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Speaker 1: This is Jeff from the thirty something Movie Podcast, and

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you are listening to Jason and d on what is

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currently considered to be the most recent episode of the

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Shirley You Can't Be Serious Podcast.

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Speaker 2: Hello everybody, and welcome back to Shirley You Can't Be

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Serious Podcast. We are here to talk about the Tears

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for Fears album Songs from the Big Chair, released thirty

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nine years ago this month. Jason, isn't it funny how

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time live? Yes?

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Speaker 3: Yes, I love this album. I can't wait to dive

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into it. I owned it. It really ruled the summer

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of nineteen eighty five.

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Speaker 2: This album for me was, well, I put it this way.

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I have said this to you before. I think I

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may even mentioned it last episode. This album was like

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that girl in high school that you thought was kind

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of cute and kind of forgettable, and then you come

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back for your thirty nine year old class reunion or whatever,

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and you're like, oh my gosh, I'm in love with her. Right,

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So I got to, you know, we dive in. I

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re listened to this thing and I'm like, holy cow,

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how did I not know how good this entire album is?

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Speaker 3: You know, I had the same kind of experience because

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when you're a little kid. When I was twelve when

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this came out, Yeah, I'm like, oh, these songs are great,

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They're fun, they're they're catchy. You know, you don't realize

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how complex and how deep they are at twelve years old.

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Speaker 2: Yeah. We were having a conversation with our Shurly fans

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that we have a text group with. By the way, guys,

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if you want to join our group, go to patreon

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dot com backslash Shirly Podcast, and if you just want

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to follow us, it doesn't cost a thing to follow us.

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You can see what our Patreon episodes are and decide

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whether you want to join or not cheap to join.

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If you do decide and you get access to those episodes.

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But also we have a continuing text exchange with almost

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all of our Patreon members. And today we were talking

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about this thing that seems to happen now with songs

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that you don't have guitar solos or piano solos or

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drum solos or saxophone solos or any.

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Speaker 3: Of those things, or long intros rright.

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Speaker 2: Or long intros, and you go back and you listen

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to the songs of thirty nine years ago nearly forty

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years ago, and at that era, all of them had

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it like you didn't have a song that didn't have

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a guitar solo in it. And the problem is is

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that all of the people making music now thinking that

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the gen z doesn't have the attention span to sit

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through a musical solo. Well, let me to tell you, guys,

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the songs of these albums are favorite songs for my

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sixteen year old and my fourteen year old and my

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twelve year old, and for us. I mean, I'm gonna

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go down a limb here, but Shout was the song

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of this album, right like for you and me, Like

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Shout was the big hit in nineteen eighty five, right

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for them. Literally before we came to record Tonight, I

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was like, avery, of these three songs shout, everybody wants

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to rule the world, head over heels, which one is

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the best. And She's like, I don't think I know shout.

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And Caleb's next to her and he's like, what you

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don't have a shout? Are you crazy? I'm like, dude,

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she doesn't know what. She doesn't know. It's okay, But

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even he was like, it's head over heels And she

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was like I like them both a lot, but it's

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probably everybody wants to rule the world. Sixteen year old

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Cole one percent. Everybody wants to rule the world. Didn't

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know shout. But the fact is is that these guys

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have the attention span. My kids have the attention span

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to listen to these songs with long intros, great sax solos,

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great guitar solos, and they prefer it. So wake up

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music producers of the day. Give some credit to our

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listening audience, and let's put some music talent behind the

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songs we're making today.

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Speaker 3: I've got to tease up for you on this. So

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you mentioned the length of the songs. Yeah, there is

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a lyric in one of the songs that you know

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well that makes a reference to the length of the

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songs on this album.

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Speaker 2: I mean, the fact is that even in the eighties,

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the record producers were like, Eh, we don't have this

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is too long, we got to cut it short, and

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they do. They totally reference it in one of these

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other songs.

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Speaker 3: I almost fell down when I heard that.

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Speaker 2: So, guys, we're talking about an album that's nearly forty

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years old at this point, and it is still incredible.

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This is a great album to listen to with your kids.

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There's all kinds of history behind the band. But I

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really just want to jump right in. Before we do that,

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we have to briefly talk about how we got the

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title of this album.

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Speaker 3: I have wondered this for thirty nine years now, right.

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So the title of the album is called Songs from

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the Big Chair. Yep, what the heck is the Big Chair?

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Speaker 2: Well, lay down and we can talk about it.

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Speaker 3: That's Have you seen the nineteen seventy six TV movie

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starring Sally Field called Sybyl.

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Speaker 2: No, I have not, but I am well aware of

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what it's about. I know it's the multi personality. The

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actual woman's name was not Sybil, it was Suirley Ardell Mason.

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But there's a lot of skepticism about whether she had

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as many multiple persons as she did or not.

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Speaker 3: Right, So it's about this woman who has multiple personalities.

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Which part of the reason why they chose this title

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is because each song on this album has a different personality.

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Speaker 2: Ah, that's oh, that's great, that's great. And so just

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as it relates to the movie, the idea was that

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with all of these multiple personalities that she had, she's

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being psychoanalyzed by the psychiatrist, and the only way that

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she can prevent herself from using her different personalities is

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when she's sitting in her big chair. That's a share

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that she talks to the psychoanalyst from.

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Speaker 3: She only feels safe when she's sitting in the big chair.

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Speaker 2: Yeah.

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Speaker 3: Now, this album, just for the record, went five times

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platinum in the US alone, sold ten million copies worldwide.

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Released February twenty fifth, nineteen eighty five. We talked about

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and was the album of nineteen eighty five, with maybe

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only one exception, which we'll talk about next week.

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Speaker 2: Yeah, we are here to compare this album to the

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Wham album Make It Big.

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Speaker 4: Wake Me Bye, Don't Change not the jo.

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Speaker 2: Guys. We'll cover that one next week, But for now,

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we are jumping in song number one on the album, Shout.

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Speaker 4: Shot, Shout Jump.

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Speaker 2: What an iconic, unmistakable intro. You love those bells that

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come in with the strong chorus at the beginning of

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the song fan freaking tastic right out of the gate.

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Speaker 4: Yeah.

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Speaker 3: So this song was one of the ones that went

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to number one hit number one in the US August third,

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nineteen eighty five. Here's the interesting thing. The release schedule

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in the United States is different than the one in

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the UK. Right, So in the UK, hey, this is

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like the third single. In the US it's the second single.

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If you're listening to the UK, you're gonna be like,

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wait a minute, what summer of nineteen eighty five?

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Speaker 2: What are you talking about.

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Speaker 3: Well, in the US it was big in the summer

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of eighty five.

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Speaker 2: Yeah. Huge. It wasn't just big, it was huge. This

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is a tidal wave of a song as far as

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the US is concerned.

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Speaker 3: I bet they played this video once an hour on MTV.

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Speaker 2: I couldn't I couldn't stop singing this song at ten

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years old. It's like I just couldn't do it. I mean,

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it was too intoxicating not to do it. And then

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I got it into my head. Why doesn't shout the

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fabric detergent? Use THISAA shout shout, get the stains out.

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Speaker 4: Yeah.

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Speaker 3: So it's interesting when it was created, Rolandor's bole just

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he kind of came up with the words and thought, well,

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this is just it's kind of a chorus for people

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to sing along. It's not really a song, just something

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we can use in our concerts.

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Speaker 2: Yeah. I remember as a kid talking to my brother

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about this, and he was like, these guys did this

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scream therapy and that's where they got this idea for

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this song. Right. So, you know, speaking of psychoanalysts and

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Sybil and all that, Right, there's this psychoanalyst from the

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late sixties early seventies called Arthur Jenoff. Right, he does

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what he calls primal therapy, where he with his patients

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dives into their childhood pain. And so he comes out

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with this book called The Primal Scream. Sounds like, oh, hey,

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my brother was right. These guys are tapping into this

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we know, and we'll talk about it in a little bit.

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Where the name of the band comes from and it

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is straight from Arthur Jenoffah, but this book, he writes

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this book about his primal therapy, and he sends a

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couple of like preview copies to some famous people, including

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John Lennon. John Lennon totally buys in. A couple of

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other famous celebrities buy in, and all of a sudden

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he is a world renowned guy. Well this is early seventies,

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like nineteen seventy basically, okay, and we know that Tears

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for Fears gets together I mean they become Tears for

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Fears in nineteen eighty one, but before that they were

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devotees of Arthur Jenoff.

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Speaker 3: Yeah, so I was telling you I read this article.

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Roland R'sbal said, we were evangelical about Arthur Jenoff. He said,

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the only band I could really compare ourselves to would.

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Speaker 2: Be like you two.

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Speaker 3: So you two took pop rock and combined it with

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the teachings of Jesus right their Christian faith, whereas Tears

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for Fears took pop rock, synth rock and combine it

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with the teachings of Jenoff. And here you go Tears

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for Fears primal scream therapy shout right.

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Speaker 2: And then part two is Roland Oserbaal says, No, that's

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actually not what it's about. It's not about the scream therapy, right,

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He's like, this is about rebellion and all this. I'm like, really,

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are you sure?

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Speaker 4: Yeah?

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Speaker 2: But here's the other here's the part too of that.

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There could be the reason that he could be saying

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that is that they actually got to meet Arthur Jenoff

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in the mid eighties. Okay, they met him, And this

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goes back to you're in my experience with Lu Frigno,

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don't meet your heroes.

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Speaker 4: Oh no.

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Speaker 2: Yeah. So they met him and they were completely disillusioned.

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They said he had just become completely Hollywood. He was

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not interested in talking to them about psychosis or psychoanalysis

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or any of that stuff. What he wanted them to

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do was write a musical for him. Oh no, yeah,

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I was with you when you.

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Speaker 3: Met lou Fregno. By the way, I felt I was

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bad for you.

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Speaker 2: Yeah.

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Speaker 3: So here's the interesting thing. When roland Orzibal wrote this chorus,

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just a simple shout protest chorus, he went over and

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he sang it to Ian Stanley. Ian Stanley is the

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keyboardist and another kind of the guys in the band. Yeah,

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And it took weeks for Ian Stanley to convince roland

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Oor's that it was any good. When he first heard

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he said, that's a worldwide smash, and Rolan's like, I

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don't know, man, it's just like a chorus, like I

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want people to kind of chant it during a concert.

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He's like, yeah, dude, that chorus is a worldwide smash.

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Took weeks to convince him. It was the second to

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last song added to the album, and because the song

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is complex, it pushed them over time and over budget,

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but gave us the gift of one more song that

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we'll talk about here in just a minute.

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Speaker 2: Yeah, the studio didn't like how long the song was.

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Speaker 3: Should we talk about that now or in two songs?

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Speaker 2: Let's talk about it.

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Speaker 3: Let's talk about now.

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Speaker 2: And we'll just we'll tee it up that it's gonna

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come up a little bit later. We'll just tell them

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what happened now, and then we'll tell them about the lyrics.

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Next song.

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Speaker 3: Sounds good, sounds good. So this song the average length

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of the songs on these albums over five minutes the

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average length.

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Speaker 2: They're long.

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Speaker 3: They're long songs, including Shout.

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Speaker 2: Yeah.

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Speaker 3: So David Bates is a record guy, and he wants

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them to reduce this song shout by thirty seconds. He

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wants them to fade out.

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Speaker 2: That's a huge reduction in a song.

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Speaker 3: Thirty seconds.

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Speaker 2: That's a long time time.

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Speaker 3: Yes, And they're like, we don't want to, like, no,

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you guys are doing it.

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Speaker 2: They do. They do, and they're not happy about it.

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They're sad about it, and they're going to protest it

247
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a little bit later. They're so sad that they had

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to fade it all right, So we talked about how

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this song reached number one in August of eighty five.

