Speaker 1: All right, everybody, welcome to the Surely You Can't Be
Serious Podcast. This week, we are going to dive into
Inexcess's Kick album d This is one of my favorite
albums basically of nineteen eighty eight. I can't wait to
get into this one with you. We are going to
have a good time tonight and the rock and roll
music is going to play all night.
Speaker 2: I'm standing you were here. Two worlds collided, and they
will never tear us apart.
Speaker 1: As long as you don't ask me what you know
is true, we should be good.
Speaker 2: Right, Yeah, this may not be the song that we
need to listen to together c Sarea other than for this podcast.
Speaker 3: Hello everybody, and welcome to the Surely You Can't Be
Serious Podcast, discussing and debating the iconic and the forgotten
of eighties and nineties.
Speaker 1: Pop culture with your co hosts James D.
Speaker 2: Graves and Jason Colivin.
Speaker 1: Hey everybody, thank you for tuning into the Surely you
Can't Be Serious Podcasts. For this week, we are going
to dive into Inexcess's Kick album Super excited.
Speaker 2: To be here. I love so much of the music
on this album. I'm excited to dive into it. But
first you need to know is that we are comparing
this album to George Michael's faith first solo album of
the Bearded Wonder himself, and it's also an incredible album.
So it'll be a neat competition to see which one
of these two amazing albums from nineteen eighty seven head
to head, see which one of them is the pop
star best of the two.
Speaker 1: I'm excited because you and I have covered a lot
of sort of heavier bands. We covered Nirvana and Pearl Jam,
We've covered def Leppard and Van Halen, We've done Guns
N' Roses in ACDC. But we're really we're going to
cover all types of eighties bands. I really am excited
what we got coming down the pipe.
Speaker 2: Yeah, we don't want to limit ourselves. We are certainly
rockers at heart, but there's just no denying that some
of these albums that were more in the pop realm
than in the rock realm were huge facets in our
lives during the eighties.
Speaker 1: That's right, And there's tons of interesting stories as we
dive into these the stories behind the songs, the stories
behind the artists. Both of the singers, George Michael and
Michael hutches. They're gone, They're no longer with us. Yep,
it's going to be interesting to dive in and take
a fresh look and appreciate what they've left behind for us.
Speaker 2: Absolutely, two guys who look better than any other human
being on earth in a leather jacket and no shirt.
Speaker 1: Two guys who could have bedded just about any lady
in the entire world in nineteen eighty eight. I don't
know why you're limiting it to lady.
Speaker 2: But.
Speaker 1: That's true. That's right.
Speaker 2: Knowing what we've got in front of us, let's dive in.
Speaker 1: Okay, this is really cool. In Excess is kick album.
This is how old this is? It came out October twelfth,
nineteen eighty seven, on LP and cassette and cassette Yes yeah,
and October twenty six on CD. Had two different release dates,
one for the tape, one for the CD.
Speaker 2: Basically so right, CDs were just becoming a thing around
that time.
Speaker 1: Oh yeah, I didn't have a CD player at this time.
I was cassette all the way, all right. So for
those who are not familiar with this band, it is
actually pronounced in excess right in inks no nothing screamed
you were out of touch more in the eighties than
calling these guys inks.
Speaker 2: Right, Yeah, so these guys are all from Australia. Michael
Hutchins was born in Australia, then moved to Hong Kong
for a while, then moved back to Australia and that
he was just coming into high school at that time,
and that's where he met Andrew Ferris. It was like
the scene out of My Bodyguard. Michael Hutchins comes to
school in his first ten minutes in school and he's
already in a fight with somebody. And Andrew Ferris happens
to know the guy who's four feet taller than everybody
else and he's like, hey, go break up that fight.
That's how Andrew Ferris and Michael Hutchins meet for the
first time.
Speaker 1: That's a super cool story. I mean, we talked about
moments in rock and roll history, right. This was the
biggest band in the world at one time. It started
because a school bully started beating up a guy and
another guy stepped in.
Speaker 2: Yeah, so they became fast friends. But then Michael Hutchins's
parents unfortunately split up and he moved with his mother
to Hollywood for about a year or so he ultimately
moved back, and at that time he met up with
his old friend Andrew Ferris again, who by this time
had started playing music. He actually had started playing long ago,
but he had started putting together bands when Andrew Ferris
was only five years old. His family took a holiday
and they went and they saw the Beatles perform live.
Speaker 1: Wow, Yeah, that's awesome. Did I saw Kirk Pingilly talk
about how they were in class? These guys were all five?
These guy went to high school together. Well, first of all,
three of them are brothers, right, right, Tim Ferris, Andrew Ferris,
and John Ferris. You have Gary Gary Beers. That's I
didn't stutter, that's his name, Gary Gary Beers, right, and
then you have Michael Hutchins who was getting beat up
by the by the school bully. These are six guys
who were high school buddies. But I saw I saw
Kirk Pingilly talking about how they were in biologic class
or whatever. And I guess he knew Michael as a
new friend of Andrews. And he looked and sort of
looked over his shoulder in science class and he saw
in his notebook that had sort of sketched out a
drawing of two guitars and he thought, yeah, this guy's
pretty cool and they hit it off right from there.
Speaker 2: Oh that's awesome. Yeah, so Gary Gary Beers his real
name is actually Gary William Beers, and it's Gary double
R Gary single R Beers if you if you need
to know the spelling there, and the reason that there's
a double R and single ar is that it was
a misprint on the album In Excess, their first, their
debut album, and he just decided to go with it. Yeah, well,
I'll be Gary double R Gary Singlar Bears, and he
was in a band called legaliss Elfin Warrior in nineteen
seventy five. He played acoustic guitar for them, but he
wasn't really very good at the acoustic guitar, and so
he switched to bass, but then refused to take lessons
and seemed to do well anyway despite the fact that
he wasn't taking lessons, and so he formed Doctor Dolphin
with Andrew Ferris and some other class mates named Jeff Kinley,
Kent Kearney and Neil Sanders, and they can be put
in that category of Mark Stone.
Speaker 1: No really, I used to be in in Excess for
about five minutes. Yeah that guy. Yeah.
Speaker 2: So at the same time that they were doing Doctor Dolphin,
Tim Ferris was playing in various groups with his friend
Kirk Pengilly, and John had actually tried out. John was
the youngest of the Farris Brothers. He had tried out
to be a drummer with a band called Guinness with
Tim and Kurt, but he was turned down because he
was nine years old. When finally, you know, the two groups,
Tim Ferris's group and Andrew Ferris's group merged together to
become the Farris Brothers in nineteen seventy seven, John joined
as the drummer. At that time. I can only imagine
that they called themselves the Farris Brothers because like everybody
at their high school knew them as the Farrest Brothers.
