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Speaker 1: All right, everybody, welcome to the Surely You Can't Be

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Serious Podcast. This week, we are going to dive into

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Inexcess's Kick album d This is one of my favorite

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albums basically of nineteen eighty eight. I can't wait to

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get into this one with you. We are going to

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have a good time tonight and the rock and roll

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music is going to play all night.

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Speaker 2: I'm standing you were here. Two worlds collided, and they

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will never tear us apart.

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Speaker 1: As long as you don't ask me what you know

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is true, we should be good.

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Speaker 2: Right, Yeah, this may not be the song that we

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need to listen to together c Sarea other than for this podcast.

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Speaker 3: Hello everybody, and welcome to the Surely You Can't Be

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Serious Podcast, discussing and debating the iconic and the forgotten

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of eighties and nineties.

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Speaker 1: Pop culture with your co hosts James D.

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Speaker 2: Graves and Jason Colivin.

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Speaker 1: Hey everybody, thank you for tuning into the Surely you

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Can't Be Serious Podcasts. For this week, we are going

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to dive into Inexcess's Kick album Super excited.

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Speaker 2: To be here. I love so much of the music

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on this album. I'm excited to dive into it. But

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first you need to know is that we are comparing

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this album to George Michael's faith first solo album of

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the Bearded Wonder himself, and it's also an incredible album.

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So it'll be a neat competition to see which one

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of these two amazing albums from nineteen eighty seven head

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to head, see which one of them is the pop

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star best of the two.

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Speaker 1: I'm excited because you and I have covered a lot

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of sort of heavier bands. We covered Nirvana and Pearl Jam,

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We've covered def Leppard and Van Halen, We've done Guns

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N' Roses in ACDC. But we're really we're going to

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cover all types of eighties bands. I really am excited

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what we got coming down the pipe.

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Speaker 2: Yeah, we don't want to limit ourselves. We are certainly

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rockers at heart, but there's just no denying that some

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of these albums that were more in the pop realm

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than in the rock realm were huge facets in our

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lives during the eighties.

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Speaker 1: That's right, And there's tons of interesting stories as we

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dive into these the stories behind the songs, the stories

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behind the artists. Both of the singers, George Michael and

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Michael hutches. They're gone, They're no longer with us. Yep,

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it's going to be interesting to dive in and take

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a fresh look and appreciate what they've left behind for us.

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Speaker 2: Absolutely, two guys who look better than any other human

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being on earth in a leather jacket and no shirt.

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Speaker 1: Two guys who could have bedded just about any lady

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in the entire world in nineteen eighty eight. I don't

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know why you're limiting it to lady.

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Speaker 2: But.

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Speaker 1: That's true. That's right.

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Speaker 2: Knowing what we've got in front of us, let's dive in.

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Speaker 1: Okay, this is really cool. In Excess is kick album.

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This is how old this is? It came out October twelfth,

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nineteen eighty seven, on LP and cassette and cassette Yes yeah,

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and October twenty six on CD. Had two different release dates,

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one for the tape, one for the CD.

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Speaker 2: Basically so right, CDs were just becoming a thing around

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that time.

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Speaker 1: Oh yeah, I didn't have a CD player at this time.

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I was cassette all the way, all right. So for

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those who are not familiar with this band, it is

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actually pronounced in excess right in inks no nothing screamed

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you were out of touch more in the eighties than

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calling these guys inks.

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Speaker 2: Right, Yeah, so these guys are all from Australia. Michael

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Hutchins was born in Australia, then moved to Hong Kong

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for a while, then moved back to Australia and that

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he was just coming into high school at that time,

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and that's where he met Andrew Ferris. It was like

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the scene out of My Bodyguard. Michael Hutchins comes to

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school in his first ten minutes in school and he's

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already in a fight with somebody. And Andrew Ferris happens

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to know the guy who's four feet taller than everybody

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else and he's like, hey, go break up that fight.

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That's how Andrew Ferris and Michael Hutchins meet for the

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first time.

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Speaker 1: That's a super cool story. I mean, we talked about

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moments in rock and roll history, right. This was the

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biggest band in the world at one time. It started

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because a school bully started beating up a guy and

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another guy stepped in.

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Speaker 2: Yeah, so they became fast friends. But then Michael Hutchins's

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parents unfortunately split up and he moved with his mother

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to Hollywood for about a year or so he ultimately

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moved back, and at that time he met up with

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his old friend Andrew Ferris again, who by this time

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had started playing music. He actually had started playing long ago,

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but he had started putting together bands when Andrew Ferris

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was only five years old. His family took a holiday

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and they went and they saw the Beatles perform live.

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Speaker 1: Wow, Yeah, that's awesome. Did I saw Kirk Pingilly talk

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about how they were in class? These guys were all five?

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These guy went to high school together. Well, first of all,

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three of them are brothers, right, right, Tim Ferris, Andrew Ferris,

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and John Ferris. You have Gary Gary Beers. That's I

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didn't stutter, that's his name, Gary Gary Beers, right, and

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then you have Michael Hutchins who was getting beat up

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by the by the school bully. These are six guys

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who were high school buddies. But I saw I saw

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Kirk Pingilly talking about how they were in biologic class

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or whatever. And I guess he knew Michael as a

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new friend of Andrews. And he looked and sort of

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looked over his shoulder in science class and he saw

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in his notebook that had sort of sketched out a

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drawing of two guitars and he thought, yeah, this guy's

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pretty cool and they hit it off right from there.

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Speaker 2: Oh that's awesome. Yeah, so Gary Gary Beers his real

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name is actually Gary William Beers, and it's Gary double

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R Gary single R Beers if you if you need

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to know the spelling there, and the reason that there's

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a double R and single ar is that it was

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a misprint on the album In Excess, their first, their

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debut album, and he just decided to go with it. Yeah, well,

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I'll be Gary double R Gary Singlar Bears, and he

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was in a band called legaliss Elfin Warrior in nineteen

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seventy five. He played acoustic guitar for them, but he

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wasn't really very good at the acoustic guitar, and so

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he switched to bass, but then refused to take lessons

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and seemed to do well anyway despite the fact that

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he wasn't taking lessons, and so he formed Doctor Dolphin

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with Andrew Ferris and some other class mates named Jeff Kinley,

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Kent Kearney and Neil Sanders, and they can be put

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in that category of Mark Stone.

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Speaker 1: No really, I used to be in in Excess for

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about five minutes. Yeah that guy. Yeah.

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Speaker 2: So at the same time that they were doing Doctor Dolphin,

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Tim Ferris was playing in various groups with his friend

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Kirk Pengilly, and John had actually tried out. John was

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the youngest of the Farris Brothers. He had tried out

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to be a drummer with a band called Guinness with

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Tim and Kurt, but he was turned down because he

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was nine years old. When finally, you know, the two groups,

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Tim Ferris's group and Andrew Ferris's group merged together to

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become the Farris Brothers in nineteen seventy seven, John joined

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as the drummer. At that time. I can only imagine

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that they called themselves the Farris Brothers because like everybody

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at their high school knew them as the Farrest Brothers.

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Like that was just much easier than trying to figure

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out a new band name. They're like, evere knows you guys,

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We'll just call you the Farris Brothers.

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Speaker 1: You know, as dorky as the Firest Brother's band sounds.

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Is that any different than Winger or bon Jovi or

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Van Halen.

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Speaker 2: Yeah, good point.

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Speaker 1: I show that they were also called the Vegetables. Sometime

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between Doctor Dolphin and in Excess. That name is substantially

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less cool than in Excess, slightly slightly less cool than

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Doctor Dolphin, way less cool than in Excess.

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Speaker 2: So once John had graduated from high school, that you

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their name to in Excess and they all moved to

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Sydney to start doing the pub scene.

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Speaker 1: Let's talk about the name for just a second. Okay, Okay,

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I want to get too far ahead. They were supporting

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Midnight Oil. Okay, Midnight Oil is a big Australian band,

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right Beds of Burning. You probably are familiar with that tune.

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That's it, you got it. But one of the guys

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from Midnight Oil encouraged them to change their name. He

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wanted them to have a new name and he recommended

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they change it in Excess. It's I INXS. That was

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inspired by the English band x t C Ecstasy, Ecstasy

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and IXL. So that's how they came up with the

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name In Excessive. All right. So the band's first performance

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as In Excess was September one, nineteen seventy nine, at

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the Ocean Beach Hotel. And this is the time in

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their career where they're kind of kicking around the idea

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of being a Christian band.

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Speaker 2: Oh Yeah. So after performing on the pub scene for

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about a year, they landed a record contract and they

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released their debut album, which was called In Excess in

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nineteen eighty.

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Speaker 1: In Excess released their first single simple simon slash We

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Are the Vegetables in Australia and France in May of

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nineteen eighty.

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Speaker 2: Then they had another one called Underneath the Colors in

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nineteen eighty one. Both of those were big in Australia

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and that led to them getting a contract with at

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Co Records, and in nineteen eighty three they released their

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US debut which was Sheaboo Shabba, and they started touring

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with a big hit that they had off that album

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called Don't Change. So between nineteen eighty and nineteen eighty

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four they did four studio albums. But in nineteen eighty

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three they were a part of a festival that we

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have talked about before, the festival that involved the largest

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paydate for any band in history, that being Van Halen. Yeah.

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But In Excess was a part of the US Festival

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second edition nineteen eighty three, and they talked about performing

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there and they got called back out for an encore

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and it felt amazing. This is eighty three. This is

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before any of these songs have made them international successes,

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and they were They got Encore back out, and then

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they went home and they had some chili and they

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watched the news, and the news was showing only them

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as the band for the US Festival. That had to

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be amazing.

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Speaker 1: Yeah, five high school buddies who used to copy off

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each other in science class are getting on cored at

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the US Festival.

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Speaker 2: Yeah, amazing. For the next album that they did, they

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did a few sessions with the producer Nile Rogers, and

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that's where they got that funky original Sin, which showed

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that they were kind of changing their feel from this

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kind of wave style to more of a combination of

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Rolling Stones type rock and dance music.

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Speaker 1: Okay, let's talk about the original first of all, Nile Rodgers,

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who you will remember from our Coming to America episode.

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He is the composer that has that big the Lion

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Sleeps Tonight intro at the beginning of Coming to America

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flashback they are Coming in America episode the original Sin

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that song in nineteen eighty four. Yes, that song was

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big and impactful, kind of in a negative way. So

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I saw this interview with the band. I thought this

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was really interesting. So there's a couple of lyrics in

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that song, and so some people took that as an

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a racial marriage and the world wasn't really ready for that, and.

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Speaker 2: So certainly not the Bible Belt back in nineteen eighty.

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Speaker 1: Four, that's true. And so there are a lot of

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radio stations that wouldn't play that song. And so their manager,

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Chris Murphy was brought in before the head of the

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record company and basically said, you guys need to stop

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giving me this controversial crap and give me hits. You

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go talk to your f and band and tell them

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to stop this crap and give me something I can

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play in the radio.

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Speaker 2: I feel like the record company is going to be

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the bad guy for a couple of stories on this

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particular episode.

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Speaker 1: Before we get off the original sin, I did want

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to mention it wasn't like the song wasn't a hit either.

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I mean, the record company guy was all mad, but

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that was a number one hit in Australia, I hit

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number one in France, hit number one in Arizena.

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Speaker 2: Yeah, I mean it's a great song. Okay. So they

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had worked with producers. They had worked with the producer

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now Rogers, and they had also worked with another producer

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called Mike Opitz, but then in nineteen eighty five they

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decided to go with the producer Christopher Thomas Chris Thomas

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for Listen Like Thieves, which I got to listen to

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Christopher Thomas talk about. He is an interesting guy. So

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he was. He was born in forty seven. Just to

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give you a bass here, and he knew how to

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play instruments. He actually got offered a job to play

246
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bass with Jimmy Hendrix, but it was before Jimmy Hendrix

247
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became famous, so he's like, no thanks. And then he

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was like, what, I don't really like performing live. I

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really like being in the studio more. And so he decided, Okay,

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you know, I think I'd prefer to be on the

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production side of things. And so he decides, you know,

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I'm going to write a letter to George Martin, the

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guy who produces the Beatles albums, and see if he'll

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get me a job. He did, he did, wow, And

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so he's the Beatles are working on the White Album,

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which is like, I mean, it's one of their biggest

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albums of all time, and George Martin is there and

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then Chris Thomas goes on this holiday, goes on a vacation,

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as we call him here in the United States, and

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when he comes back, there's just a note from George

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and he says, I hope you enjoyed your holiday. I'm

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going on my holiday. Now you're in charge, this twenty

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year old guy in charge of producing a Beatles album.

