the answer to the

688
00:36:59,880 --> 00:37:03,039
question is if you hear the song and start dancing,

689
00:37:03,079 --> 00:37:06,079
you must be gay. And I have to say, then,

690
00:37:06,320 --> 00:37:09,960
by golly, I'm gay, and so is everyone else in

691
00:37:09,960 --> 00:37:11,760
the world, because if you can hear this song and

692
00:37:11,800 --> 00:37:14,320
not start dancing, then you must be dead.

693
00:37:17,000 --> 00:37:22,719
Speaker 3: Well you're there, ladies and gentlemen. I do agree, though

694
00:37:22,760 --> 00:37:25,679
this is a I mean disco Maybe it's got to

695
00:37:25,719 --> 00:37:26,800
be the Pinnacle Discus song.

696
00:37:26,800 --> 00:37:29,880
Speaker 1: Of all the time, right, Absolutely fantastic, And here's another

697
00:37:30,039 --> 00:37:34,159
tidbit for you. Forty years later, Luria Gaynor would again

698
00:37:34,719 --> 00:37:39,400
win a Grammy or Best Roots Gospel Album in twenty nineteen.

699
00:37:40,559 --> 00:37:41,079
Speaker 3: Good for her.

700
00:37:41,199 --> 00:37:45,840
Speaker 1: She has since become a Christian and attributes as added

701
00:37:45,920 --> 00:37:49,159
lyrics to the song to profess her faith as well.

702
00:37:49,320 --> 00:37:52,280
Speaker 3: Interesting, Yeah, okay, very good, good for her. We're under

703
00:37:52,320 --> 00:37:55,480
our honorable mentions. Already, here we are. And there's a

704
00:37:55,519 --> 00:37:57,840
story I'm dying to tell you. But and I don't

705
00:37:57,840 --> 00:37:59,920
want you to steal it from me, but I'm gonna

706
00:38:00,079 --> 00:38:02,519
I'm gonna duck and dodge one more song and hope

707
00:38:02,559 --> 00:38:05,039
that you don't have it. Okay, all right, all right,

708
00:38:05,440 --> 00:38:08,199
so your first, my ferrible mention, my first honorable mention.

709
00:38:08,280 --> 00:38:09,679
Speaker 1: We'll go back and forth. Okay, all right.

710
00:38:09,719 --> 00:38:13,119
Speaker 3: So this song was written by the singer of this

711
00:38:13,239 --> 00:38:18,159
song and Kenny Loggins. Okay, Kenny Loggins, world famous for

712
00:38:18,599 --> 00:38:21,920
a million soundtrack songs like Footloose and danger Zone. All right,

713
00:38:21,960 --> 00:38:22,719
playing with the boys.

714
00:38:22,840 --> 00:38:25,239
Speaker 1: This is well before all of those, that's right, Okay,

715
00:38:25,360 --> 00:38:27,639
This is back on your mam and don't dance.

716
00:38:27,440 --> 00:38:30,079
Speaker 3: And right after Loggins on Usina, welcome to a corner.

717
00:38:30,159 --> 00:38:31,320
Speaker 1: Yeah, okay, this.

718
00:38:31,239 --> 00:38:34,639
Speaker 3: Is the same time as right before I'm all right

719
00:38:34,719 --> 00:38:35,880
and all this stuff for Caddyshack.

720
00:38:35,960 --> 00:38:36,800
Speaker 1: Yeah, that's right, all right.

721
00:38:37,159 --> 00:38:39,559
Speaker 3: So this song reaches number one in April of nineteen

722
00:38:39,639 --> 00:38:42,280
seventy nine. It's declared the Song of the Year and

723
00:38:42,480 --> 00:38:45,159
Record of the Year in nineteen eighty and is in

724
00:38:45,199 --> 00:38:48,880
the Grammy Hall of Fame. Okay, all right, Yeah, So

725
00:38:49,360 --> 00:38:51,639
here's the interesting thing about this song. I think the

726
00:38:51,719 --> 00:38:55,320
first eight months of nineteen seventy nine, if you just

727
00:38:55,360 --> 00:38:57,920
looked at the number one hits the first eight months,

728
00:38:58,159 --> 00:39:01,960
very few of them are non disco songs, right right.

729
00:39:02,519 --> 00:39:04,800
This is one of those non disco songs.

730
00:39:04,880 --> 00:39:05,159
Speaker 1: Okay.

731
00:39:05,280 --> 00:39:08,960
Speaker 3: Here's the other interesting thing. Kenny Loggins released this song

732
00:39:09,199 --> 00:39:13,119
in nineteen seventy eight, five months before the now more

733
00:39:13,159 --> 00:39:16,360
famous version has been released, and it really didn't do anything.

734
00:39:16,480 --> 00:39:19,559
So basically, the two writers of the song each released

735
00:39:19,599 --> 00:39:22,199
a version, one you know well and one you've probably

736
00:39:22,199 --> 00:39:25,119
never heard. Now listen to this. It was produced by

737
00:39:25,159 --> 00:39:27,159
Ted Templeman. Does that ring a bell to you?

738
00:39:27,239 --> 00:39:30,199
Speaker 1: Sure? Ted Templetman was the producer for Van Halen.

739
00:39:30,519 --> 00:39:33,800
Speaker 3: Okay, So here's the deal. He cut up the masters

740
00:39:34,000 --> 00:39:36,400
because he didn't like the way the drums sounded and

741
00:39:36,519 --> 00:39:40,199
literally took scissors to the master tape, to the horror

742
00:39:40,280 --> 00:39:45,079
of the band, and frankenstein them together to get a

743
00:39:45,159 --> 00:39:48,480
working track. This song haunted him like he just never

744
00:39:48,559 --> 00:39:52,000
felt like it was right okay, And so finally he

745
00:39:52,079 --> 00:39:54,400
just got so frustrated with it. He cut it and

746
00:39:54,400 --> 00:39:55,880
he pasted it, and he worked on it, and he

747
00:39:55,880 --> 00:39:57,840
couldn't really get it and just didn't really like it

748
00:39:57,880 --> 00:40:01,320
and never really satisfied him. This is all templeament, Ted Templeman.