Like that was just much easier than trying to figure
out a new band name. They're like, evere knows you guys,
We'll just call you the Farris Brothers.
Speaker 1: You know, as dorky as the Firest Brother's band sounds.
Is that any different than Winger or bon Jovi or
Van Halen.
Speaker 2: Yeah, good point.
Speaker 1: I show that they were also called the Vegetables. Sometime
between Doctor Dolphin and in Excess. That name is substantially
less cool than in Excess, slightly slightly less cool than
Doctor Dolphin, way less cool than in Excess.
Speaker 2: So once John had graduated from high school, that you
their name to in Excess and they all moved to
Sydney to start doing the pub scene.
Speaker 1: Let's talk about the name for just a second. Okay, Okay,
I want to get too far ahead. They were supporting
Midnight Oil. Okay, Midnight Oil is a big Australian band,
right Beds of Burning. You probably are familiar with that tune.
That's it, you got it. But one of the guys
from Midnight Oil encouraged them to change their name. He
wanted them to have a new name and he recommended
they change it in Excess. It's I INXS. That was
inspired by the English band x t C Ecstasy, Ecstasy
and IXL. So that's how they came up with the
name In Excessive. All right. So the band's first performance
as In Excess was September one, nineteen seventy nine, at
the Ocean Beach Hotel. And this is the time in
their career where they're kind of kicking around the idea
of being a Christian band.
Speaker 2: Oh Yeah. So after performing on the pub scene for
about a year, they landed a record contract and they
released their debut album, which was called In Excess in
nineteen eighty.
Speaker 1: In Excess released their first single simple simon slash We
Are the Vegetables in Australia and France in May of
nineteen eighty.
Speaker 2: Then they had another one called Underneath the Colors in
nineteen eighty one. Both of those were big in Australia
and that led to them getting a contract with at
Co Records, and in nineteen eighty three they released their
US debut which was Sheaboo Shabba, and they started touring
with a big hit that they had off that album
called Don't Change. So between nineteen eighty and nineteen eighty
four they did four studio albums. But in nineteen eighty
three they were a part of a festival that we
have talked about before, the festival that involved the largest
paydate for any band in history, that being Van Halen. Yeah.
But In Excess was a part of the US Festival
second edition nineteen eighty three, and they talked about performing
there and they got called back out for an encore
and it felt amazing. This is eighty three. This is
before any of these songs have made them international successes,
and they were They got Encore back out, and then
they went home and they had some chili and they
watched the news, and the news was showing only them
as the band for the US Festival. That had to
be amazing.
Speaker 1: Yeah, five high school buddies who used to copy off
each other in science class are getting on cored at
the US Festival.
Speaker 2: Yeah, amazing. For the next album that they did, they
did a few sessions with the producer Nile Rogers, and
that's where they got that funky original Sin, which showed
that they were kind of changing their feel from this
kind of wave style to more of a combination of
Rolling Stones type rock and dance music.
Speaker 1: Okay, let's talk about the original first of all, Nile Rodgers,
who you will remember from our Coming to America episode.
He is the composer that has that big the Lion
Sleeps Tonight intro at the beginning of Coming to America
flashback they are Coming in America episode the original Sin
that song in nineteen eighty four. Yes, that song was
big and impactful, kind of in a negative way. So
I saw this interview with the band. I thought this
was really interesting. So there's a couple of lyrics in
that song, and so some people took that as an
a racial marriage and the world wasn't really ready for that, and.
Speaker 2: So certainly not the Bible Belt back in nineteen eighty.
Speaker 1: Four, that's true. And so there are a lot of
radio stations that wouldn't play that song. And so their manager,
Chris Murphy was brought in before the head of the
record company and basically said, you guys need to stop
giving me this controversial crap and give me hits. You
go talk to your f and band and tell them
to stop this crap and give me something I can
play in the radio.
Speaker 2: I feel like the record company is going to be
the bad guy for a couple of stories on this
particular episode.
Speaker 1: Before we get off the original sin, I did want
to mention it wasn't like the song wasn't a hit either.
I mean, the record company guy was all mad, but
that was a number one hit in Australia, I hit
number one in France, hit number one in Arizena.
Speaker 2: Yeah, I mean it's a great song. Okay. So they
had worked with producers. They had worked with the producer
now Rogers, and they had also worked with another producer
called Mike Opitz, but then in nineteen eighty five they
decided to go with the producer Christopher Thomas Chris Thomas
for Listen Like Thieves, which I got to listen to
Christopher Thomas talk about. He is an interesting guy. So
he was. He was born in forty seven. Just to
give you a bass here, and he knew how to
play instruments. He actually got offered a job to play
bass with Jimmy Hendrix, but it was before Jimmy Hendrix
became famous, so he's like, no thanks. And then he
was like, what, I don't really like performing live. I
really like being in the studio more. And so he decided, Okay,
you know, I think I'd prefer to be on the
production side of things. And so he decides, you know,
I'm going to write a letter to George Martin, the
guy who produces the Beatles albums, and see if he'll
get me a job. He did, he did, wow, And
so he's the Beatles are working on the White Album,
which is like, I mean, it's one of their biggest
albums of all time, and George Martin is there and
then Chris Thomas goes on this holiday, goes on a vacation,
as we call him here in the United States, and
when he comes back, there's just a note from George
and he says, I hope you enjoyed your holiday. I'm
going on my holiday. Now you're in charge, this twenty
year old guy in charge of producing a Beatles album.
And so he's like okay, and then Paul McCartney walks
in and he's like, where's George, and CAUs like he's left,
and he's He looks at him and he's like, so,
are you going to produce the album? And he says, yeah,
that's I guess that's what's happening. He's like, well, I
guess if you can produce, you can produce. And you know,
he's probably just testing him. I mean he had to know,
Like George Martin didn't just leave and not tell Paul McCartney.
But Paul McCartney's totally screwing with him. And so they
go down and they start playing and he's doing the
best that he can. He's kind of quiet in the
booth and the band would have meetings. They owned Apple
Records at that point, and they would have meetings in
the middle of their sessions about Apple Records, and he
happens to overhear them talking in this meeting and they're like,
this guy's just not doing his job at all, and
they're probably talking about an Apple Records employee. But he thinks,
oh gosh, it's me. I'm fired. I'm so fired. And
that just gives him nothing to lose. And so when
they go back for their afternoon session and they start
recording again, they're playing their song through and all of
a sudden, he buzzes from the booth and he's like, Okay,
we're going to need to do that one again. There's mistake.