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And so he's like okay, and then Paul McCartney walks

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in and he's like, where's George, and CAUs like he's left,

266
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and he's He looks at him and he's like, so,

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are you going to produce the album? And he says, yeah,

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that's I guess that's what's happening. He's like, well, I

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guess if you can produce, you can produce. And you know,

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he's probably just testing him. I mean he had to know,

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Like George Martin didn't just leave and not tell Paul McCartney.

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But Paul McCartney's totally screwing with him. And so they

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go down and they start playing and he's doing the

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best that he can. He's kind of quiet in the

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00:14:42,000 --> 00:14:46,039
booth and the band would have meetings. They owned Apple

276
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Records at that point, and they would have meetings in

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the middle of their sessions about Apple Records, and he

278
00:14:51,639 --> 00:14:54,840
happens to overhear them talking in this meeting and they're like,

279
00:14:55,000 --> 00:14:57,080
this guy's just not doing his job at all, and

280
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they're probably talking about an Apple Records employee. But he thinks,

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oh gosh, it's me. I'm fired. I'm so fired. And

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that just gives him nothing to lose. And so when

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they go back for their afternoon session and they start

284
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recording again, they're playing their song through and all of

285
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a sudden, he buzzes from the booth and he's like, Okay,

286
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we're going to need to do that one again. There's mistake.

287
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They like, what the Beatles the Beatles the Beatles like,

288
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there wasn't a mistake. He's like, there's a mistake. You

289
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need to start it over again, and they come up

290
00:15:26,320 --> 00:15:28,559
to the booth. They come up to the booth and

291
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he's sitting there, little twenty year old guy, and they're like,

292
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what mistake. He replays on the tape and they listen

293
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to it and they go, okay, yeah, that was a mistake. Sorry,

294
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they and they go back down and start recording. And

295
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at the end of the day, when he's expecting to

296
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get fired. They're like, okay, bye. He's like, do I

297
00:15:45,240 --> 00:15:48,000
come back tomorrow if you want to?

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Speaker 1: And that was it.

299
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Speaker 2: So he became He became this producer for the Beatles

300
00:15:54,159 --> 00:15:57,559
White album, ended up playing music like he played keyboards

301
00:15:57,600 --> 00:16:00,840
on some of the songs in the White Album and

302
00:16:01,159 --> 00:16:02,799
became this huge producer.

303
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Speaker 1: That's awesome.

304
00:16:03,799 --> 00:16:08,240
Speaker 2: Did Pretenders, did Sex Pistols, did Pink Floyd And so

305
00:16:08,360 --> 00:16:11,039
then we fast forward. It's time for Inexcess to come

306
00:16:11,120 --> 00:16:13,879
knocking on this guy's door. So he is the producer

307
00:16:14,120 --> 00:16:17,720
for the album Listen Like Thieves, And it's just it's

308
00:16:17,759 --> 00:16:20,000
another one of these stories that I know that we've

309
00:16:20,000 --> 00:16:23,960
told multiple times, where they've recorded all of the music

310
00:16:24,000 --> 00:16:27,000
on the album, they have a day left of time

311
00:16:27,039 --> 00:16:31,159
to record and Chris Thomas says, we still don't have

312
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a hit, and so they scramble and they put something

313
00:16:36,519 --> 00:16:39,039
together and they record it that day in a bit

314
00:16:39,159 --> 00:16:44,320
of passion and fury, and it is called Right. And

315
00:16:44,399 --> 00:16:48,240
the song that they record is called what you Need.

316
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Speaker 1: This song was huge in nineteen eighty.

317
00:17:00,639 --> 00:17:05,240
Speaker 2: What you Need reached that key piece of success that

318
00:17:05,359 --> 00:17:07,920
so many bands that we have talked about so far

319
00:17:08,279 --> 00:17:11,240
have reached that I feel I could be remiss not

320
00:17:11,359 --> 00:17:14,519
to mention it. It was covered by weird Al Yankovic

321
00:17:14,599 --> 00:17:17,160
in his nineteen eighty six Poka Parties.

322
00:17:26,720 --> 00:17:30,960
Speaker 1: Yes, another appearance by weird Al on the show that

323
00:17:31,039 --> 00:17:32,160
You Can't Be Serious podcast.

324
00:17:32,480 --> 00:17:33,960
Speaker 2: I'm not sure that the Muppets are going to come

325
00:17:34,039 --> 00:17:35,720
up in this episode, but we've got to have one

326
00:17:35,799 --> 00:17:37,880
or the other in just about every single episode, I think.

327
00:17:38,000 --> 00:17:40,880
Speaker 1: All right, So, after What you Need becomes this huge

328
00:17:40,960 --> 00:17:43,480
hit in nineteen eighty five, they had this eight month

329
00:17:43,680 --> 00:17:45,640
break where they're beginning to work on a new album

330
00:17:45,720 --> 00:17:47,079
what we're going to talk about here in a minute,

331
00:17:47,079 --> 00:17:49,799
their manager Chris Murphy decided to take a bunch of

332
00:17:49,880 --> 00:17:53,279
bands have this big outdoor Australian concert. It was going

333
00:17:53,319 --> 00:17:55,960
to feature in Excess and Jimmy Barnes and the Models

334
00:17:56,000 --> 00:17:58,960
and the the Vinyls and Mental as Anything, all these

335
00:17:59,000 --> 00:18:02,319
sort of big Australian bands, and so to promote the

336
00:18:02,440 --> 00:18:05,640
tour and Excess recorded two songs. They recorded a song

337
00:18:05,680 --> 00:18:08,880
with Jimmy Barnes that was a cover of the Easybats

338
00:18:08,960 --> 00:18:11,960
tune good Times, and they also recorded the song Laying

339
00:18:12,039 --> 00:18:15,279
Down the Law good Times. You may remember as the

340
00:18:15,279 --> 00:18:19,920
theme song from the movie The Lost Boys.

341
00:18:20,920 --> 00:18:23,799
Speaker 2: The Easybeat you may remember, was the band started by

342
00:18:24,079 --> 00:18:28,880
Georgie Young, brother of Angus and Malcolm Young from our

343
00:18:29,000 --> 00:18:30,799
ac DC episode.

344
00:18:32,720 --> 00:18:36,119
Speaker 1: Okay, so this song good Times is a fantastic song.

345
00:18:36,359 --> 00:18:38,680
This is where I jump on board with in excess.

346
00:18:38,799 --> 00:18:40,720
First of all, I love the movie The Lost Boys.

347
00:18:40,880 --> 00:18:42,920
I'm a big fan of the soundtrack. One of the

348
00:18:42,960 --> 00:18:46,480
things about this band, like George Michael, like Def Flapper,

349
00:18:46,759 --> 00:18:49,039
like bon Jovi, like Motley Crewe, all these guys were

350
00:18:49,079 --> 00:18:52,759
gonna cover, is their timing is absolutely perfect for MTV.

351
00:18:53,000 --> 00:18:54,880
Speaker 2: Absolutely They have a.

352
00:18:55,160 --> 00:18:59,839
Speaker 1: Great looking, charismatic front man that MTV can put at

353
00:18:59,880 --> 00:19:02,839
the front of their videos and teenagers all over the

354
00:19:02,839 --> 00:19:03,559
world will watch.

355
00:19:03,759 --> 00:19:06,920
Speaker 2: And he has a very unique voice, like he's I

356
00:19:06,920 --> 00:19:09,119
mean in this album that we're about to talk about.

357
00:19:09,279 --> 00:19:13,039
He grunts, he shouts, he whispers, and he's got this

358
00:19:13,200 --> 00:19:15,559
kind of breath y It's not like what you would

359
00:19:15,599 --> 00:19:20,000
describe as a beautiful voice. It's just it's full and resonant,

360
00:19:20,119 --> 00:19:25,640
like a twelve string guitar. It's just it's engaging, like

361
00:19:25,680 --> 00:19:27,839
you want to listen to him sing.

362
00:19:27,880 --> 00:19:31,160
Speaker 1: That's true, And he always had a complex about his voice.

363
00:19:31,160 --> 00:19:32,400
He didn't think he was any good?

364
00:19:32,559 --> 00:19:35,160
Speaker 2: Oh right, yeah, we didn't even talk about how he

365
00:19:35,400 --> 00:19:38,519
became their singer. Like the Farris brothers were together and

366
00:19:38,599 --> 00:19:42,519
were playing together and he was just over and Andrew Ferris

367
00:19:42,640 --> 00:19:44,480
hands him a microphone and says, I want you to

368
00:19:44,519 --> 00:19:49,079
try singing, and he kind of awkwardly sings. But they

369
00:19:49,160 --> 00:19:51,720
said that's it, that's what we want. And Kirk Pengilly

370
00:19:51,880 --> 00:19:54,920
had been the singer for his band with Tim Ferriss,

371
00:19:54,920 --> 00:19:57,880
but once they heard Michael Hutchins sing, Kirk said, I'll

372
00:19:57,920 --> 00:19:59,119
be the backup singer from now on.

373
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Speaker 1: So after this of Listen Like Thieves and particularly the

374
00:20:02,160 --> 00:20:04,240
song what You Need, they go back to the studio

375
00:20:04,440 --> 00:20:06,079
to work on their next album Yes.

376
00:20:06,200 --> 00:20:10,599
Speaker 2: In January nineteen eighty seven, they go into Rhinoceros Studios,

377
00:20:10,640 --> 00:20:13,559
which is in Sydney, and they start recording Kick. This

378
00:20:13,640 --> 00:20:17,319
is their sixth studio album. They bring Chris Thomas back

379
00:20:17,400 --> 00:20:19,559
to produce. They were on such a high from their

380
00:20:19,599 --> 00:20:23,400
success that Nicholas said that when they started recording, he said,

381
00:20:23,480 --> 00:20:26,319
there was this really good feeling in the studio that

382
00:20:26,400 --> 00:20:29,480
this was going to be something big. The band had

383
00:20:29,599 --> 00:20:32,799
just come off a really successful tour of the US

384
00:20:32,880 --> 00:20:35,559
on the back of listen like Thieves, which really broke

385
00:20:35,640 --> 00:20:38,000
them and they were on fire.

386
00:20:38,240 --> 00:20:42,599
Speaker 1: According to guitarist and saxophonist Kirk Pengilly, he said, we

387
00:20:42,680 --> 00:20:45,319
wanted to make an album where all the songs could

388
00:20:45,359 --> 00:20:46,680
be possible singles.

389
00:20:46,920 --> 00:20:52,039
Speaker 2: Andrew Ferriss said, anyone can write a song that sounds contemporary.

390
00:20:52,359 --> 00:20:54,960
We wanted our songs to sound like the future.

391
00:20:55,200 --> 00:20:57,599
Speaker 1: In preparation for this podcast, I watched some of their

392
00:20:57,640 --> 00:21:01,000
early videos. They seem more kind of like like Devo

393
00:21:01,279 --> 00:21:04,680
or something. They're kind of new wave and they're definitely

394
00:21:04,720 --> 00:21:07,640
not the pop rock, you know, hit making band that

395
00:21:07,680 --> 00:21:09,960
they later became. All right, so I think you mentioned this,

396
00:21:10,039 --> 00:21:11,680
but I did want to talk about this for just

397
00:21:11,680 --> 00:21:14,160
a second. Towards the end of nineteen eighty six, the

398
00:21:14,200 --> 00:21:17,880
band members gathered at the Sydney Opera House to rehearse

399
00:21:17,960 --> 00:21:21,039
songs that later became the album Kick. Is there any

400
00:21:21,200 --> 00:21:25,039
better place for an Australian band to meet and rehearse

401
00:21:25,240 --> 00:21:26,960
other than the Sydney Opera House?