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Speaker 3: Okay, here's your top five August third, nineteen eighty five.

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Speaker 2: We're already here. I'm so happy. Hey.

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Speaker 3: Number one is Shout. Number two is every Time You

253
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Go Away by Paul Young.

254
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Speaker 2: Okay, that's a decent song. It's good song, right.

255
00:12:37,000 --> 00:12:39,840
Speaker 3: Number three if you love Somebody set Them Free by Sting.

256
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Speaker 2: I like that song, yeah, face, I like that song. Okay,

257
00:12:43,159 --> 00:12:44,759
free you set Them Free? Yeah, I dig that song.

258
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Speaker 3: Yeah, okay, all right. Number four You Give Good Love

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by Whitney Houston.

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Speaker 2: Yeah.

261
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Speaker 3: And number five Glory Days by Bruce Springsteen.

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Speaker 2: I love that one. It's a good one.

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Speaker 4: Right.

264
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Speaker 2: He has one of my favorites. Yeah.

265
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Speaker 3: So this video was directed by Nigel Dick.

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Speaker 2: Oh, I'm so glad that you were talking about Nigel Dick.

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Speaker 3: Okay, I was wondering if you would remember who that was.

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Speaker 2: So yeah, we totally talked about him when we talked

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about get Ready for This, Ladies and Gentlemen, Guns and Roses.

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Speaker 3: I know, he's like either Tears for Fears or Guns

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n' roses.

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Speaker 2: Right, It's it's crazy. I mean, he's got he's one

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of those guys that has directed a ton of videos. Yes,

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but but the most iconic Guns and Roses videos are hit.

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So he's got patience, he's got Paradise City, he's got

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Sweet Child of Mine.

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Speaker 3: I mean, he's come to the jungle.

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Speaker 2: He's the man.

279
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Speaker 3: He also did Rocket by Duff Leppard, Down in a

280
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Hole by Alice in Chains. Yep, he did Wonderwall and

281
00:13:37,720 --> 00:13:41,879
Champagne Supernova by Oasis, and Hit Me Baby One More Time.

282
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Speaker 2: Yeah, he had a few Britney spears and he did

283
00:13:44,200 --> 00:13:46,159
this too. Yeah, he did Nigel Dick.

284
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Speaker 3: Yep, what a name, terribly unfortunate name. I did see

285
00:13:51,399 --> 00:13:54,039
an interview with Kurt Smith how he's got kind of

286
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a little braided tail in the video.

287
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Speaker 2: That his hair style choice in the eighties was unfortunate

288
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and several different occasions.

289
00:14:01,679 --> 00:14:05,159
Speaker 3: So apparently his children thinks it's hilarious that he had

290
00:14:05,200 --> 00:14:06,600
a braid in this video.

291
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Speaker 2: A rattail.

292
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Speaker 5: Brain.

293
00:14:07,320 --> 00:14:10,360
Speaker 3: Yeah, like, dad, look your braid. Oh my gosh.

294
00:14:12,320 --> 00:14:15,399
Speaker 2: Speaking of his children, he's got a couple of little girls,

295
00:14:15,759 --> 00:14:21,080
one of whom has an incredible voice, an incredible musical ability.

296
00:14:21,679 --> 00:14:24,399
And we've been watching this it was like an Instagram

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00:14:24,639 --> 00:14:26,799
kind of We're just gonna make this song real quick

298
00:14:27,000 --> 00:14:29,960
from COVID, Like they were stuck inside the house and

299
00:14:30,080 --> 00:14:32,399
she's in her early twenties. I mean she looks like

300
00:14:32,519 --> 00:14:37,080
she's fifteen. She's a super sweet looking little girl. Yep.

301
00:14:37,279 --> 00:14:40,799
And they're both she's playing guitar, he's playing bass, and

302
00:14:40,960 --> 00:14:43,919
they start singing mad It's so great.

303
00:14:44,320 --> 00:14:56,679
Speaker 4: A famillion fais Warner place, says Worner fass fredonly pull

304
00:14:56,840 --> 00:15:07,039
the dailyais go going going now and it is a

305
00:15:07,279 --> 00:15:16,480
feeling up bag classes no expression, no wexpression.

306
00:15:16,799 --> 00:15:21,080
Speaker 3: Have my head. I want to dramas ut Ah's cool?

307
00:15:21,159 --> 00:15:21,240
Speaker 4: Is that?

308
00:15:21,399 --> 00:15:22,440
Speaker 3: Man? That's just so sweet?

309
00:15:22,519 --> 00:15:22,759
Speaker 4: It is.

310
00:15:23,000 --> 00:15:26,080
Speaker 2: It is incredibly sweet. And her voice, I mean her

311
00:15:26,159 --> 00:15:30,080
harmony with her dad is a beautiful blend. It is great.

312
00:15:30,399 --> 00:15:32,600
Speaker 3: Well, that's true. I could sing with Kurt Smith and

313
00:15:32,639 --> 00:15:37,360
it was singing halfway awesome, So well, she does better

314
00:15:37,440 --> 00:15:39,919
than that's true. That's true. I do like how in

315
00:15:40,039 --> 00:15:41,600
some of the lyrics of the song, you still have

316
00:15:41,720 --> 00:15:44,840
some of the remnants of nuclear tension, right. Oh yeah,

317
00:15:45,120 --> 00:15:48,360
So the line I hope we live to tell the

318
00:15:48,480 --> 00:15:52,720
tale nuclear tension between the world and the USSR and

319
00:15:52,840 --> 00:15:53,480
that type of thing.

320
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Speaker 2: It was nineteen eighty five, right in the middle of

321
00:15:55,639 --> 00:15:58,279
Reagan and Gorbachop. I mean it was Cold War at

322
00:15:58,360 --> 00:15:59,440
tension peak, no.

323
00:15:59,519 --> 00:16:02,200
Speaker 3: Doubt, one of the biggest songs of the summer of

324
00:16:02,279 --> 00:16:03,000
nineteen eighty five.

325
00:16:03,240 --> 00:16:07,000
Speaker 2: The song is amazing. It never gets old to me,

326
00:16:07,360 --> 00:16:10,120
and I think for guys our Age it defines the album.

327
00:16:10,159 --> 00:16:11,679
Speaker 3: Okay, were we ready to move on to the next one.

328
00:16:11,759 --> 00:16:13,200
Speaker 2: Let's move on to song number two?

329
00:16:13,399 --> 00:16:16,279
Speaker 3: Song number two. That song is called the Working Hour.

330
00:16:41,799 --> 00:16:45,799
Speaker 2: So talk about songs with different personalities. Yeah, I mean

331
00:16:45,919 --> 00:16:48,879
this sounds like Jon Hammer. This song could be playing

332
00:16:48,960 --> 00:16:53,679
while Crockett is angry driving in the Ferrari after he

333
00:16:53,759 --> 00:16:55,159
accidentally shot the drug dealer.

334
00:16:55,279 --> 00:16:58,159
Speaker 3: Yeah, for sure. So you got that long, really long intro,

335
00:16:58,440 --> 00:17:01,639
sweet saxe, sexy say, and then you got that kind

336
00:17:01,679 --> 00:17:04,119
of shuffle beat and then the song really takes off.

337
00:17:04,400 --> 00:17:05,680
I love it. It's a great song.

338
00:17:05,920 --> 00:17:07,599
Speaker 2: This was really good. This was not on my radar

339
00:17:07,720 --> 00:17:10,039
before we came back and revisited this album. This is

340
00:17:10,119 --> 00:17:12,039
not one that was that what I was listening to

341
00:17:12,200 --> 00:17:16,960
back in the eighties, but it definitely has a distinct sound.

342
00:17:17,160 --> 00:17:20,319
I wouldn't have you play until Roland Oors the Ball

343
00:17:20,359 --> 00:17:22,839
starts singing and I don't know who this is initially, right,

344
00:17:23,279 --> 00:17:26,519
does not sound like my Tears for Fears. When you

345
00:17:26,640 --> 00:17:28,839
play that sexy sacks intro and you compare it to

346
00:17:29,000 --> 00:17:31,640
the beginning of shout, sounds like two different bands. So

347
00:17:31,799 --> 00:17:33,720
speaking of two different bands, let's talk about the different

348
00:17:33,799 --> 00:17:36,680
bands that became Tears for Fears. How about that?

349
00:17:36,799 --> 00:17:36,920
Speaker 4: Right?

350
00:17:36,960 --> 00:17:40,680
Speaker 2: Sounds good? Okay, So the key members of Tears for Fears,

351
00:17:40,759 --> 00:17:43,480
the guys who are on the album cover are Roland

352
00:17:43,519 --> 00:17:46,640
oors Ball and Kurt Smith. Right, They actually played in

353
00:17:46,759 --> 00:17:49,799
a band when they were fourteen years old, the little

354
00:17:49,880 --> 00:17:53,960
youth band called Ducks like duck with a Z at

355
00:17:54,000 --> 00:17:54,240
the end.

356
00:17:54,440 --> 00:17:54,759
Speaker 3: Ducks.

357
00:17:55,319 --> 00:17:58,440
Speaker 2: Okay, Yeah, I don't know what they did, but they

358
00:17:58,519 --> 00:18:01,359
split up, I guess eventually or moved on to other projects.

359
00:18:01,559 --> 00:18:05,119
And then Roland Orzabal joins up with this guy and

360
00:18:05,400 --> 00:18:08,480
forms a duo and they call themselves the Baker Brothers.

361
00:18:08,799 --> 00:18:11,480
The other guy is John Baker, So that makes sense,

362
00:18:11,519 --> 00:18:13,920
except that they weren't brothers, so that's a little weird.

363
00:18:14,079 --> 00:18:15,039
Speaker 3: We have no relationship.

364
00:18:16,279 --> 00:18:19,359
Speaker 2: But they would play in pubs. They're like sixteen years old.

365
00:18:19,440 --> 00:18:22,200
They would play in pubs. This around nineteen seventy seven,

366
00:18:22,319 --> 00:18:26,319
and they always opened with the song Missus Robinson by

367
00:18:26,519 --> 00:18:27,319
Simon and Garfink.

368
00:18:27,359 --> 00:18:27,759
Speaker 3: Oh cool.

369
00:18:28,200 --> 00:18:33,079
Speaker 2: And so ultimately they change their name to Graduate. Yes,

370
00:18:33,400 --> 00:18:36,000
and by this time they've brought Kurt Smith back on

371
00:18:36,680 --> 00:18:40,400
on bass. They release an album called Acting My Age

372
00:18:40,640 --> 00:18:44,440
and they have a video and a relatively decent hit

373
00:18:44,680 --> 00:18:48,880
called Elvis Should Play Scott that hits number one in Spain.

374
00:19:00,960 --> 00:19:01,160
Speaker 4: Yeah.

375
00:19:01,359 --> 00:19:03,079
Speaker 2: I heard the song a couple of different times, and

376
00:19:03,160 --> 00:19:06,000
then I learned that they're not talking about Elvis Presley,

377
00:19:06,039 --> 00:19:07,640
were talking about Elvis Costello.

378
00:19:08,119 --> 00:19:09,160
Speaker 3: Oh you are kidding me?

379
00:19:09,279 --> 00:19:12,400
Speaker 2: Oh yeah, they're talking about Elvis Costello. And I don't disagree.

380
00:19:12,599 --> 00:19:15,039
I would disagree on Elvis Presley should have played Scott.

381
00:19:15,200 --> 00:19:18,759
That would not make Elvis Costello. Absolutely, I'm on board

382
00:19:18,839 --> 00:19:20,240
have him play Scott. That would be great.

