Speaker 1: What's up everyone?
Speaker 2: This is Dirk Smith, longtime fan of one of the
more radical podcasts out there. It's Surely you Can't Be Serious?
Speaker 3: Hello everybody, Welcome back to the Shureley You Can't Be
Serious podcast. Today we are going through our top five
of nineteen seventy nine, plus two honorable mentions. We've been
working on this all day. How do you feel about it?
Speaker 1: Well, sometimes you get in those positions where you're like, hey,
we're going to record an episode today and they were like, oh, wait,
no we're not. And so it's scramble as pivot right, alter,
fade back, shoot, And I'm hoping that we score with
this one because we literally put this together in maybe
the last four or five hours.
Speaker 3: Yeah, we did nineteen seventy nine. How old are you
in nineteen seventy nine?
Speaker 1: I turned four in nineteen seven in October of seventy nine.
Speaker 3: Okay, so I turned six in nineteen seventy nine. I
do remember some of these songs playing on the radio
while I'm riding around with my parents or my uncle Mike, grandparents,
that type of thing.
Speaker 1: Yep.
Speaker 3: So I'm excited to jump into this because I have
great nostalgic memories of a lot of these songs, and
they're awesome songs. So you've already said you've got a
whole list of babies over there.
Speaker 1: I got some babies that I couldn't figure out how
to kill, and so I'm honestly hoping you have them
so that I can just mark them off my list
and hopefully talk about other songs, all the songs that
I love from nineteen seventy nine, which is again an
amazing year. If you haven't heard our nineteen seventy eight
Top five, go back and check that one out. That
is one of my favorite episodes of all time. I
was blown away by how many great songs were in
nineteen seventy eight, But again I was having to kill
babies in that situation. I mean, I had fifty songs
that I was choosing from, and so I killed some babies,
and some of the time that I did it, I
was like, wait a minute, this came out in seventy eight,
but it was kind of bigger in seventy nine, So
I'm just gonna push it off to seventy nine and
now over here still with a baby to kill. Okay, Jason,
Before we get rolling for those listeners that we have
that this is their first episode to hear our top
five list. Here are a couple of the things that
you need to know. Number One, if we've ever covered
the album before in one of our prior episodes, we're
not going to bring up a song from that album.
Speaker 3: Right.
Speaker 1: Also, if we plan to cover the album within the
next year, we're not going to be pulling songs from
that album either. So Pink Floyd the Wall is off
the table, super Tramp Breakfast in America is off the table,
and those are two huge songs.
Speaker 3: Well, we did the Patreon episode on September by Earth
Wind and Fire.
Speaker 1: That's right, another huge song from nineteen seventy nine.
Speaker 3: It absolutely would have made my list, but it is
not eligible because we have already covered it.
Speaker 1: Yep, guys, if you haven't tuned into our Patreon page,
please go check it out. You can sign up and
look at all of the songs that we've covered for
absolutely free, and then if you decide, hey, I do
want to hear that episode, you can join our Patreon
for as little as five bucks a month. Just go
to patreon dot com, Backslash Surely Podcast and you can
take a look at our catalog of incredibly fun Patreon
episodes where we usually do one hit Wonders or other
kind of uniquer novel song.
Speaker 3: They're fun, yeah, fun, Great, we'll see you over there.
Speaker 4: All right.
Speaker 3: So here's a couple of things from nineteen seventy nine,
just to get our footing. In nineteen seventy nine, Okay,
you have ESPN, the Happy Meal, and the Susan B.
Anthony Dollar all come out. In nineteen seventy nine, you
have the Iran hostage crisis, you have the Three Mile
Island incident, and then the Steelers beat my beloved Cowboys
in the Super Bowl thirty five thirty one.
Speaker 1: Yeah, and I love it. As we're sitting here and
I'm trying to cram for this episode, Jason goes, did
you know in nineteen seventy nine the first robot murder occurred?
I was like, robot murder. He's like, yes, a robot
killed a human being for the first time in nineteen
seventy nine. I was like, what do you have more?
And he said nope. And I'm like, dang, I'll have
to research that last.
Speaker 3: Oh, how crazy is that?
Speaker 1: I gotta find that story out.
Speaker 3: Wow, I thought that was against the robot code.
Speaker 1: I'm just wondering if it was a place called Westworld.
Speaker 4: I know.
Speaker 1: Right, Okay, Okay, enough about seventy nine. Let's jump into
the music. Here we go, starting off number five, Jason
on go first.
Speaker 3: Five all right, ded My first song was released in
September of nineteen seventy nine and hits number one on
Casey's Top forty December eighth, nineteen seventy nine. Okay, okay,
very end of nineteen seventy nine. It's the only number
one hit in the US for this band, although they
did have another one reached number three, which you're very
familiar with, all right, And it's the only song to
chart in the UK. This song wasn't even supposed to
be on the album. I love when these things pop up, right, yeah,
all right. So the lead singer of this band wants
to give a gift to his wife, okay, and so
he writes a song for her. It's one of those
deals where it's kind of cheesy, kind of corny. Plays
it for the band and they're like, no, we like it.
It needs to go on the album.
Speaker 1: Well, it's just a little too early for Metallica, So
it's not nothing else matters.
Speaker 3: That's right, That's right.
Speaker 1: Okay.
Speaker 3: So here's the interesting thing about this song. Yeah, it
is written for this guy's now wife. But you know
how a lot of times when you write a song
for your girlfriend, oh Sherry for instance, right, and then
a few years down the road, you're like, I freaking
hate that woman, you know. Right, Well, this guy was
smart enough not to use her actual name. Okay, yeah,
all right, you have any guesses so far?
Speaker 1: Well, I was thinking about Journey even before you said,
Steve Perry, is it a Journey song?
Speaker 3: This is not a Journey song.
Speaker 1: Okay, keep going. Okay.
Speaker 3: So here's the deal. Even though he did the smart
thing and not use her actual name in this song
or for the title of this song, it would have
mattered because they are high school sweethearts. They've been dating
since nineteen sixty four, they got married in nineteen seventy
and are still together today.
Speaker 1: Wow. Okay, right, yeah, okay, I'm so intrigued. How many
more so?
Speaker 3: The lead singer of this band left in nineteen eighty
four after perhaps their second biggest song of all time. Okay, okay,
he did have one big hit in nineteen eighty four,
maybe on the fringe of what you might know. The
song is called Desert Moon.
Speaker 1: Ringing the Bell for Me so far?
Speaker 3: All right, Okay, here's my last best hint. Okay, the
name of this band is named after a river in Hades,
so that's Styx, and the song has to be Lady,
not Lady Dang. Okay you're burning hot though, Okay, you're scorching.