402
00:21:27,039 --> 00:21:31,039
Speaker 2: I mean, Okay, So during the production of this album,

403
00:21:31,599 --> 00:21:36,079
they were still booking dates for the band's upcoming European tour,

404
00:21:36,359 --> 00:21:40,240
and this was irritating Chris Thomas because he felt like

405
00:21:40,480 --> 00:21:42,240
they were devoting so much time to that that they

406
00:21:42,279 --> 00:21:45,680
weren't creating good songs. And he said, they had this

407
00:21:45,799 --> 00:21:49,279
incredible momentum building and we're gaining fans all the time,

408
00:21:49,359 --> 00:21:51,960
and there was this audience waiting for this product. But

409
00:21:52,119 --> 00:21:55,119
I decided they didn't have the right songs yet. And

410
00:21:55,160 --> 00:21:58,119
so what he said to him was, you guys need

411
00:21:58,160 --> 00:22:00,720
to go be alone for a while and write some

412
00:22:00,759 --> 00:22:04,480
more songs before this album, Like the band was credited

413
00:22:04,559 --> 00:22:08,000
as the writers of the song, but before they produced

414
00:22:08,000 --> 00:22:11,240
this album. Based on the success of What You Need,

415
00:22:11,559 --> 00:22:15,200
Hutchins and Andrew Ferriss said to the rest of the band,

416
00:22:15,680 --> 00:22:17,759
we would like to write all of the songs for

417
00:22:17,839 --> 00:22:20,559
this album. And the rest of the band said that

418
00:22:20,680 --> 00:22:21,799
sounds good to us.

419
00:22:23,119 --> 00:22:25,279
Speaker 1: So remember that song called what You Need that you

420
00:22:25,319 --> 00:22:27,960
guys wrote, and we think it's pretty good. So if

421
00:22:27,960 --> 00:22:29,799
you can come up with about nine or ten of those,

422
00:22:30,200 --> 00:22:30,759
that'd be great.

423
00:22:31,039 --> 00:22:33,599
Speaker 2: So Thomas at the time that they were doing stuff,

424
00:22:33,640 --> 00:22:36,079
said okay, you guys need to fly out to Hong

425
00:22:36,160 --> 00:22:39,039
Kong and you got to write some more mature and

426
00:22:39,519 --> 00:22:42,000
so that's what they did. They spent two weeks out

427
00:22:42,039 --> 00:22:45,640
there writing stuff. So many of the songs are these

428
00:22:45,960 --> 00:22:51,279
inspiration five minutes ten minute long masterpieces that just kind

429
00:22:51,279 --> 00:22:52,640
of are divinely inspired.

430
00:22:52,799 --> 00:22:54,319
Speaker 1: So I don't know if we want to jump into

431
00:22:54,319 --> 00:22:57,400
this now, but before we break down the songs, their manager,

432
00:22:57,480 --> 00:23:00,599
Chris Murphy gathers up the album as a meeting with

433
00:23:00,640 --> 00:23:02,920
the head of the record company, sits down with him

434
00:23:03,160 --> 00:23:05,440
and they hit play and they're gonna listen to the

435
00:23:05,559 --> 00:23:08,039
entire album. The head of the record company listens to

436
00:23:08,079 --> 00:23:12,599
the entire album, sitting there dead silent, arms crossed, and

437
00:23:12,680 --> 00:23:16,359
when the tape hit stop, he said, I'll give you

438
00:23:16,359 --> 00:23:18,920
a million dollars to start completely over and throw this

439
00:23:18,960 --> 00:23:23,200
in the garbage. And the manager's like, what are you

440
00:23:23,240 --> 00:23:25,559
talking about. I mean, this is the album. He's like, no,

441
00:23:26,160 --> 00:23:29,720
this is garbage. This is not good. Start over and

442
00:23:29,759 --> 00:23:32,480
he said, I'm sorry, did you say a million dollars?

443
00:23:32,519 --> 00:23:35,039
He said, I'll give you a million dollars to start fresh.

444
00:23:35,119 --> 00:23:36,640
And he said at that time, none of them had

445
00:23:36,640 --> 00:23:38,799
seeing a million bucks. I mean, so it's a real temptation.

446
00:23:39,000 --> 00:23:41,400
And Chris Murphy's like, dude, I mean, did you hear

447
00:23:41,799 --> 00:23:43,839
need you tonight? I mean, this is a smash hit.

448
00:23:43,920 --> 00:23:46,480
Are you crazy? And the guy's like, no million bucks,

449
00:23:46,519 --> 00:23:48,400
and Chris Murphy he walks out of the office and

450
00:23:48,440 --> 00:23:50,880
he says, I'm not doing that, And so he started

451
00:23:50,880 --> 00:23:53,640
to send the songs to college radio. When college radio

452
00:23:53,759 --> 00:23:56,960
started playing these songs and people started requesting them, and

453
00:23:57,000 --> 00:23:59,079
all of a sudden, Boom needs you tonight. Is like

454
00:23:59,279 --> 00:24:03,039
getting a requests stid left and right. And they realized

455
00:24:03,480 --> 00:24:06,519
this sounds like a hit, and then the record company

456
00:24:06,640 --> 00:24:07,039
back down.

457
00:24:07,720 --> 00:24:10,880
Speaker 2: Yeah, they finally decided to add Kick to their release

458
00:24:10,880 --> 00:24:12,400
schedule for October.

459
00:24:12,480 --> 00:24:13,880
Speaker 1: All right, we ready to dive in.

460
00:24:14,240 --> 00:24:14,839
Speaker 2: Let's do it.

461
00:24:18,960 --> 00:24:22,279
Speaker 1: First song right off the bat in your face, it's

462
00:24:22,359 --> 00:24:26,880
called Guns in the Sky.

463
00:24:28,960 --> 00:24:33,920
Speaker 2: So this song came from even though these were Australian guys,

464
00:24:33,960 --> 00:24:39,200
this came from Reagan's plan called the sd I, which

465
00:24:39,759 --> 00:24:43,079
was more colloquially known in our day back in the

466
00:24:43,119 --> 00:24:49,119
eighties as star Wars, that there would be machines up

467
00:24:49,160 --> 00:24:51,400
in the sky that would be able to shoot down

468
00:24:51,519 --> 00:24:55,079
Soviet missiles to keep them from the Soviets from being

469
00:24:55,079 --> 00:24:57,480
able to bomb the United States. And I got to

470
00:24:57,519 --> 00:25:00,920
tell you that that probably led to the Soviets going

471
00:25:01,000 --> 00:25:04,240
that you guys win. I guess I give you're seriously

472
00:25:04,240 --> 00:25:08,839
gonna have lasers in the sky. So so Michael Hutchins

473
00:25:08,880 --> 00:25:12,200
writes this song with his idea being why are we

474
00:25:12,279 --> 00:25:15,960
going to spend money on lasers in the sky when

475
00:25:16,000 --> 00:25:19,039
there's so many more worthy causes that can help people.

476
00:25:19,319 --> 00:25:21,839
There's actually a video for this one. I had never

477
00:25:21,920 --> 00:25:25,960
seen it before, but it's this is one of many

478
00:25:26,079 --> 00:25:30,359
videos directed by Richard Lowenstein from this album, and it's

479
00:25:30,680 --> 00:25:34,160
it's just Michael Hutchins walking down the hallway filled with

480
00:25:34,200 --> 00:25:39,359
the band members, intermingled with images of Reagan and Gorbachev

481
00:25:39,559 --> 00:25:41,119
and the words sd I.

482
00:25:41,279 --> 00:25:44,480
Speaker 1: Okay, so I watched this video. I really like this

483
00:25:44,599 --> 00:25:48,240
video number one. It's uh, it's constant movement, right. So

484
00:25:48,319 --> 00:25:53,160
the song's really rocky, you know, heavy guitars, especially for them,

485
00:25:53,440 --> 00:25:55,720
and it's a lot of yelling like guns in the sky,

486
00:25:55,920 --> 00:25:58,480
you know. But they're walking down the hallways and they're

487
00:25:58,519 --> 00:26:00,839
all playing the guitars. I think I was telling this. So,

488
00:26:02,240 --> 00:26:04,319
you know, some of the guys play keyboard, one of

489
00:26:04,319 --> 00:26:07,160
the guys plays a saxophone. You know, you have drummer

490
00:26:07,240 --> 00:26:09,359
and bass and guitarists, but they all know how to

491
00:26:09,359 --> 00:26:13,640
play guitar. And so Michael Hutchins along with he's being

492
00:26:13,759 --> 00:26:16,440
escorted by four other guys who are playing strong guitar

493
00:26:17,079 --> 00:26:19,920
and the drummer. But they're walking down the hallways of

494
00:26:19,960 --> 00:26:22,720
a hotel in constant movement. Right. The camera just keeps

495
00:26:22,799 --> 00:26:25,240
moving and it looks to me like it's the freaking

496
00:26:25,359 --> 00:26:30,200
Overlook Hotel from the Shining But but yeah, they're interspliced

497
00:26:30,480 --> 00:26:35,559
with big words and it's guns and sky and SDI

498
00:26:36,039 --> 00:26:41,960
USA CCCP if you remember those days, right, And then

499
00:26:42,079 --> 00:26:45,400
at the very end it says in excess stop, I

500
00:26:45,519 --> 00:26:48,400
love this song. It's a great kickoff song to the album.

501
00:26:48,440 --> 00:26:51,440
It's high energy. Like I said, it's a hard rocking,

502
00:26:51,880 --> 00:26:54,960
rocking song for them, and it's like a chin it's

503
00:26:54,960 --> 00:26:57,720
like a fist bumper, you know. In the concert you're

504
00:26:57,799 --> 00:27:00,680
yelling guns in the sky. I will make minch too

505
00:27:01,240 --> 00:27:03,839
that during this time in my life, of course, I'm

506
00:27:03,880 --> 00:27:08,160
fourteen and nineteen eighty seven Star Wars defense program. I

507
00:27:08,319 --> 00:27:10,599
was all on board just because it's called Star Wars.

508
00:27:12,039 --> 00:27:14,240
Speaker 2: Wars. Yes, when do we get to meet Luke?

509
00:27:14,480 --> 00:27:15,920
Speaker 1: I freaking love star Wars.

510
00:27:18,440 --> 00:27:20,839
Speaker 2: That that's a bit of brilliant marketing right there is

511
00:27:20,839 --> 00:27:21,240
with that.

512
00:27:21,359 --> 00:27:24,960
Speaker 1: Yeah, exactly, I think that Han and Cheuwei. You're gonna

513
00:27:24,960 --> 00:27:27,920
be chasing down missiles, but I'm not sure. Some interesting

514
00:27:27,960 --> 00:27:32,079
lyrics on this one. So this song was actually not

515
00:27:32,119 --> 00:27:35,759
written by Andrew Ferris and Michael Hutchins. This is just

516
00:27:35,920 --> 00:27:39,680
Michael Hutchins by himself. He wrote this one all by himself.

517
00:27:39,880 --> 00:27:46,119
Speaker 2: Right, well supposedly, Okay, yeah, I mean so they they

518
00:27:46,160 --> 00:27:48,599
as the duo, wrote all of the songs on this album,

519
00:27:48,640 --> 00:27:53,000
but they had decided together, hey, well you'll you'll have one,

520
00:27:53,200 --> 00:27:56,960
I'll have one, and so Guns in the Sky was

521
00:27:57,119 --> 00:28:03,279
Michael Hutchins one and Meditate was Andrew ferris is one.

522
00:28:03,839 --> 00:28:06,319
But really they ended up helping each other out on

523
00:28:06,359 --> 00:28:08,319
those two on both of those songs as well. It's

524
00:28:08,440 --> 00:28:10,960
really really the duo on all of them. But yes,

525
00:28:11,079 --> 00:28:14,359
the Guns in the Sky was primarily Michael Hutchinson.

526
00:28:14,599 --> 00:28:17,599
Speaker 1: Okay, that's cool. There's some interesting lyrics in this one.

527
00:28:18,839 --> 00:28:22,319
You know these are concert type lyrics, right, so you

528
00:28:22,440 --> 00:28:25,079
raise them up, you bring them down like a clock

529
00:28:25,119 --> 00:28:31,279
at two. It's concert stuff. Put your hands all right,

530
00:28:31,400 --> 00:28:37,640
you in the back like a clock at two. So

531
00:28:38,000 --> 00:29:06,720
the next track on the album is New Sensation Moment. Okay,

532
00:29:07,400 --> 00:29:13,960
this song is amazing. This is a pop masterpiece. The

533
00:29:14,000 --> 00:29:15,359
hook is incredible in the.

534
00:29:15,319 --> 00:29:18,079
Speaker 2: Song, one of the best songs on the album, arguably

535
00:29:18,119 --> 00:29:21,279
the best. Not my favorite, but arguably the best song

536
00:29:21,319 --> 00:29:21,839
on the album.