749
00:40:01,800 --> 00:40:05,079
He plays it for the Warner Brothers executives and he

750
00:40:05,360 --> 00:40:08,239
Ted Templeman says, I think we just should just trash it.

751
00:40:08,239 --> 00:40:13,159
It's just not working, And they say, are you freaking crazy?

752
00:40:13,440 --> 00:40:14,840
This song is great?

753
00:40:15,719 --> 00:40:18,199
Speaker 1: So this is a solo artist that sings this song.

754
00:40:18,519 --> 00:40:20,639
Speaker 3: No, it's a it's a band.

755
00:40:21,119 --> 00:40:23,679
Speaker 1: Is it the Doobie Brothers, Yes it is, Okay, keep going.

756
00:40:23,719 --> 00:40:26,559
Speaker 3: Michael McDonald and Kenny Loggins write this song. They based

757
00:40:26,559 --> 00:40:30,800
this song on the four season's songs Sherry and Walk

758
00:40:30,880 --> 00:40:32,840
Like a Man, which we talked about a little bit

759
00:40:32,840 --> 00:40:35,719
in our Billy Joel Innocent Man episode. Yes here's a

760
00:40:35,760 --> 00:40:38,599
funny story for you, Okay, Michael Jackson is on a

761
00:40:38,639 --> 00:40:42,239
phone call with Elizabeth Taylor. It's already funny, and he

762
00:40:42,360 --> 00:40:46,480
knows he's being filmed. Okay, right, he's being videotape for

763
00:40:46,559 --> 00:40:50,480
some documentary or some stupid thing. But he tells Elizabeth

764
00:40:50,519 --> 00:40:53,559
Taylor that he sang backup vocals on this song.

765
00:40:53,639 --> 00:40:55,239
Speaker 1: Michael Jackson sang backup vocals.

766
00:40:55,480 --> 00:40:58,719
Speaker 3: Well, he told Elizabeth Taylor that he did. Turns out

767
00:40:58,760 --> 00:41:03,960
he was joking, but Entertainment Tonight brought that it was

768
00:41:04,039 --> 00:41:07,639
like a lead story and ended up with egg on

769
00:41:07,679 --> 00:41:09,719
their face because he was totally telling a lie and

770
00:41:09,920 --> 00:41:10,599
was a total joke.

771
00:41:10,679 --> 00:41:12,320
Speaker 1: Oh my gosh, this is fantastic.

772
00:41:13,920 --> 00:41:16,400
Speaker 3: Do you have any idea what the song is?

773
00:41:16,400 --> 00:41:17,960
Speaker 1: Is this what a fool believes?

774
00:41:18,119 --> 00:41:34,480
Speaker 6: It is what a fool believes.

775
00:41:37,639 --> 00:41:40,360
Speaker 1: Michael McDonald has such a distinctive voice, and I never

776
00:41:40,400 --> 00:41:42,039
really think of him when I think of the Doobie

777
00:41:42,039 --> 00:41:45,039
Brothers because I think of their other music. Right, but

778
00:41:45,400 --> 00:41:48,400
have you seen the have you seen the s CTV?

779
00:41:48,599 --> 00:41:51,800
Rick moranis pretending to be Michael McDonald bit where like

780
00:41:51,880 --> 00:41:53,079
he's running around the studio.

781
00:41:53,239 --> 00:41:56,000
Speaker 3: It's so funny. He keeps leaving that he runs.

782
00:41:55,719 --> 00:42:01,559
Speaker 1: Back in and so Michael McDonald tells his story. He's like, Okay,

783
00:42:01,639 --> 00:42:05,920
so the first time that I saw that on TV,

784
00:42:06,519 --> 00:42:09,360
I'd been hanging out with one of the Doobie brother

785
00:42:09,400 --> 00:42:11,719
like the lead guitarist for the Doobie Brothers, and he

786
00:42:11,760 --> 00:42:14,920
said he had just bought like the best weed he'd

787
00:42:15,000 --> 00:42:19,800
ever had, and we both smoke this joint. And then

788
00:42:19,880 --> 00:42:22,559
I leave his hotel room and I go to my

789
00:42:22,760 --> 00:42:26,119
hotel room. Pat Simmons, I think is guitarist. I go

790
00:42:26,159 --> 00:42:29,840
to my hotel room. I turn on the TV and

791
00:42:29,920 --> 00:42:35,039
I see me. He was like, am I really watching

792
00:42:35,119 --> 00:42:37,639
this right now? Or is this the drug?

793
00:42:38,760 --> 00:42:42,000
Speaker 3: Wow? Yeah, that keyboard is so hypnotic at the beginning.

794
00:42:42,559 --> 00:42:45,199
It's just a great toe tapper number one hit nineteen

795
00:42:45,239 --> 00:42:47,039
seventy nine. Okay, the honorable mention.

796
00:42:47,320 --> 00:42:50,679
Speaker 1: All right, My honorable mention is where I got thrown

797
00:42:50,719 --> 00:42:52,679
off the track last time with Bruce Springsteen, when I

798
00:42:52,679 --> 00:42:54,920
threw you off the track. Sorry about that, Okay. This

799
00:42:55,000 --> 00:42:57,280
is the song that was written by Bruce Springsteen. He

800
00:42:57,320 --> 00:42:58,400
wrote it for Elvis.

801
00:42:58,639 --> 00:42:59,480
Speaker 3: Is this man for Man?

802
00:42:59,639 --> 00:42:59,800
Speaker 1: No?

803
00:43:00,000 --> 00:43:00,159
Speaker 3: Ok.

804
00:43:00,760 --> 00:43:02,599
Speaker 1: He wrote this song for Elvis, who is his hero.