383
00:19:20,319 --> 00:19:22,160
Speaker 3: Okay, So I got a question for you. Yeah, how

384
00:19:22,279 --> 00:19:25,079
do they get the name Tears for Fearce?

385
00:19:25,359 --> 00:19:28,880
Speaker 2: Okay? Before we get there, Graduate goes on this grueling

386
00:19:29,000 --> 00:19:31,039
tour of Europe. I mean they're up in the UK,

387
00:19:31,240 --> 00:19:34,000
but they're touring down in Spain and other places in Europe.

388
00:19:34,039 --> 00:19:37,079
They don't even have roadies, like they're carrying their own equipment.

389
00:19:37,119 --> 00:19:40,279
They're setting up their own equipment. Yeah. Nice for the

390
00:19:40,359 --> 00:19:43,200
other guys in the band, But Roland and Kurt are like,

391
00:19:43,480 --> 00:19:47,000
this sucks yah, And they decide, we'd really like to

392
00:19:47,160 --> 00:19:49,799
just do studio work, like we would prefer to work

393
00:19:49,839 --> 00:19:52,079
in the studio. We hate being on the road, we

394
00:19:52,240 --> 00:19:54,920
hate having to do all this crap. And so they're out.

395
00:19:55,119 --> 00:19:57,920
They move on and they decide to form their own band,

396
00:19:58,079 --> 00:20:01,519
and initially they call the band and a History of Headaches.

397
00:20:02,640 --> 00:20:06,200
What they initially called the band A History of Headaches.

398
00:20:06,240 --> 00:20:11,160
But then they come across another one of Arthur Jenoff's books,

399
00:20:11,440 --> 00:20:13,200
and they come up with a different name. You know,

400
00:20:13,240 --> 00:20:13,880
the name of the book.

401
00:20:14,039 --> 00:20:16,279
Speaker 3: The book's name is Prisoner of Pain.

402
00:20:16,759 --> 00:20:19,359
Speaker 2: Yeah. And so what a part of this book is

403
00:20:19,839 --> 00:20:24,039
is about children having nightmares. They come in, they're crying

404
00:20:24,079 --> 00:20:28,920
about their nightmares. And what Arthur Jenoff says is many

405
00:20:29,039 --> 00:20:32,440
parents are like, don't cry, It's okay, don't worry about that.

406
00:20:32,680 --> 00:20:34,920
And what he says is what you should be saying

407
00:20:35,039 --> 00:20:37,480
is go ahead, cry it out. Let them have their

408
00:20:38,160 --> 00:20:50,559
tears for tears, love it now real quick before I

409
00:20:50,960 --> 00:20:53,799
jump back into that, there was a brief period before

410
00:20:53,920 --> 00:20:56,920
Tiers for Fears that they were studio musicians. Do you

411
00:20:57,000 --> 00:20:57,200
know this?

412
00:20:57,400 --> 00:20:57,440
Speaker 1: No?

413
00:20:57,599 --> 00:21:00,720
Speaker 2: I didn't. Yeah, they were studio musicians and they played

414
00:21:00,880 --> 00:21:04,720
in a band called Neon. Okay, now Neon didn't really

415
00:21:04,799 --> 00:21:07,759
do anything, but the guys they played with were a

416
00:21:07,880 --> 00:21:10,799
guy named Pete Burn and Rob Fisher. Well, when they

417
00:21:10,920 --> 00:21:14,200
split up, Burn and Rob Fisher form a band called

418
00:21:14,480 --> 00:21:16,960
Naked Eyes. What do you know this band?

419
00:21:17,240 --> 00:21:18,799
Speaker 3: Always something there to remind me.

420
00:21:19,000 --> 00:21:30,680
Speaker 2: Got it? Brother, Always something there to remind me, and promises,

421
00:21:30,799 --> 00:21:35,960
promises what yep? Kurt and Roland played with the guys

422
00:21:36,039 --> 00:21:38,920
from Naked Eyes before they formed Tears for Fears, and

423
00:21:39,160 --> 00:21:41,880
then those guys went on to record those two songs.

424
00:21:42,119 --> 00:21:45,839
Speaker 3: Wow, that is a fantastic nugget, great dig right there.

425
00:21:45,960 --> 00:21:48,680
Speaker 2: Yeah. And while they were in Neon, they played with

426
00:21:48,839 --> 00:21:52,039
the guitarist named Neil Taylor, who is the guitarist on

427
00:21:52,319 --> 00:21:53,359
Songs from the Big Chair.

428
00:21:53,720 --> 00:21:54,440
Speaker 3: Oh Sweet.

429
00:21:54,880 --> 00:21:57,640
Speaker 2: Okay, So anyway, we've we've gone far straight from the

430
00:21:57,680 --> 00:22:01,079
working hour. As we've said, this is a completely different personality.

431
00:22:01,119 --> 00:22:04,039
You've got jazz, you've got sacks. Sure, you got all

432
00:22:04,240 --> 00:22:07,720
kinds of complexity that's not in their other songs. And

433
00:22:08,079 --> 00:22:12,759
that's really truly amazing stuff. Did you have experience with

434
00:22:12,839 --> 00:22:14,400
a song when you were a kid?

435
00:22:14,839 --> 00:22:17,519
Speaker 3: I listened to side one of this album on repeat.

436
00:22:17,839 --> 00:22:18,119
Speaker 2: Okay.

437
00:22:18,359 --> 00:22:20,000
Speaker 3: It was that time of my life where I was

438
00:22:20,079 --> 00:22:24,079
still kind of playing with transformers. I had one foot

439
00:22:24,160 --> 00:22:27,880
in toys and one foot in MTV. Okay, okay, so

440
00:22:28,039 --> 00:22:30,079
it got me through that little little period of time.

441
00:22:30,160 --> 00:22:33,000
Speaker 2: I don't really know what this song is about.

442
00:22:33,240 --> 00:22:35,039
Speaker 3: Well, I'll tell you what we do know. We know

443
00:22:35,160 --> 00:22:37,519
that these songs came out during the decade and eighties,

444
00:22:38,640 --> 00:22:40,720
and that Roland Oorsball is just kind of an old

445
00:22:40,759 --> 00:22:43,279
school hippie. Yeah, he's kind of a cleaned up hippie.

446
00:22:43,440 --> 00:22:47,359
Speaker 2: He really is. We'll talk about his growing up here

447
00:22:47,480 --> 00:22:50,200
in a song or two. And it's unique.

448
00:22:50,359 --> 00:22:51,279
Speaker 3: It is, it's different.

449
00:22:51,359 --> 00:22:54,240
Speaker 2: It's fascinating. Yeah, Okay, that does it for the working hour.

450
00:22:54,440 --> 00:22:55,039
Speaker 3: Let's get to it.

451
00:22:55,200 --> 00:22:59,200
Speaker 2: We've got to get to this next song, maybe maybe.

452
00:22:59,119 --> 00:23:02,720
Speaker 3: A mount Rushmore song of the eighties. This song's called

453
00:23:02,920 --> 00:23:04,799
Everybody Wants to Rule the World.

454
00:23:11,240 --> 00:23:16,000
Speaker 2: So this intro goes on for thirty solid seconds before

455
00:23:16,319 --> 00:23:18,200
he comes in with the vocal.

456
00:23:18,400 --> 00:23:20,400
Speaker 3: Thirty solid seconds of amazingness.

457
00:23:20,680 --> 00:23:23,440
Speaker 2: I know, But what song plays thirty seconds of music?

458
00:23:23,559 --> 00:23:27,400
Before the voice starts today in nobody anymore, No, nobody

459
00:23:27,440 --> 00:23:29,759
does it right. Plus you get that really.

460
00:23:29,559 --> 00:23:33,160
Speaker 3: Cool arpeggio, which I've learned since doing this podcast. You

461
00:23:33,240 --> 00:23:35,039
get it right at the top of the song. Yeah,

462
00:23:35,119 --> 00:23:37,400
they play it one more time, but if you played

463
00:23:37,440 --> 00:23:39,720
that or peggio for me, I'd be like, that's Tears

464
00:23:39,759 --> 00:23:40,160
for Fears.

465
00:23:55,720 --> 00:24:01,480
Speaker 2: And it's a simple but beautiful mixture of sounds of

466
00:24:01,680 --> 00:24:07,559
different instruments and techniques that encapsulates what was beautiful about

467
00:24:07,599 --> 00:24:08,319
eighties music.

468
00:24:08,640 --> 00:24:09,680
Speaker 3: It's so good.

469
00:24:10,119 --> 00:24:12,960
Speaker 2: So the verse of the song is two chords, but

470
00:24:13,039 --> 00:24:16,039
it's almost not even really two chords. It's almost one chord.

471
00:24:16,279 --> 00:24:18,920
It is D one with an A bass and one

472
00:24:19,000 --> 00:24:22,920
with a G bass. That's it. It's D. It's basically

473
00:24:23,079 --> 00:24:25,599
the same chord with a different bass note for it.

474
00:24:25,799 --> 00:24:29,079
And amazing they built this song, and what is crazy

475
00:24:29,440 --> 00:24:33,079
is they didn't want to do this song.

476
00:24:38,880 --> 00:24:40,680
Speaker 3: Not only did they not want to do it, the

477
00:24:40,759 --> 00:24:43,400
producer made them finish it, and when they finished it,

478
00:24:43,559 --> 00:24:46,720
they still didn't like it. They had three songs laying

479
00:24:46,799 --> 00:24:48,400
around They're like, which one are we going to pick

480
00:24:48,440 --> 00:24:51,200
out of these three? And the producers like, you're taking

481
00:24:51,559 --> 00:24:55,880
this one and They're like, I don't know, and so

482
00:24:56,039 --> 00:24:59,759
it barely made the cut. Yeah, so we talked about

483
00:24:59,799 --> 00:25:02,440
how Deaf Leppard created Pour Some Sugar on Me. Joelliott

484
00:25:02,480 --> 00:25:05,359
was just playing with the guitar. Mu Lang was walking

485
00:25:05,440 --> 00:25:07,839
by and said, what the heck are you working on?

486
00:25:08,200 --> 00:25:10,359
And he said, it's just something I'm working, you know,

487
00:25:10,519 --> 00:25:12,559
just filling around with He's like, no, that's a song.

488
00:25:12,880 --> 00:25:15,240
Same thing happened on this song, Rollandor's ball was messing

489
00:25:15,240 --> 00:25:17,799
around and played two chords that duh, duh.

490
00:25:18,279 --> 00:25:22,720
Speaker 2: Okay. So the producer that you're talking about is Christopher Hughes,

491
00:25:22,839 --> 00:25:25,559
just Hughes, that's right. But his middle name was Marrek.

492
00:25:25,640 --> 00:25:28,759
Everybody called him Marrick. Oh okay. Yeah. So he was

493
00:25:28,839 --> 00:25:31,640
the drummer for Adam and the Ants. What Yes, Like,

494
00:25:31,759 --> 00:25:34,440
he and Adam Ant were in a band together before

495
00:25:34,559 --> 00:25:36,799
he and he produced some of their albums and then

496
00:25:36,839 --> 00:25:39,680
he started focusing on producing instead of being a drummer.

497
00:25:39,759 --> 00:25:41,519
He was the producer on The Herding, which is the

498
00:25:41,599 --> 00:25:43,480
album I mean this is. We didn't mention that this

499
00:25:43,680 --> 00:25:46,640
is Tears for Fear's second out, second album, and the

500
00:25:46,720 --> 00:25:48,720
first album was The Hurting, which is where you get

501
00:25:48,799 --> 00:25:51,079
mad World and Change and some of these other just

502
00:25:51,200 --> 00:25:54,119
incredible songs. I didn't even realize, like this is how

503
00:25:54,200 --> 00:25:56,279
out of touch with Tears for Fears I was. I

504
00:25:56,319 --> 00:25:58,880
didn't realize that Mad World was a Tears for Fear song.