537
00:29:21,920 --> 00:29:24,039
Speaker 1: I would say the same thing. It's not my favorite,

538
00:29:24,200 --> 00:29:27,200
but it's arguably the best. This song reached number three

539
00:29:27,279 --> 00:29:30,119
on the US charts, the number one song in the

540
00:29:30,160 --> 00:29:32,559
country that week hold on to the Knights by Richard Marx.

541
00:29:33,039 --> 00:29:35,720
Right the number two song was Pour Some Sugar on

542
00:29:35,839 --> 00:29:39,440
Me by def Leppard Flashback to our Hysteria episode, and

543
00:29:39,480 --> 00:29:43,240
then number three New Sensation at number three for the record,

544
00:29:43,240 --> 00:29:45,519
New Sensation is a way better song than hold On

545
00:29:45,559 --> 00:29:46,759
to the Knights by Richard Marx.

546
00:29:47,680 --> 00:29:50,000
Speaker 2: For Richard Marks, I did actually like a couple of

547
00:29:50,039 --> 00:29:52,000
his songs, but we do kind of trounce on him

548
00:29:52,039 --> 00:29:52,839
a little bit.

549
00:29:52,640 --> 00:29:55,599
Speaker 1: We do, and I'm sorry about that. Maybe we should.

550
00:29:55,799 --> 00:30:00,599
Speaker 2: No, no, no, no, I'm not saying we're wrong. I was

551
00:30:00,960 --> 00:30:03,200
still a way better. So you went to a Richard

552
00:30:03,240 --> 00:30:04,319
Marks concert.

553
00:30:04,079 --> 00:30:10,319
Speaker 1: I did, We're too So my girlfriend forgot our coat

554
00:30:10,400 --> 00:30:12,119
and the cold front moved in and I froze my

555
00:30:12,200 --> 00:30:12,680
butt off.

556
00:30:12,839 --> 00:30:16,119
Speaker 2: So this song, the lyrics are about seizing the day,

557
00:30:16,240 --> 00:30:19,160
you know, the celebration of life, which is really I mean,

558
00:30:19,960 --> 00:30:22,440
certainly for Michael Hutchins what he's he seemed to be

559
00:30:22,480 --> 00:30:25,799
all about the music. You you got a banjo in there,

560
00:30:26,480 --> 00:30:29,200
I mean, that's that's a surprise for me for an

561
00:30:29,240 --> 00:30:33,880
Australian new wave slash dance, slash funk slash rock band.

562
00:30:34,079 --> 00:30:37,400
Throw some band some banjo in there. But what you

563
00:30:37,599 --> 00:30:40,759
don't have in there is a trumpet. Even though Michael

564
00:30:40,839 --> 00:30:51,519
Hutchins yells trumpet before the sax solo, Tim Ferris wanted

565
00:30:51,519 --> 00:30:54,079
this to be a trumpet solo. He wanted to do

566
00:30:54,240 --> 00:30:57,680
the trumpet solo on this track, but Ngilly, who always

567
00:30:57,720 --> 00:31:01,519
does their saxophone solo, said no, sir, we are going

568
00:31:01,559 --> 00:31:05,279
to like this a sax solo because we do sax solos.

569
00:31:05,519 --> 00:31:07,880
So if you were only familiar with this song from

570
00:31:07,920 --> 00:31:10,359
the video, you're not gonna know what I'm talking about

571
00:31:10,680 --> 00:31:13,880
because they took that trumpet part out because how stupid

572
00:31:14,200 --> 00:31:15,599
would it have looked for.

573
00:31:15,480 --> 00:31:17,680
Speaker 1: Michael Hutchinds to go trumpet.

574
00:31:18,400 --> 00:31:21,920
Speaker 2: He comes out with a saxophone.

575
00:31:22,359 --> 00:31:24,440
Speaker 1: Okay. So the video for the song, like you mentioned,

576
00:31:24,480 --> 00:31:27,720
it was directed by Richard Lowenstein. It was filmed on

577
00:31:27,799 --> 00:31:30,680
the roof of the Municipal house in Prague.

578
00:31:30,720 --> 00:31:33,960
Speaker 2: So Richard Lowenstein before, like I said, he's gonna come

579
00:31:34,039 --> 00:31:35,839
up a few more times, but I gotta say it now.

580
00:31:36,160 --> 00:31:41,079
Richard Lowenstein also directed a movie called Dogs in Space

581
00:31:41,599 --> 00:31:45,160
starring Michael Hutchins. I can't say that I've seen it.

582
00:31:45,759 --> 00:31:49,160
Speaker 1: This is actually their most played live song of all time.

583
00:31:49,839 --> 00:31:53,240
Speaker 2: This is the video that has Michael Hutchins with his

584
00:31:53,279 --> 00:31:54,200
hair slick back. Right.

585
00:31:54,960 --> 00:31:57,119
Speaker 1: Yeah, he's wearing a tie, like a coat and a tie.

586
00:31:57,000 --> 00:32:00,599
Speaker 2: And yeah, so totally different, totally different looks. And when

587
00:32:00,640 --> 00:32:02,680
I went back and watched it again, I was like,

588
00:32:03,400 --> 00:32:06,839
this is very Robert Palmer, Like this is I mean,

589
00:32:06,880 --> 00:32:09,359
he's got the band and behind him instead of you know,

590
00:32:09,599 --> 00:32:15,000
girls pretending to play music. But it's very Robert Palmer.

591
00:32:15,039 --> 00:32:18,720
And then we also have this very cool effect that's

592
00:32:18,759 --> 00:32:21,519
another part of the video where the band is singing

593
00:32:21,599 --> 00:32:25,000
in kind of a stop motion style the lyrics to

594
00:32:25,039 --> 00:32:27,960
the song as these tracers of lights go.

595
00:32:28,079 --> 00:32:29,039
Speaker 1: Yeah, that's really cool.

596
00:32:29,119 --> 00:32:35,000
Speaker 2: Yeah, very reminiscent of the Sledgehammer video, that's right. And

597
00:32:35,079 --> 00:32:38,559
so yeah, there's some pretty cool, cool effects going on.

598
00:32:38,680 --> 00:32:40,680
Cool things that they did with this video.

599
00:32:40,920 --> 00:32:43,599
Speaker 1: I was gonna mention in February of twenty fourteen, the

600
00:32:43,759 --> 00:32:47,519
mini series and Excess Never Tear Us Apart on Australia television,

601
00:32:47,519 --> 00:32:49,559
which I would love to see. I couldn't find it

602
00:32:49,640 --> 00:32:51,039
on YouTube. I was looking for it. I wanted to

603
00:32:51,079 --> 00:32:54,200
watch it. New Sensation charted again in Australia after that

604
00:32:54,240 --> 00:32:57,279
mini series aired. Sometimes I like to think about the

605
00:32:57,359 --> 00:33:01,200
track listing, right, and for me, album ought to be

606
00:33:01,400 --> 00:33:03,680
like a concert, right. You start off with a bang,

607
00:33:04,279 --> 00:33:06,359
then you kind of ramp up to your hits, and

608
00:33:06,400 --> 00:33:08,680
then you mix in a few softers and then you

609
00:33:08,759 --> 00:33:10,839
close with the encore. Guns in the Sky is a

610
00:33:10,880 --> 00:33:13,559
great beginning. It's real short, but I think maybe New

611
00:33:13,640 --> 00:33:17,039
Sensation would have been a great kickoff song for this album.

612
00:33:17,519 --> 00:33:20,240
Sure pop it in push play and you get that boom,

613
00:33:20,279 --> 00:33:23,880
that hook right off the back. Great song, huge, huge song.

614
00:33:24,720 --> 00:33:29,160
This was their third single, released March thirty first, nineteen

615
00:33:29,160 --> 00:33:29,599
eighty eight.

616
00:33:29,759 --> 00:33:30,559
Speaker 2: We Ready to go on?

617
00:33:30,559 --> 00:33:31,200
Speaker 1: Are we moving on?

618
00:33:31,599 --> 00:33:32,799
Speaker 2: Yeah? All right? Yes?

619
00:33:33,000 --> 00:33:35,480
Speaker 1: Next track on the album is.

620
00:33:37,119 --> 00:33:46,240
Speaker 4: Devil Inside, Devil Inside, every single one of those side

621
00:33:45,640 --> 00:33:48,799
the Woman the Loki.

622
00:33:54,160 --> 00:33:57,359
Speaker 1: With Flesh on the all right. So this was the

623
00:33:57,400 --> 00:34:02,359
second single, Yeah, released February thirteenth, nineteen eighty eighty one.

624
00:34:02,480 --> 00:34:04,960
This reached number two on the Hot one hundred.

625
00:34:05,519 --> 00:34:10,079
Speaker 2: This is another killer song. The beat is so solid

626
00:34:10,159 --> 00:34:13,679
and so strong. Dun't dun du du u d d

627
00:34:13,840 --> 00:34:19,320
d duh da, No, don't du duh it's it is awesome.

628
00:34:19,760 --> 00:34:24,119
And the lyrics again, they just use that kind of

629
00:34:24,639 --> 00:34:28,360
they're forbidden and you know what you want that you

630
00:34:28,440 --> 00:34:32,320
can't get. And Hutchins said when he was writing these lyrics,

631
00:34:32,320 --> 00:34:35,079
he was in kind of a God in the Devil phase,

632
00:34:35,280 --> 00:34:37,199
and he said he thought that it kind of had

633
00:34:37,199 --> 00:34:39,880
to do with the chaos of everything, and when you

634
00:34:39,920 --> 00:34:42,760
put it into religious terms, the devil is the thing

635
00:34:42,800 --> 00:34:44,880
that's chaotic, this is what he said, so that every

636
00:34:44,880 --> 00:34:47,280
time you think something is right, he comes in and

637
00:34:47,360 --> 00:34:50,039
changes everything. Kind of a sad concept when you consider

638
00:34:50,079 --> 00:34:50,480
his life.

639
00:34:50,719 --> 00:34:53,519
Speaker 1: I mean, his personal life ends in complete chaos. But

640
00:34:53,760 --> 00:34:56,039
we'll talk about that later. Yeah, the beginning of this song,

641
00:34:56,159 --> 00:34:58,800
you have that sort of Caribbean type of sound and

642
00:34:58,800 --> 00:35:01,519
then you have that real hard strum of the guitar

643
00:35:02,840 --> 00:35:04,800
and at that moment, I'm like, I'm in.

644
00:35:05,039 --> 00:35:05,360
Speaker 2: I'm in.

645
00:35:05,400 --> 00:35:08,519
Speaker 1: This song is great. Five seconds into the song and

646
00:35:08,519 --> 00:35:09,280
I love it already.

647
00:35:09,360 --> 00:35:12,719
Speaker 2: So video for this one, Kirk Bengilly was not a

648
00:35:12,760 --> 00:35:15,480
fan because he felt like it was too American, which

649
00:35:15,519 --> 00:35:17,880
I don't really know what that means. But it was

650
00:35:17,920 --> 00:35:21,079
filmed in California, so I can guess I can see

651
00:35:21,079 --> 00:35:23,719
how that would be pretty American. I can tell you

652
00:35:23,800 --> 00:35:26,679
that anytime, I can forget all things about this video,

653
00:35:26,800 --> 00:35:30,119
but the girl in the white dress getting onto the

654
00:35:30,119 --> 00:35:33,559
back of the motorcycle with the black leather clad bikers,

655
00:35:33,880 --> 00:35:35,880
it's going to be etched into my memory for it.

656
00:35:37,000 --> 00:35:38,679
Speaker 1: I mean, this video had I mean it had the

657
00:35:38,719 --> 00:35:41,239
devil mask right, like Michael Hutchins had that double mask

658
00:35:41,320 --> 00:35:45,360
on backwards. Ye when he flips around to do that. Right.

659
00:35:45,719 --> 00:35:48,000
But it's in a bar. You've got the skateboard, which

660
00:35:48,039 --> 00:35:50,119
is kind of cool. You've got all these sixty girls.

661
00:35:50,239 --> 00:35:52,920
It has a lost boys type of feel to it.

662
00:35:53,159 --> 00:35:55,760
Speaker 2: Yeah, and you have this kind of beat it moment

663
00:35:55,840 --> 00:36:00,159
where the two you know rival, You got the white preppy,

664
00:36:00,559 --> 00:36:05,280
you know, elite coming up against the black leather biker gang.

665
00:36:05,599 --> 00:36:08,920
And then the band starts walking through like Michael Jackson

666
00:36:08,960 --> 00:36:12,199
pushing everybody apart, but more and more of a kind

667
00:36:12,199 --> 00:36:15,840
of I don't know, sultry and you know, move out,

668
00:36:15,880 --> 00:36:18,039
of our wig as We're coming through kind of way.