805
00:43:03,039 --> 00:43:06,239
He sent it to him in nineteen seventy seven. Unfortunately,

806
00:43:06,360 --> 00:43:10,079
also in nineteen seventy seven he died. Yes, so Elvis

807
00:43:10,079 --> 00:43:12,480
obviously did not record the song. It probably would have

808
00:43:12,519 --> 00:43:15,320
been a great song for Elvis to record it, okay,

809
00:43:15,480 --> 00:43:18,480
very much his sound all right. So at the time,

810
00:43:18,559 --> 00:43:21,000
Bruce Springsteen couldn't record it because he's in this big

811
00:43:21,039 --> 00:43:23,679
fight with his record label and he's not recording any

812
00:43:23,760 --> 00:43:27,519
new albums, right, and so he's thinking, Okay, maybe I

813
00:43:27,559 --> 00:43:29,159
can give it to a friend of mine. So he

814
00:43:29,199 --> 00:43:32,480
gives it to his friend named Robert Gordon. Robert Gordon

815
00:43:32,559 --> 00:43:36,239
releases it and it doesn't really do anything, okay, and

816
00:43:36,320 --> 00:43:39,440
then the group that does the song that you and

817
00:43:39,519 --> 00:43:42,920
I know, their producer says, hey, this is a good

818
00:43:42,960 --> 00:43:45,880
song for you guys. Now. The difference is they're a

819
00:43:45,920 --> 00:43:49,639
female group, and it's because they're a female group that

820
00:43:49,760 --> 00:43:55,000
this song moves from being less predatory because it's talking

821
00:43:55,039 --> 00:43:57,719
about how you keep saying these things like you don't

822
00:43:57,719 --> 00:44:02,079
want me, but I don't believe you a liar because

823
00:44:02,079 --> 00:44:03,599
when we kiss.

824
00:44:03,559 --> 00:44:06,440
Speaker 3: Oh you got it yet?

825
00:44:06,559 --> 00:44:08,119
Speaker 1: No bye.

826
00:44:10,199 --> 00:44:10,440
Speaker 4: Oh.

827
00:44:10,719 --> 00:44:14,239
Speaker 3: We talked about this the other day. You dropped this nugget.

828
00:44:14,280 --> 00:44:17,480
This is the pointer Sisters Fire, We talked about this

829
00:44:17,519 --> 00:44:19,079
on our Beverly Hills Cops soundtrack.

830
00:44:19,159 --> 00:44:21,440
Speaker 1: Yes we did now this. They obviously had a lot

831
00:44:21,440 --> 00:44:24,440
of success with a couple of the songs on Beverly

832
00:44:24,480 --> 00:44:26,760
Hills cop soundtrack By.

833
00:44:33,519 --> 00:44:41,920
Speaker 9: Day that night They're taking me home. You say you

834
00:44:42,199 --> 00:44:47,119
want to stay, I say I wanna be alone.

835
00:44:48,639 --> 00:44:53,920
Speaker 1: But this is their most successful song, went to number two.

836
00:44:54,280 --> 00:44:56,360
Speaker 3: Number two. This is a great song. I love it.

837
00:44:56,480 --> 00:44:57,760
Speaker 1: Okay, what's your other honor.

838
00:44:57,920 --> 00:45:01,679
Speaker 3: Other honorable mention. I've been hanging on to this one. Okay, yep.

839
00:45:02,039 --> 00:45:05,400
So the song was released July of nineteen seventy nine,

840
00:45:05,519 --> 00:45:09,119
reached number one October of nineteen seventy nine. Okay, this

841
00:45:09,360 --> 00:45:13,239
was actually kind of a landmark release in the disco era.

842
00:45:14,039 --> 00:45:15,559
I'm not ready to give it up just yet.

843
00:45:15,880 --> 00:45:16,280
Speaker 1: Here you go.

844
00:45:16,519 --> 00:45:20,039
Speaker 3: The birth of this song comes from when the singer

845
00:45:20,039 --> 00:45:22,360
of this song was acting in a movie in nineteen

846
00:45:22,400 --> 00:45:26,280
seventy eight. He was already the singer of a famous

847
00:45:26,280 --> 00:45:29,400
band and was interested in maybe going solo. So he

848
00:45:29,519 --> 00:45:34,400
approaches the film's musical director and asks him, thinking about

849
00:45:34,480 --> 00:45:37,159
quitting this band, thinking about going solo, do you know

850
00:45:37,199 --> 00:45:40,119
any producers who might be interested in producing my record?

851
00:45:40,199 --> 00:45:44,280
And this guy says, how about me and changes pop

852
00:45:44,320 --> 00:45:45,719
culture history.

853
00:45:46,039 --> 00:45:47,159
Speaker 1: Okay, I got an idea.

854
00:45:47,599 --> 00:45:52,079
Speaker 3: The lyrics of this song, although unconfirmed, I believe is

855
00:45:52,119 --> 00:45:54,440
inspired by the movie Star Wars.

856
00:45:54,880 --> 00:45:55,280
Speaker 1: Oh.

857
00:45:55,880 --> 00:45:58,280
Speaker 3: Okay, and I'm going to read the lyrics to you

858
00:45:58,280 --> 00:46:00,199
because you've heard him a million times but maybe haven't

859
00:46:00,239 --> 00:46:03,679
really heard them. Okay, Hey, yeah, Thunk says, keep on

860
00:46:04,079 --> 00:46:06,719
with the Force, don't stop till you get enough.

861
00:46:14,800 --> 00:46:17,880
Speaker 1: There's the lyric. That's the don't stop telling you good enough?

862
00:46:18,000 --> 00:46:19,239
Is Michael Jackson.

863
00:46:19,320 --> 00:46:21,480
Speaker 3: That's it. That's what I thought it was with the

864
00:46:21,519 --> 00:46:23,000
Force with the Force?

865
00:46:23,519 --> 00:46:27,079
Speaker 1: Yeah, interesting, how about that? Yeah? I mean, well that

866
00:46:27,599 --> 00:46:38,960
it's the right time, the right time to be doing

867
00:46:38,960 --> 00:46:41,039
that kind of thing. So the movie had to be

868
00:46:41,079 --> 00:46:44,320
The Wiz. The Wiz and Quincy Jones, I'm guessing was

869
00:46:44,400 --> 00:46:45,760
the music record That's a Whiz.