Speaker 1: Yeah. I was like, I was like, man, I thought
it was little river band that had Lady in nineteen
seventy nine. Yeah, so Styx's Lady I think actually came
out of like seventy four. Maybe. Okay, so it's sticks,
but I don't know what the song is.
Speaker 3: It is Styx, and this song is called Babes Sing.
Speaker 4: You know, it's like it you know it?
Speaker 1: Oh, great choice, know it's you babe. Man, I don't
even know. That didn't even appear on my radar. I
don't even know how I missed it. I guess said
December seventy nine. Maybe it was just I'm looking too
early in the year or something. But wow, fantastic song,
great one, great one, Thank you.
Speaker 3: It's a makeout hit from nineteen seventy nine when we
were running aund around to where we didn't care about
making out.
Speaker 1: Uh huh.
Speaker 3: I remember rolling around it with my uncle listening to
this song. He liked this song a lot.
Speaker 1: Yeah, that's awesome.
Speaker 3: All right, to your number five?
Speaker 1: All right, okay, my number five. The music was written
by the same guy who wrote the music for The
Boys of Summer and Heart of the Matter.
Speaker 3: So those are both Don henleyheads yep, okay, okay.
Speaker 1: He wrote it at his house using a four track recorder,
and he was the guitar player for this band. His
name's Mike Campbell. So Mike Campbell writes the song, the
music for this song on his four track. He takes
it in and the lead singer is like, got it.
He is in a mood because of what's been going
on with him and his record company and their record company.
What happened was that same year that they're trying to
put together this album, ABC Records, who was their record label,
tried to sell the band's contract to MCA without asking
the band about it, okay, and so he was just
kind of furious about this, you know, the treatment of
the record company. And so the anger and the angst
behind this song come from that experience. With the record company.
So he listens to this music that Mike Campbell has written,
he writes the lyrics like right over what he's written like,
he doesn't change the arrangement, doesn't know, doesn't add a verse,
or of course he writes it right over. But the
problem was that when they got in the studio and
they tried to record it as a band, they couldn't
get it right. And they've tried it like one hundred
times and couldn't get it right, to the point that
Mike Campbell walked out of the studio and left for
two days, just didn't talk to anybody for two days,
just left, came back.
Speaker 3: Have we talked about this song before?
Speaker 1: No, okay, we've talked about this band before. Actually we
talked about this band in our last top five nineteen
eighty nine. Okay, that's a little bit of a hint
for you, and keep going. So he came back, they regrouped,
and they nailed it. The name of the album is
called Damn the Torpedoes. That album reached number two, was
at number two for seven weeks, held off every single
week of that seven weeks by Pink Floyd's The Wall.
When they recorded this song. A receptionist in the recording
studio came in heard it and said, that's a hit.
That's a hit. The band performed it for the first
time for their first performance on Saturday Night Live in
nineteen seventy nine. Then when they did Live AID a
decade later, they closed out their set with this song
and they were supposed to appear on the MERV Griffin
Show in person, and they didn't want to appear in person,
so they said, can we just like make a video?
And this was nineteen seventy nine, so they thought this
will be one time that this video shows. Well. Then
of course two years later MTV happens and MTV is
looking for videos by American bands, and so this one,
even though it's a couple of years later, gets some
heavy rotation. So this song, because of the year and
because of what was going on in Iran, has some
import You got it yet? Okay? So Mike Campbell is
the guitarist for a group called the Heartbreakers.
Speaker 3: This refugee you got it.
Speaker 5: Somehow?
Speaker 3: Some classic rock staple.
Speaker 1: Man Man, this one. I couldn't get enough of this
when I was a little kid. I just I wanted
this over and over. You don't have to live like
a refugee as such a catchy hook?
Speaker 4: It is?
Speaker 1: It just you'll sing it all day long.
Speaker 3: Gosh, we've got to cover full Moon fever.
Speaker 1: Oh man, oh heck yeah.
Speaker 3: Tom Patty, Okay, gone too soon? Love it? Great call,
great call?
Speaker 1: Okay, thanks?
Speaker 3: Number four, number four.
Speaker 4: Four.
Speaker 3: All right, I think I'm gonna surprise you with this one.
This song, although released in November of nineteen seventy eight,
it peaks out in March of seventy nine. So I'm
going best fit in nineteen seventy nine. Okay, okay, it
hits number sixteen, although I have a really hard time
believing that there are fifteen better songs than this.
Speaker 1: Did you look up there?
Speaker 4: I did not?
Speaker 3: I did not. Okay, all right, so listen to this.
This song was written by Dan Schlitz.
Speaker 1: I've got it you keep going though, because I got it,
you got it, I got it. Here is definitely on
my radar.
Speaker 3: Keep on going, all right?
Speaker 6: All right?
Speaker 3: So this song was written by Dan Schlitz in nineteen
seventy six. He shopped it around for a couple of
years in Nashville before it being recorded by Bobby Bain
at the urging of Shell Silverstein, which we talked about.
I light in the attic, the giving tree where the
sidewalk ends all of.
Speaker 1: Those Playboy magazine.
Speaker 3: Right, yes, Okay, well it didn't do anything, so Johnny
Cash takes a hack at it. It's on Gone Girl, right,
nothing major.
Speaker 1: I just got to say, because I know what this is.
When you said Don Slitz, I was like, I know this.
He's working as a computer operator at Vanderbilt University, like
at the graveyard shift. He writes this song. Yeah, and
he goes and meets with his mentor, guy named Bobdill,
who was a songwriter. Yep, and he writes it on
the walk home, except for the last verse.
Speaker 3: The last verse comes to him. He says, quote, something
more than me wrote that song. I'm convinced of that.
I really have no idea where that song came from.
Months later, it came to me that it was inspired
by and possibly a gift from my father. His dad
died in nineteen seventy six. Got it from heaven above.
Did you know that this song inspired the name of
a professional football team? I did, not a USFL team.
If you'll remember, in nineteen eighty three, the USFL Wow.
Speaker 1: You know, the people who are listening right now both
know that we know that we both know it, But
I don't think that they know what it is yet.
Speaker 6: Right?
Speaker 3: How about this hint? Yes, this was played on The
Muppet Show despite having references to cigarettes and whiskey.
Speaker 1: Wow, this won't be the first time in this episode
that the Muppet Show comes out all right, very good?
Speaker 3: Okay, So this hit number one on the country charts
and inspired a movie. And if I say the words, you.
Speaker 1: Got to know one to hold them and no one
to fold them.
Speaker 3: This is The Gambler by Kenny Rogers.
Speaker 5: Please right, you got to know lending to hold them, no,
when to fold, no, when the love, when the run.
Speaker 3: You never count your money.