669
00:36:18,559 --> 00:36:20,800
Speaker 1: The reason why this video has a Lost Boys feel

670
00:36:20,960 --> 00:36:23,320
is because it was directed by Joel.

671
00:36:23,079 --> 00:36:24,960
Speaker 2: Schumacher, who directed The Lost Boys.

672
00:36:24,960 --> 00:36:27,400
Speaker 1: Who directed The Lost Boys. Yeah, and he directed the

673
00:36:27,519 --> 00:36:30,760
video as a favorite to them for them contributing those

674
00:36:30,760 --> 00:36:32,400
two songs to his movie.

675
00:36:32,480 --> 00:36:36,519
Speaker 2: Yep. He did not direct another music video until Kiss

676
00:36:36,559 --> 00:36:39,840
from a Rose by Seal, which was on the soundtrack

677
00:36:40,000 --> 00:36:43,559
for Batman Forever. Joel Schumacher did a good job with

678
00:36:43,599 --> 00:36:45,880
The Lost Boys, but I don't know that there's been

679
00:36:45,920 --> 00:36:47,960
another movie that I thought was great of his.

680
00:36:48,159 --> 00:36:51,639
Speaker 1: He did a great job with The Lost Boys, and

681
00:36:51,719 --> 00:36:54,320
I'll stop there. I know our good friend John reid

682
00:36:54,360 --> 00:36:57,400
Over at the thirty something podcast is a huge fan

683
00:36:57,800 --> 00:37:01,599
of Batman and Robin That's joke, really joke sod like, no,

684
00:37:01,679 --> 00:37:02,320
it's not right.

685
00:37:03,039 --> 00:37:03,280
Speaker 2: Yeah.

686
00:37:03,360 --> 00:37:05,119
Speaker 1: Shout out to the thirty something Podcast.

687
00:37:05,239 --> 00:37:08,440
Speaker 2: Love those guys. When you're done with this episode, download

688
00:37:08,480 --> 00:37:12,199
their episodes, especially the Batman from eighty nine.

689
00:37:12,320 --> 00:37:14,960
Speaker 1: Devil Inside made it to number two. I want to

690
00:37:15,000 --> 00:37:18,000
know what songs are good enough to keep this out

691
00:37:18,000 --> 00:37:20,360
of the number one spot, And as it turns out,

692
00:37:20,840 --> 00:37:22,760
there are two songs that are good enough to keep

693
00:37:22,760 --> 00:37:25,400
it out of the number one spot, all right. So, yep,

694
00:37:25,559 --> 00:37:28,679
that week in nineteen eighty eight, the first time it

695
00:37:28,719 --> 00:37:32,280
was blocked, it was blocked by Get Out of My Dreams,

696
00:37:32,320 --> 00:37:34,679
Get Into My Car by Billy Ocean, And then the

697
00:37:34,800 --> 00:37:37,880
next week Whitney Houston jumps over him with where Do

698
00:37:37,960 --> 00:37:38,880
Broken Hearts.

699
00:37:38,639 --> 00:37:40,320
Speaker 2: Go, which is not even her best song.

700
00:37:40,519 --> 00:37:44,480
Speaker 1: No Devil Inside is way better than both of those songs. Now, yep,

701
00:37:44,840 --> 00:37:47,320
these songs come on on my radio. Secretly I'm turning

702
00:37:47,360 --> 00:37:51,840
them up. But double Inside is louder. Okay.

703
00:37:52,000 --> 00:37:53,280
Speaker 2: I hate to tell you, I don't think he's a

704
00:37:53,280 --> 00:37:54,000
secret anymore.

705
00:37:57,440 --> 00:38:00,719
Speaker 1: Well, you know where's their weapons? Sharper than night? Okay.

706
00:38:00,760 --> 00:38:06,960
So this brings us to probably their most famous, best known.

707
00:38:06,360 --> 00:38:09,559
Speaker 2: Again arguably the best song on the album. You know

708
00:38:09,599 --> 00:38:12,480
we talk. We talked all the time about how much

709
00:38:12,519 --> 00:38:16,119
nostalgia is playing into our feelings behind a particular song.

710
00:38:16,320 --> 00:38:19,239
And I've got to say that the video for this

711
00:38:19,280 --> 00:38:24,360
one has a huge nostalgia impact for me. This video

712
00:38:25,159 --> 00:38:28,719
was on and on and on, and I watched it

713
00:38:28,840 --> 00:38:32,239
every time that it came on. I was fascinated. It

714
00:38:32,880 --> 00:38:36,719
was really really unique style of video. And then their

715
00:38:36,760 --> 00:38:40,760
combination of meditate at the end, which was a totally

716
00:38:40,760 --> 00:38:46,119
different style but was still very cool. I just was, yeah,

717
00:38:46,159 --> 00:38:48,000
this this is a song that I'm going to listen

718
00:38:48,039 --> 00:38:49,800
to and I'm still gonna I want to think of

719
00:38:49,880 --> 00:38:51,559
all of the cool effects that were going on with

720
00:38:51,639 --> 00:38:52,119
this video.

721
00:38:52,320 --> 00:38:55,760
Speaker 1: It's super super cool video, great song. So this was

722
00:38:55,800 --> 00:38:59,199
actually their first release. This is the one that their manager,

723
00:38:59,280 --> 00:39:02,400
Chris Murphy to college radio and said, play this, we

724
00:39:02,440 --> 00:39:04,760
think this is a hit. Play this song, see what happens.

725
00:39:04,800 --> 00:39:06,800
And it turns out it was a hit. This reached

726
00:39:07,119 --> 00:39:09,280
number one on the Hot one hundred. This is their

727
00:39:09,280 --> 00:39:12,800
only number one hit, Number one January thirtieth, nineteen eighty eight,

728
00:39:13,159 --> 00:39:15,880
knocking out of the number one spot. The Way You

729
00:39:15,920 --> 00:39:19,079
Make Me Feel by Michael Jackson flashback to Our Bad

730
00:39:19,119 --> 00:39:21,199
episode episode two.

731
00:39:21,360 --> 00:39:26,119
Speaker 2: I Believe Yeah, this one. It was also monumental on MTV.

732
00:39:26,519 --> 00:39:32,400
It won five different MTV Music Video Awards, including Best Video.

733
00:39:32,639 --> 00:39:35,239
They ended up playing the final song that night. It

734
00:39:35,360 --> 00:39:38,559
was It was a big sweep for the MTV Video

735
00:39:38,639 --> 00:39:39,280
Music Awards.

736
00:39:39,360 --> 00:39:42,920
Speaker 1: Yeah, they won five moon Men on the MTV Music Awards.

737
00:39:43,480 --> 00:39:46,719
Speaker 2: You'll remember from the video seeing John Ferris standing up

738
00:39:46,760 --> 00:39:53,280
with no drums but playing with drumsticks Allah Journey Separate

739
00:39:53,280 --> 00:39:56,400
Ways video, although this is a much much cooler effect.

740
00:39:57,039 --> 00:39:58,880
Speaker 1: Well, they didn't do it at the wharf, which you know.

741
00:40:01,159 --> 00:40:04,880
Speaker 2: This is the leather jacket no Shirt video where Michael

742
00:40:04,960 --> 00:40:08,559
Hutchins is walking around. So it's seductively that it makes

743
00:40:08,559 --> 00:40:12,159
me feel uncomfortable as a heterosexual.

744
00:40:11,400 --> 00:40:11,880
Speaker 1: But it.

745
00:40:14,960 --> 00:40:18,880
Speaker 2: Is something that blasted them into the spot, like this

746
00:40:18,960 --> 00:40:25,159
is the one that made them a worldwide, major, huge success.

747
00:40:25,559 --> 00:40:29,840
So the guitar riff on this one is incredibly famous.

748
00:40:30,480 --> 00:40:34,159
And it appeared to Andrew Ferris in his head as

749
00:40:34,199 --> 00:40:37,199
he was just about to get into a cab to

750
00:40:37,239 --> 00:40:39,960
fly to the airport to Hong Kong, and so he

751
00:40:40,000 --> 00:40:42,559
said to the cab driver, wait just a couple of minutes.

752
00:40:42,719 --> 00:40:44,840
I'm gonna go grab something from my room. And then

753
00:40:44,840 --> 00:40:46,719
he went up to his room and spent the next

754
00:40:46,760 --> 00:40:50,599
forty five minutes recording the riff and came back down

755
00:40:50,639 --> 00:40:55,679
an hour later, and the cab driver was very unhappy,

756
00:40:58,079 --> 00:41:01,199
and Michael Hutchins started writing the lyric immediately and wrote

757
00:41:01,199 --> 00:41:02,599
them all within ten minutes.

758
00:41:02,719 --> 00:41:04,559
Speaker 1: All right, we're done with need You Tonight.

759
00:41:05,119 --> 00:41:08,039
Speaker 2: Well here's the thing is need You Tonight part of

760
00:41:08,079 --> 00:41:08,960
another song or not.

761
00:41:09,639 --> 00:41:10,880
Speaker 1: That's an interesting question.

762
00:41:10,960 --> 00:41:15,159
Speaker 2: I say, no, okay, well you know, then here's my

763
00:41:15,199 --> 00:41:17,599
next question for you. If you are listening to the

764
00:41:17,719 --> 00:41:21,199
radio and they play we Will Rock You and they

765
00:41:21,320 --> 00:41:25,360
don't play we are the Champions after that, are you irritated?

766
00:41:25,599 --> 00:41:30,599
Speaker 1: Yes, easily. I don't really understand that. But they go

767
00:41:30,719 --> 00:41:32,599
together like peas and carrots.

768
00:41:32,599 --> 00:41:36,519
Speaker 2: For some reason, they were they're recording medi eight and

769
00:41:36,960 --> 00:41:40,159
somehow somebody had left a tape on of Need You

770
00:41:40,199 --> 00:41:44,079
Tonight in the background, and so as they're like, oh, wait,

771
00:41:44,199 --> 00:41:45,960
you know, there's something else going on, and they stopped

772
00:41:45,960 --> 00:41:48,280
and they listened to it to see if you could

773
00:41:48,280 --> 00:41:50,119
hear the song. And as they listen, they're like, wait

774
00:41:50,119 --> 00:41:53,320
a minute, this actually fits really really well. The click

775
00:41:53,360 --> 00:41:57,480
track was the same speed, and so Andrew Ferriss said,

776
00:41:58,119 --> 00:41:59,880
you know what, I think we need to kind of

777
00:42:00,480 --> 00:42:04,199
have these songs merged together at the end, and so

778
00:42:04,599 --> 00:42:07,079
that's exactly what they did. So I guess at this

779
00:42:07,159 --> 00:42:12,920
point we're moving on to mediate or meditate or meditate.

780
00:42:12,760 --> 00:42:14,880
Speaker 1: Or try not to hate or love your mate or

781
00:42:15,000 --> 00:42:20,039
don't suffocate, right right, So this song is not was

782
00:42:20,079 --> 00:42:21,960
never released as a single, but they played it at

783
00:42:22,000 --> 00:42:24,639
the end of the video Need You Tonight. It's modeled

784
00:42:24,679 --> 00:42:29,199
after Bob Dylan's Subterranean Homesick Blues video If you've ever

785
00:42:29,239 --> 00:42:31,960
seen that, They flip over que cards and there's words

786
00:42:31,960 --> 00:42:35,639
written on them, and then Kirk Bengilly has his saxophone

787
00:42:35,639 --> 00:42:36,360
solo at the end.

788
00:42:36,480 --> 00:42:40,599
Speaker 2: Okay, so yeah, so the song mediate was actually longer.

789
00:42:40,880 --> 00:42:44,199
The engineer said that when he rewound his tape and

790
00:42:44,320 --> 00:42:48,119
hit play just as Needs You Tonight ended, it synced

791
00:42:48,239 --> 00:42:52,000
up so perfectly that he actually thought there was something wrong.

792
00:42:52,199 --> 00:42:54,960
And so that's how that's how they came together.

793
00:42:55,079 --> 00:42:56,320
Speaker 1: You've seen this video, right.

794
00:42:56,440 --> 00:42:59,760
Speaker 2: Yeah, So the Q cards, just like in the Bob

795
00:42:59,880 --> 00:43:03,920
d version, have some misspelled words on there. And then

796
00:43:04,119 --> 00:43:08,599
whenever he whenever he talks about an important date, you know,

797
00:43:08,639 --> 00:43:09,519
the date that comes.