870
00:46:46,239 --> 00:46:48,679
Speaker 3: That is how Quincy Jones and Michael Jackson got together.

871
00:46:48,920 --> 00:46:50,480
Speaker 1: Wow, that's a great one.

872
00:46:50,920 --> 00:46:54,400
Speaker 3: By the way, this is the first song to feature

873
00:46:54,440 --> 00:46:57,599
Michael with all the squeals and the screams and the

874
00:46:58,119 --> 00:47:01,760
and all that goes to use that quite a little

875
00:47:01,800 --> 00:47:03,440
bit throughout the eighties.

876
00:47:03,840 --> 00:47:08,000
Speaker 1: He so was. I was hanging out with friends, the

877
00:47:08,039 --> 00:47:10,880
people I've known for a few years now talking to

878
00:47:10,920 --> 00:47:13,400
this girl. You remember Chris Hancock that did the intro

879
00:47:13,480 --> 00:47:16,679
for us for the Brian Adams, Yeah, I did. Okaynans

880
00:47:17,039 --> 00:47:22,639
Canadian Chris married a Hispanic girl from la Her name's Victoria,

881
00:47:22,719 --> 00:47:27,000
but she goes by Dulce and her dad was like

882
00:47:27,159 --> 00:47:30,480
ran a market there. Like he was a guy, an

883
00:47:30,519 --> 00:47:33,239
immigrant who had come over and he pulled himself up

884
00:47:33,239 --> 00:47:35,960
by his bootstraps and all this other stuff. And she's

885
00:47:36,000 --> 00:47:41,360
mentioned that she like new Dimebag Daryl and guy from Panthera,

886
00:47:41,400 --> 00:47:44,320
the guy from pant Area, and she's mentioned a couple

887
00:47:44,360 --> 00:47:46,800
other people, and then just off handedly the other night,

888
00:47:46,880 --> 00:47:50,840
she's like, oh, I remember, you know, like I had

889
00:47:50,880 --> 00:47:54,320
been in this video for the Damon Waynes or the

890
00:47:54,360 --> 00:47:56,840
you know, the Keenan ninety free Wayne Show. I'm like,

891
00:47:57,480 --> 00:47:59,920
you're in a Keenan Ivory Waynes. She's like, oh yeah,

892
00:48:00,119 --> 00:48:02,079
just in the audience and a deal she goes but

893
00:48:02,400 --> 00:48:04,800
like it through that, I like I got to meet

894
00:48:04,960 --> 00:48:09,400
this and have dinner with this the record producer. I

895
00:48:09,440 --> 00:48:11,599
can't remember what his name is. He's a black guy

896
00:48:11,599 --> 00:48:17,559
and like Russell Simmons. She's like, no, I think his

897
00:48:17,719 --> 00:48:22,159
daughter is an actress. Are you talking about Quincy Jones.

898
00:48:22,920 --> 00:48:26,320
Speaker 3: She's like, yeah, Quincy. I'm like, you think, what.

899
00:48:26,320 --> 00:48:27,360
Speaker 1: Who his daughter?

900
00:48:27,519 --> 00:48:27,760
Speaker 9: What?

901
00:48:28,280 --> 00:48:28,679
Speaker 7: Thriller?

902
00:48:28,840 --> 00:48:29,039
Speaker 6: What?

903
00:48:29,719 --> 00:48:32,880
Speaker 1: And oh I had no idea he did all these

904
00:48:33,039 --> 00:48:36,239
I'm like, oh my gosh, yeah, she had no idea.

905
00:48:37,239 --> 00:48:38,639
It's great. Wow, it was great.

906
00:48:38,880 --> 00:48:41,519
Speaker 3: It's great because she probably acted like a normal human being.

907
00:48:41,519 --> 00:48:44,559
Where I would be on the floor, I would it.

908
00:48:44,559 --> 00:48:49,199
Speaker 1: Would be a pile of gear I would Okay, so

909
00:48:49,519 --> 00:48:52,719
we're onto my second honorable Yes, all right, I'm not

910
00:48:52,760 --> 00:48:54,800
gonna dwell on this one very long. I will tell

911
00:48:54,800 --> 00:48:58,000
you that this was the seventh top forty hit for

912
00:48:58,079 --> 00:49:01,199
this particular artist. I will tell you that a lyric

913
00:49:01,320 --> 00:49:05,119
in the song is probably referring to the comedian Richard

914
00:49:05,199 --> 00:49:09,559
Lewis Okay because he bought a ticket for the West Coast,

915
00:49:09,880 --> 00:49:12,440
gave him the stand up routine in La Okay. And

916
00:49:12,519 --> 00:49:14,199
if you haven't got it from that, all, I'm going

917
00:49:14,239 --> 00:49:19,039
to say Tom Hanks and drag and Peter's Sclerey, don't

918
00:49:19,039 --> 00:49:19,599
forget Peter.

919
00:49:19,480 --> 00:49:23,440
Speaker 3: Scalarre, no doubt, no doubt, and Buddies. Yes, I didn't

920
00:49:23,480 --> 00:49:25,440
know this was hong was written about Richard Lewis.

921
00:49:25,760 --> 00:49:29,800
Speaker 1: The line in the song closes shop, moved out, bought

922
00:49:29,800 --> 00:49:31,559
a ticket for the West Coast. He gives him The

923
00:49:31,599 --> 00:49:34,559
stand of routine in la is widely underestoed to be

924
00:49:34,599 --> 00:49:35,480
about Richard Davis.

925
00:49:35,639 --> 00:49:39,519
Speaker 3: Yes, so this song is My Life by Billy Joel.

926
00:49:41,039 --> 00:49:48,559
Speaker 8: Got a call from No Manuise to do you say

927
00:49:49,559 --> 00:49:51,800
love the American Way?