Speaker 1: When you're sitting at the table.
Speaker 4: There'll be time and of count.
Speaker 1: When thats done. I mean, this song is so freaking iconic,
so timeless. There is no generation I think since it's
been released that doesn't love this song. It was the
beginning of the country crossover.
Speaker 3: That's right, it really was.
Speaker 1: I mean at that time there were not songs that
were crossing over into the mainstream charts from the country,
but this one was. And yeah, inspired the nineteen eighty movie,
which was the highest rated TV film for that year
and then spawned four more sequels made for TV sequels after.
Speaker 3: That probably gave us six Pack starring Kenny Rogers, Diane Lane,
and Anthony Michael Hall. In nineteen eighty.
Speaker 1: Three, Fantastic won the Grammy four Best Male Vocal and
Best Country Song, which means it launched Kenny Rogers kind
of the enduring career. At that point, he went to
the stratosphere.
Speaker 5: When you send the table, There'll be time enough come when.
Speaker 1: You got no, and it launched Don Schiltz's career as well.
He could quit his job as the graveyard shift computer
operator in Vanderbilt and becoming full time songwriter. He would
go on to who write several songs, including on the
Other Hand by Randy Travis.
Speaker 3: Huh.
Speaker 1: On the other hand, Yeah, there's a Golden Band. Yep.
I'm not a country guy, but there are some songs
that just they meet you. This one, however, I bet
you don't know this one. This song entered the UK
charts in two thousand and seven. The Gambler Yes Here's Why.
There was a guy named Matt Stevens who was the
prop forward for the Rugby World Cup and he would
get his acoustic guitar out and play this song in
the dressing room before every game. And so England sort
of adopted it as their unofficial theme song for their
rugby team, and through that it hits the UK charts
in the year two thousand and seven. Nice great song.
Speaker 3: Love it all right, d Let's talk about your number four.
Speaker 1: Okay, my number four was written and sung the time
by a Swamper. Okay, you know who the Swampers are. No, well,
they're mentioned by Leonard Skinnyard in Sweet Home, Alabama.
Speaker 3: Okay, I have heard that reference.
Speaker 1: Yes, so the Swampers are the Southern equivalent of the
Wrecking Crew, if you will. They are the studio musicians
who would play at Muscle Shoals. The Muscle Shoals Rhythm
Section was their official name, but we talked.
Speaker 3: About that on our Wham Yep.
Speaker 1: George Michael went to record Whisper Over and was disappointed,
surprisingly because it was an amazing place. But yeah, check
that one. There is a documentary out there called Muscle
Shoals that is absolutely fantastic. You would be, I mean,
you got You've got so many incredible songs that have
been done with these guys Wreitha, Franklin, many many others.
Leonard Skynyrd obviously. But anyway, George Jackson, one of the
members of the Swampers, and a guy named Thomas Jones
wrote this song and they literally they had nothing to
do one day and they just recorded a demo in
their studio B because they had nothing else to do.
The guy they had singing, George Jackson, was black guy,
and they said, this doesn't have the right feel. This
is more like a rock and roll kind of song,
and his voice just doesn't sound right. So they got
a guest artist to come in and record the vocals
and they're like, wow, this really sounds like another guy
we know. And when they gave it to that guy,
that's when it became a hit. But before that happened,
before they gave it to the singer who made it
a hit, they were recording it and this guy named
Forrest McDonald shows up in the parking lot like he's
in his parents car, and he walks up and he's like, hey,
just you know, interested in the studio. You know, I'm
play guitar a little bit and was wondering, you know,
if I can see what it's like to do or
recording in a studio or whatever. And they're like, well,
we're working on this song. You want to come in,
And so he comes in. He lays down the lead
guitar for the demo and they're like, well it was
great man, thanks a bunch, and he goes gets in
the car with his parents and he leaves like he's
he is a guy from Hollywood, like he was playing
with Van Halen on the Sunset Strip. Was not a
studio musician. But they've got again, got this demo and
they're like, wait.
Speaker 3: Wait, this guy just appears out of the blue and
lays down the lead guitar.
Speaker 1: Yes, that's exactly what happened.
Speaker 3: Like he walked out of the heavens exactly.
Speaker 1: Okay, his parents sat in the car with the air
conditioner on while he walked in and laid down a
lead guitar track on one of the most iconic songs of
all time.
Speaker 3: What okay, So keep going.
Speaker 1: So they have this song, they give it to this
artist and he changes everything except for the course of
the song, like which is the title of the song
as well. He's like that part's great. He changes everything,
but this is the way he puts He's like, I
was feeling really generous that day, so it didn't take
any songwriting credit, despite the fact that it changed all
of the lyrics and he gave them all the songwriting
credit to George Jackson and Thomas Jones. Okay, he has
gone on to say, that was the dumbest thing I
have ever done.
Speaker 3: That's a huge mistake, if it's as big as you're saying.
Speaker 1: Huge mistake. So the singer comes in, he tries to
record it with the muscle shoals rhythm section. It doesn't
sound as good. Okay. He tries to bring in his
own band, it still doesn't sound as good. So finally
they're just like, well, let's just take the voice off
the demo and put this singer's voice on the demo
and use that, and that is the song that we
have today.
Speaker 3: Ooh okay.
Speaker 1: In the song, the singer changed some of the lyrics
because he wanted to express his distaste for disco, which
had been popular but was fading in popularity at that moment.
Right for me, I can kind of remember hearing the
song in my young youth in the seventies, but really
it came back to life in full force in nineteen
eighty three because of a Tom Cruise movie where he
performed the song in his underwear.
Speaker 3: Oh, this is Bob Seger old time rock and roll.
Speaker 5: Just take those old records off show, still listen to
base Today's music got.
Speaker 6: The same sound.
Speaker 3: I mean this to me is nineteen eighty three Tom Cruise,
Risky Business, all that stuff. That's great. Okay, yes, Bob Seger.
Speaker 1: Bob Seger rewrote the lyrics, didn't take any credit, and
so he gets none of the royalty rights for this song.
Has no call on whether the song gets used or not,
although he did say he liked how it was used
in Risky Business. He just thought it was kind of
cool that Tom's standing around his underwear to this.
Speaker 3: Now good job.
Speaker 1: Sadly it's now being used in Catford commercials. But that's
the twenty first century for you. By the way, the
guitarist name was for Forrest McDonald. He did go on
to have a decent career as a guitarist in studio recording.
Speaker 3: So he wasn't an angel.
Speaker 1: Wasn't an angel. He was actually a real person.
Speaker 3: Okay, all right, to my number three number three three, okay,
So this song was released in June of nineteen seventy nine.
It peaks out at number sixteen October of nineteen seventy nine.