They like, what the Beatles the Beatles the Beatles like,
there wasn't a mistake. He's like, there's a mistake. You
need to start it over again, and they come up
to the booth. They come up to the booth and
he's sitting there, little twenty year old guy, and they're like,
what mistake. He replays on the tape and they listen
to it and they go, okay, yeah, that was a mistake. Sorry,
they and they go back down and start recording. And
at the end of the day, when he's expecting to
get fired. They're like, okay, bye. He's like, do I
come back tomorrow if you want to?
Speaker 1: And that was it.
Speaker 2: So he became He became this producer for the Beatles
White album, ended up playing music like he played keyboards
on some of the songs in the White Album and
became this huge producer.
Speaker 1: That's awesome.
Speaker 2: Did Pretenders, did Sex Pistols, did Pink Floyd And so
then we fast forward. It's time for Inexcess to come
knocking on this guy's door. So he is the producer
for the album Listen Like Thieves, And it's just it's
another one of these stories that I know that we've
told multiple times, where they've recorded all of the music
on the album, they have a day left of time
to record and Chris Thomas says, we still don't have
a hit, and so they scramble and they put something
together and they record it that day in a bit
of passion and fury, and it is called Right. And
the song that they record is called what you Need.
Speaker 1: This song was huge in nineteen eighty.
Speaker 2: What you Need reached that key piece of success that
so many bands that we have talked about so far
have reached that I feel I could be remiss not
to mention it. It was covered by weird Al Yankovic
in his nineteen eighty six Poka Parties.
Speaker 1: Yes, another appearance by weird Al on the show that
You Can't Be Serious podcast.
Speaker 2: I'm not sure that the Muppets are going to come
up in this episode, but we've got to have one
or the other in just about every single episode, I think.
Speaker 1: All right, So, after What you Need becomes this huge
hit in nineteen eighty five, they had this eight month
break where they're beginning to work on a new album
what we're going to talk about here in a minute,
their manager Chris Murphy decided to take a bunch of
bands have this big outdoor Australian concert. It was going
to feature in Excess and Jimmy Barnes and the Models
and the the Vinyls and Mental as Anything, all these
sort of big Australian bands, and so to promote the
tour and Excess recorded two songs. They recorded a song
with Jimmy Barnes that was a cover of the Easybats
tune good Times, and they also recorded the song Laying
Down the Law good Times. You may remember as the
theme song from the movie The Lost Boys.
Speaker 2: The Easybeat you may remember, was the band started by
Georgie Young, brother of Angus and Malcolm Young from our
ac DC episode.
Speaker 1: Okay, so this song good Times is a fantastic song.
This is where I jump on board with in excess.
First of all, I love the movie The Lost Boys.
I'm a big fan of the soundtrack. One of the
things about this band, like George Michael, like Def Flapper,
like bon Jovi, like Motley Crewe, all these guys were
gonna cover, is their timing is absolutely perfect for MTV.
Speaker 2: Absolutely They have a.
Speaker 1: Great looking, charismatic front man that MTV can put at
the front of their videos and teenagers all over the
world will watch.
Speaker 2: And he has a very unique voice, like he's I
mean in this album that we're about to talk about.
He grunts, he shouts, he whispers, and he's got this
kind of breath y It's not like what you would
describe as a beautiful voice. It's just it's full and resonant,
like a twelve string guitar. It's just it's engaging, like
you want to listen to him sing.
Speaker 1: That's true, And he always had a complex about his voice.
He didn't think he was any good?
Speaker 2: Oh right, yeah, we didn't even talk about how he
became their singer. Like the Farris brothers were together and
were playing together and he was just over and Andrew Ferris
hands him a microphone and says, I want you to
try singing, and he kind of awkwardly sings. But they
said that's it, that's what we want. And Kirk Pengilly
had been the singer for his band with Tim Ferriss,
but once they heard Michael Hutchins sing, Kirk said, I'll
be the backup singer from now on.
Speaker 1: So after this of Listen Like Thieves and particularly the
song what You Need, they go back to the studio
to work on their next album Yes.
Speaker 2: In January nineteen eighty seven, they go into Rhinoceros Studios,
which is in Sydney, and they start recording Kick. This
is their sixth studio album. They bring Chris Thomas back
to produce. They were on such a high from their
success that Nicholas said that when they started recording, he said,
there was this really good feeling in the studio that
this was going to be something big. The band had
just come off a really successful tour of the US
on the back of listen like Thieves, which really broke
them and they were on fire.
Speaker 1: According to guitarist and saxophonist Kirk Pengilly, he said, we
wanted to make an album where all the songs could
be possible singles.
Speaker 2: Andrew Ferriss said, anyone can write a song that sounds contemporary.
We wanted our songs to sound like the future.
Speaker 1: In preparation for this podcast, I watched some of their
early videos. They seem more kind of like like Devo
or something. They're kind of new wave and they're definitely
not the pop rock, you know, hit making band that
they later became. All right, so I think you mentioned this,
but I did want to talk about this for just
a second. Towards the end of nineteen eighty six, the
band members gathered at the Sydney Opera House to rehearse
songs that later became the album Kick. Is there any
better place for an Australian band to meet and rehearse
other than the Sydney Opera House?
Speaker 2: I mean, Okay, So during the production of this album,
they were still booking dates for the band's upcoming European tour,
and this was irritating Chris Thomas because he felt like
they were devoting so much time to that that they
weren't creating good songs. And he said, they had this
incredible momentum building and we're gaining fans all the time,
and there was this audience waiting for this product. But
I decided they didn't have the right songs yet. And
so what he said to him was, you guys need
to go be alone for a while and write some
more songs before this album, Like the band was credited
as the writers of the song, but before they produced
this album. Based on the success of What You Need,
Hutchins and Andrew Ferriss said to the rest of the band,
we would like to write all of the songs for
this album. And the rest of the band said that
sounds good to us.
Speaker 1: So remember that song called what You Need that you
guys wrote, and we think it's pretty good. So if
you can come up with about nine or ten of those,
that'd be great.
Speaker 2: So Thomas at the time that they were doing stuff,
said okay, you guys need to fly out to Hong
Kong and you got to write some more mature and
so that's what they did. They spent two weeks out
there writing stuff. So many of the songs are these
inspiration five minutes ten minute long masterpieces that just kind
of are divinely inspired.
Speaker 1: So I don't know if we want to jump into
this now, but before we break down the songs, their manager,
Chris Murphy gathers up the album as a meeting with
the head of the record company, sits down with him
and they hit play and they're gonna listen to the
entire album. The head of the record company listens to
the entire album, sitting there dead silent, arms crossed, and
when the tape hit stop, he said, I'll give you
a million dollars to start completely over and throw this
in the garbage. And the manager's like, what are you
talking about. I mean, this is the album. He's like, no,
this is garbage. This is not good. Start over and
he said, I'm sorry, did you say a million dollars?