505
00:25:59,000 --> 00:26:02,359
I know it from like the Gray's Anatomy, the new

506
00:26:02,480 --> 00:26:05,480
version that's out right new, the twenty year old versus

507
00:26:06,119 --> 00:26:08,759
I got thirty year old version right right. But Merrik

508
00:26:08,880 --> 00:26:12,359
cused Christopher Hughes. He co wrote Everybody Wants to Rule

509
00:26:12,440 --> 00:26:15,119
the World. That's why he's pushing it. That end the

510
00:26:15,200 --> 00:26:19,799
fact that it is an amazing, amazing song, right, as

511
00:26:19,880 --> 00:26:22,680
you mentioned I think before with some other guys. He

512
00:26:22,799 --> 00:26:24,960
had worked with def Leppard. Really yep, he worked with

513
00:26:25,000 --> 00:26:28,880
def Leppard. He worked with Robert Plant, Paul McCartney, Rick Okasik,

514
00:26:29,000 --> 00:26:31,119
Peter Gabriel, John bon Jovi.

515
00:26:31,359 --> 00:26:31,400
Speaker 4: What.

516
00:26:31,799 --> 00:26:34,240
Speaker 2: Yes, he was a huge producer and he is the

517
00:26:34,319 --> 00:26:38,039
guy who was playing drums on Shout. Now Manny Elias

518
00:26:38,119 --> 00:26:40,480
played drums on all of the rest of the songs,

519
00:26:40,559 --> 00:26:43,599
but the drums on Shout are Christopher Merrick Hughes, the

520
00:26:43,640 --> 00:26:46,480
producer in this song who convinced them and helped them

521
00:26:46,640 --> 00:26:48,559
co write Everybody Wants to Rule the world.

522
00:26:48,599 --> 00:26:50,799
Speaker 3: Okay, so let's get into it a little bit. Because

523
00:26:50,920 --> 00:26:53,279
he walks by, here's the two chords. He's like, guys,

524
00:26:53,359 --> 00:26:55,440
turn that into a song. That's fantastic, and they're like,

525
00:26:55,680 --> 00:26:57,920
what are you talking about. We were finishing up the album.

526
00:26:58,000 --> 00:27:00,519
We were working on Shout it's the song.

527
00:27:00,759 --> 00:27:01,599
Speaker 2: Yeah, we're done.

528
00:27:01,799 --> 00:27:04,720
Speaker 3: He's like, no, you're turning that into a song. Takes

529
00:27:04,759 --> 00:27:06,759
them two weeks to finish it out. But Roland didn't

530
00:27:06,799 --> 00:27:08,240
like it. He didn't feel like it a fit the album.

531
00:27:08,319 --> 00:27:11,880
Felt like it was too light, and let's let's be honest.

532
00:27:12,160 --> 00:27:15,279
It's not light, but it's very radio friendly. I mean

533
00:27:15,359 --> 00:27:17,039
you can hear that right off the bat. So this

534
00:27:17,160 --> 00:27:20,440
song was influenced by the song Waterfront by Simple Minds.

535
00:27:20,720 --> 00:27:25,000
The drums were flat out stolen. They were stolen from

536
00:27:25,039 --> 00:27:25,440
this song.

537
00:27:25,559 --> 00:27:28,119
Speaker 2: Oh okay, no, no, it's for real, Like they didn't

538
00:27:28,200 --> 00:27:29,920
sample it, it did, they didn't go that far, but

539
00:27:30,160 --> 00:27:34,000
they programmed their drums with just a minor tweet. Let's

540
00:27:34,000 --> 00:27:36,079
listen to it. Let's listen to the Waterfront and see

541
00:27:36,119 --> 00:27:36,519
what you think.

542
00:27:36,599 --> 00:27:49,920
Speaker 3: Okay, yeah, it's that kind of shuffle right yeah.

543
00:27:49,799 --> 00:27:52,440
Speaker 2: Boom to boom chat. But I mean I heard Kurt

544
00:27:52,480 --> 00:27:54,440
Smith talk about it. He didn't, he didn't try to

545
00:27:54,480 --> 00:27:56,720
deny it. He was like, we love that drumbeat. It

546
00:27:57,400 --> 00:28:00,319
catches you, it entrances you, and we flat out program

547
00:28:00,440 --> 00:28:02,119
the drum so that it would sound like that.

548
00:28:02,440 --> 00:28:04,839
Speaker 3: Well here's they didn't just steal from that song. They

549
00:28:04,880 --> 00:28:06,440
stole from another song too, huh.

550
00:28:06,640 --> 00:28:06,880
Speaker 2: Okay.

551
00:28:07,160 --> 00:28:09,519
Speaker 3: So they're working on the chorus and they're writing it,

552
00:28:09,680 --> 00:28:11,759
and Roland's like, Okay, I knew that I had it

553
00:28:11,839 --> 00:28:17,720
worked out to where it was everybody dad, right, And

554
00:28:17,880 --> 00:28:21,640
so he knew it was everybody something. And for a

555
00:28:21,720 --> 00:28:25,279
while it was everybody wants to go to war?

556
00:28:25,559 --> 00:28:27,519
Speaker 2: Yeah, well another Cold war deal, right right?

557
00:28:27,640 --> 00:28:29,960
Speaker 3: And so he's like, it just didn't work. Let me

558
00:28:30,039 --> 00:28:32,400
play the first part of a song from the Clash

559
00:28:32,799 --> 00:28:56,279
called Charlie Don't Surf. Yeah, stole it right from that song.

560
00:28:56,799 --> 00:28:59,079
Speaker 2: Well, yeah, I heard I heard the story on this.

561
00:28:59,519 --> 00:29:01,519
So did did you hear the rest of the story?

562
00:29:01,599 --> 00:29:01,839
Speaker 4: I did?

563
00:29:01,960 --> 00:29:04,880
Speaker 2: I love it, yeah, Kelly, this is well, after Everybody

564
00:29:04,920 --> 00:29:06,680
Wants to Rule the World has come out.

565
00:29:06,880 --> 00:29:09,119
Speaker 3: It's like the number one world smash, right.

566
00:29:09,039 --> 00:29:13,160
Speaker 2: Right, And and Joe Strummer and Kurt Smith end up

567
00:29:13,279 --> 00:29:16,359
in the same pub together and Joe Strummer like sees

568
00:29:16,480 --> 00:29:19,400
him across the room and Kurt Smith sees him, and

569
00:29:19,599 --> 00:29:22,519
he sees him like walking towards him, and he's like,

570
00:29:23,039 --> 00:29:25,920
you owe me a drink.

571
00:29:28,000 --> 00:29:28,160
Speaker 3: Yeah.

572
00:29:28,319 --> 00:29:30,519
Speaker 2: Smith is like, okay, yeah, I could do that.

573
00:29:31,160 --> 00:29:33,119
Speaker 3: See I heard it. I heard that it was you

574
00:29:33,279 --> 00:29:36,000
owe me a fiver for stealing the lyrics to my song.

575
00:29:36,079 --> 00:29:38,720
And so he reached his pocket, pulled out a five

576
00:29:38,920 --> 00:29:41,599
and handed it to him. But still a great story.

577
00:29:41,720 --> 00:29:44,200
Right right now, you mentioned Kurt Smith. Kurt Smith is

578
00:29:44,240 --> 00:29:46,480
actually the one lead singing this song.

579
00:29:46,680 --> 00:29:49,519
Speaker 2: Yeah, even though he didn't write it, right, Yeah, even.

580
00:29:49,359 --> 00:29:51,119
Speaker 3: Though I can tell the difference. They both have kind

581
00:29:51,119 --> 00:29:53,160
of these full throaty vocals.

582
00:29:53,240 --> 00:29:55,119
Speaker 2: You know, these guys were made to be in a

583
00:29:55,200 --> 00:30:00,160
band together. Their their voices are so well matched that

584
00:30:00,200 --> 00:30:03,599
they're almost you almost can't tell who's singing from song

585
00:30:03,680 --> 00:30:06,440
to song. But they definitely do trade off quite a bit. Now,

586
00:30:06,599 --> 00:30:09,839
Roland Arsbal had written most of their stuff, and he

587
00:30:09,920 --> 00:30:12,279
does sing a large part of what they have, but

588
00:30:12,400 --> 00:30:15,319
Kurt Smith has definitely contributed. I mean, Kurt Smith wrote

589
00:30:15,400 --> 00:30:17,839
Mad World, which is one of their best songs ever,

590
00:30:18,200 --> 00:30:21,119
right right, I mean it's and in several others, several others.

591
00:30:21,200 --> 00:30:24,720
But it's funny. I saw a meme because there's all

592
00:30:24,839 --> 00:30:27,079
kinds of pictures of these two guys and they're always

593
00:30:27,079 --> 00:30:29,599
staring off into some other direction. And somebody was like,

594
00:30:29,799 --> 00:30:32,279
Tears for Fears always looks like a couple who just

595
00:30:32,400 --> 00:30:32,880
had a fight.

596
00:30:33,119 --> 00:30:37,359
Speaker 3: Yeah, yeah, I love it. I love it, And like,

597
00:30:37,440 --> 00:30:38,920
you know, we talked about how they didn't really like

598
00:30:38,960 --> 00:30:41,480
the song. They didn't think it fit and I love

599
00:30:41,559 --> 00:30:43,599
this line. So the producer, you know, Chris, he has

600
00:30:43,640 --> 00:30:46,079
made them work on this, right, he made them work

601
00:30:46,119 --> 00:30:48,119
on it. And so they started to play it again

602
00:30:48,279 --> 00:30:51,519
and again and again, and Roland said it didn't really

603
00:30:51,680 --> 00:30:54,880
take until we had to quote unquote wear it. And

604
00:30:55,000 --> 00:30:58,079
that's when they were like, Okay, this song's pretty good.

605
00:30:59,400 --> 00:31:01,960
It's still all didn't make the album. That summer, when

606
00:31:02,000 --> 00:31:03,880
it hit number one, they got a call from the manager.

607
00:31:03,920 --> 00:31:06,960
It said, congratulations, you guys are number one in America.

608
00:31:07,160 --> 00:31:09,559
You know what, Kurt said, Wow, that was quite easy.

609
00:31:11,519 --> 00:31:14,880
Speaker 2: Now we I mean, I was blathering on earlier about

610
00:31:15,119 --> 00:31:18,559
the fact that songs from the eighties had long introductions

611
00:31:18,759 --> 00:31:21,319
and killer guitar solos and if I say to you,

612
00:31:21,720 --> 00:31:24,559
great guitarists from the eighties or great guitar solos from

613
00:31:24,599 --> 00:31:27,759
the eighties. You probably don't immediately go to Roland hors

614
00:31:27,839 --> 00:31:30,400
Ball or Everybody wants to Rule the world, right, but

615
00:31:30,599 --> 00:31:33,920
number one rolland horse Ball is a sick guitar player.

616
00:31:48,720 --> 00:31:50,000
He is really a talent.

617
00:31:50,319 --> 00:31:52,119
Speaker 3: He's good, no doubt, really good.

618
00:31:52,200 --> 00:31:55,400
Speaker 2: And if you listen to the guitar solo on this

619
00:31:55,759 --> 00:32:02,240
hasty it is some fine, bluesy, jazzy, kick ass guitar playing.

620
00:32:02,759 --> 00:32:03,720
Speaker 3: Yeah, no doubt.

621
00:32:03,839 --> 00:32:06,200
Speaker 2: Now before the guitar got solo comes in, though, there

622
00:32:06,319 --> 00:32:07,440
is a there's a lyric.