This song is about a woman who's cheating on her boyfriend.
The boyfriend happens to be the narrator of this song,
and at the end of the song, she discovers that
her boyfriend is cheating too. And it's not the Pina Colada.
Speaker 4: I can see a.
Speaker 1: Nikolada song, but that's it can't be what it is?
All right, all right, keep going.
Speaker 3: Stay with me on this Okay. The writer of this song,
who we talked about a little bit during our nineteen
eighty four episode, says that this is a true story
that he watched through the window as his girlfriend got
out of a corvette and gave the driver a long,
loving kiss. Oh why the song was almost called I
Freaking Hate Corvette drivers. Okay, I do think if you
play the song Nothing Can Change This Love by Sam Cook,
you will get a hint of this song.
Speaker 1: Well, I'm not familiar with the Sam Cook songs.
Speaker 3: You play this song from Sam Cook and see if
you happen to recognize it.
Speaker 1: Okay, yeah, bog a million, Okay, So I had a
song in my head that I was wondering about, and
that song sounds like it is this journey.
Speaker 3: This is journey.
Speaker 1: Is this loving touch and squeezing.
Speaker 3: It is loving touching squeezing it. Good job you figured
it out.
Speaker 7: Yeah said we try love him, touch him speezevam job.
Speaker 3: Excellent job. So here's the deal. Steve Perry calls this
song love justice because true story discovered his girlfriend cheating
on him. Well, guess what I'm cheating two now the
end of the song. I know I've told you this
story before. I was on a ski trip one time,
back before cell phones when all you can do is
look out the car and play cassettes and count cows
and stuff like that. So me and my college buddies
we counted the nas at the end of this song.
Speaker 1: That's right.
Speaker 3: No, no, there's twenty two nas perverse and it repeats
seven times. That's one fifty four nas. But here's the thing.
It never once occurred to me that maybe the non
nana nas are like a child playground going and manh yeah,
that never occurred to me until I started thinking about
the nos. The nas, The nas love a touch and
squeezing by journey. Okay, all righty to your number three?
Speaker 1: Okay, my number three. This band had had some songs
before this, but this was their first song without any strings.
Speaker 3: Okay.
Speaker 1: They recorded this song without their string section, and they're
like any of these guys, and they fired them. So
by the time this song is recorded and done, there's
only four members left of this band. This is this
band's highest charting song. The singer of this song actually
came up with the rhythm by looping some other sounds together. Okay,
And even though he did that, he still counts in
at the beginning of the song. He still goes one, two, three, four,
even there's no drummer, no to like he's already got
the rhythm, okay, because he just liked how the count
in sounded, even though it's already on like a drum loop. Okay,
all right. So this song has been used as theme
song for Astronauts. In nineteen seventy nine, when the song
came out, the band, as kind of a tongue in
cheek joke, dedicated it to Skylab because Skylab was at
that point falling to Earth.
Speaker 3: Okay, I remember that.
Speaker 1: And so this song has a part in it where
it's got a word. Now. I always thought, listening to
the song that the word was the name Bruce, and
I thought they were singing to Bruce Springsteen, right, Bruce.
And I'm apparently not the only one because there are
so many people that thought that this word was Bruce
that they started singing that word instead of the word
that they use, which is Bruce.
Speaker 3: What and the word groose.
Speaker 1: If you're wondering, you know, since that is the lyric
that is the song, what that word means. It doesn't
mean anything what. It is just a placeholder, scatty lyric
that he threw in there and then, like Maurice White
with body.
Speaker 3: Yeah, yeah, he did not.
Speaker 1: Let the lyric get in the way of the groove,
and he kept the word groose to. This song is
about a girl who thinks she's too good for the
guy she's with. She feels like he is bringing her down.
Speaker 3: This is e l O, don't bring me down.
Speaker 5: Poos.
Speaker 1: So I'm not sure if they shortened their name because
Electric Light Orchestra was very long to say, or because
they fired their string section and they were no longer
an orchestra. Okay, yeah, that's good.
Speaker 3: That's a good clue, Yeah, Ello, yell, I love that song.
Don't Bring Me Down.
Speaker 1: I got I've got two traveling Wilbury so far.
Speaker 3: In this way? Wow, I didn't even think about that.
Speaker 1: And Tom Patty, I don't think I have a number one.
George Harrison my campbell too. My campbell was that's three.
I got three.
Speaker 3: That dang right on to my number two.
Speaker 1: I guess so okay, two alight.
Speaker 3: I'm gonna dance around this one for a little bit
because I don't want you to get it right off
the bat.
Speaker 1: Okay.
Speaker 3: This was released in September of nineteen seventy eight. It
does peak out at number five in January of nineteen
seventy nine. When it peaks out at number five, the
four songs in front of it easily could have been
considered for this list. Number four is you Don't Bring
Me Flowers? Love it Barbistro in Okay. Number three is
My Life by Billy Joel. Almost made my list. Maybe
it'll be on yours. We'll see. Number two is La
Freak by Chic one of your favorites. Love it, and
number one is Too Much Heaven by the Beegis that's huge?
Speaker 1: Yeah, we covered that one.
Speaker 3: Now, then this song was written by a person that
we've already talked about, okay, and was inspired by when
he was in high school. At the time, they didn't
have call waiting, and so he was sitting at a
dinner table with his parents and the phone rings, and
then the operator would interrupt and say these three words.
You have another phone call. And then they got a
third phone call, all for this guy named David, because
it was multiple girls calling the house to speak with
him at the same time.
Speaker 1: So this guy named David. Yes, he also included his
middle name whenever he no. Okay, so it is not
davidly Roth.
Speaker 3: The subject of this is about love, but it really
is about what love.
Speaker 1: Is not, okay.
Speaker 3: So, for example, it's not in the way that you
hold me. It's not in the way that you say
you care.
Speaker 1: You're doing such a good job of not singing the
lyrics that I know, but keep going.
Speaker 3: It's not the way that you treat my friends. It's
not the way you'll stay to the end. It's not
the way you look or the things that you say
that you'll do. Here's your last hint. They knew this
was going to be a hit, and so they talked
to their guitarists. They said, you got to bring it, man,
this is a great song. We need a killer guitar solo.
And when he played the guitar solo, the band was
jumping up and down in the control room because he
freaking slays it.
Speaker 1: Okay, I didn't want to interrupt you. Okay, hold the
line by Toto.
Speaker 4: That's it.
Speaker 3: Bobby Kimball's sweaty, cocaine fueled vocals on this so freaking awesome.
I love this song.
Speaker 1: Yeah, it's fantastic. So so David must be David.
Speaker 3: It was his last name, David Page.