He said, I'll give you a million dollars to start fresh.
And he said at that time, none of them had
seeing a million bucks. I mean, so it's a real temptation.
And Chris Murphy's like, dude, I mean, did you hear
need you tonight? I mean, this is a smash hit.
Are you crazy? And the guy's like, no million bucks,
and Chris Murphy he walks out of the office and
he says, I'm not doing that, And so he started
to send the songs to college radio. When college radio
started playing these songs and people started requesting them, and
all of a sudden, Boom needs you tonight. Is like
getting a requests stid left and right. And they realized
this sounds like a hit, and then the record company
back down.
Speaker 2: Yeah, they finally decided to add Kick to their release
schedule for October.
Speaker 1: All right, we ready to dive in.
Speaker 2: Let's do it.
Speaker 1: First song right off the bat in your face, it's
called Guns in the Sky.
Speaker 2: So this song came from even though these were Australian guys,
this came from Reagan's plan called the sd I, which
was more colloquially known in our day back in the
eighties as star Wars, that there would be machines up
in the sky that would be able to shoot down
Soviet missiles to keep them from the Soviets from being
able to bomb the United States. And I got to
tell you that that probably led to the Soviets going
that you guys win. I guess I give you're seriously
gonna have lasers in the sky. So so Michael Hutchins
writes this song with his idea being why are we
going to spend money on lasers in the sky when
there's so many more worthy causes that can help people.
There's actually a video for this one. I had never
seen it before, but it's this is one of many
videos directed by Richard Lowenstein from this album, and it's
it's just Michael Hutchins walking down the hallway filled with
the band members, intermingled with images of Reagan and Gorbachev
and the words sd I.
Speaker 1: Okay, so I watched this video. I really like this
video number one. It's uh, it's constant movement, right. So
the song's really rocky, you know, heavy guitars, especially for them,
and it's a lot of yelling like guns in the sky,
you know. But they're walking down the hallways and they're
all playing the guitars. I think I was telling this. So,
you know, some of the guys play keyboard, one of
the guys plays a saxophone. You know, you have drummer
and bass and guitarists, but they all know how to
play guitar. And so Michael Hutchins along with he's being
escorted by four other guys who are playing strong guitar
and the drummer. But they're walking down the hallways of
a hotel in constant movement. Right. The camera just keeps
moving and it looks to me like it's the freaking
Overlook Hotel from the Shining But but yeah, they're interspliced
with big words and it's guns and sky and SDI
USA CCCP if you remember those days, right, And then
at the very end it says in excess stop, I
love this song. It's a great kickoff song to the album.
It's high energy. Like I said, it's a hard rocking,
rocking song for them, and it's like a chin it's
like a fist bumper, you know. In the concert you're
yelling guns in the sky. I will make minch too
that during this time in my life, of course, I'm
fourteen and nineteen eighty seven Star Wars defense program. I
was all on board just because it's called Star Wars.
Speaker 2: Wars. Yes, when do we get to meet Luke?
Speaker 1: I freaking love star Wars.
Speaker 2: That that's a bit of brilliant marketing right there is
with that.
Speaker 1: Yeah, exactly, I think that Han and Cheuwei. You're gonna
be chasing down missiles, but I'm not sure. Some interesting
lyrics on this one. So this song was actually not
written by Andrew Ferris and Michael Hutchins. This is just
Michael Hutchins by himself. He wrote this one all by himself.
Speaker 2: Right, well supposedly, Okay, yeah, I mean so they they
as the duo, wrote all of the songs on this album,
but they had decided together, hey, well you'll you'll have one,
I'll have one, and so Guns in the Sky was
Michael Hutchins one and Meditate was Andrew ferris is one.
But really they ended up helping each other out on
those two on both of those songs as well. It's
really really the duo on all of them. But yes,
the Guns in the Sky was primarily Michael Hutchinson.
Speaker 1: Okay, that's cool. There's some interesting lyrics in this one.
You know these are concert type lyrics, right, so you
raise them up, you bring them down like a clock
at two. It's concert stuff. Put your hands all right,
you in the back like a clock at two. So
the next track on the album is New Sensation Moment. Okay,
this song is amazing. This is a pop masterpiece. The
hook is incredible in the.
Speaker 2: Song, one of the best songs on the album, arguably
the best. Not my favorite, but arguably the best song
on the album.
Speaker 1: I would say the same thing. It's not my favorite,
but it's arguably the best. This song reached number three
on the US charts, the number one song in the
country that week hold on to the Knights by Richard Marx.
Right the number two song was Pour Some Sugar on
Me by def Leppard Flashback to our Hysteria episode, and
then number three New Sensation at number three for the record,
New Sensation is a way better song than hold On
to the Knights by Richard Marx.
Speaker 2: For Richard Marks, I did actually like a couple of
his songs, but we do kind of trounce on him
a little bit.
Speaker 1: We do, and I'm sorry about that. Maybe we should.
Speaker 2: No, no, no, no, I'm not saying we're wrong. I was
still a way better. So you went to a Richard
Marks concert.
Speaker 1: I did, We're too So my girlfriend forgot our coat
and the cold front moved in and I froze my
butt off.
Speaker 2: So this song, the lyrics are about seizing the day,
you know, the celebration of life, which is really I mean,
certainly for Michael Hutchins what he's he seemed to be
all about the music. You you got a banjo in there,
I mean, that's that's a surprise for me for an
Australian new wave slash dance, slash funk slash rock band.
Throw some band some banjo in there. But what you
don't have in there is a trumpet. Even though Michael
Hutchins yells trumpet before the sax solo, Tim Ferris wanted
this to be a trumpet solo. He wanted to do
the trumpet solo on this track, but Ngilly, who always
does their saxophone solo, said no, sir, we are going
to like this a sax solo because we do sax solos.
So if you were only familiar with this song from
the video, you're not gonna know what I'm talking about
because they took that trumpet part out because how stupid
would it have looked for.
Speaker 1: Michael Hutchinds to go trumpet.
Speaker 2: He comes out with a saxophone.
Speaker 1: Okay. So the video for the song, like you mentioned,
it was directed by Richard Lowenstein. It was filmed on
the roof of the Municipal house in Prague.
Speaker 2: So Richard Lowenstein before, like I said, he's gonna come
up a few more times, but I gotta say it now.
Richard Lowenstein also directed a movie called Dogs in Space
starring Michael Hutchins. I can't say that I've seen it.
Speaker 1: This is actually their most played live song of all time.
Speaker 2: This is the video that has Michael Hutchins with his
hair slick back. Right.
Speaker 1: Yeah, he's wearing a tie, like a coat and a tie.