623
00:32:07,599 --> 00:32:08,720
Speaker 3: We gotta talk about the lyrics.

624
00:32:08,880 --> 00:32:10,759
Speaker 2: That's what we were just talking about in a minute ago.

625
00:32:10,920 --> 00:32:13,240
Speaker 3: Yeah, right, so let's talk about the lyric. So glad

626
00:32:13,319 --> 00:32:17,039
we almost made it. So sad they had to fade it.

627
00:32:33,519 --> 00:32:35,319
Speaker 2: Yeah, I didn't know what that meant. I just thought

628
00:32:35,400 --> 00:32:37,440
that was just some kind of poetic thing, you know,

629
00:32:37,960 --> 00:32:41,400
put in a song. They're referencing something very specific.

630
00:32:41,119 --> 00:32:44,359
Speaker 3: That's a direct reference to when that record label guy

631
00:32:44,599 --> 00:32:47,079
made them fade out shout too early.

632
00:32:47,319 --> 00:32:49,799
Speaker 2: Thirty seconds early. So sad we had to fade it,

633
00:32:50,799 --> 00:32:54,079
because turns out the record producer rules the world.

634
00:32:54,799 --> 00:32:57,839
Speaker 3: Listen This song hits number one June eighth, nineteen eighty five.

635
00:32:58,200 --> 00:33:00,319
It's number one on the Hot one hundred one on

636
00:33:00,400 --> 00:33:02,400
the Dance chart, number two on the Rock chart, and

637
00:33:02,519 --> 00:33:07,119
number one on the Adult Contemporary. That is wide spread appeal. Okay,

638
00:33:07,400 --> 00:33:09,119
I've got to give you this top five from June

639
00:33:09,160 --> 00:33:09,880
eighth of eighty five.

640
00:33:10,079 --> 00:33:13,279
Speaker 2: Hey, two top fives in one episode. I gotta hit

641
00:33:13,319 --> 00:33:17,200
these because I love it. It's loaded with Shirley Socks apologize,

642
00:33:17,359 --> 00:33:18,960
no apologies necessary, let me hear it.

643
00:33:19,160 --> 00:33:22,440
Speaker 3: Okay. So number one, Everybody Wants to Rule the World.

644
00:33:23,119 --> 00:33:25,839
Number two Everything she Wants by Wham.

645
00:33:26,240 --> 00:33:28,279
Speaker 2: That's straight off of Make It Big.

646
00:33:28,400 --> 00:33:29,680
Speaker 3: We're gonna talk about that next week.

647
00:33:29,759 --> 00:33:33,559
Speaker 2: YEP. Number three axel f Oh, which we just talked about,

648
00:33:33,759 --> 00:33:36,519
just talked about, just talked about in our Beverly Hills

649
00:33:36,839 --> 00:33:37,680
cop soundtrack.

650
00:33:37,839 --> 00:33:40,720
Speaker 3: Number four is Suddenly by Billy Oshan. I could skip

651
00:33:40,759 --> 00:33:44,240
that one, and I bet you love it like Billy Ocean.

652
00:33:45,759 --> 00:33:48,319
And number five is Heaven by Brian Adams.

653
00:33:48,480 --> 00:33:50,279
Speaker 2: Oh, that's a good one. I love Brian Adams. We're

654
00:33:50,279 --> 00:33:52,319
gonna cover We're gonna cover Brian Adams a little bit

655
00:33:52,359 --> 00:33:53,319
later on this summer.

656
00:33:53,200 --> 00:33:55,880
Speaker 3: Just a few weeks away. Yeah, okay, now then have

657
00:33:56,039 --> 00:33:58,480
you seen the movie Real Genius?

658
00:33:58,880 --> 00:34:02,359
Speaker 2: Yes, I have love that movie. I love that movie.

659
00:34:02,759 --> 00:34:06,359
I think Top Secret was the movie that I got

660
00:34:06,440 --> 00:34:10,880
introduced to Val Kilmar. But Real Genius, yeah, Real Genius

661
00:34:11,119 --> 00:34:13,719
was a piece of gold for me, soa in the theater.

662
00:34:13,920 --> 00:34:16,400
Speaker 3: That movie came out the summer of eighty five and

663
00:34:16,599 --> 00:34:20,000
had enough foresight to grab everybody wants to Rule the world.

664
00:34:20,079 --> 00:34:23,360
For the final laser popcorn scene.

665
00:34:23,320 --> 00:34:25,599
Speaker 2: For those of you who don't remember it and can't

666
00:34:25,679 --> 00:34:29,679
pull up Real Genius on your streaming service, right, there

667
00:34:29,800 --> 00:34:33,039
is a laser that is shot from space to the

668
00:34:33,239 --> 00:34:37,639
evil Professor's house Jerry Hathaway. Jerry Hathaway, same guy who

669
00:34:37,760 --> 00:34:42,800
plays Dicklas on The Ghostbusters, who plays the news reporter

670
00:34:43,000 --> 00:34:46,920
on Diehard, He's the evil Professor on Real Genius. And

671
00:34:47,039 --> 00:34:50,840
they shoot a laser unbeknownst to him into his house

672
00:34:51,000 --> 00:34:54,559
that is filled with instant pop popcorn, and suddenly his

673
00:34:54,719 --> 00:34:58,719
brand new home is overflowing with popcorn while Tears for

674
00:34:58,840 --> 00:35:00,800
Fears is black your ears.

675
00:35:00,960 --> 00:35:03,800
Speaker 3: It's so great. We got to cover Real Genius maybe

676
00:35:03,840 --> 00:35:04,239
next seven.

677
00:35:04,280 --> 00:35:07,280
Speaker 2: Okay, I want to say one more thing before we leave.

678
00:35:07,320 --> 00:35:09,760
Speaker 3: Everybody wants to Rule the World. I honestly believe that

679
00:35:09,840 --> 00:35:12,320
if you were making a top ten Songs of the

680
00:35:12,440 --> 00:35:14,480
nineteen eighties, if you said this song is in that

681
00:35:14,559 --> 00:35:16,760
top ten, I'd have no problem with that. It's a

682
00:35:16,960 --> 00:35:20,239
fantastic song and one of the greatest songs of the eighties.

683
00:35:21,360 --> 00:35:23,760
It is not my favorite Tears for Fear song. It's

684
00:35:23,840 --> 00:35:25,880
not my favorite eighties Tears for Fear song.

685
00:35:26,000 --> 00:35:28,079
Speaker 2: Are we going to talk about your favorite tears.

686
00:35:29,000 --> 00:35:30,960
Speaker 3: What is your favorite Tears for Fear's eighties song?

687
00:35:31,079 --> 00:35:33,840
Speaker 2: It's Shout Shouts your number one. It's been shout since

688
00:35:33,920 --> 00:35:34,639
nineteen eighty five.

689
00:35:34,760 --> 00:35:38,199
Speaker 3: Okay, yeah, Mine is Sowing the Seeds of Love.

690
00:35:51,000 --> 00:35:54,079
Speaker 2: Oh wow, okay, eight nine eighty nine.

691
00:35:54,400 --> 00:35:56,039
Speaker 3: It's an absolute banger to me.

692
00:35:56,320 --> 00:35:58,199
Speaker 2: I heard that and I was like, oh, they decided

693
00:35:58,239 --> 00:35:58,840
to do the Beatles.

694
00:35:59,079 --> 00:36:00,679
Speaker 3: Doing the Beatles is your down to the Beatles?

695
00:36:00,679 --> 00:36:02,360
Speaker 2: And they did a great They did a great job

696
00:36:02,400 --> 00:36:02,880
of the Beatles.

697
00:36:02,920 --> 00:36:03,920
Speaker 3: They can wear those shoes.

698
00:36:04,039 --> 00:36:04,920
Speaker 2: Yeah, yeah they care.

699
00:36:04,960 --> 00:36:06,039
Speaker 3: Okay, We've done with this one.

700
00:36:06,480 --> 00:36:08,880
Speaker 2: Yep. Time to move on to song number four.

701
00:36:09,159 --> 00:36:16,920
Speaker 3: Songs called Mother's Talk, so talk again.

702
00:36:16,800 --> 00:36:20,519
Speaker 2: About songs with completely different personalities. The first twenty second

703
00:36:20,559 --> 00:36:22,840
of this song could be a theme from a James

704
00:36:22,960 --> 00:36:24,079
Bond episode, right.

705
00:36:24,039 --> 00:36:26,800
Speaker 3: Yeah, yeah, bomb.

706
00:36:34,199 --> 00:36:39,239
Speaker 2: Bomb and then twenty seconds in they completely change gears

707
00:36:39,360 --> 00:36:41,840
and it's like a dead or alive dance hit. I mean,

708
00:36:41,880 --> 00:36:45,159
it's like it's gold. I love this song.

709
00:36:45,440 --> 00:36:48,159
Speaker 3: So the beginning strings that you mentioned that sound James

710
00:36:48,239 --> 00:36:52,760
Bond themish, They sampled that from Barry Manilow beautiful yep

711
00:36:52,800 --> 00:36:54,519
of it, and then it kind of jumps into this

712
00:36:54,599 --> 00:36:55,639
sort of dance rock thing.

713
00:36:55,840 --> 00:36:56,039
Speaker 2: Yeah.

714
00:36:56,199 --> 00:36:56,400
Speaker 4: I know.

715
00:36:56,880 --> 00:36:59,320
Speaker 3: Our good friend Melissa Mingle, this is her favorite. Here's

716
00:36:59,360 --> 00:36:59,880
her first song.

717
00:37:00,159 --> 00:37:00,400
Speaker 2: Nice.

718
00:37:00,679 --> 00:37:02,920
Speaker 3: This was the first single released in the UK, but

719
00:37:03,039 --> 00:37:06,119
the fourth single released in the US reached number twenty

720
00:37:06,159 --> 00:37:07,159
seven on the US charts.

721
00:37:07,280 --> 00:37:09,440
Speaker 2: Yep this again. This was one of the songs that

722
00:37:09,639 --> 00:37:12,440
flew under my radar. I was not I was hearing

723
00:37:12,519 --> 00:37:15,000
the three big hits off of this album, and that

724
00:37:15,119 --> 00:37:15,679
was that was it.

725
00:37:15,800 --> 00:37:17,360
Speaker 3: I've got a story I want to tell you about

726
00:37:17,440 --> 00:37:18,599
Roland Orsbal's mom.

727
00:37:18,840 --> 00:37:19,760
Speaker 2: I Am at your feet.

728
00:37:19,800 --> 00:37:22,480
Speaker 3: Go ahead, all right, So mother's talk. Obviously we're talking

729
00:37:22,480 --> 00:37:25,320
about his mother here. Okay. So there's a song off

730
00:37:25,360 --> 00:37:29,079
the album Seeds of Love called Woman in Chains. Okay, okay,

731
00:37:29,159 --> 00:37:31,199
and it was written about his mother. Just like this

732
00:37:31,320 --> 00:37:35,320
song was okay. His mom was a stripper at one point.

733
00:37:35,480 --> 00:37:37,920
Speaker 2: Okay, she wasn't just a dancer, she was a stripper.

734
00:37:38,119 --> 00:37:44,199
Speaker 3: She was a dancer, stripper, entertainer of men. Now I

735
00:37:44,239 --> 00:37:47,000
don't know where the line was on how much entertainment

736
00:37:47,079 --> 00:37:50,239
she provided, but it's not your average mother job.