928
00:49:52,440 --> 00:49:54,719
Speaker 1: I love it. And if you don't attribute this success

929
00:49:54,840 --> 00:49:57,519
of that show to this song, you need to pay

930
00:49:57,559 --> 00:50:01,840
attention to how long that intro is, because very few

931
00:50:02,039 --> 00:50:05,400
TV sitcom intros back in nineteen eighty were as long

932
00:50:05,440 --> 00:50:07,719
as this one. And it's because they played this song. Now,

933
00:50:07,760 --> 00:50:10,000
they didn't have Billy Joel as the lead singer on

934
00:50:10,039 --> 00:50:12,320
this one. They had somebody else singing the song from

935
00:50:12,400 --> 00:50:16,000
Sounded like Guy. And then I guess when they released

936
00:50:16,000 --> 00:50:19,280
the DVD set of Bosom Buddies in the nineties, they

937
00:50:19,280 --> 00:50:21,480
couldn't use this song because they no longer had the

938
00:50:21,519 --> 00:50:24,000
licensing rights for it. So they've got some other lame

939
00:50:24,039 --> 00:50:27,440
o song playing instead of this song. Why even bother?

940
00:50:27,719 --> 00:50:29,119
Why even bother?

941
00:50:29,360 --> 00:50:31,880
Speaker 3: Right, return to Cinder, and here's a.

942
00:50:31,840 --> 00:50:34,199
Speaker 1: Little bit of tid bit of trivia that you probably

943
00:50:34,280 --> 00:50:37,000
don't know. Those guys singing the high pitch chorus in

944
00:50:37,039 --> 00:50:41,039
the back. That is Peter Seterra and Donic Dakis of Chicago.

945
00:50:41,519 --> 00:50:45,599
Speaker 3: Ah right, that is cool. Love that song. I love it.

946
00:50:45,719 --> 00:50:48,599
That's probably my first or second out.

947
00:50:48,519 --> 00:50:49,159
Speaker 1: Of this list.

948
00:50:49,280 --> 00:50:51,599
Speaker 3: Yeah, I had it circled and it just didn't quite

949
00:50:51,599 --> 00:50:52,039
make the cover.

950
00:50:52,400 --> 00:50:52,800
Speaker 1: I love it.

951
00:50:52,920 --> 00:50:53,360
Speaker 3: Great song.

952
00:50:53,840 --> 00:50:56,760
Speaker 1: So I've got one new discovery that I've got to

953
00:50:56,760 --> 00:50:58,840
throw in here. Okay, all right, you usually got I

954
00:50:58,920 --> 00:51:00,559
usually want to go this. I'm like, oh hey, this

955
00:51:00,599 --> 00:51:02,239
is a good song. Now this one's a little bit

956
00:51:02,239 --> 00:51:06,119
different for me. This song was written by the lead

957
00:51:06,159 --> 00:51:10,519
singer for this band, a producer named Vinnie Pinicche, and

958
00:51:11,360 --> 00:51:14,880
Desmond Child, and as a matter of fact, it is

959
00:51:15,239 --> 00:51:19,840
Desmond Child's first hit. And Desmond Child said, this was

960
00:51:19,920 --> 00:51:22,000
not a time in history that people were bringing in

961
00:51:22,079 --> 00:51:25,440
outside songwriters, like the lead singer would write a song,

962
00:51:25,760 --> 00:51:28,480
the guitarist, the bass player, somebody that would write a song.

963
00:51:28,679 --> 00:51:32,000
They didn't bring somebody from the outside. But because disco

964
00:51:32,119 --> 00:51:36,519
was so popular at this time, this rock band literally said,

965
00:51:37,000 --> 00:51:39,599
let's show everybody how easy it is to write a

966
00:51:39,639 --> 00:51:41,840
disco song. Well, it came back and bit him in

967
00:51:41,880 --> 00:51:44,719
the ass because it's one of their most popular songs.

968
00:51:45,239 --> 00:51:49,159
To this day. Desmond Child refers it to it as

969
00:51:49,239 --> 00:51:54,800
a ginormous hit, million copies sold. The bass player, who

970
00:51:54,840 --> 00:51:59,079
has to sing the high pitched background parts, hates this song.

971
00:51:59,440 --> 00:52:01,920
Hates it with the fashion and this is a band

972
00:52:02,039 --> 00:52:06,039
that I have publicly said I do not like. But

973
00:52:06,320 --> 00:52:08,679
here's how it's a new discovery for me. The New

974
00:52:08,679 --> 00:52:11,480
Fall Guy movie has a cover of this song and

975
00:52:11,519 --> 00:52:14,800
then also like they it's one of those ones where

976
00:52:14,800 --> 00:52:17,320
they take the cover of the song and then the

977
00:52:17,400 --> 00:52:22,159
composer like makes it big and epic sound. Yeah. I've

978
00:52:22,199 --> 00:52:24,920
been listening to it every morning at the gym, every morning.

979
00:52:25,119 --> 00:52:26,280
Speaker 4: This is this has.

980
00:52:26,199 --> 00:52:45,599
Speaker 3: Gotta be I was made for Lemon. I kiss. There's Gene.

981
00:52:46,360 --> 00:52:47,639
Speaker 1: There's Gene singing along.

982
00:52:47,800 --> 00:52:50,320
Speaker 3: I don't think that's Gene. I think that's Paul Man.

983
00:52:50,719 --> 00:52:55,960
Speaker 1: No, it's Gene doing the do doo doos. Okay, Okay, okay,

984
00:52:56,119 --> 00:53:00,159
So Paul Guy, it is worth the watch, Okay. I

985
00:53:00,159 --> 00:53:03,519
mean you love the show and you still haven't seen

986
00:53:03,559 --> 00:53:05,800
it yet, right I have not? Okay, definitely worth a

987
00:53:05,840 --> 00:53:11,119
watch for you. The karaoke scene alone is worth it.

988
00:53:11,480 --> 00:53:13,599
But I just wanted to play for you the kind

989
00:53:13,639 --> 00:53:15,480
of this is like, this kind of epic moment in

990
00:53:15,519 --> 00:53:17,960
the movie. And here's how they redid the song. This

991
00:53:18,039 --> 00:53:21,400
is the cover is by a band called Young Blood,

992
00:53:22,199 --> 00:53:25,800
and then the composer for the movie is dominiclu Lewis.