Speaker 1: I was like, that's not Porch, it's Page, gotcha, Okay, yeah,
David Page. Wow. I would not have guessed that David
Page was a big heartbreaker, but you know, I only
saw him in his later years.
Speaker 3: You can sing and play the keys.
Speaker 1: Yeah, that's true. And boy did Steve Luke atter bring
it when he did that guitar iconic song, great one.
Speaker 3: Go back to our total episodes, which aren't we think
are some of our best episodes. Yeah, that's great, great,
all right, you're number two, sir, all right, number two.
When the singer sang this song, she was in a backbrace. Okay.
Speaker 1: She had been an accident and been like rehabbing for
six months before she sang it. Oh, Okay, So before
I get there, I'll tell you about the songwriter. The songwriter,
his name is Dino Ferrabs. Good old Dino, good old
Dino Ferrabs.
Speaker 3: Okay.
Speaker 1: Now, a lot of people put a lot of meaning
behind this song. Different groups have adopted this song because
it is such an anthem of a song.
Speaker 3: Okay.
Speaker 1: But he says, this song came about when I got
fired from writing for Motown Records. Okay. He had been
writing for them as a staff writer for seven years
and they fired him. And so he was sitting on
his bed, didn't know what he was going to do,
didn't know if he was going to make it. He
turned on the TV and he heard his song being
performed by Rare Earth for this movie called Generations. Okay,
he said it was an omen. I knew I was
going to make it. Now he's not Dono nobody. He
wrote for Rare Earth a song that you know called
I Just Want to Celebrate. Yeah, I do know that song.
So the guy with that credit got fired from Motown. Well,
another guy who had worked for Motown named Freddy Parron
had also left them, and these guys got together with
Deno Ferbris. Now Freddy Parrin was also no slouch.
Speaker 3: I recognize his name.
Speaker 1: Wrote ABC and I Want You Back by the Jackson five. Huh.
They got together, they did well. They wrote the Peaches
and Herb song Reunited.
Speaker 3: Reunited and it feels so good.
Speaker 1: That's the one. And then they had this song and
they didn't know who to give it to. They had
tried it a couple of times, couldn't figure out how
to give it to, and eventually they just said, Okay,
the next diva that comes along that we get the
opportunity to record with, we're going to give her this song.
And as it turns out, this singer's production company, her
record company called and said, hey, we're looking for help
on the production of her version of this song called Substitute,
which was a Righteous Brother song that she's now covering. Okay, okay,
and so they said, well, we've got this other song.
She agreed to put their song on as the side
B to this Righteous Brother's Substitute song.
Speaker 3: Okay.
Speaker 1: Now, once they were done recording the two songs, there
wasn't anybody in the studio that thought that the Righteous
Brothers song was better. Right, everybody said that is the
superior song. We should make that one the A side
and substitute the B side. But the record company president
said no, We said, this is a side that's B side,
and that's the way we're releasing it, and that's the
way it got released.
Speaker 3: Interesting. Okay, I love this. But because the world is
not stupid, right, Aya, Jay's.
Speaker 1: Started playing this song at discos. Radio stations started playing
this song as a single, and it got so much
popularity that eventually the record label said, okay, let's do
it again and we'll flip it this time. So eventually
this song was released as the A side. It reached
number one in March of nineteen seventy nine. It won
the Grammy. It is the only song, by the way,
that has won a Grammy for Best Disco Record, because
it was the first time and the last time that
the Grammy's ever had that as a category. Okay, so
this is a full on disco song. V H one
said that this was the number one dance song of
all time.
Speaker 3: Wow.
Speaker 1: So the rest of what the songwriter Diino Feribus said
when he was jumping up and down on the bed
was I'm going to make it. I will be a songwriter.
I will survive.
Speaker 8: Your mind keep thinking I could never live without you, Bama.
Speaker 9: So but then I've spent so many nights thinking how
you're getting wrong?
Speaker 3: And I was wrong?
Speaker 4: Did I learn how to get it?
Speaker 3: This is Gloria gaynor I will survive.
Speaker 1: So not only did Freddy Parrin write this song produce
this song, he also is the guy playing the piano
at that intro.
Speaker 3: Nice this is a karaoke al timer, absolutely.
Speaker 1: Sure, weren't you in.
Speaker 9: One trying to hurt him good bye didn't.
Speaker 3: Play?
Speaker 1: And this one. I remember watching the movie In and
Out Yes, where Kevin Klein is trying to decide whether
he's gay or not, and like, the answer to the
question is if you hear the song and start dancing,
you must be gay. And I have to say, then,
by golly, I'm gay, and so is everyone else in
the world, because if you can hear this song and
not start dancing, then you must be dead.
Speaker 3: Well you're there, ladies and gentlemen. I do agree, though
this is a I mean disco Maybe it's got to
be the Pinnacle Discus song.
Speaker 1: Of all the time, right, Absolutely fantastic, And here's another
tidbit for you. Forty years later, Luria Gaynor would again
win a Grammy or Best Roots Gospel Album in twenty nineteen.
Speaker 3: Good for her.
Speaker 1: She has since become a Christian and attributes as added
lyrics to the song to profess her faith as well.
Speaker 3: Interesting, Yeah, okay, very good, good for her. We're under
our honorable mentions. Already, here we are. And there's a
story I'm dying to tell you. But and I don't
want you to steal it from me, but I'm gonna
I'm gonna duck and dodge one more song and hope
that you don't have it. Okay, all right, all right,
so your first, my ferrible mention, my first honorable mention.
Speaker 1: We'll go back and forth. Okay, all right.
Speaker 3: So this song was written by the singer of this
song and Kenny Loggins. Okay, Kenny Loggins, world famous for
a million soundtrack songs like Footloose and danger Zone. All right,
playing with the boys.
Speaker 1: This is well before all of those, that's right, Okay,
This is back on your mam and don't dance.
Speaker 3: And right after Loggins on Usina, welcome to a corner.
Speaker 1: Yeah, okay, this.
Speaker 3: Is the same time as right before I'm all right
and all this stuff for Caddyshack.
Speaker 1: Yeah, that's right, all right.
Speaker 3: So this song reaches number one in April of nineteen
seventy nine. It's declared the Song of the Year and
Record of the Year in nineteen eighty and is in
the Grammy Hall of Fame. Okay, all right, Yeah, So
here's the interesting thing about this song. I think the
first eight months of nineteen seventy nine, if you just
looked at the number one hits the first eight months,
very few of them are non disco songs, right right.
This is one of those non disco songs.
Speaker 1: Okay.
Speaker 3: Here's the other interesting thing. Kenny Loggins released this song
in nineteen seventy eight, five months before the now more
famous version has been released, and it really didn't do anything.