737
00:37:50,599 --> 00:37:52,440
Speaker 2: He I saw him talk about the fact that he

738
00:37:52,559 --> 00:37:56,559
had a very unusual childhood. Yeah, Like he talked about

739
00:37:56,599 --> 00:37:59,280
how he his friends had parents that work nine to five,

740
00:38:00,400 --> 00:38:03,480
had had basically a nervous breakdown when he was very

741
00:38:03,599 --> 00:38:07,639
young and became semi bedridden, then decided to form this

742
00:38:08,320 --> 00:38:12,400
entertainment company with his mom as a dancer.

743
00:38:12,519 --> 00:38:15,000
Speaker 3: That's right. Yeah, Apparently there were times when dad felt

744
00:38:15,039 --> 00:38:17,840
okay because his mom would go out and strip, and

745
00:38:17,960 --> 00:38:22,000
his father would send his personal driver to go spy

746
00:38:22,159 --> 00:38:26,440
on her, and if she was talking to interestingly to

747
00:38:26,880 --> 00:38:28,239
other men, he would beat her up.

748
00:38:28,199 --> 00:38:31,320
Speaker 2: The driver or the dad, the dad. Oh my stripping

749
00:38:31,440 --> 00:38:35,519
was okay? The talking right, not okay, that's mother's talk.

750
00:38:35,880 --> 00:38:39,480
Speaker 3: Yeah, it's it's a it's really a strange oh my

751
00:38:39,800 --> 00:38:42,360
childsh Now, you send me a reel where he's talking

752
00:38:42,360 --> 00:38:44,480
about how there were people coming into their out of

753
00:38:44,519 --> 00:38:48,360
their houses for this entertainment industry. There were conjurors and

754
00:38:48,599 --> 00:38:49,639
cat jugglers.

755
00:38:50,199 --> 00:38:53,639
Speaker 2: He said jogging. He did say it, he said conjurers

756
00:38:53,760 --> 00:38:57,360
and cat jugglers. And I went, what did he say?

757
00:38:57,960 --> 00:39:00,639
Did he really say cat juggle? Because I told you

758
00:39:00,760 --> 00:39:03,480
I was like I thought cat juggling was like a

759
00:39:03,599 --> 00:39:06,679
completely made up thing by Steve Martin from the Jury.

760
00:39:07,320 --> 00:39:09,519
I've seen this before, cat jugglers.

761
00:39:09,599 --> 00:39:10,719
Speaker 1: This is disgusting.

762
00:39:12,840 --> 00:39:14,280
Speaker 2: Where cat jugglers real?

763
00:39:15,039 --> 00:39:18,280
Speaker 3: I guess I don't really live in that world of

764
00:39:18,480 --> 00:39:19,159
cat juggling.

765
00:39:19,800 --> 00:39:22,519
Speaker 2: Well, if they were real and real and olders of

766
00:39:22,559 --> 00:39:25,199
all was not just making up a story. Part of

767
00:39:25,280 --> 00:39:28,239
the story was that there were also musicians who would

768
00:39:28,239 --> 00:39:31,360
come in, and that is where he learned to pick

769
00:39:31,440 --> 00:39:33,719
up the music, pick up the guitar, and start playing.

770
00:39:34,480 --> 00:39:36,199
Speaker 3: Okay, I've got a story for you. I don't know

771
00:39:36,239 --> 00:39:38,920
where it fits, but it's too interesting not to tell us.

772
00:39:38,920 --> 00:39:40,079
I'm just gonna drop it right here.

773
00:39:40,199 --> 00:39:40,440
Speaker 2: Okay.

774
00:39:40,639 --> 00:39:43,639
Speaker 3: So, after Tears for Fears had been touring in support

775
00:39:43,679 --> 00:39:46,079
of this album for over a year, they turn the world.

776
00:39:46,119 --> 00:39:48,519
They're all over the place, They're on each other's nerves,

777
00:39:48,639 --> 00:39:51,880
and they finally have a break. So they had five

778
00:39:52,000 --> 00:39:55,599
days off where they planned to go vacation in Hawaii.

779
00:39:55,800 --> 00:39:57,559
Well that just so happened to be the same time

780
00:39:57,639 --> 00:40:01,239
that Bob Geldolf had planned Live Aid. Well, he announces

781
00:40:01,840 --> 00:40:03,880
that Tears for Fears is going to play Live AID

782
00:40:04,079 --> 00:40:07,159
without asking them. Okay, he thought that he could just

783
00:40:07,239 --> 00:40:09,880
pressure them and do showing up by announcing it. Well,

784
00:40:09,920 --> 00:40:12,199
that pissed him off. So they said, screw you, buddy,

785
00:40:12,199 --> 00:40:14,760
We're going to Hawaii, and they went. And that's why

786
00:40:14,800 --> 00:40:16,559
they weren't a lively Oh wow.

787
00:40:16,960 --> 00:40:18,559
Speaker 2: Now, just as a tip of the hat to our

788
00:40:18,599 --> 00:40:21,599
next episode, yep, this song. Middle of the song are

789
00:40:21,639 --> 00:40:22,719
the lyrics wake me.

790
00:40:22,840 --> 00:40:27,760
Speaker 3: Up, nice hit. Stop on your tape player, kick it out,

791
00:40:27,800 --> 00:40:30,400
flip it over for side two, and we start off

792
00:40:30,440 --> 00:40:32,639
with a song called I Believe.

793
00:40:47,840 --> 00:41:08,639
Speaker 5: They Okay, so we start off with this reverse drum beat, right,

794
00:41:08,760 --> 00:41:11,280
this this is obviously a drum played in reverse.

795
00:41:11,599 --> 00:41:15,039
Speaker 2: And then you come in with Roland Orizibal singing this

796
00:41:15,480 --> 00:41:21,480
like jazz of a nightclub, smooth, slow, sweet, jazzy. George

797
00:41:21,559 --> 00:41:24,679
Michael feels it's like kissing a fool, right, But of

798
00:41:24,719 --> 00:41:28,159
course kissing a fool didn't come along until later eighty eight.

799
00:41:28,639 --> 00:41:30,760
Speaker 3: Yeah, that's right, but it is that sort of crooner

800
00:41:31,079 --> 00:41:35,320
you know, tip your waitresses, jazzy nightclub smoky feel.

801
00:41:35,480 --> 00:41:38,280
Speaker 2: This is what I know. This song was influenced by

802
00:41:38,480 --> 00:41:42,599
the songwriting of Robert Wyatt. Can you tell me about this?

803
00:41:42,800 --> 00:41:45,480
Speaker 3: Here's what I know about Robert Wyatt. So, Robert Whitatt

804
00:41:45,599 --> 00:41:48,159
was a drummer and singer for two bands, one called

805
00:41:48,199 --> 00:41:51,559
Caravan and one called Soft Machine. Soft Machine had a

806
00:41:51,679 --> 00:41:54,719
song called dedicated to You but you Weren't listening. In

807
00:41:54,840 --> 00:41:57,639
the liner notes in this album, it says this song

808
00:41:57,760 --> 00:42:00,719
in particular is dedicated to Robert Wyatt if he's listening.

809
00:42:01,000 --> 00:42:03,320
Uh huh, because it's a direct reference to that song.

810
00:42:03,840 --> 00:42:07,119
Here's the deal. Robert Wyatt was a good guy, kind

811
00:42:07,119 --> 00:42:09,719
of a non drinker before and then he got swept

812
00:42:09,800 --> 00:42:12,639
up in that lifestyle and became like an instant alcoholic,

813
00:42:12,840 --> 00:42:15,280
like couldn't handle it, became a heavy drinker and was

814
00:42:15,360 --> 00:42:18,840
out of control instantly. Well, while at a party and

815
00:42:19,119 --> 00:42:22,840
clearly heavily inebriated, fell out of a fourth story window,

816
00:42:23,119 --> 00:42:26,480
broke his spine, didn't die, but was paralyzed from the

817
00:42:26,559 --> 00:42:30,239
waist down, and he credits that accident as saving his life.

818
00:42:30,440 --> 00:42:33,840
He said that if he had not fallen out that window,

819
00:42:33,920 --> 00:42:35,960
he would have continued down a path and died from

820
00:42:36,039 --> 00:42:38,920
his drinking, but that caused him to change his life

821
00:42:39,079 --> 00:42:40,079
and therefore live.

822
00:42:40,400 --> 00:42:40,639
Speaker 2: Wow.

823
00:42:41,239 --> 00:42:43,599
Speaker 3: Okay, I have to talk to you about the music video.

824
00:42:43,880 --> 00:42:45,880
Speaker 2: Oh there's a seen the video.

825
00:42:45,920 --> 00:42:47,840
Speaker 3: Okay, So this was released as a single in the UK.

826
00:42:48,039 --> 00:42:50,159
They actually made a music video for it, so you

827
00:42:50,199 --> 00:42:53,239
haven't seen it right now. No, so let me describe

828
00:42:53,280 --> 00:42:54,599
it for you. Then I want you to watch it,

829
00:42:54,719 --> 00:42:57,639
then you'll react to it. Okay, Okay. So in the

830
00:42:57,719 --> 00:43:01,079
music video, he's shirtless and it's like he's in you know,

831
00:43:01,199 --> 00:43:05,599
buttonfly jeans, but he's actually kind of uncomfortably muscular. When

832
00:43:05,639 --> 00:43:07,679
I watched this musical, it makes me feel like back

833
00:43:07,719 --> 00:43:09,320
to the junior high days where you're sitting in the

834
00:43:09,320 --> 00:43:11,000
back seat with somebody right into the movies and then

835
00:43:11,039 --> 00:43:13,679
you look over your two friends are making out and

836
00:43:13,760 --> 00:43:16,880
you're trapped back there, you know, like uncomfortably coming into

837
00:43:16,920 --> 00:43:22,119
a situation. Roland Orsibal singing shirtless. I'm like, I feel

838
00:43:22,159 --> 00:43:25,639
like weird watching this video. But here's the deal. So

839
00:43:25,679 --> 00:43:28,639
he's singing without a shirt on, and then out of nowhere,

840
00:43:28,800 --> 00:43:31,800
Kurt Smith drops in out of the blue just to

841
00:43:32,039 --> 00:43:37,519
tap the triangle just and then disappears again. You have

842
00:43:37,599 --> 00:43:40,239
got to watch this video. Okay, all right, okay, dde,

843
00:43:40,280 --> 00:43:44,559
Now you've seen the video. What do you think he

844
00:43:45,079 --> 00:43:50,239
was uncomfortably muscular? He's not like, it's not Krim Simsworth.

845
00:43:50,320 --> 00:43:53,079
But I mean when you see Roland Orsible and all

846
00:43:53,119 --> 00:43:55,519
of the other Tears for Fears video, you think a

847
00:43:55,599 --> 00:43:58,079
dainty man. Right, Just to be frank, you don't think

848
00:43:58,159 --> 00:43:59,519
you don't think of a guy who's in shape.

849
00:43:59,519 --> 00:44:02,320
Speaker 2: And he he is in these in decent shape. Sure.

850
00:44:02,639 --> 00:44:07,440
Now the jeans, the buttonfly jeans, top button wasn't buttons, okay,

851
00:44:07,559 --> 00:44:10,840
number one, how button wasn't But that's okay because they

852
00:44:10,920 --> 00:44:14,119
were definitive mom jeans. I mean they went all the

853
00:44:14,199 --> 00:44:17,320
way up to well above his belly button, I mean

854
00:44:17,400 --> 00:44:21,920
nearly to the sternum. And then yes, he didn't like

855
00:44:22,159 --> 00:44:24,039
just walk in and walk out. It was like he

856
00:44:24,199 --> 00:44:26,480
faded in and faded out Kurt Smith with.

857
00:44:26,559 --> 00:44:30,679
Speaker 3: The little ting of the triangle, just like a peer

858
00:44:30,760 --> 00:44:31,360
out of nowhere.