993
00:53:25,800 --> 00:53:27,079
But this is how they redo it.

994
00:53:27,960 --> 00:53:32,840
Speaker 4: Because a girl, I was made for you, Girl, you

995
00:53:33,280 --> 00:53:34,480
made for me.

996
00:53:37,400 --> 00:53:42,000
Speaker 9: I was made for lo any you baby, you will

997
00:53:42,239 --> 00:53:43,599
made for love and.

998
00:53:45,679 --> 00:53:48,760
Speaker 7: Can't get a love your baby?

999
00:53:49,239 --> 00:53:51,199
Speaker 4: Can you get love?

1000
00:53:51,280 --> 00:53:52,159
Speaker 3: The friend?

1001
00:53:52,239 --> 00:53:54,440
Speaker 1: It does. It's a great scene in the movie.

1002
00:53:55,039 --> 00:53:57,320
Speaker 3: All right, so maybe we've got a chance of making

1003
00:53:57,320 --> 00:53:58,280
you a kiss fan here.

1004
00:53:59,159 --> 00:54:01,639
Speaker 1: I don't know if I'd go that far, but yeah, okay,

1005
00:54:01,639 --> 00:54:03,880
so there you go. That was my sort of new

1006
00:54:03,920 --> 00:54:06,039
discovery for the nineteen seventy nine years.

1007
00:54:06,159 --> 00:54:09,440
Speaker 3: Okay, so just a couple of my first outs, I mean,

1008
00:54:09,639 --> 00:54:11,880
My Life was a first out. Heart of Glass by

1009
00:54:11,880 --> 00:54:14,679
Blondie was a first out. In the City by the

1010
00:54:14,719 --> 00:54:15,719
Eagles is a great song.

1011
00:54:15,760 --> 00:54:18,000
Speaker 1: It almost made my last. There were there were several

1012
00:54:18,039 --> 00:54:20,000
Eagles songs that were babies I had to kill.

1013
00:54:20,119 --> 00:54:22,599
Speaker 3: Yeah, for sure. Let me play this song for you

1014
00:54:22,639 --> 00:54:24,639
and see if you recognize it. This was kind of

1015
00:54:24,679 --> 00:54:27,079
one that I flew under my radar, and then when

1016
00:54:27,079 --> 00:54:29,480
I heard it again, I was like, man.

1017
00:54:30,119 --> 00:54:34,039
Speaker 8: You packed the morning, a hot stir it up and

1018
00:54:34,719 --> 00:54:38,400
a hot struggle for something to say.

1019
00:54:40,039 --> 00:54:40,760
Speaker 3: You love to.

1020
00:54:41,199 --> 00:54:44,000
Speaker 2: Lay without closing the door.

1021
00:54:45,599 --> 00:54:47,679
Speaker 7: I didn't stand in your way.

1022
00:54:49,320 --> 00:54:51,519
Speaker 1: Recognize it? Yeah, yeah, yeah, I just am trying to

1023
00:54:51,559 --> 00:54:53,039
remember what the name of the song is in the

1024
00:54:53,320 --> 00:54:58,800
artist did I miss you more just when I needed

1025
00:54:58,840 --> 00:55:00,519
you most? That's great?

1026
00:55:01,280 --> 00:55:04,119
Speaker 3: Who is that Randy Van Warmer?

1027
00:55:04,760 --> 00:55:07,280
Speaker 1: Yeah, that's I mean, I don't know him from anything else.

1028
00:55:07,400 --> 00:55:09,559
That's a great. That is a great. It's a sweet song,

1029
00:55:09,599 --> 00:55:13,079
your discovery. Yeah, yep, Okay, here we are. We've waited

1030
00:55:13,119 --> 00:55:19,199
all this time. We are to your number one one.

1031
00:55:21,360 --> 00:55:21,719
All right.

1032
00:55:22,599 --> 00:55:25,360
Speaker 3: I'm scared that this is your number one too, because

1033
00:55:25,400 --> 00:55:28,480
I just like, this is such a great song, Like

1034
00:55:28,519 --> 00:55:31,800
it is undeniably great. Okay, don't think it's gonna be okay,

1035
00:55:31,840 --> 00:55:35,159
all right. So this song was released in July of

1036
00:55:35,239 --> 00:55:39,280
nineteen seventy nine, peaked at number forty seven, didn't even

1037
00:55:39,280 --> 00:55:44,719
make the top forty, but is rock iconic. Here's the

1038
00:55:44,800 --> 00:55:47,840
quote by the guy who wrote the song. Okay, I

1039
00:55:47,880 --> 00:55:50,480
love this quote. He said, you know, during the time

1040
00:55:50,480 --> 00:55:52,639
of writing these songs, he said, we went through hundreds

1041
00:55:52,679 --> 00:55:55,199
of riffs every day, and we would write them down,

1042
00:55:55,199 --> 00:55:58,639
we work on them, but this one we thought it's

1043
00:55:58,760 --> 00:56:02,719
really good. It stuck out like a dog's balls.

1044
00:56:05,440 --> 00:56:07,719
Speaker 1: We definitely do not have this day number one.

1045
00:56:07,800 --> 00:56:12,440
Speaker 3: So okay, all right, So this is the first song

1046
00:56:12,519 --> 00:56:15,960
by this band to chart in America. It was originally

1047
00:56:16,280 --> 00:56:20,320
supposed to be produced by the brothers in this band.

1048
00:56:20,440 --> 00:56:23,599
They had an older brother who had a little bit

1049
00:56:23,599 --> 00:56:26,719
of success in the music industry, became a producer produced

1050
00:56:26,719 --> 00:56:29,079
their first few albums. But the record company said, we

1051
00:56:29,119 --> 00:56:31,559
want you guys to go a little bit more mainstream.