So basically, the two writers of the song each released
a version, one you know well and one you've probably
never heard. Now listen to this. It was produced by
Ted Templeman. Does that ring a bell to you?
Speaker 1: Sure? Ted Templetman was the producer for Van Halen.
Speaker 3: Okay, So here's the deal. He cut up the masters
because he didn't like the way the drums sounded and
literally took scissors to the master tape, to the horror
of the band, and frankenstein them together to get a
working track. This song haunted him like he just never
felt like it was right okay, And so finally he
just got so frustrated with it. He cut it and
he pasted it, and he worked on it, and he
couldn't really get it and just didn't really like it
and never really satisfied him. This is all templeament, Ted Templeman.
He plays it for the Warner Brothers executives and he
Ted Templeman says, I think we just should just trash it.
It's just not working, And they say, are you freaking crazy?
This song is great?
Speaker 1: So this is a solo artist that sings this song.
Speaker 3: No, it's a it's a band.
Speaker 1: Is it the Doobie Brothers, Yes it is, Okay, keep going.
Speaker 3: Michael McDonald and Kenny Loggins write this song. They based
this song on the four season's songs Sherry and Walk
Like a Man, which we talked about a little bit
in our Billy Joel Innocent Man episode. Yes here's a
funny story for you, Okay, Michael Jackson is on a
phone call with Elizabeth Taylor. It's already funny, and he
knows he's being filmed. Okay, right, he's being videotape for
some documentary or some stupid thing. But he tells Elizabeth
Taylor that he sang backup vocals on this song.
Speaker 1: Michael Jackson sang backup vocals.
Speaker 3: Well, he told Elizabeth Taylor that he did. Turns out
he was joking, but Entertainment Tonight brought that it was
like a lead story and ended up with egg on
their face because he was totally telling a lie and
was a total joke.
Speaker 1: Oh my gosh, this is fantastic.
Speaker 3: Do you have any idea what the song is?
Speaker 1: Is this what a fool believes?
Speaker 6: It is what a fool believes.
Speaker 1: Michael McDonald has such a distinctive voice, and I never
really think of him when I think of the Doobie
Brothers because I think of their other music. Right, but
have you seen the have you seen the s CTV?
Rick moranis pretending to be Michael McDonald bit where like
he's running around the studio.
Speaker 3: It's so funny. He keeps leaving that he runs.
Speaker 1: Back in and so Michael McDonald tells his story. He's like, Okay,
so the first time that I saw that on TV,
I'd been hanging out with one of the Doobie brother
like the lead guitarist for the Doobie Brothers, and he
said he had just bought like the best weed he'd
ever had, and we both smoke this joint. And then
I leave his hotel room and I go to my
hotel room. Pat Simmons, I think is guitarist. I go
to my hotel room. I turn on the TV and
I see me. He was like, am I really watching
this right now? Or is this the drug?
Speaker 3: Wow? Yeah, that keyboard is so hypnotic at the beginning.
It's just a great toe tapper number one hit nineteen
seventy nine. Okay, the honorable mention.
Speaker 1: All right, My honorable mention is where I got thrown
off the track last time with Bruce Springsteen, when I
threw you off the track. Sorry about that, Okay. This
is the song that was written by Bruce Springsteen. He
wrote it for Elvis.
Speaker 3: Is this man for Man?
Speaker 1: No?
Speaker 3: Ok.
Speaker 1: He wrote this song for Elvis, who is his hero.
He sent it to him in nineteen seventy seven. Unfortunately,
also in nineteen seventy seven he died. Yes, so Elvis
obviously did not record the song. It probably would have
been a great song for Elvis to record it, okay,
very much his sound all right. So at the time,
Bruce Springsteen couldn't record it because he's in this big
fight with his record label and he's not recording any
new albums, right, and so he's thinking, Okay, maybe I
can give it to a friend of mine. So he
gives it to his friend named Robert Gordon. Robert Gordon
releases it and it doesn't really do anything, okay, and
then the group that does the song that you and
I know, their producer says, hey, this is a good
song for you guys. Now. The difference is they're a
female group, and it's because they're a female group that
this song moves from being less predatory because it's talking
about how you keep saying these things like you don't
want me, but I don't believe you a liar because
when we kiss.
Speaker 3: Oh you got it yet?
Speaker 1: No bye.
Speaker 4: Oh.
Speaker 3: We talked about this the other day. You dropped this nugget.
This is the pointer Sisters Fire, We talked about this
on our Beverly Hills Cops soundtrack.
Speaker 1: Yes we did now this. They obviously had a lot
of success with a couple of the songs on Beverly
Hills cop soundtrack By.
Speaker 9: Day that night They're taking me home. You say you
want to stay, I say I wanna be alone.
Speaker 1: But this is their most successful song, went to number two.
Speaker 3: Number two. This is a great song. I love it.
Speaker 1: Okay, what's your other honor.
Speaker 3: Other honorable mention. I've been hanging on to this one. Okay, yep.
So the song was released July of nineteen seventy nine,
reached number one October of nineteen seventy nine. Okay, this
was actually kind of a landmark release in the disco era.
I'm not ready to give it up just yet.
Speaker 1: Here you go.
Speaker 3: The birth of this song comes from when the singer
of this song was acting in a movie in nineteen
seventy eight. He was already the singer of a famous
band and was interested in maybe going solo. So he
approaches the film's musical director and asks him, thinking about
quitting this band, thinking about going solo, do you know
any producers who might be interested in producing my record?
And this guy says, how about me and changes pop
culture history.
Speaker 1: Okay, I got an idea.
Speaker 3: The lyrics of this song, although unconfirmed, I believe is
inspired by the movie Star Wars.
Speaker 1: Oh.
Speaker 3: Okay, and I'm going to read the lyrics to you
because you've heard him a million times but maybe haven't
really heard them. Okay, Hey, yeah, Thunk says, keep on
with the Force, don't stop till you get enough.
Speaker 1: There's the lyric. That's the don't stop telling you good enough?
Is Michael Jackson.
Speaker 3: That's it. That's what I thought it was with the
Force with the Force?
Speaker 1: Yeah, interesting, how about that? Yeah? I mean, well that
it's the right time, the right time to be doing
that kind of thing. So the movie had to be
The Wiz. The Wiz and Quincy Jones, I'm guessing was
the music record That's a Whiz.
Speaker 3: That is how Quincy Jones and Michael Jackson got together.
Speaker 1: Wow, that's a great one.
Speaker 3: By the way, this is the first song to feature
Michael with all the squeals and the screams and the
and all that goes to use that quite a little
bit throughout the eighties.