Speaker 2: And yeah, so totally different, totally different looks. And when
I went back and watched it again, I was like,
this is very Robert Palmer, Like this is I mean,
he's got the band and behind him instead of you know,
girls pretending to play music. But it's very Robert Palmer.
And then we also have this very cool effect that's
another part of the video where the band is singing
in kind of a stop motion style the lyrics to
the song as these tracers of lights go.
Speaker 1: Yeah, that's really cool.
Speaker 2: Yeah, very reminiscent of the Sledgehammer video, that's right. And
so yeah, there's some pretty cool, cool effects going on.
Cool things that they did with this video.
Speaker 1: I was gonna mention in February of twenty fourteen, the
mini series and Excess Never Tear Us Apart on Australia television,
which I would love to see. I couldn't find it
on YouTube. I was looking for it. I wanted to
watch it. New Sensation charted again in Australia after that
mini series aired. Sometimes I like to think about the
track listing, right, and for me, album ought to be
like a concert, right. You start off with a bang,
then you kind of ramp up to your hits, and
then you mix in a few softers and then you
close with the encore. Guns in the Sky is a
great beginning. It's real short, but I think maybe New
Sensation would have been a great kickoff song for this album.
Sure pop it in push play and you get that boom,
that hook right off the back. Great song, huge, huge song.
This was their third single, released March thirty first, nineteen
eighty eight.
Speaker 2: We Ready to go on?
Speaker 1: Are we moving on?
Speaker 2: Yeah? All right? Yes?
Speaker 1: Next track on the album is.
Speaker 4: Devil Inside, Devil Inside, every single one of those side
the Woman the Loki.
Speaker 1: With Flesh on the all right. So this was the
second single, Yeah, released February thirteenth, nineteen eighty eighty one.
This reached number two on the Hot one hundred.
Speaker 2: This is another killer song. The beat is so solid
and so strong. Dun't dun du du u d d
d duh da, No, don't du duh it's it is awesome.
And the lyrics again, they just use that kind of
they're forbidden and you know what you want that you
can't get. And Hutchins said when he was writing these lyrics,
he was in kind of a God in the Devil phase,
and he said he thought that it kind of had
to do with the chaos of everything, and when you
put it into religious terms, the devil is the thing
that's chaotic, this is what he said, so that every
time you think something is right, he comes in and
changes everything. Kind of a sad concept when you consider
his life.
Speaker 1: I mean, his personal life ends in complete chaos. But
we'll talk about that later. Yeah, the beginning of this song,
you have that sort of Caribbean type of sound and
then you have that real hard strum of the guitar
and at that moment, I'm like, I'm in.
Speaker 2: I'm in.
Speaker 1: This song is great. Five seconds into the song and
I love it already.
Speaker 2: So video for this one, Kirk Bengilly was not a
fan because he felt like it was too American, which
I don't really know what that means. But it was
filmed in California, so I can guess I can see
how that would be pretty American. I can tell you
that anytime, I can forget all things about this video,
but the girl in the white dress getting onto the
back of the motorcycle with the black leather clad bikers,
it's going to be etched into my memory for it.
Speaker 1: I mean, this video had I mean it had the
devil mask right, like Michael Hutchins had that double mask
on backwards. Ye when he flips around to do that. Right.
But it's in a bar. You've got the skateboard, which
is kind of cool. You've got all these sixty girls.
It has a lost boys type of feel to it.
Speaker 2: Yeah, and you have this kind of beat it moment
where the two you know rival, You got the white preppy,
you know, elite coming up against the black leather biker gang.
And then the band starts walking through like Michael Jackson
pushing everybody apart, but more and more of a kind
of I don't know, sultry and you know, move out,
of our wig as We're coming through kind of way.
Speaker 1: The reason why this video has a Lost Boys feel
is because it was directed by Joel.
Speaker 2: Schumacher, who directed The Lost Boys.
Speaker 1: Who directed The Lost Boys. Yeah, and he directed the
video as a favorite to them for them contributing those
two songs to his movie.
Speaker 2: Yep. He did not direct another music video until Kiss
from a Rose by Seal, which was on the soundtrack
for Batman Forever. Joel Schumacher did a good job with
The Lost Boys, but I don't know that there's been
another movie that I thought was great of his.
Speaker 1: He did a great job with The Lost Boys, and
I'll stop there. I know our good friend John reid
Over at the thirty something podcast is a huge fan
of Batman and Robin That's joke, really joke sod like, no,
it's not right.
Speaker 2: Yeah.
Speaker 1: Shout out to the thirty something Podcast.
Speaker 2: Love those guys. When you're done with this episode, download
their episodes, especially the Batman from eighty nine.
Speaker 1: Devil Inside made it to number two. I want to
know what songs are good enough to keep this out
of the number one spot, And as it turns out,
there are two songs that are good enough to keep
it out of the number one spot, all right. So, yep,
that week in nineteen eighty eight, the first time it
was blocked, it was blocked by Get Out of My Dreams,
Get Into My Car by Billy Ocean, And then the
next week Whitney Houston jumps over him with where Do
Broken Hearts.
Speaker 2: Go, which is not even her best song.
Speaker 1: No Devil Inside is way better than both of those songs. Now, yep,
these songs come on on my radio. Secretly I'm turning
them up. But double Inside is louder. Okay.
Speaker 2: I hate to tell you, I don't think he's a
secret anymore.
Speaker 1: Well, you know where's their weapons? Sharper than night? Okay.
So this brings us to probably their most famous, best known.
Speaker 2: Again arguably the best song on the album. You know
we talk. We talked all the time about how much
nostalgia is playing into our feelings behind a particular song.
And I've got to say that the video for this
one has a huge nostalgia impact for me. This video
was on and on and on, and I watched it
every time that it came on. I was fascinated. It
was really really unique style of video. And then their
combination of meditate at the end, which was a totally
different style but was still very cool. I just was, yeah,
this this is a song that I'm going to listen
to and I'm still gonna I want to think of
all of the cool effects that were going on with
this video.
Speaker 1: It's super super cool video, great song. So this was
actually their first release. This is the one that their manager,
Chris Murphy to college radio and said, play this, we
think this is a hit. Play this song, see what happens.
And it turns out it was a hit. This reached
number one on the Hot one hundred. This is their
only number one hit, Number one January thirtieth, nineteen eighty eight,
knocking out of the number one spot. The Way You
Make Me Feel by Michael Jackson flashback to Our Bad
episode episode two.
Speaker 2: I Believe Yeah, this one. It was also monumental on MTV.
It won five different MTV Music Video Awards, including Best Video.
They ended up playing the final song that night. It
was It was a big sweep for the MTV Video
Music Awards.
Speaker 1: Yeah, they won five moon Men on the MTV Music Awards.