859
00:44:32,320 --> 00:44:34,360
Speaker 2: And then you get when you get the sax solo,

860
00:44:34,480 --> 00:44:38,280
you get him saying William William, So do you know

861
00:44:38,320 --> 00:44:41,440
who that is? No? Okay, So that's William Gregory played.

862
00:44:41,559 --> 00:44:45,039
I mean, his biggest probably claim to fame was playing

863
00:44:45,079 --> 00:44:49,440
saxophone for Tears for Fears. But later on he was

864
00:44:49,559 --> 00:44:54,840
a part of a duo called Goldfrap. But before that

865
00:44:55,440 --> 00:44:59,639
and after Tears for Fears, he played with Peter Gabriel. Okay,

866
00:45:00,039 --> 00:45:02,960
played with the Cure. He played with Portishead, which is

867
00:45:03,159 --> 00:45:05,079
one of my favorites. I think James Buckley's a big

868
00:45:05,119 --> 00:45:08,599
fan of Port'shead as well. Okay, and then he played

869
00:45:08,800 --> 00:45:09,639
obo for Torri.

870
00:45:10,840 --> 00:45:12,159
Speaker 3: Well, how about that.

871
00:45:12,679 --> 00:45:16,039
Speaker 2: There you go, there's William in his classes. He's the

872
00:45:16,119 --> 00:45:18,440
nerdiest saxophone in the world.

873
00:45:18,599 --> 00:45:21,199
Speaker 3: He looked like worms are from Revenge of the Nerds,

874
00:45:21,599 --> 00:45:25,920
a little kid. All right, let's move on to the

875
00:45:26,000 --> 00:45:55,039
next one. That next song is called broken. Okay, So

876
00:45:55,559 --> 00:45:58,360
this song goes well over halfway through the song before

877
00:45:58,400 --> 00:45:59,320
there's any singing.

878
00:45:59,480 --> 00:46:01,360
Speaker 2: Yeah. This this song is about two and a half

879
00:46:01,440 --> 00:46:04,679
minutes long, and it's a minute and forty before you

880
00:46:04,760 --> 00:46:05,320
hear any stuff.

881
00:46:05,320 --> 00:46:07,280
Speaker 3: Thought it was an instrumental When I first listened to it.

882
00:46:07,480 --> 00:46:09,639
Speaker 2: To percent, I thought it was a jam session. I mean,

883
00:46:09,679 --> 00:46:12,199
this is when you go and see a concert. I

884
00:46:12,480 --> 00:46:14,960
love these moments where the band just jams out and

885
00:46:15,000 --> 00:46:17,800
they're just playing and having fun and doing some crazy stuff.

886
00:46:17,880 --> 00:46:20,239
And that's totally what's happening in this song to me.

887
00:46:20,559 --> 00:46:22,079
Then all of a sudden, you're like, oh, whoa, there

888
00:46:22,119 --> 00:46:23,159
are lyrics to this song.

889
00:46:23,360 --> 00:46:25,599
Speaker 3: Well not only that, but the first time I'm listening

890
00:46:25,639 --> 00:46:27,400
to it, I'm like, oh, they're jamming out, they're having

891
00:46:27,440 --> 00:46:30,360
a good time, they're playing music. Hey, that's head over Heels.

892
00:46:30,480 --> 00:46:32,280
Oh wait, now we're back to a jam session.

893
00:46:32,360 --> 00:46:35,039
Speaker 2: Fifty five seconds and you get done. No, no, no,

894
00:46:36,559 --> 00:46:39,679
and then it's over and it's like, what I know that.

895
00:46:39,920 --> 00:46:42,079
Speaker 3: A jab to the gut. I'm like, wait a minute.

896
00:46:42,159 --> 00:46:42,199
Speaker 4: What.

897
00:46:43,199 --> 00:46:45,159
Speaker 3: So this song was written by Ian Stanley. This was

898
00:46:45,199 --> 00:46:46,280
his baby on the album.

899
00:46:46,400 --> 00:46:46,719
Speaker 2: Uh huh.

900
00:46:46,800 --> 00:46:50,800
Speaker 3: They loved that little piano piece at fifty five seconds,

901
00:46:51,039 --> 00:46:53,639
and so they later go on to build that into

902
00:46:53,960 --> 00:46:56,000
the song head over Heels, which we'll talk about here

903
00:46:56,239 --> 00:46:56,840
in just a moment.

904
00:46:56,960 --> 00:46:59,320
Speaker 2: So Ian Stanley, because we haven't mentioned his name before,

905
00:46:59,440 --> 00:47:02,239
he's the guy playing keyboards. I mean this for the band.

906
00:47:02,559 --> 00:47:05,239
For songs from the Big Chair, you obviously have You've

907
00:47:05,400 --> 00:47:07,559
you've got Roland, and you've got Kurt, You've got Manny

908
00:47:07,599 --> 00:47:10,079
Elias who played the drums on songs two through seven.

909
00:47:10,119 --> 00:47:11,840
Who was there? I mean, they had been their drummer

910
00:47:11,880 --> 00:47:15,039
from neon. And then you have Ian Stanley playing keyboards,

911
00:47:15,239 --> 00:47:19,480
doing the Lynn drum programming, and he also did the

912
00:47:19,599 --> 00:47:22,199
arrangements for Listen, which we'll talk about here in just

913
00:47:22,239 --> 00:47:22,599
a minute.

914
00:47:23,000 --> 00:47:24,719
Speaker 3: I've got a great Ian Stanley story for Are you

915
00:47:24,800 --> 00:47:25,159
ready for this?

916
00:47:25,400 --> 00:47:25,599
Speaker 1: Yeah?

917
00:47:25,760 --> 00:47:30,440
Speaker 3: Okay. So in June of nineteen eighty five, this is

918
00:47:30,559 --> 00:47:32,480
the peak of Tears for Fir's power.

919
00:47:32,599 --> 00:47:33,639
Speaker 2: Yeah, they're true in the world.

920
00:47:33,760 --> 00:47:35,920
Speaker 3: Whatever, And they end up in Kansas City for a

921
00:47:35,960 --> 00:47:38,719
two night stopover. So they end up for whatever reason,

922
00:47:38,800 --> 00:47:42,119
Ian Stanley goes to the Peppercorn Duck Club at the

923
00:47:42,239 --> 00:47:43,480
Hyatt Hotel.

924
00:47:43,199 --> 00:47:47,119
Speaker 2: In Kansas City. Okay, Peppercorn, Peppercorn Duck Dot Club, now

925
00:47:47,239 --> 00:47:47,679
think with me.

926
00:47:48,599 --> 00:47:48,800
Speaker 1: Yeah.

927
00:47:49,679 --> 00:47:52,400
Speaker 3: In June of nineteen eighty five, Tears for Vere's is huge,

928
00:47:52,599 --> 00:47:54,960
and he goes to listen to a local singer at

929
00:47:55,039 --> 00:47:59,039
a bar in a hotel. Okay, okay with me Hyatt

930
00:47:59,440 --> 00:48:02,280
at the Hyatt. Her name is Olita Adams.

931
00:48:02,559 --> 00:48:02,840
Speaker 2: Okay.

932
00:48:03,000 --> 00:48:06,199
Speaker 3: He listens to her perform and he is blown away.

933
00:48:06,559 --> 00:48:09,000
So the next night he invites the rest of the

934
00:48:09,079 --> 00:48:11,360
guys in the band to come, like Kurt Smith and

935
00:48:11,679 --> 00:48:14,159
Rolandosble to come join him and listen to this lady sing.

936
00:48:14,400 --> 00:48:16,800
So they come down and they listen and they're blown away.

937
00:48:17,000 --> 00:48:18,679
So they go up to her afterwards and they're like, hey,

938
00:48:18,719 --> 00:48:20,880
guess what. We're Tears for Fears. We're worldwide known, We've

939
00:48:20,880 --> 00:48:22,320
got a number one hit in the world right now.

940
00:48:22,480 --> 00:48:24,440
We would love for you to sing on our next album.

941
00:48:24,559 --> 00:48:28,280
Speaker 2: I know who this is. Oh okay, yes, yeah, she's

942
00:48:28,519 --> 00:48:29,440
big on that album.

943
00:48:29,800 --> 00:48:32,760
Speaker 3: So she says, of course, I would love to. She

944
00:48:32,880 --> 00:48:35,559
doesn't really believe that Tears for Fears is going to

945
00:48:35,639 --> 00:48:38,000
remember her, let alone call her in two or three

946
00:48:38,079 --> 00:48:40,719
years whenever they do this. So guess what, two years later,

947
00:48:40,920 --> 00:48:43,039
when they start working on their follow up album, they

948
00:48:43,119 --> 00:48:46,199
call her and she's like, yes, of course. So she

949
00:48:46,440 --> 00:48:48,920
sings in a duet with them on the song Woman

950
00:48:49,000 --> 00:48:50,800
in Chains, which we talked about when we talked about

951
00:48:50,880 --> 00:48:54,159
Mother's Talk. She also agreed to open for them on

952
00:48:54,239 --> 00:48:57,519
the Seeds of Love tour, and she stays on stage

953
00:48:57,639 --> 00:48:59,239
and sings back up the entire time.

954
00:49:00,719 --> 00:49:02,519
Speaker 2: I remember the video, She's a huge part of the

955
00:49:02,599 --> 00:49:03,119
video from that.

956
00:49:03,599 --> 00:49:06,760
Speaker 3: Oh man, they discovered her in Kansas City at a

957
00:49:06,920 --> 00:49:07,840
bar at the Hyatt.

958
00:49:28,679 --> 00:49:32,199
Speaker 2: That's crazy. How about that. That's great story, man, fantastic.

959
00:49:32,440 --> 00:49:34,000
That's worth the price of admission right there.

960
00:49:34,440 --> 00:49:35,280
Speaker 3: I love stories like that.

961
00:49:35,440 --> 00:49:37,079
Speaker 2: Right, Absolutely, that's fantastic.

962
00:49:37,400 --> 00:49:39,480
Speaker 3: Okay, we ready to move on to another big hitter.

963
00:49:39,599 --> 00:49:43,119
Speaker 2: Absolutely, three songs I know from the era. This is

964
00:49:43,480 --> 00:49:47,320
song number three, song number seven on the album, which

965
00:49:47,400 --> 00:49:51,079
is a slash song. This is a head over heels

966
00:49:51,320 --> 00:49:54,639
slash broken. Before we start the song, Before we start

967
00:49:54,679 --> 00:49:57,280
the song, I just I want everybody just to think

968
00:49:57,320 --> 00:50:00,840
about this as this intro plays beautiful piano and you

969
00:50:00,960 --> 00:50:05,320
get this ethereal synthesizer coming in behind it. Then suddenly

970
00:50:05,840 --> 00:50:09,760
the guitar takes over for the synthesizer, Then the drums

971
00:50:09,880 --> 00:50:14,159
pound in, and then it crescendos at thirty seconds, and

972
00:50:14,840 --> 00:50:33,000
well the ball starts singing, what a incredible build that was.

973
00:50:33,400 --> 00:50:35,960
Speaker 3: I love this song, man, Oh it's so good. I

974
00:50:36,119 --> 00:50:38,119
love it. How in the world did this song not

975
00:50:38,239 --> 00:50:40,599
hit number one? It only went to number three.

976
00:50:41,239 --> 00:50:43,440
Speaker 2: We have a third top five for this episode.

977
00:50:43,480 --> 00:50:46,159
Speaker 3: Would you like it? We love to hear it because

978
00:50:46,199 --> 00:50:48,280
we've talked about it already. We've talked about this very

979
00:50:48,360 --> 00:50:48,840
top five.