Speaker 1: He so was. I was hanging out with friends, the
people I've known for a few years now talking to
this girl. You remember Chris Hancock that did the intro
for us for the Brian Adams, Yeah, I did. Okaynans
Canadian Chris married a Hispanic girl from la Her name's Victoria,
but she goes by Dulce and her dad was like
ran a market there. Like he was a guy, an
immigrant who had come over and he pulled himself up
by his bootstraps and all this other stuff. And she's
mentioned that she like new Dimebag Daryl and guy from Panthera,
the guy from pant Area, and she's mentioned a couple
other people, and then just off handedly the other night,
she's like, oh, I remember, you know, like I had
been in this video for the Damon Waynes or the
you know, the Keenan ninety free Wayne Show. I'm like,
you're in a Keenan Ivory Waynes. She's like, oh yeah,
just in the audience and a deal she goes but
like it through that, I like I got to meet
this and have dinner with this the record producer. I
can't remember what his name is. He's a black guy
and like Russell Simmons. She's like, no, I think his
daughter is an actress. Are you talking about Quincy Jones.
Speaker 3: She's like, yeah, Quincy. I'm like, you think, what.
Speaker 1: Who his daughter?
Speaker 9: What?
Speaker 7: Thriller?
Speaker 6: What?
Speaker 1: And oh I had no idea he did all these
I'm like, oh my gosh, yeah, she had no idea.
It's great. Wow, it was great.
Speaker 3: It's great because she probably acted like a normal human being.
Where I would be on the floor, I would it.
Speaker 1: Would be a pile of gear I would Okay, so
we're onto my second honorable Yes, all right, I'm not
gonna dwell on this one very long. I will tell
you that this was the seventh top forty hit for
this particular artist. I will tell you that a lyric
in the song is probably referring to the comedian Richard
Lewis Okay because he bought a ticket for the West Coast,
gave him the stand up routine in La Okay. And
if you haven't got it from that, all, I'm going
to say Tom Hanks and drag and Peter's Sclerey, don't
forget Peter.
Speaker 3: Scalarre, no doubt, no doubt, and Buddies. Yes, I didn't
know this was hong was written about Richard Lewis.
Speaker 1: The line in the song closes shop, moved out, bought
a ticket for the West Coast. He gives him The
stand of routine in la is widely underestoed to be
about Richard Davis.
Speaker 3: Yes, so this song is My Life by Billy Joel.
Speaker 8: Got a call from No Manuise to do you say
love the American Way?
Speaker 1: I love it. And if you don't attribute this success
of that show to this song, you need to pay
attention to how long that intro is, because very few
TV sitcom intros back in nineteen eighty were as long
as this one. And it's because they played this song. Now,
they didn't have Billy Joel as the lead singer on
this one. They had somebody else singing the song from
Sounded like Guy. And then I guess when they released
the DVD set of Bosom Buddies in the nineties, they
couldn't use this song because they no longer had the
licensing rights for it. So they've got some other lame
o song playing instead of this song. Why even bother?
Why even bother?
Speaker 3: Right, return to Cinder, and here's a.
Speaker 1: Little bit of tid bit of trivia that you probably
don't know. Those guys singing the high pitch chorus in
the back. That is Peter Seterra and Donic Dakis of Chicago.
Speaker 3: Ah right, that is cool. Love that song. I love it.
That's probably my first or second out.
Speaker 1: Of this list.
Speaker 3: Yeah, I had it circled and it just didn't quite
make the cover.
Speaker 1: I love it.
Speaker 3: Great song.
Speaker 1: So I've got one new discovery that I've got to
throw in here. Okay, all right, you usually got I
usually want to go this. I'm like, oh hey, this
is a good song. Now this one's a little bit
different for me. This song was written by the lead
singer for this band, a producer named Vinnie Pinicche, and
Desmond Child, and as a matter of fact, it is
Desmond Child's first hit. And Desmond Child said, this was
not a time in history that people were bringing in
outside songwriters, like the lead singer would write a song,
the guitarist, the bass player, somebody that would write a song.
They didn't bring somebody from the outside. But because disco
was so popular at this time, this rock band literally said,
let's show everybody how easy it is to write a
disco song. Well, it came back and bit him in
the ass because it's one of their most popular songs.
To this day. Desmond Child refers it to it as
a ginormous hit, million copies sold. The bass player, who
has to sing the high pitched background parts, hates this song.
Hates it with the fashion and this is a band
that I have publicly said I do not like. But
here's how it's a new discovery for me. The New
Fall Guy movie has a cover of this song and
then also like they it's one of those ones where
they take the cover of the song and then the
composer like makes it big and epic sound. Yeah. I've
been listening to it every morning at the gym, every morning.
Speaker 4: This is this has.
Speaker 3: Gotta be I was made for Lemon. I kiss. There's Gene.
Speaker 1: There's Gene singing along.
Speaker 3: I don't think that's Gene. I think that's Paul Man.
Speaker 1: No, it's Gene doing the do doo doos. Okay, Okay, okay,
So Paul Guy, it is worth the watch, Okay. I
mean you love the show and you still haven't seen
it yet, right I have not? Okay, definitely worth a
watch for you. The karaoke scene alone is worth it.
But I just wanted to play for you the kind
of this is like, this kind of epic moment in
the movie. And here's how they redid the song. This
is the cover is by a band called Young Blood,
and then the composer for the movie is dominiclu Lewis.
But this is how they redo it.
Speaker 4: Because a girl, I was made for you, Girl, you
made for me.
Speaker 9: I was made for lo any you baby, you will
made for love and.
Speaker 7: Can't get a love your baby?
Speaker 4: Can you get love?
Speaker 3: The friend?
Speaker 1: It does. It's a great scene in the movie.
Speaker 3: All right, so maybe we've got a chance of making
you a kiss fan here.
Speaker 1: I don't know if I'd go that far, but yeah, okay,
so there you go. That was my sort of new
discovery for the nineteen seventy nine years.
Speaker 3: Okay, so just a couple of my first outs, I mean,
My Life was a first out. Heart of Glass by
Blondie was a first out. In the City by the
Eagles is a great song.
Speaker 1: It almost made my last. There were there were several
Eagles songs that were babies I had to kill.
Speaker 3: Yeah, for sure. Let me play this song for you
and see if you recognize it. This was kind of
one that I flew under my radar, and then when
I heard it again, I was like, man.
Speaker 8: You packed the morning, a hot stir it up and
a hot struggle for something to say.
Speaker 3: You love to.
Speaker 2: Lay without closing the door.
Speaker 7: I didn't stand in your way.
Speaker 1: Recognize it? Yeah, yeah, yeah, I just am trying to
remember what the name of the song is in the
artist did I miss you more just when I needed
you most? That's great?