1052
00:56:31,639 --> 00:56:33,320
We want you to produce a little bit more radio

1053
00:56:33,320 --> 00:56:36,079
friendly hits. So they brought in another producer and his

1054
00:56:36,199 --> 00:56:38,880
name was Eddie Kramer. They worked it with him a

1055
00:56:38,920 --> 00:56:41,480
little bit and it did not work. So they went

1056
00:56:41,519 --> 00:56:42,840
to the record company and they said, you got to

1057
00:56:42,840 --> 00:56:44,719
get rid of this guy. It's not working. So they

1058
00:56:44,760 --> 00:56:48,639
bring in maybe the greatest producer of all time, mister Lega,

1059
00:56:49,719 --> 00:56:56,800
and his meticulous, hard working style went really well with

1060
00:56:56,880 --> 00:57:00,320
the band, who is blue collar and hardworking and ready

1061
00:57:00,320 --> 00:57:03,719
to hash out every note. So I know what it

1062
00:57:03,800 --> 00:57:06,400
is as a person of faith, I was a little

1063
00:57:06,440 --> 00:57:10,760
bit concerned about the title of this song, but It's

1064
00:57:10,800 --> 00:57:17,800
about a highway in Australia where there are no stop signs,

1065
00:57:18,039 --> 00:57:20,440
no speed limit and nobody slows down.

1066
00:57:25,039 --> 00:57:28,440
Speaker 1: So this song is Highway to Hell by a CDC.

1067
00:57:29,000 --> 00:57:33,480
Speaker 4: You got it.

1068
00:57:48,519 --> 00:57:52,840
Speaker 3: One of the last times we hear Von Scott stuck

1069
00:57:52,840 --> 00:57:54,679
out like a dog's falls.

1070
00:57:57,920 --> 00:58:05,000
Speaker 1: You gotta love those Irish Australian immigrants, man, yep, Bonnie's got.

1071
00:58:05,079 --> 00:58:05,760
Speaker 3: Love this song.

1072
00:58:05,840 --> 00:58:06,039
Speaker 1: Man.

1073
00:58:06,320 --> 00:58:08,800
Speaker 3: It is a instant turn it up to eleven, put

1074
00:58:08,840 --> 00:58:11,519
another plate on as we're pump and iron. Great song.

1075
00:58:11,599 --> 00:58:15,079
Speaker 1: Well, this is fantastic because I can't think that my

1076
00:58:15,239 --> 00:58:18,760
song could be any different than your song. But there

1077
00:58:19,039 --> 00:58:21,920
is a connection between the two.

1078
00:58:22,119 --> 00:58:24,159
Speaker 3: Okay, all right, all right, And I was wrong.

1079
00:58:24,239 --> 00:58:26,519
Speaker 1: I was wrong. I didn't think the song was top forty.

1080
00:58:26,519 --> 00:58:29,559
He actually at number three. It actually hit number three,

1081
00:58:29,599 --> 00:58:32,079
so it's actually a pretty big song. Okay. But the

1082
00:58:32,679 --> 00:58:36,800
inspiration for this song starts back in nineteen twenty four,

1083
00:58:36,960 --> 00:58:41,960
where there's a contest and the underdog beats the older

1084
00:58:42,000 --> 00:58:46,360
statesman of this competition in a huge surprise, and it's

1085
00:58:46,400 --> 00:58:50,000
one where like it's nineteen twenty four, so it's basically

1086
00:58:50,079 --> 00:58:53,639
whoever gets the most claps wins. Well when this younger

1087
00:58:53,679 --> 00:58:57,719
guy called low Stokes finishes his performance. He thinks he's

1088
00:58:57,840 --> 00:59:02,239
lost because nobody clapped. But what has happened is they're

1089
00:59:02,280 --> 00:59:07,039
all struck dumb by how incredible his performance is. And

1090
00:59:07,119 --> 00:59:10,159
the guy he beats is a guy named John Carson.

1091
00:59:10,360 --> 00:59:15,079
And so there's a poet named Stephen Vincent Binney that

1092
00:59:15,519 --> 00:59:19,199
reads a news article about this competition, and so he

1093
00:59:19,280 --> 00:59:23,119
writes a rather long poem. He's a Pulitzer Prize winning poet.

1094
00:59:23,159 --> 00:59:27,320
He writes a long poem called the Mountain Whipper Will.

1095
00:59:27,800 --> 00:59:30,360
Speaker 3: I'm not even I don't even have it encircled yet.

1096
00:59:30,519 --> 00:59:35,119
Speaker 1: No. So this poem is then read by the lead

1097
00:59:35,159 --> 00:59:37,199
singer of this band when he was in high school.

1098
00:59:37,360 --> 00:59:41,000
Now he goes on to have a musical career. He's

1099
00:59:41,039 --> 00:59:43,400
the lead singer. He also plays an instrument for the band,

1100
00:59:43,599 --> 00:59:46,800
and the band is named after him. It's his band,

1101
00:59:46,880 --> 00:59:50,079
that's what it's called, right, yeah. And so they are

1102
00:59:50,119 --> 00:59:54,519
recording their album called Million Mile Reflections. They have all

1103
00:59:54,519 --> 00:59:55,880
the songs that they're going to do, and all of

1104
00:59:55,960 --> 00:59:58,519
this sudden they go, wait, we don't have a song

1105
00:59:58,559 --> 01:00:00,760
with your instrument in it. Okay, got it yet? Have you?

1106
01:00:01,079 --> 01:00:02,159
Speaker 3: I'm not even close?

1107
01:00:02,440 --> 01:00:05,679
Speaker 1: Okay, This song was in Urban Cowboy, played at Mickey

1108
01:00:05,679 --> 01:00:08,159
Gilly's restaurant or bar or whatever. This song I Told

1109
01:00:08,199 --> 01:00:11,320
You would Come Back Up Again was in The Muppet Show,

1110
01:00:11,719 --> 01:00:15,760
played out by Love a Clue and his jug Huggers.

1111
01:00:16,880 --> 01:00:18,480
Speaker 3: Love It Glue and his jug Huggers.