Speaker 2: You'll remember from the video seeing John Ferris standing up
with no drums but playing with drumsticks Allah Journey Separate
Ways video, although this is a much much cooler effect.
Speaker 1: Well, they didn't do it at the wharf, which you know.
Speaker 2: This is the leather jacket no Shirt video where Michael
Hutchins is walking around. So it's seductively that it makes
me feel uncomfortable as a heterosexual.
Speaker 1: But it.
Speaker 2: Is something that blasted them into the spot, like this
is the one that made them a worldwide, major, huge success.
So the guitar riff on this one is incredibly famous.
And it appeared to Andrew Ferris in his head as
he was just about to get into a cab to
fly to the airport to Hong Kong, and so he
said to the cab driver, wait just a couple of minutes.
I'm gonna go grab something from my room. And then
he went up to his room and spent the next
forty five minutes recording the riff and came back down
an hour later, and the cab driver was very unhappy,
and Michael Hutchins started writing the lyric immediately and wrote
them all within ten minutes.
Speaker 1: All right, we're done with need You Tonight.
Speaker 2: Well here's the thing is need You Tonight part of
another song or not.
Speaker 1: That's an interesting question.
Speaker 2: I say, no, okay, well you know, then here's my
next question for you. If you are listening to the
radio and they play we Will Rock You and they
don't play we are the Champions after that, are you irritated?
Speaker 1: Yes, easily. I don't really understand that. But they go
together like peas and carrots.
Speaker 2: For some reason, they were they're recording medi eight and
somehow somebody had left a tape on of Need You
Tonight in the background, and so as they're like, oh, wait,
you know, there's something else going on, and they stopped
and they listened to it to see if you could
hear the song. And as they listen, they're like, wait
a minute, this actually fits really really well. The click
track was the same speed, and so Andrew Ferriss said,
you know what, I think we need to kind of
have these songs merged together at the end, and so
that's exactly what they did. So I guess at this
point we're moving on to mediate or meditate or meditate.
Speaker 1: Or try not to hate or love your mate or
don't suffocate, right right, So this song is not was
never released as a single, but they played it at
the end of the video Need You Tonight. It's modeled
after Bob Dylan's Subterranean Homesick Blues video If you've ever
seen that, They flip over que cards and there's words
written on them, and then Kirk Bengilly has his saxophone
solo at the end.
Speaker 2: Okay, so yeah, so the song mediate was actually longer.
The engineer said that when he rewound his tape and
hit play just as Needs You Tonight ended, it synced
up so perfectly that he actually thought there was something wrong.
And so that's how that's how they came together.
Speaker 1: You've seen this video, right.
Speaker 2: Yeah, So the Q cards, just like in the Bob
d version, have some misspelled words on there. And then
whenever he whenever he talks about an important date, you know,
the date that comes.
Speaker 1: Up, Yeah, nine to eight nineteen forty five.
Speaker 2: Which if you're in the United States like US, that
sounds like September eighth, nineteen forty five, which is not
a particularly eventful date. However, uh huh. That's not the
format that people in Australia and New Zealand and some
of the other countries in the world use, which is
to put the day first and then the month and
then the year, and when you do that, that is
the ninth of August nineteen forty five, which.
Speaker 1: That refers to the date that the atomic bomb was
dropped on Nagasaki, Japan. That's incredible, that's incredible. Yeah. When
I saw that as a kid, I'm like, what the heck.
First of all, I didn't have Google back then, so
I couldn't look it up.
Speaker 2: Especially even if you had World Book or Encyclopedia Britannica.
You could not just go look up a date.
Speaker 1: That's right. I was going through National g Graphics left
and right. I couldn't find anything. Okay for me, Media
eight is just kind of an extension of Need You Tonight.
Speaker 2: I don't know what'd you think of it? I mean, yeah, no,
for me, this is a part of this is a
part of this song. To me, I want that ending,
especially if I'm watching the videos. But no, it's such
a great transition that they do from Need You Tonight
into this song and then once that sax solo comes in,
it's totally different. Is it totally different sound? But it's
beautiful and I love it.
Speaker 1: All right, let's move on. That brings us to the
song the loved One. This is a original hit by
the Australian R and B band called the loved Ones.
This was a hit in May of nineteen sixty six.
I love this song. This is one of my favorite
songs on the album.
Speaker 2: This one. They had actually recorded it twice. The original
The original studio version was done as a standalone single
in March of nineteen eighty one in Australia only and
it ended up at number twenty on the National charts,
and it was later on the compilation album. They did
an eighty two call in Excessive. Then they re recorded
it for this album and it sounds better now. I
will say that I'm not a huge fan of the lyrics.
I mean, obviously they didn't write the lyrics, but I
think what they do with the music on this is solid.
It's such a great intro. The music is fantastic. The
band does a great job with this one and singing.
I mean, there's not a problem with Michael Hutchins's voice.
I just think the chorus of the song's kind of sophomoric.
I mean, it's just not very interesting to me. So
it's not my favorite. But but as far as the
music goes, I think they do a great job.
Speaker 1: I love it. So we've covered Pearl Jam, and we've
talked about how Eddie Vedder tries to cram a whole
bunch of words into a song and sometimes it's difficult
to understand what he's saying. These just flow right out
and they're so singable. You have that Oh baby, I
love you so, I need you now, I want you back.
I can't go on when I'm so simple. It's simple.
Speaker 2: It's simple and boring. It's boring. I just think, I
think it's great.
Speaker 1: Anytime we're driving down the road and I want on
Kathy to come out right, I put this in and
turn it up and she is singing and waving, and
she and I are both big fans of The Loved One.
So my lovely wife. So you mentioned earlier their album
Inexcessive that was released in nineteen eighty two. So off
of their album Inexcessive in nineteen eighty two, they have
a song called the Unloved One, which I thought that
was kind of interesting. This is for our Australian friends,
all right. So in two thousand and one, The Loved
One was selected as the number six song on the
list of top thirty Australian Songs of all time.
Speaker 2: How about that.
Speaker 1: It's the number six Australian song of all time.
Speaker 2: It's fantastic. Stick. I'm glad you loved this song and
the fun Kathy comes out. Can we about never tear
us apart? Please? I've been waiting for this song.
Speaker 1: All right, stop the tape, kick it out, flip it over,
let's go aside to you ready?
Speaker 2: Yeah, okay?
Speaker 1: First song is Wildlife. I skipped Wildlife, Jake, what's that.
Speaker 3: Have them?
Speaker 1: I love it?
Speaker 2: This was a new This was a new song for me.
I did not own the Kick album and so I
hadn't really listened to this song for I think it's great.
Speaker 1: It's great. It's great.