Speaker 3: Who is that Randy Van Warmer?
Speaker 1: Yeah, that's I mean, I don't know him from anything else.
That's a great. That is a great. It's a sweet song,
your discovery. Yeah, yep, Okay, here we are. We've waited
all this time. We are to your number one one.
All right.
Speaker 3: I'm scared that this is your number one too, because
I just like, this is such a great song, Like
it is undeniably great. Okay, don't think it's gonna be okay,
all right. So this song was released in July of
nineteen seventy nine, peaked at number forty seven, didn't even
make the top forty, but is rock iconic. Here's the
quote by the guy who wrote the song. Okay, I
love this quote. He said, you know, during the time
of writing these songs, he said, we went through hundreds
of riffs every day, and we would write them down,
we work on them, but this one we thought it's
really good. It stuck out like a dog's balls.
Speaker 1: We definitely do not have this day number one.
Speaker 3: So okay, all right, So this is the first song
by this band to chart in America. It was originally
supposed to be produced by the brothers in this band.
They had an older brother who had a little bit
of success in the music industry, became a producer produced
their first few albums. But the record company said, we
want you guys to go a little bit more mainstream.
We want you to produce a little bit more radio
friendly hits. So they brought in another producer and his
name was Eddie Kramer. They worked it with him a
little bit and it did not work. So they went
to the record company and they said, you got to
get rid of this guy. It's not working. So they
bring in maybe the greatest producer of all time, mister Lega,
and his meticulous, hard working style went really well with
the band, who is blue collar and hardworking and ready
to hash out every note. So I know what it
is as a person of faith, I was a little
bit concerned about the title of this song, but It's
about a highway in Australia where there are no stop signs,
no speed limit and nobody slows down.
Speaker 1: So this song is Highway to Hell by a CDC.
Speaker 4: You got it.
Speaker 3: One of the last times we hear Von Scott stuck
out like a dog's falls.
Speaker 1: You gotta love those Irish Australian immigrants, man, yep, Bonnie's got.
Speaker 3: Love this song.
Speaker 1: Man.
Speaker 3: It is a instant turn it up to eleven, put
another plate on as we're pump and iron. Great song.
Speaker 1: Well, this is fantastic because I can't think that my
song could be any different than your song. But there
is a connection between the two.
Speaker 3: Okay, all right, all right, And I was wrong.
Speaker 1: I was wrong. I didn't think the song was top forty.
He actually at number three. It actually hit number three,
so it's actually a pretty big song. Okay. But the
inspiration for this song starts back in nineteen twenty four,
where there's a contest and the underdog beats the older
statesman of this competition in a huge surprise, and it's
one where like it's nineteen twenty four, so it's basically
whoever gets the most claps wins. Well when this younger
guy called low Stokes finishes his performance. He thinks he's
lost because nobody clapped. But what has happened is they're
all struck dumb by how incredible his performance is. And
the guy he beats is a guy named John Carson.
And so there's a poet named Stephen Vincent Binney that
reads a news article about this competition, and so he
writes a rather long poem. He's a Pulitzer Prize winning poet.
He writes a long poem called the Mountain Whipper Will.
Speaker 3: I'm not even I don't even have it encircled yet.
Speaker 1: No. So this poem is then read by the lead
singer of this band when he was in high school.
Now he goes on to have a musical career. He's
the lead singer. He also plays an instrument for the band,
and the band is named after him. It's his band,
that's what it's called, right, yeah. And so they are
recording their album called Million Mile Reflections. They have all
the songs that they're going to do, and all of
this sudden they go, wait, we don't have a song
with your instrument in it. Okay, got it yet? Have you?
Speaker 3: I'm not even close?
Speaker 1: Okay, This song was in Urban Cowboy, played at Mickey
Gilly's restaurant or bar or whatever. This song I Told
You would Come Back Up Again was in The Muppet Show,
played out by Love a Clue and his jug Huggers.
Speaker 3: Love It Glue and his jug Huggers.
Speaker 1: They had to change a lyric to the song because
it was the Muppet Show. Yeah, they changed son of
a bitched, son of a Gun, And since that time,
the lead singer of this band also changes that. I
actually saw him perform this many years ago. He was
at the Billy Graham Revival and he played this song
because it's his most popular song.
Speaker 3: Oh yeah.
Speaker 1: And so to give you a little bit more information
that I think will just probably give it away. That
contest back in nineteen twenty four was the Atlanta Fiddler's Convention.
Speaker 3: I got it you ahead, yil Son. This is double
Windown Georgia.
Speaker 1: The Devil went down to Georgia. He was looking for
a soula steel.
Speaker 3: He was in a band because he was way behind,
and he was willing to make a deal when he
came up. And you're right there, totally connected.
Speaker 1: There you go, that's funny.
Speaker 3: This is Charlie Daniels Band.
Speaker 1: The Charlie Daniels Band. Yes, sir, oh, I love it.
Another one of those songs that just almost wasn't there.
It was they finished the album, they went, wait, we
don't have a fiddle song, and so they went away
for two days, came back. He had thought about this
poem that he read, which, by the way, lying from
the poem, listen to my fiddle, Kingdom, come, Kingdom, Come Johnny.
Speaker 4: Here, rising up your bowel and play your fiddle hard.
Speaker 1: Because Hailsbrokeclus in Georgia. The devil deals and hard. And
if you and you get the shining fiddle nat of
Gold and you lose, the devil gets your soul. It's
a great one.
Speaker 4: Wow.
Speaker 1: They put it on the album and it is by
far they are known for that song.
Speaker 3: If you ask me, name a Charlie Daniels song that's
yellow one down in Georgia.
Speaker 1: Yeah, this is just one of those songs that is.
I mean, I've been playing this song with my family
in the car on long ride vacations for the last
twenty two years.
Speaker 4: Yeah, I love it.
Speaker 3: Great, great one man has a great one, epic epic
song truly.
Speaker 4: All right, Well that's the.
Speaker 3: End of our episode.
Speaker 4: What what do you think?
Speaker 3: How do we do? Which ones do we hit on?
Which ones did we miss on? We'd love to hear
from you. I hit us up on Facebook, hit us
up on Twitter, shoot us an email at Trileypodcast at
gmail dot com. All right, guys, join us here next
week we're gonna have another great episode. We'll see back here.
Speaker 9: I was tired of my lad.
Speaker 3: We've been together too long, not a going out recods.
Speaker 1: That's the problem is I led you in. I tricked
to you at the beginning. I had Bruce Springsteen, but
it was because I thought that Bruce was Bruce. That's
what happened. Oh all right, don't.
Speaker 3: I couldnot let go of that in that old time.
Speaker 1: What was this I