798
00:43:09,440 --> 00:43:12,360
Speaker 1: Up, Yeah, nine to eight nineteen forty five.

799
00:43:12,880 --> 00:43:16,199
Speaker 2: Which if you're in the United States like US, that

800
00:43:16,400 --> 00:43:20,840
sounds like September eighth, nineteen forty five, which is not

801
00:43:20,920 --> 00:43:25,440
a particularly eventful date. However, uh huh. That's not the

802
00:43:25,480 --> 00:43:28,320
format that people in Australia and New Zealand and some

803
00:43:28,400 --> 00:43:30,719
of the other countries in the world use, which is

804
00:43:30,760 --> 00:43:34,159
to put the day first and then the month and

805
00:43:34,280 --> 00:43:36,920
then the year, and when you do that, that is

806
00:43:37,079 --> 00:43:41,159
the ninth of August nineteen forty five, which.

807
00:43:41,199 --> 00:43:43,599
Speaker 1: That refers to the date that the atomic bomb was

808
00:43:43,719 --> 00:43:47,159
dropped on Nagasaki, Japan. That's incredible, that's incredible. Yeah. When

809
00:43:47,199 --> 00:43:48,800
I saw that as a kid, I'm like, what the heck.

810
00:43:48,840 --> 00:43:50,320
First of all, I didn't have Google back then, so

811
00:43:50,360 --> 00:43:51,159
I couldn't look it up.

812
00:43:52,280 --> 00:43:56,639
Speaker 2: Especially even if you had World Book or Encyclopedia Britannica.

813
00:43:56,679 --> 00:43:58,199
You could not just go look up a date.

814
00:43:58,400 --> 00:44:00,679
Speaker 1: That's right. I was going through National g Graphics left

815
00:44:00,679 --> 00:44:06,320
and right. I couldn't find anything. Okay for me, Media

816
00:44:06,360 --> 00:44:10,440
eight is just kind of an extension of Need You Tonight.

817
00:44:10,519 --> 00:44:12,679
Speaker 2: I don't know what'd you think of it? I mean, yeah, no,

818
00:44:12,800 --> 00:44:15,400
for me, this is a part of this is a

819
00:44:15,400 --> 00:44:18,039
part of this song. To me, I want that ending,

820
00:44:18,119 --> 00:44:21,800
especially if I'm watching the videos. But no, it's such

821
00:44:22,199 --> 00:44:26,039
a great transition that they do from Need You Tonight

822
00:44:26,199 --> 00:44:30,559
into this song and then once that sax solo comes in,

823
00:44:30,679 --> 00:44:33,960
it's totally different. Is it totally different sound? But it's

824
00:44:34,079 --> 00:44:36,360
beautiful and I love it.

825
00:44:36,400 --> 00:44:38,760
Speaker 1: All right, let's move on. That brings us to the

826
00:44:38,800 --> 00:44:48,079
song the loved One. This is a original hit by

827
00:44:48,079 --> 00:44:51,440
the Australian R and B band called the loved Ones.

828
00:44:51,760 --> 00:44:54,199
This was a hit in May of nineteen sixty six.

829
00:44:54,440 --> 00:44:56,559
I love this song. This is one of my favorite

830
00:44:56,559 --> 00:44:57,760
songs on the album.

831
00:44:57,519 --> 00:45:01,800
Speaker 2: This one. They had actually recorded it twice. The original

832
00:45:01,960 --> 00:45:05,440
The original studio version was done as a standalone single

833
00:45:05,599 --> 00:45:08,880
in March of nineteen eighty one in Australia only and

834
00:45:09,039 --> 00:45:11,679
it ended up at number twenty on the National charts,

835
00:45:11,880 --> 00:45:15,239
and it was later on the compilation album. They did

836
00:45:15,239 --> 00:45:19,000
an eighty two call in Excessive. Then they re recorded

837
00:45:19,039 --> 00:45:23,800
it for this album and it sounds better now. I

838
00:45:23,840 --> 00:45:26,800
will say that I'm not a huge fan of the lyrics.

839
00:45:26,960 --> 00:45:29,079
I mean, obviously they didn't write the lyrics, but I

840
00:45:29,119 --> 00:45:33,519
think what they do with the music on this is solid.

841
00:45:33,639 --> 00:45:38,000
It's such a great intro. The music is fantastic. The

842
00:45:38,039 --> 00:45:40,880
band does a great job with this one and singing.

843
00:45:41,119 --> 00:45:43,840
I mean, there's not a problem with Michael Hutchins's voice.

844
00:45:43,880 --> 00:45:46,039
I just think the chorus of the song's kind of sophomoric.

845
00:45:46,079 --> 00:45:48,639
I mean, it's just not very interesting to me. So

846
00:45:49,079 --> 00:45:51,480
it's not my favorite. But but as far as the

847
00:45:51,559 --> 00:45:53,119
music goes, I think they do a great job.

848
00:45:53,440 --> 00:45:55,760
Speaker 1: I love it. So we've covered Pearl Jam, and we've

849
00:45:55,800 --> 00:45:58,320
talked about how Eddie Vedder tries to cram a whole

850
00:45:58,320 --> 00:46:00,920
bunch of words into a song and sometimes it's difficult

851
00:46:00,960 --> 00:46:03,719
to understand what he's saying. These just flow right out

852
00:46:03,800 --> 00:46:07,199
and they're so singable. You have that Oh baby, I

853
00:46:07,280 --> 00:46:11,760
love you so, I need you now, I want you back.

854
00:46:12,119 --> 00:46:14,840
I can't go on when I'm so simple. It's simple.

855
00:46:15,000 --> 00:46:18,599
Speaker 2: It's simple and boring. It's boring. I just think, I

856
00:46:18,639 --> 00:46:19,239
think it's great.

857
00:46:19,599 --> 00:46:21,440
Speaker 1: Anytime we're driving down the road and I want on

858
00:46:21,559 --> 00:46:24,400
Kathy to come out right, I put this in and

859
00:46:24,440 --> 00:46:28,519
turn it up and she is singing and waving, and

860
00:46:28,559 --> 00:46:30,239
she and I are both big fans of The Loved One.

861
00:46:30,280 --> 00:46:35,199
So my lovely wife. So you mentioned earlier their album

862
00:46:35,280 --> 00:46:38,039
Inexcessive that was released in nineteen eighty two. So off

863
00:46:38,079 --> 00:46:40,880
of their album Inexcessive in nineteen eighty two, they have

864
00:46:40,920 --> 00:46:43,480
a song called the Unloved One, which I thought that

865
00:46:43,519 --> 00:46:45,920
was kind of interesting. This is for our Australian friends,

866
00:46:45,920 --> 00:46:48,960
all right. So in two thousand and one, The Loved

867
00:46:48,960 --> 00:46:53,079
One was selected as the number six song on the

868
00:46:53,119 --> 00:46:56,079
list of top thirty Australian Songs of all time.

869
00:46:56,159 --> 00:46:56,840
Speaker 2: How about that.

870
00:46:56,760 --> 00:46:59,079
Speaker 1: It's the number six Australian song of all time.

871
00:46:59,199 --> 00:47:02,079
Speaker 2: It's fantastic. Stick. I'm glad you loved this song and

872
00:47:02,079 --> 00:47:05,880
the fun Kathy comes out. Can we about never tear

873
00:47:06,000 --> 00:47:09,039
us apart? Please? I've been waiting for this song.

874
00:47:10,559 --> 00:47:14,880
Speaker 1: All right, stop the tape, kick it out, flip it over,

875
00:47:15,079 --> 00:47:16,760
let's go aside to you ready?

876
00:47:17,320 --> 00:47:18,280
Speaker 2: Yeah, okay?

877
00:47:18,400 --> 00:47:24,039
Speaker 1: First song is Wildlife. I skipped Wildlife, Jake, what's that.

878
00:47:28,599 --> 00:47:29,280
Speaker 3: Have them?

879
00:47:30,480 --> 00:47:31,000
Speaker 1: I love it?

880
00:47:31,239 --> 00:47:33,199
Speaker 2: This was a new This was a new song for me.

881
00:47:33,239 --> 00:47:36,159
I did not own the Kick album and so I

882
00:47:36,199 --> 00:47:38,840
hadn't really listened to this song for I think it's great.

883
00:47:38,840 --> 00:47:39,920
Speaker 1: It's great. It's great.

884
00:47:40,159 --> 00:47:44,000
Speaker 2: Yeah, it's I don't I think the song is about

885
00:47:44,039 --> 00:47:48,400
freedom that The lyrics are pretty vague, but I think

886
00:47:48,440 --> 00:47:50,320
it's just kind of about doing what you want to

887
00:47:50,360 --> 00:47:54,119
do and even if it's bad, it ain't bad.

888
00:47:54,079 --> 00:47:56,079
Speaker 1: Enough, so that's it.

889
00:47:56,119 --> 00:47:56,360
Speaker 2: That's it.

890
00:47:56,519 --> 00:47:58,239
Speaker 1: I think it's about going out and having a little fun,

891
00:47:58,360 --> 00:48:01,000
living the wildlife. I mean, this is not one of

892
00:48:01,039 --> 00:48:03,559
the stronger songs on the album, but it's still good.

893
00:48:03,559 --> 00:48:05,119
I mean, I don't think there's a bad song on

894
00:48:05,159 --> 00:48:07,360
this album. This is a great concert song.

895
00:48:07,519 --> 00:48:09,800
Speaker 2: This is not a skipper, No, this is this is

896
00:48:09,840 --> 00:48:12,079
a good song. This is a really good song. Yeah

897
00:48:12,079 --> 00:48:15,400
for sure. I think they say it's still a strong track. Okay,

898
00:48:15,480 --> 00:48:17,239
all right, and it's a good it's a good intro

899
00:48:17,400 --> 00:48:19,960
to the side too. He talked about the you know,

900
00:48:20,400 --> 00:48:22,639
the beginning of the album needs to be something big,

901
00:48:22,679 --> 00:48:25,119
and I think this is a good this is a

902
00:48:25,119 --> 00:48:25,639
good beginning.

903
00:48:25,639 --> 00:48:28,360
Speaker 1: I'm trying not to gush over's song. Well, I mean,

904
00:48:28,480 --> 00:48:29,840
I'm just just telling you.

905
00:48:29,960 --> 00:48:32,719
Speaker 2: I don't think that they're I mean, I think there

906
00:48:32,719 --> 00:48:35,119
are there. There is a bad song on this album,

907
00:48:35,159 --> 00:48:37,039
so I will get there. It's just not this one.

908
00:48:37,079 --> 00:48:37,760
This one's a good.

909
00:48:37,599 --> 00:48:40,280
Speaker 1: One, Okay, very good. I think there's there's one part

910
00:48:40,320 --> 00:48:42,960
in the song that he says, what we do, what

911
00:48:43,000 --> 00:48:46,440
we do? He repeats himself, and that little part what

912
00:48:46,840 --> 00:48:50,159
sounds like what you need yep, And that makes it fun.

913
00:48:50,239 --> 00:48:53,679
I like picking that up my ear tingles. I'm like, hey,

914
00:48:53,760 --> 00:48:56,639
that's what you need? Yes, all right, So we both

915
00:48:56,719 --> 00:48:59,400
like wildlife. It's not a single, but it's not a skipper.

916
00:48:59,440 --> 00:49:00,000
It's a good song.

917
00:49:00,480 --> 00:49:03,800
Speaker 2: Can we talk about never terrorists apart? I've been waiting

918
00:49:04,239 --> 00:49:08,119
and waiting. This is my favorite in excess song. I'm dying.

919
00:49:08,159 --> 00:49:09,800
Can we talk about never Tear Us Apart?

920
00:49:09,840 --> 00:49:12,159
Speaker 1: Now, let's talk about never tear us apart.

921
00:49:12,559 --> 00:49:13,559
Speaker 4: Don't ask men.

922
00:49:15,920 --> 00:49:20,800
Speaker 5: Watch you know it's true, don't have to tell you.

923
00:49:25,320 --> 00:49:25,760
Speaker 1: That's just.