1112
01:00:18,679 --> 01:00:21,320
Speaker 1: They had to change a lyric to the song because

1113
01:00:21,320 --> 01:00:24,079
it was the Muppet Show. Yeah, they changed son of

1114
01:00:24,119 --> 01:00:27,119
a bitched, son of a Gun, And since that time,

1115
01:00:27,400 --> 01:00:29,599
the lead singer of this band also changes that. I

1116
01:00:29,639 --> 01:00:32,559
actually saw him perform this many years ago. He was

1117
01:00:32,679 --> 01:00:35,920
at the Billy Graham Revival and he played this song

1118
01:00:36,199 --> 01:00:38,079
because it's his most popular song.

1119
01:00:38,239 --> 01:00:38,960
Speaker 3: Oh yeah.

1120
01:00:39,000 --> 01:00:41,119
Speaker 1: And so to give you a little bit more information

1121
01:00:41,199 --> 01:00:44,599
that I think will just probably give it away. That

1122
01:00:44,800 --> 01:00:50,760
contest back in nineteen twenty four was the Atlanta Fiddler's Convention.

1123
01:00:51,280 --> 01:00:56,159
Speaker 3: I got it you ahead, yil Son. This is double

1124
01:00:56,159 --> 01:00:59,960
Windown Georgia.

1125
01:01:01,440 --> 01:01:07,800
Speaker 1: The Devil went down to Georgia. He was looking for

1126
01:01:07,880 --> 01:01:08,840
a soula steel.

1127
01:01:08,960 --> 01:01:10,760
Speaker 3: He was in a band because he was way behind,

1128
01:01:10,800 --> 01:01:12,760
and he was willing to make a deal when he

1129
01:01:12,800 --> 01:01:15,480
came up. And you're right there, totally connected.

1130
01:01:17,599 --> 01:01:18,880
Speaker 1: There you go, that's funny.

1131
01:01:18,960 --> 01:01:20,400
Speaker 3: This is Charlie Daniels Band.

1132
01:01:20,199 --> 01:01:23,440
Speaker 1: The Charlie Daniels Band. Yes, sir, oh, I love it.

1133
01:01:23,599 --> 01:01:26,519
Another one of those songs that just almost wasn't there.

1134
01:01:26,599 --> 01:01:28,440
It was they finished the album, they went, wait, we

1135
01:01:28,480 --> 01:01:30,440
don't have a fiddle song, and so they went away

1136
01:01:30,480 --> 01:01:33,320
for two days, came back. He had thought about this

1137
01:01:33,400 --> 01:01:36,119
poem that he read, which, by the way, lying from

1138
01:01:36,119 --> 01:01:41,559
the poem, listen to my fiddle, Kingdom, come, Kingdom, Come Johnny.

1139
01:01:41,199 --> 01:01:44,079
Speaker 4: Here, rising up your bowel and play your fiddle hard.

1140
01:01:44,079 --> 01:01:48,039
Speaker 1: Because Hailsbrokeclus in Georgia. The devil deals and hard. And

1141
01:01:48,119 --> 01:01:50,639
if you and you get the shining fiddle nat of

1142
01:01:50,840 --> 01:01:57,639
Gold and you lose, the devil gets your soul. It's

1143
01:01:57,880 --> 01:01:58,679
a great one.

1144
01:01:59,159 --> 01:01:59,679
Speaker 4: Wow.

1145
01:02:00,239 --> 01:02:02,000
Speaker 1: They put it on the album and it is by

1146
01:02:02,079 --> 01:02:04,480
far they are known for that song.

1147
01:02:04,920 --> 01:02:07,239
Speaker 3: If you ask me, name a Charlie Daniels song that's

1148
01:02:07,480 --> 01:02:08,400
yellow one down in Georgia.

1149
01:02:08,480 --> 01:02:10,559
Speaker 1: Yeah, this is just one of those songs that is.

1150
01:02:10,639 --> 01:02:13,880
I mean, I've been playing this song with my family

1151
01:02:13,920 --> 01:02:17,280
in the car on long ride vacations for the last

1152
01:02:17,639 --> 01:02:18,599
twenty two years.

1153
01:02:18,840 --> 01:02:19,840
Speaker 4: Yeah, I love it.

1154
01:02:20,000 --> 01:02:23,360
Speaker 3: Great, great one man has a great one, epic epic

1155
01:02:23,440 --> 01:02:24,039
song truly.

1156
01:02:24,079 --> 01:02:24,920
Speaker 4: All right, Well that's the.

1157
01:02:24,960 --> 01:02:25,800
Speaker 3: End of our episode.

1158
01:02:25,840 --> 01:02:26,880
Speaker 4: What what do you think?

1159
01:02:27,039 --> 01:02:28,800
Speaker 3: How do we do? Which ones do we hit on?

1160
01:02:28,840 --> 01:02:30,920
Which ones did we miss on? We'd love to hear

1161
01:02:30,960 --> 01:02:32,800
from you. I hit us up on Facebook, hit us

1162
01:02:32,840 --> 01:02:35,920
up on Twitter, shoot us an email at Trileypodcast at

1163
01:02:35,920 --> 01:02:38,079
gmail dot com. All right, guys, join us here next

1164
01:02:38,079 --> 01:02:41,320
week we're gonna have another great episode. We'll see back here.

1165
01:02:41,559 --> 01:02:44,400
Speaker 9: I was tired of my lad.

1166
01:02:44,719 --> 01:02:49,719
Speaker 3: We've been together too long, not a going out recods.

1167
01:02:50,719 --> 01:02:52,960
Speaker 1: That's the problem is I led you in. I tricked

1168
01:02:52,960 --> 01:02:56,639
to you at the beginning. I had Bruce Springsteen, but

1169
01:02:56,679 --> 01:02:59,199
it was because I thought that Bruce was Bruce. That's

1170
01:02:59,199 --> 01:03:01,159
what happened. Oh all right, don't.

1171
01:03:01,960 --> 01:03:04,119
Speaker 3: I couldnot let go of that in that old time.

1172
01:03:05,559 --> 01:03:06,559
Speaker 1: What was this I