Speaker 2: Yeah, it's I don't I think the song is about
freedom that The lyrics are pretty vague, but I think
it's just kind of about doing what you want to
do and even if it's bad, it ain't bad.
Speaker 1: Enough, so that's it.
Speaker 2: That's it.
Speaker 1: I think it's about going out and having a little fun,
living the wildlife. I mean, this is not one of
the stronger songs on the album, but it's still good.
I mean, I don't think there's a bad song on
this album. This is a great concert song.
Speaker 2: This is not a skipper, No, this is this is
a good song. This is a really good song. Yeah
for sure. I think they say it's still a strong track. Okay,
all right, and it's a good it's a good intro
to the side too. He talked about the you know,
the beginning of the album needs to be something big,
and I think this is a good this is a
good beginning.
Speaker 1: I'm trying not to gush over's song. Well, I mean,
I'm just just telling you.
Speaker 2: I don't think that they're I mean, I think there
are there. There is a bad song on this album,
so I will get there. It's just not this one.
This one's a good.
Speaker 1: One, Okay, very good. I think there's there's one part
in the song that he says, what we do, what
we do? He repeats himself, and that little part what
sounds like what you need yep, And that makes it fun.
I like picking that up my ear tingles. I'm like, hey,
that's what you need? Yes, all right, So we both
like wildlife. It's not a single, but it's not a skipper.
It's a good song.
Speaker 2: Can we talk about never terrorists apart? I've been waiting
and waiting. This is my favorite in excess song. I'm dying.
Can we talk about never Tear Us Apart?
Speaker 1: Now, let's talk about never tear us apart.
Speaker 4: Don't ask men.
Speaker 5: Watch you know it's true, don't have to tell you.
Speaker 1: That's just.
Speaker 2: This is so good. I don't want to talk. I
want to just listen to the song. Because you have
beautiful parts throughout the song. You start off with this
kind of waltzy string section going, and the lyrics are
simple and beautiful and romantic and sensual, and then you
have this break and the guitar comes in and it's
hard and it's rock and roll, and it's awesome. What
a fantastic song.
Speaker 1: Yeah, this song's amazing. It's amazing.
Speaker 2: I like it a little bit.
Speaker 4: Now.
Speaker 1: This song is incredible. I could listen to it all day.
Speaker 2: I love it so this song. When they originally did it,
it was a piano ballad and it didn't have the
orchestra in there at all, and Chris Thomas.
Speaker 1: The producer, said it was a Fats.
Speaker 2: Domino bluesy kind of Rolling Stone Es the early sixties song.
I heard it and I thought we can do more,
and I came up with the idea to substitute the
strings for the piano, and that changed everything. It was
what the song deserved because in the structure and the lyrics,
it was so strong already, and then you got more
of these lyrics and they're intensified, and then you have
the break and that saxophone. Holy crap when that saxophone
comes in, Oh my gosh. Is a song that exudes
passion and sensuality with all of these kind of elements.
You know, it's a waltz along with a rock song,
along with the jazzy saxophone. It's amazing. It is absolutely incredible.
Speaker 1: I have a very specific memory about this song. I
will take to my grave every time the song comes.
On the first day of my sophomore year in high school.
This is the song that my alarm clock kicked on.
It will always be to me the first song I
heard on the first day of school my sophomore year.
Speaker 2: This the video for this one, another one, directed by
Richard Lowenstein. It was done in Prague, and you'll remember
it's kind of this long, one shot take that starts
off really with an establishing shot of the city itself
and the they're in a park and then Michael Hutchins
is walking along this very kind of autumn weather and
he walks by the string quartet as they're playing, and
it is the video matches the feeling of the song perfectly.
Speaker 1: So this song has two stops in it right, one
at the forty eight second mark and one at the
one nine mark. Right During live shows, they would stop
and the band would turn out the lights and they
would wait. I could just see this being great in concert, right,
So that hard stop in the song and just kill
the lights and just let the crowd just get warmped
up and then and then come in with the boom boom,
boom boom.
Speaker 2: I feel justified. And this is a sad thing that
I'm about to say, but when Michael Hutchins died, they
had his funeral at Saint Andrew's Cathedral and the band
members were the pallbearers, and as they carried his casket,
this was the song that was playing in the background,
the kind of idea that even though you're gone, will
never be apart, and the lyrics I was standing you
were there, two worlds collided and they could never tear
us apart. I don't know if you've had those moments
in life where you must have everybody had. Everybody has
had these moments where you like a girl, you're with
the girl together, you haven't expressed your feelings for her,
she hasn't expressed feelings for you. But suddenly, without any
real preparation or idea, your eyes just lock and then
you throw yourselves at each other in a passionate kiss
and embrace. And I think of that every time when
I hear this song, just those worlds colliding. It's awesome.
Speaker 1: All right, let's talk about the chart history for just
a second. I think this is interesting.
Speaker 2: Okay.
Speaker 1: This song charted again in February of twenty fourteen, after
that Australian TV series Never Taris apart the mini series
on in Excess, which I would love to see. So
it peaked at number eleven in Australia, surpassing its original
peak of fourteen back in nineteen eighty eight. In the
United States, this song got to number seven the week
of November fifth, nineteen eighty eight. The number one song
in the country that week Kokomo by The Beach Boys.
Speaker 2: I cannot imagine why this wasn't at the very least
the top five songs.
Speaker 1: The number four song that same week, the Locomotion by
Kylie Minogue.
Speaker 2: Who ooh Yeah.
Speaker 1: Michael Hutchins and Kylie Minogue were kind of Australia's hot
couple there for a little bit. Are we done with
never tarists apart?
Speaker 5: Yeah?
Speaker 2: I hate to be but yeah, yes, yes.
Speaker 1: Okay, So this brings us to a song called Mystify.
Speaker 2: Oh fll was missing.
Speaker 4: Streets.
Speaker 2: So I'm going to stay here at the beginning that
I very much like the way that the beginning the
song starts, but the video I like it even better.
Speaker 1: I'm with you, I totally agree with you.
Speaker 2: In the video, it is just Michael and Andrew Ferris
sitting at a piano and going over the song almost
as if they're writing it. I don't know how they
did the video and how all this worked, but it's
just the piano and Michael Hutchins singing like they're working together.
It is not even I'm performing, it's I'm just singing
like he's putting his hair in a ponytail. It's very
casual and it's it's a much better introduction to the song.
And then when it when the big part kicks it in,
that's the point that you get the whole band coming in,
and you've got this very you got a black and
white style where it's like they're recording. They're they're doing
their recording of the song on the studio. Yeah.
Speaker 1: When I watch the video, to me, it looks like
you're getting a look behind the curtain. So Andrew Ferris
is at the piano, Michael Hutchins is kind of working
with him. He's like, okay, yeah, do that again, all right,
and then he just starts singing. It looks like they're
writing the song.