924
00:49:27,800 --> 00:49:30,719
Speaker 2: This is so good. I don't want to talk. I

925
00:49:30,719 --> 00:49:33,119
want to just listen to the song. Because you have

926
00:49:33,239 --> 00:49:37,079
beautiful parts throughout the song. You start off with this

927
00:49:37,440 --> 00:49:41,880
kind of waltzy string section going, and the lyrics are

928
00:49:42,000 --> 00:49:46,599
simple and beautiful and romantic and sensual, and then you

929
00:49:46,679 --> 00:49:50,280
have this break and the guitar comes in and it's

930
00:49:50,360 --> 00:49:54,840
hard and it's rock and roll, and it's awesome. What

931
00:49:55,400 --> 00:49:57,679
a fantastic song.

932
00:49:57,800 --> 00:49:59,840
Speaker 1: Yeah, this song's amazing. It's amazing.

933
00:50:00,280 --> 00:50:01,360
Speaker 2: I like it a little bit.

934
00:50:03,719 --> 00:50:03,920
Speaker 4: Now.

935
00:50:03,960 --> 00:50:06,639
Speaker 1: This song is incredible. I could listen to it all day.

936
00:50:06,679 --> 00:50:10,159
Speaker 2: I love it so this song. When they originally did it,

937
00:50:10,159 --> 00:50:14,039
it was a piano ballad and it didn't have the

938
00:50:14,119 --> 00:50:18,280
orchestra in there at all, and Chris Thomas.

939
00:50:17,920 --> 00:50:21,440
Speaker 1: The producer, said it was a Fats.

940
00:50:21,159 --> 00:50:25,840
Speaker 2: Domino bluesy kind of Rolling Stone Es the early sixties song.

941
00:50:26,159 --> 00:50:29,159
I heard it and I thought we can do more,

942
00:50:29,719 --> 00:50:32,159
and I came up with the idea to substitute the

943
00:50:32,159 --> 00:50:35,880
strings for the piano, and that changed everything. It was

944
00:50:35,960 --> 00:50:40,000
what the song deserved because in the structure and the lyrics,

945
00:50:40,159 --> 00:50:43,559
it was so strong already, and then you got more

946
00:50:43,599 --> 00:50:46,920
of these lyrics and they're intensified, and then you have

947
00:50:47,000 --> 00:50:52,280
the break and that saxophone. Holy crap when that saxophone

948
00:50:52,320 --> 00:51:10,400
comes in, Oh my gosh. Is a song that exudes

949
00:51:10,920 --> 00:51:15,159
passion and sensuality with all of these kind of elements.

950
00:51:15,599 --> 00:51:18,760
You know, it's a waltz along with a rock song,

951
00:51:18,880 --> 00:51:25,599
along with the jazzy saxophone. It's amazing. It is absolutely incredible.

952
00:51:25,719 --> 00:51:28,559
Speaker 1: I have a very specific memory about this song. I

953
00:51:28,599 --> 00:51:31,599
will take to my grave every time the song comes.

954
00:51:31,639 --> 00:51:35,239
On the first day of my sophomore year in high school.

955
00:51:35,719 --> 00:51:38,039
This is the song that my alarm clock kicked on.

956
00:51:38,400 --> 00:51:40,679
It will always be to me the first song I

957
00:51:40,719 --> 00:51:42,599
heard on the first day of school my sophomore year.

958
00:51:42,719 --> 00:51:45,280
Speaker 2: This the video for this one, another one, directed by

959
00:51:45,360 --> 00:51:50,320
Richard Lowenstein. It was done in Prague, and you'll remember

960
00:51:50,880 --> 00:51:55,480
it's kind of this long, one shot take that starts

961
00:51:55,519 --> 00:51:59,440
off really with an establishing shot of the city itself

962
00:52:00,159 --> 00:52:04,360
and the they're in a park and then Michael Hutchins

963
00:52:04,440 --> 00:52:08,719
is walking along this very kind of autumn weather and

964
00:52:08,760 --> 00:52:12,000
he walks by the string quartet as they're playing, and

965
00:52:12,119 --> 00:52:17,880
it is the video matches the feeling of the song perfectly.

966
00:52:18,079 --> 00:52:20,280
Speaker 1: So this song has two stops in it right, one

967
00:52:20,320 --> 00:52:22,440
at the forty eight second mark and one at the

968
00:52:22,440 --> 00:52:25,880
one nine mark. Right During live shows, they would stop

969
00:52:26,079 --> 00:52:27,639
and the band would turn out the lights and they

970
00:52:27,679 --> 00:52:31,119
would wait. I could just see this being great in concert, right,

971
00:52:31,280 --> 00:52:33,360
So that hard stop in the song and just kill

972
00:52:33,400 --> 00:52:36,400
the lights and just let the crowd just get warmped

973
00:52:36,480 --> 00:52:39,440
up and then and then come in with the boom boom,

974
00:52:39,519 --> 00:52:40,199
boom boom.

975
00:52:41,320 --> 00:52:44,800
Speaker 2: I feel justified. And this is a sad thing that

976
00:52:44,800 --> 00:52:49,519
I'm about to say, but when Michael Hutchins died, they

977
00:52:49,559 --> 00:52:53,960
had his funeral at Saint Andrew's Cathedral and the band

978
00:52:54,039 --> 00:52:57,400
members were the pallbearers, and as they carried his casket,

979
00:52:57,800 --> 00:52:59,960
this was the song that was playing in the background,

980
00:53:00,239 --> 00:53:04,079
the kind of idea that even though you're gone, will

981
00:53:04,119 --> 00:53:07,599
never be apart, and the lyrics I was standing you

982
00:53:08,039 --> 00:53:11,960
were there, two worlds collided and they could never tear

983
00:53:12,000 --> 00:53:14,840
us apart. I don't know if you've had those moments

984
00:53:14,920 --> 00:53:18,679
in life where you must have everybody had. Everybody has

985
00:53:18,679 --> 00:53:23,320
had these moments where you like a girl, you're with

986
00:53:23,400 --> 00:53:27,159
the girl together, you haven't expressed your feelings for her,

987
00:53:27,239 --> 00:53:32,639
she hasn't expressed feelings for you. But suddenly, without any

988
00:53:33,000 --> 00:53:40,280
real preparation or idea, your eyes just lock and then

989
00:53:40,800 --> 00:53:45,360
you throw yourselves at each other in a passionate kiss

990
00:53:45,400 --> 00:53:50,039
and embrace. And I think of that every time when

991
00:53:50,039 --> 00:53:54,519
I hear this song, just those worlds colliding. It's awesome.

992
00:53:54,559 --> 00:53:56,480
Speaker 1: All right, let's talk about the chart history for just

993
00:53:56,519 --> 00:53:58,000
a second. I think this is interesting.

994
00:53:58,360 --> 00:53:58,679
Speaker 2: Okay.

995
00:53:59,079 --> 00:54:02,039
Speaker 1: This song charted again in February of twenty fourteen, after

996
00:54:02,079 --> 00:54:05,519
that Australian TV series Never Taris apart the mini series

997
00:54:05,559 --> 00:54:07,880
on in Excess, which I would love to see. So

998
00:54:07,960 --> 00:54:11,840
it peaked at number eleven in Australia, surpassing its original

999
00:54:11,880 --> 00:54:14,760
peak of fourteen back in nineteen eighty eight. In the

1000
00:54:14,840 --> 00:54:18,639
United States, this song got to number seven the week

1001
00:54:18,800 --> 00:54:22,000
of November fifth, nineteen eighty eight. The number one song

1002
00:54:22,199 --> 00:54:25,000
in the country that week Kokomo by The Beach Boys.

1003
00:54:25,239 --> 00:54:28,480
Speaker 2: I cannot imagine why this wasn't at the very least

1004
00:54:28,480 --> 00:54:29,480
the top five songs.

1005
00:54:29,519 --> 00:54:33,000
Speaker 1: The number four song that same week, the Locomotion by

1006
00:54:33,039 --> 00:54:34,000
Kylie Minogue.

1007
00:54:34,320 --> 00:54:36,039
Speaker 2: Who ooh Yeah.

1008
00:54:36,159 --> 00:54:39,840
Speaker 1: Michael Hutchins and Kylie Minogue were kind of Australia's hot

1009
00:54:39,840 --> 00:54:42,159
couple there for a little bit. Are we done with

1010
00:54:42,280 --> 00:54:43,119
never tarists apart?

1011
00:54:43,800 --> 00:54:44,400
Speaker 5: Yeah?

1012
00:54:44,480 --> 00:54:46,559
Speaker 2: I hate to be but yeah, yes, yes.

1013
00:54:46,360 --> 00:54:48,760
Speaker 1: Okay, So this brings us to a song called Mystify.

1014
00:54:49,039 --> 00:54:51,199
Speaker 2: Oh fll was missing.

1015
00:54:53,039 --> 00:54:53,480
Speaker 4: Streets.

1016
00:54:55,239 --> 00:54:57,320
Speaker 2: So I'm going to stay here at the beginning that

1017
00:54:57,840 --> 00:55:00,239
I very much like the way that the beginning the

1018
00:55:00,280 --> 00:55:04,440
song starts, but the video I like it even better.

1019
00:55:05,079 --> 00:55:06,719
Speaker 1: I'm with you, I totally agree with you.

1020
00:55:06,920 --> 00:55:11,480
Speaker 2: In the video, it is just Michael and Andrew Ferris

1021
00:55:11,880 --> 00:55:15,679
sitting at a piano and going over the song almost

1022
00:55:15,760 --> 00:55:17,480
as if they're writing it. I don't know how they

1023
00:55:17,519 --> 00:55:20,039
did the video and how all this worked, but it's

1024
00:55:20,199 --> 00:55:25,360
just the piano and Michael Hutchins singing like they're working together.

1025
00:55:25,400 --> 00:55:28,360
It is not even I'm performing, it's I'm just singing

1026
00:55:28,400 --> 00:55:30,559
like he's putting his hair in a ponytail. It's very

1027
00:55:30,559 --> 00:55:35,239
casual and it's it's a much better introduction to the song.

1028
00:55:35,519 --> 00:55:37,880
And then when it when the big part kicks it in,

1029
00:55:38,519 --> 00:55:41,199
that's the point that you get the whole band coming in,

1030
00:55:41,480 --> 00:55:43,719
and you've got this very you got a black and

1031
00:55:43,760 --> 00:55:47,559
white style where it's like they're recording. They're they're doing

1032
00:55:47,639 --> 00:55:50,800
their recording of the song on the studio. Yeah.

1033
00:55:51,039 --> 00:55:52,960
Speaker 1: When I watch the video, to me, it looks like

1034
00:55:53,000 --> 00:55:56,199
you're getting a look behind the curtain. So Andrew Ferris

1035
00:55:56,239 --> 00:55:58,639
is at the piano, Michael Hutchins is kind of working

1036
00:55:58,679 --> 00:56:00,880
with him. He's like, okay, yeah, do that again, all right,

1037
00:56:00,920 --> 00:56:03,039
and then he just starts singing. It looks like they're

1038
00:56:03,079 --> 00:56:04,159
writing the song.

1039
00:56:05,239 --> 00:56:15,960
Speaker 5: Fast song, twist go with Me.

1040
00:56:18,800 --> 00:56:21,599
Speaker 1: This was actually the fifth single released. It was released

1041
00:56:21,599 --> 00:56:24,639
in March of nineteen eighty nine. Didn't chart in the US,

1042
00:56:24,800 --> 00:56:26,920
but I really don't know why. I mean, the video's cool,

1043
00:56:27,000 --> 00:56:29,360
the song's great. I don't know why it didn't quite

1044
00:56:29,519 --> 00:56:32,079
strike a chord with with the American audience at that time.

1045
00:56:32,119 --> 00:56:34,559
Speaker 2: But anyway, this song was written, fantastic song.

1046
00:56:34,840 --> 00:56:37,119
Speaker 1: Yeah, I was gonna, I was gonna let you know.

1047
00:56:37,239 --> 00:56:39,599
I reached out to a college and high school friend

1048
00:56:39,599 --> 00:56:41,639
of mine, Geenie Alexander, and I knew she was a

1049
00:56:41,639 --> 00:56:43,679
big an excess fan. I just sit her a text

1050
00:56:43,679 --> 00:56:45,000
this week and I said, hey, I know you're a

1051
00:56:45,000 --> 00:56:47,039
big an xcess fan. What what do you have for

1052
00:56:47,159 --> 00:56:49,599
me on Kick? You know what? What memories do you have?