Speaker 5: Fast song, twist go with Me.
Speaker 1: This was actually the fifth single released. It was released
in March of nineteen eighty nine. Didn't chart in the US,
but I really don't know why. I mean, the video's cool,
the song's great. I don't know why it didn't quite
strike a chord with with the American audience at that time.
Speaker 2: But anyway, this song was written, fantastic song.
Speaker 1: Yeah, I was gonna, I was gonna let you know.
I reached out to a college and high school friend
of mine, Geenie Alexander, and I knew she was a
big an excess fan. I just sit her a text
this week and I said, hey, I know you're a
big an xcess fan. What what do you have for
me on Kick? You know what? What memories do you have?
And so she wrote me some stuff, but specifically, she
said that Mystifies her favorite song. She says it's silky,
smooth and powerful. The lyrics that start with that silky
silk moment and just meshes with the twisted, tangled, powerful,
wild with power. So how could one not love it?
And so she's a big fan of Michael Hutchins. She
said that was kind of one of her first big crushes.
She said he was a good boy and a bad
boy mixed together. So Annie, thanks for that. We appreciate you,
thanks for listening, and thanks for that little tidbit.
Speaker 2: On Mystify very well, save very well.
Speaker 1: So all right, so this brings us to the song Kick.
Speaker 2: This big ka good song.
Speaker 1: This song just makes me feel good man. This is
a fun song. It's got those strong horns and it's upbeat.
Sometimes you kick, sometimes you get kicked.
Speaker 2: You know, it's just I love it.
Speaker 1: This was the song that they led concerts off with
in nineteen eighty seven, and it makes sense because it's
just it's high energy, upbeat. We're getting ready to have
a great time, get on board.
Speaker 2: How can you not be excited about what's to come
when this is what leads you off, That's for sure.
I think this one would have been a better first
song on either side A or Side B.
Speaker 1: No, I agree with you. That's totally a kickoff song.
Speaker 2: Yeah.
Speaker 1: Yeah, and really when they got the title of the album,
this really kind of makes sense to be the number
one slot, I think, sure, yeah, instead of guns in
this Guy. I don't know why they didn't release this
one as a single. It is a quality song that
I could see doing well in the charts.
Speaker 2: How they released it?
Speaker 5: Yeah.
Speaker 1: The only thing about the song that I didn't like
as much, the sex solo is not quite as full
and as energetic as I think it could be. I
would probably put a guitar solo in right there. That's
high energy fun get after it. But that's just me
moving on after that fun song that brings us to
a song called Colleen All Nations.
Speaker 2: This song you don't like your The music is okay,
but this is the I mean, media was like a
minute and a half long of this repetitive, kind of
rappy kind of no no no no no, no no no,
none and no no, no no, and this is an
entire song of that. This is bland and a boring melody.
Speaker 1: Okay, well, that's fine. I still like this song. I'm
not skipping this song if I'm listening. However, this sounds
like a broken down version of New Sensation. In fact,
I thought it was when I heard it for the
first time.
Speaker 2: It has that same feel. It's just unlike New Sensation.
It doesn't have a melody.
Speaker 1: To its right, that's right.
Speaker 2: It's like a droning it's not I don't enjoy it.
Speaker 1: My biggest memory of this song came the summer of
eighty eight, and I think I told you the story
off air, but MTV gave away this big Inexcess prize
package the summer of eighty eight, and I remember going,
that'd be freaking awesome. So MTV had this big summer
giveaway and it basically it was win tickets to see
in Excess and you know, travel around the world. I
don't know exactly where it was, but you got to
go see Nxcess for free, and it was the callon
All Nations concert prize from MTV. So that for me,
I'm like, oh yeah, freaking yeah. Calling all nations. But
one of the things that they gave away if you
won this prize from MTV was a Texas trailer park.
I mean, what a Texas trailer park? That was the prize. Okay,
I've always wanted to own a Texas trailer park and
I missed my opportunity for.
Speaker 2: Summer of nineteen eighty eight Broken Rams.
Speaker 1: I like this song, but it other than.
Speaker 2: Sometimes you get kicked, Sometimes you kid, sometimes you get.
Speaker 1: Kicked, this is probably the other than medi eight. It's
my probably my least favorite song on the album, but
I still like it. Not a bad song on the
entire album for me. I think what Inaccess did so
well as they found great hooks, they paired them with
great sing along choruses, and then they minimized everything else
and they just kind of put those out front. But
this is just not one of their strongest offerings. This
brings us to the final song on the album, Tiny Daggers.
Speaker 2: What a happy way end the album. I like it
so much. This could be the end of a John
Hughes movie. Molly Ringwald is finally getting to go out
with the boy that she loves. This is a great
eighties song. This is so very eighties. I like it.
It makes me feel good. This is a feel good song.
Speaker 1: Like we talked about the track listing, this is a
great encore song or like a close it out song. Yeah,
it's a thanks for listening, feel good, thanks for buying
the CD, come back next time. Yeah. I love this
song too. I think this could have been a successful single.
I am behind it as one that they could have
released and done something with. This is one of those
where if, in my mind anyway, if they had made
the we talked about the road concert video where it's
you know, you travel with the band and it shows
them backstage and then they go out front and you know,
similar to like Home Sweet Home anyway, one of those
videos where you see him rehearsing, you see him prepping,
and then they come out and they're pumping their fists
and the crowd I'm thinking Wembley Stadium, you know, you know,
ninety thousand people pumping to tiny daggers. This song does
it for me. I love it.
Speaker 2: Yeah. So the lyrics. The lyrics are about about that
girlfriend who doesn't like you anymore. Whatever it was that
I did that put those tiny daggers in your heart
I'm sorry kind of do you ever think about me?
Maybe I shouldn't even ask that question.
Speaker 1: It's funny that it's those kind of a sad lyrics
to such a feel good you know. Yeah, I think
it's cool that they come right out of the gate
on this song Boom. You're in the middle of the
song and it starts off with the chorus. Yeah, it's
such a good song. It's a great, great close out
to the album. It makes me feel good, all right.
So that wraps up the track listing for Kick. No
bad songs for me. I'm turning it up. I'm having
a great time. I'm feeling good.
Speaker 2: All right, Jason. So, this album peaked at number three
on the Billboard Charts Yes. Number two was Dirty Dancing Yes,
and the number one spot was held.
Speaker 1: By George Michael's Faith, which we will.
Speaker 2: Take up on our next episode to determine who is
the best pop star of October nineteen eighty seven.
Speaker 1: Releases come back next week as we dive into another fantastic,
full throttle hit machine, George Michael's Faith from nineteen eighty
seven