1053
00:56:49,719 --> 00:56:52,280
And so she wrote me some stuff, but specifically, she

1054
00:56:52,400 --> 00:56:55,639
said that Mystifies her favorite song. She says it's silky,

1055
00:56:55,639 --> 00:56:59,559
smooth and powerful. The lyrics that start with that silky

1056
00:56:59,639 --> 00:57:03,880
silk moment and just meshes with the twisted, tangled, powerful,

1057
00:57:04,079 --> 00:57:06,639
wild with power. So how could one not love it?

1058
00:57:06,719 --> 00:57:09,199
And so she's a big fan of Michael Hutchins. She

1059
00:57:09,239 --> 00:57:11,239
said that was kind of one of her first big crushes.

1060
00:57:11,599 --> 00:57:13,039
She said he was a good boy and a bad

1061
00:57:13,079 --> 00:57:17,039
boy mixed together. So Annie, thanks for that. We appreciate you,

1062
00:57:17,199 --> 00:57:19,760
thanks for listening, and thanks for that little tidbit.

1063
00:57:19,480 --> 00:57:21,760
Speaker 2: On Mystify very well, save very well.

1064
00:57:21,800 --> 00:57:38,360
Speaker 1: So all right, so this brings us to the song Kick.

1065
00:57:32,079 --> 00:57:33,840
Speaker 2: This big ka good song.

1066
00:57:34,519 --> 00:57:36,400
Speaker 1: This song just makes me feel good man. This is

1067
00:57:36,440 --> 00:57:39,599
a fun song. It's got those strong horns and it's upbeat.

1068
00:57:40,679 --> 00:57:42,679
Sometimes you kick, sometimes you get kicked.

1069
00:57:42,719 --> 00:57:44,719
Speaker 2: You know, it's just I love it.

1070
00:57:44,800 --> 00:57:47,199
Speaker 1: This was the song that they led concerts off with

1071
00:57:47,280 --> 00:57:49,320
in nineteen eighty seven, and it makes sense because it's

1072
00:57:49,400 --> 00:57:52,599
just it's high energy, upbeat. We're getting ready to have

1073
00:57:52,639 --> 00:57:54,239
a great time, get on board.

1074
00:57:54,320 --> 00:57:56,280
Speaker 2: How can you not be excited about what's to come

1075
00:57:56,320 --> 00:57:58,719
when this is what leads you off, That's for sure.

1076
00:57:58,920 --> 00:58:01,440
I think this one would have been a better first

1077
00:58:01,480 --> 00:58:03,760
song on either side A or Side B.

1078
00:58:04,199 --> 00:58:06,920
Speaker 1: No, I agree with you. That's totally a kickoff song.

1079
00:58:07,039 --> 00:58:07,239
Speaker 2: Yeah.

1080
00:58:07,360 --> 00:58:09,599
Speaker 1: Yeah, and really when they got the title of the album,

1081
00:58:09,679 --> 00:58:11,800
this really kind of makes sense to be the number

1082
00:58:11,800 --> 00:58:14,679
one slot, I think, sure, yeah, instead of guns in

1083
00:58:14,719 --> 00:58:16,719
this Guy. I don't know why they didn't release this

1084
00:58:16,719 --> 00:58:19,239
one as a single. It is a quality song that

1085
00:58:19,360 --> 00:58:21,280
I could see doing well in the charts.

1086
00:58:21,280 --> 00:58:22,000
Speaker 2: How they released it?

1087
00:58:22,159 --> 00:58:22,400
Speaker 5: Yeah.

1088
00:58:22,440 --> 00:58:24,559
Speaker 1: The only thing about the song that I didn't like

1089
00:58:24,639 --> 00:58:27,559
as much, the sex solo is not quite as full

1090
00:58:27,639 --> 00:58:30,159
and as energetic as I think it could be. I

1091
00:58:30,199 --> 00:58:33,599
would probably put a guitar solo in right there. That's

1092
00:58:33,840 --> 00:58:37,480
high energy fun get after it. But that's just me

1093
00:58:40,000 --> 00:58:43,639
moving on after that fun song that brings us to

1094
00:58:43,679 --> 00:58:55,760
a song called Colleen All Nations.

1095
00:59:00,639 --> 00:59:04,320
Speaker 2: This song you don't like your The music is okay,

1096
00:59:04,599 --> 00:59:08,840
but this is the I mean, media was like a

1097
00:59:08,920 --> 00:59:12,000
minute and a half long of this repetitive, kind of

1098
00:59:12,119 --> 00:59:15,119
rappy kind of no no no no no, no no no,

1099
00:59:15,079 --> 00:59:18,119
none and no no, no no, and this is an

1100
00:59:18,360 --> 00:59:23,559
entire song of that. This is bland and a boring melody.

1101
00:59:23,639 --> 00:59:26,079
Speaker 1: Okay, well, that's fine. I still like this song. I'm

1102
00:59:26,079 --> 00:59:30,079
not skipping this song if I'm listening. However, this sounds

1103
00:59:30,119 --> 00:59:33,280
like a broken down version of New Sensation. In fact,

1104
00:59:33,280 --> 00:59:35,000
I thought it was when I heard it for the

1105
00:59:35,039 --> 00:59:35,480
first time.

1106
00:59:35,639 --> 00:59:39,719
Speaker 2: It has that same feel. It's just unlike New Sensation.

1107
00:59:40,800 --> 00:59:42,360
It doesn't have a melody.

1108
00:59:42,000 --> 00:59:43,280
Speaker 1: To its right, that's right.

1109
00:59:43,639 --> 00:59:47,320
Speaker 2: It's like a droning it's not I don't enjoy it.

1110
00:59:47,400 --> 00:59:50,079
Speaker 1: My biggest memory of this song came the summer of

1111
00:59:50,079 --> 00:59:51,960
eighty eight, and I think I told you the story

1112
00:59:51,960 --> 00:59:57,199
off air, but MTV gave away this big Inexcess prize

1113
00:59:57,239 --> 00:59:59,440
package the summer of eighty eight, and I remember going,

1114
01:00:00,199 --> 01:00:04,760
that'd be freaking awesome. So MTV had this big summer

1115
01:00:04,840 --> 01:00:08,920
giveaway and it basically it was win tickets to see

1116
01:00:08,960 --> 01:00:12,079
in Excess and you know, travel around the world. I

1117
01:00:12,079 --> 01:00:15,320
don't know exactly where it was, but you got to

1118
01:00:15,400 --> 01:00:17,639
go see Nxcess for free, and it was the callon

1119
01:00:17,719 --> 01:00:23,559
All Nations concert prize from MTV. So that for me,

1120
01:00:23,679 --> 01:00:26,480
I'm like, oh yeah, freaking yeah. Calling all nations. But

1121
01:00:26,719 --> 01:00:28,559
one of the things that they gave away if you

1122
01:00:28,599 --> 01:00:31,119
won this prize from MTV was a Texas trailer park.

1123
01:00:31,360 --> 01:00:37,000
I mean, what a Texas trailer park? That was the prize. Okay,

1124
01:00:37,320 --> 01:00:39,360
I've always wanted to own a Texas trailer park and

1125
01:00:39,400 --> 01:00:40,920
I missed my opportunity for.

1126
01:00:41,000 --> 01:00:43,880
Speaker 2: Summer of nineteen eighty eight Broken Rams.

1127
01:00:44,159 --> 01:00:46,800
Speaker 1: I like this song, but it other than.

1128
01:00:47,320 --> 01:00:51,119
Speaker 2: Sometimes you get kicked, Sometimes you kid, sometimes you get.

1129
01:00:51,079 --> 01:00:57,000
Speaker 1: Kicked, this is probably the other than medi eight. It's

1130
01:00:57,079 --> 01:00:59,320
my probably my least favorite song on the album, but

1131
01:00:59,360 --> 01:01:01,000
I still like it. Not a bad song on the

1132
01:01:01,119 --> 01:01:04,440
entire album for me. I think what Inaccess did so

1133
01:01:04,639 --> 01:01:08,239
well as they found great hooks, they paired them with

1134
01:01:08,400 --> 01:01:12,599
great sing along choruses, and then they minimized everything else

1135
01:01:12,599 --> 01:01:14,480
and they just kind of put those out front. But

1136
01:01:14,519 --> 01:01:16,519
this is just not one of their strongest offerings. This

1137
01:01:16,559 --> 01:01:19,599
brings us to the final song on the album, Tiny Daggers.

1138
01:01:26,079 --> 01:01:29,400
Speaker 2: What a happy way end the album. I like it

1139
01:01:29,440 --> 01:01:31,519
so much. This could be the end of a John

1140
01:01:31,599 --> 01:01:35,079
Hughes movie. Molly Ringwald is finally getting to go out

1141
01:01:35,079 --> 01:01:38,679
with the boy that she loves. This is a great

1142
01:01:38,760 --> 01:01:43,039
eighties song. This is so very eighties. I like it.

1143
01:01:42,519 --> 01:01:45,119
It makes me feel good. This is a feel good song.

1144
01:01:45,400 --> 01:01:48,000
Speaker 1: Like we talked about the track listing, this is a

1145
01:01:48,039 --> 01:01:51,639
great encore song or like a close it out song. Yeah,

1146
01:01:51,760 --> 01:01:55,079
it's a thanks for listening, feel good, thanks for buying

1147
01:01:55,119 --> 01:01:58,719
the CD, come back next time. Yeah. I love this

1148
01:01:58,800 --> 01:02:01,320
song too. I think this could have been a successful single.

1149
01:02:01,400 --> 01:02:04,320
I am behind it as one that they could have

1150
01:02:04,400 --> 01:02:06,920
released and done something with. This is one of those

1151
01:02:07,000 --> 01:02:09,920
where if, in my mind anyway, if they had made

1152
01:02:09,960 --> 01:02:14,280
the we talked about the road concert video where it's

1153
01:02:14,400 --> 01:02:16,719
you know, you travel with the band and it shows

1154
01:02:16,760 --> 01:02:19,960
them backstage and then they go out front and you know,

1155
01:02:20,480 --> 01:02:22,800
similar to like Home Sweet Home anyway, one of those

1156
01:02:22,920 --> 01:02:26,000
videos where you see him rehearsing, you see him prepping,

1157
01:02:26,199 --> 01:02:28,519
and then they come out and they're pumping their fists

1158
01:02:28,800 --> 01:02:32,000
and the crowd I'm thinking Wembley Stadium, you know, you know,

1159
01:02:32,119 --> 01:02:35,840
ninety thousand people pumping to tiny daggers. This song does

1160
01:02:35,840 --> 01:02:36,719
it for me. I love it.

1161
01:02:36,840 --> 01:02:40,159
Speaker 2: Yeah. So the lyrics. The lyrics are about about that

1162
01:02:40,280 --> 01:02:47,440
girlfriend who doesn't like you anymore. Whatever it was that

1163
01:02:47,480 --> 01:02:50,280
I did that put those tiny daggers in your heart

1164
01:02:50,519 --> 01:02:53,320
I'm sorry kind of do you ever think about me?

1165
01:02:53,800 --> 01:02:55,440
Maybe I shouldn't even ask that question.

1166
01:02:55,719 --> 01:02:58,880
Speaker 1: It's funny that it's those kind of a sad lyrics

1167
01:02:58,920 --> 01:03:01,559
to such a feel good you know. Yeah, I think

1168
01:03:01,599 --> 01:03:03,800
it's cool that they come right out of the gate

1169
01:03:03,920 --> 01:03:05,840
on this song Boom. You're in the middle of the

1170
01:03:05,880 --> 01:03:08,280
song and it starts off with the chorus. Yeah, it's

1171
01:03:08,320 --> 01:03:11,039
such a good song. It's a great, great close out

1172
01:03:11,039 --> 01:03:12,800
to the album. It makes me feel good, all right.

1173
01:03:12,840 --> 01:03:15,480
So that wraps up the track listing for Kick. No

1174
01:03:15,599 --> 01:03:18,119
bad songs for me. I'm turning it up. I'm having

1175
01:03:18,159 --> 01:03:20,199
a great time. I'm feeling good.

1176
01:03:20,000 --> 01:03:25,079
Speaker 2: All right, Jason. So, this album peaked at number three

1177
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on the Billboard Charts Yes. Number two was Dirty Dancing Yes,

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and the number one spot was held.

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Speaker 1: By George Michael's Faith, which we will.

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Speaker 2: Take up on our next episode to determine who is

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the best pop star of October nineteen eighty seven.

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Speaker 1: Releases come back next week as we dive into another fantastic,

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full throttle hit machine, George Michael's Faith from nineteen eighty

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seven