980
00:50:48,960 --> 00:50:51,440
Speaker 2: Okay, yeah, So when did we talk about.

981
00:50:51,199 --> 00:50:53,320
Speaker 3: It on our Miami Vice soundtrack episode?

982
00:50:53,320 --> 00:50:55,239
Speaker 2: Okay? Okay, episodes ago? Right? Got Yeah?

983
00:50:55,280 --> 00:50:57,840
Speaker 3: So this song tops out at number three November ninth

984
00:50:57,880 --> 00:51:00,440
of eighty five. Okay, how it does not hit Number

985
00:51:00,480 --> 00:51:03,519
one is a Crime against Humanity?

986
00:51:03,599 --> 00:51:03,840
Speaker 2: Okay?

987
00:51:05,000 --> 00:51:07,239
Speaker 3: So number five this week is We Built This City

988
00:51:07,320 --> 00:51:10,440
by Starship Okay. Number four is You Belong to the

989
00:51:10,480 --> 00:51:13,639
City by Glenn Frye off the Miami Vice soundtrack. Number

990
00:51:13,679 --> 00:51:16,000
three is Head Over Heels. Number two it's Part Time

991
00:51:16,079 --> 00:51:17,159
Lover by Stevie Wonder.

992
00:51:24,239 --> 00:51:27,239
Speaker 2: Oh, that's got to hit you deep heart in your soul.

993
00:51:27,400 --> 00:51:27,679
Speaker 4: It does.

994
00:51:27,840 --> 00:51:31,760
Speaker 3: It makes me hurt. And then number one is Undeniable.

995
00:51:31,800 --> 00:51:34,920
It's a Miami Vice theme, but Head over Heels.

996
00:51:35,159 --> 00:51:37,800
Speaker 2: Beats it every day, all day and twice.

997
00:51:37,800 --> 00:52:03,760
Speaker 3: I agree, I agree. Yeah, this song is amazing, absolutely amazing.

998
00:52:03,920 --> 00:52:08,239
Speaker 2: Can I just read to you the poetry of these lyrics? Sure,

999
00:52:08,280 --> 00:52:10,480
and read it to me. I wanted to be with

1000
00:52:10,679 --> 00:52:14,320
you alone and talk about the weather, But traditions I

1001
00:52:14,400 --> 00:52:18,639
can trace against the child in your face won't escape

1002
00:52:18,760 --> 00:52:22,000
my attention. You keep your distance via the system of

1003
00:52:22,119 --> 00:52:27,320
touch and gentle persuasion, and I'm lost in admiration. Could

1004
00:52:27,400 --> 00:52:31,960
I need you this much? Oh? You're just wasting my time,

1005
00:52:32,400 --> 00:52:34,079
Just just wasting my time.

1006
00:52:34,360 --> 00:52:34,840
Speaker 3: That's great.

1007
00:52:35,039 --> 00:52:36,679
Speaker 2: I love it. Wow.

1008
00:52:37,360 --> 00:52:40,000
Speaker 3: Okay, now we're sitting in awe of this song. Yes,

1009
00:52:40,440 --> 00:52:43,639
but both Kurt and Roland didn't particularly like this song

1010
00:52:43,840 --> 00:52:44,239
very much.

1011
00:52:45,599 --> 00:52:47,440
Speaker 4: What come on?

1012
00:52:47,599 --> 00:52:50,760
Speaker 3: Guys? Orsbo called it one of the simplest tracks Tears

1013
00:52:50,800 --> 00:52:53,360
and Fairs ever produced, the simple love song. He didn't

1014
00:52:53,360 --> 00:52:54,199
really like it that much.

1015
00:52:54,280 --> 00:52:54,920
Speaker 2: He's so wrong.

1016
00:52:55,480 --> 00:52:56,960
Speaker 3: He's way out of as on this one.

1017
00:52:57,119 --> 00:52:58,639
Speaker 2: Yeah, this is this is gold.

1018
00:52:59,119 --> 00:53:01,199
Speaker 3: This is the only track with Kurt as a co

1019
00:53:01,480 --> 00:53:05,440
writer and the mix of their two voices they harmonize

1020
00:53:05,480 --> 00:53:07,920
in this. It's just it's just beautiful.

1021
00:53:08,000 --> 00:53:08,320
Speaker 2: I love it.

1022
00:53:08,519 --> 00:53:08,639
Speaker 4: Ye.

1023
00:53:08,800 --> 00:53:10,440
Speaker 3: Can we talk about the music video for a second.

1024
00:53:10,760 --> 00:53:11,079
Speaker 2: Let's do it.

1025
00:53:11,239 --> 00:53:14,280
Speaker 3: It's a ridiculous eighties music video that we saw every

1026
00:53:14,320 --> 00:53:17,480
five minutes on MTV. He's walking around a library. He's

1027
00:53:17,480 --> 00:53:20,280
got a stack of books and he's talking to the

1028
00:53:20,559 --> 00:53:24,440
librarian who is disinterested in him. Another video by Nigel Dick.

1029
00:53:24,480 --> 00:53:26,760
Here's the funny part about this. So in the music

1030
00:53:26,880 --> 00:53:30,800
video we have card catalog trouble right. It's a very

1031
00:53:30,840 --> 00:53:31,320
eighties thing.

1032
00:53:31,400 --> 00:53:33,599
Speaker 2: Are you telling me roland Or's bald does not know

1033
00:53:33,679 --> 00:53:34,679
the Dewey decimal system.

1034
00:53:35,639 --> 00:53:38,960
Speaker 3: He has trouble and if I were to, if I

1035
00:53:39,119 --> 00:53:41,280
was a bettied man, I bet they got that part

1036
00:53:41,320 --> 00:53:47,039
of the music video from Ghostbusters well because the cards

1037
00:53:47,159 --> 00:53:51,360
in the card catalog and the are flying off the shelf. Right, Okay,

1038
00:53:51,880 --> 00:53:54,360
So he goes up to talk to the library and

1039
00:53:54,400 --> 00:53:56,559
her name is Joan Dinsmore. Here's the thing.

1040
00:53:56,679 --> 00:53:57,360
Speaker 2: She was a model.

1041
00:53:57,679 --> 00:54:01,280
Speaker 3: Okay, Nigel Dick when he hired her, there was two girls.

1042
00:54:01,599 --> 00:54:04,119
One was nice, one was mean and nasty, and he

1043
00:54:04,239 --> 00:54:06,599
hired the mean and nasty girl because he wanted her

1044
00:54:06,679 --> 00:54:10,440
to be indifferent to Roland's advances in the video. Okay,

1045
00:54:11,199 --> 00:54:13,039
so when you watch the video, you're like, she's not

1046
00:54:13,159 --> 00:54:18,760
very nice. That was intentional and obviously true. Exactly.

1047
00:54:18,960 --> 00:54:19,679
Speaker 2: Yeah, I don't know.

1048
00:54:19,760 --> 00:54:21,639
Speaker 3: There's not too much to say about this one other

1049
00:54:21,719 --> 00:54:23,960
than it's just a fantastic.

1050
00:54:23,840 --> 00:54:28,639
Speaker 2: It is a baller song, beautiful music, beautiful arrangement. The

1051
00:54:28,760 --> 00:54:33,320
dynamics are incredible and the lyrics are poetry. We like

1052
00:54:33,360 --> 00:54:36,679
I said, it lasts to today. It lasts too where

1053
00:54:36,719 --> 00:54:40,079
my fourteen year old football playing son says this is

1054
00:54:40,159 --> 00:54:41,400
his favorite tears for Fear song.

1055
00:54:41,519 --> 00:54:44,039
Speaker 3: I can't fault him at all. No, And they built

1056
00:54:44,079 --> 00:54:46,719
this off of one little thing from the song Broken,

1057
00:54:46,800 --> 00:54:49,440
which had been around since nineteen eighty two. He took

1058
00:54:49,480 --> 00:54:52,119
that little piano piece and built it into a number

1059
00:54:52,119 --> 00:54:52,480
three hit.

1060
00:54:52,760 --> 00:54:52,960
Speaker 2: Yeah.

1061
00:54:53,440 --> 00:54:57,400
Speaker 3: Have you seen the movie Donnie Darko? No, I haven't

1062
00:54:57,400 --> 00:55:00,320
seen it either. But at the beginning, there's this big

1063
00:55:00,599 --> 00:55:03,719
intro where there's no dialogue in for like four minutes,

1064
00:55:03,760 --> 00:55:06,039
you get nothing but the Tears for Fear song ahead

1065
00:55:06,039 --> 00:55:08,880
of a Hearless And so I watched this piece of

1066
00:55:08,960 --> 00:55:10,920
the of the movie. So they're walking through the hall

1067
00:55:11,079 --> 00:55:14,519
their you know, high school students intermingling, and it kind

1068
00:55:14,559 --> 00:55:17,440
of sets the tone for the movie. Here's the interesting part.

1069
00:55:17,559 --> 00:55:20,159
When the movie was being made, they did not have

1070
00:55:20,280 --> 00:55:22,440
permission to use the song yet, so they went all

1071
00:55:22,559 --> 00:55:24,480
in on the song in the hopes that they could

1072
00:55:24,519 --> 00:55:27,039
get the rights to it. So this big opening scene

1073
00:55:27,159 --> 00:55:29,400
all set to this song, the Tears for Fears. Guys

1074
00:55:29,480 --> 00:55:31,320
weren't going to allow them to use it, but it

1075
00:55:31,400 --> 00:55:34,800
took a personal phone call from Drew Barrymore to Kurt

1076
00:55:34,920 --> 00:55:37,000
Smith that sealed the deal.

1077
00:55:37,360 --> 00:55:37,679
Speaker 2: Nice.

1078
00:55:37,920 --> 00:55:38,320
Speaker 3: How about that?

1079
00:55:38,480 --> 00:55:41,199
Speaker 2: That's awesome. That's interesting. When was when did When did

1080
00:55:41,280 --> 00:55:42,320
Donny Darko come out in.

1081
00:55:42,320 --> 00:55:44,679
Speaker 3: Two thousand and one or two something like that.

1082
00:55:45,119 --> 00:55:50,679
Speaker 2: Wow, that's awesome, you know, speaking of time passing, time flies, Right,

1083
00:55:51,199 --> 00:55:54,280
So there is a like a basically kind of a

1084
00:55:54,400 --> 00:55:57,760
mini concert, a basement concert where the Tears four Fears

1085
00:55:57,840 --> 00:56:01,880
guys are all together recording together in this smaller space,

1086
00:56:02,119 --> 00:56:04,440
and they do I mean, they've got songs from the Herding,

1087
00:56:04,559 --> 00:56:07,639
They've got songs from Songs from the Big Chair, They've

1088
00:56:07,679 --> 00:56:12,039
got songs from song the Seeds of Love. Nice little concert,

1089
00:56:12,159 --> 00:56:13,960
and they're I mean, this is last year these are

1090
00:56:14,119 --> 00:56:16,920
they're in their sixties. They may have gotten better. Like,

1091
00:56:17,199 --> 00:56:20,760
I mean, it is so freaking good. I was telling you.

1092
00:56:20,920 --> 00:56:23,440
I was like, it's kind of weird because rolling oars

1093
00:56:23,440 --> 00:56:26,840
the ball. He's now completely gray, almost white hair. Yeah,

1094
00:56:26,920 --> 00:56:27,880
he looks like Gandalf.

1095
00:56:28,159 --> 00:56:28,480
Speaker 3: He does.

1096
00:56:28,800 --> 00:56:32,559
Speaker 2: It looks like Gandolf, but it's like he wears it better.

1097
00:56:32,760 --> 00:56:34,920
He looks better now at sixty than he did when

1098
00:56:34,960 --> 00:56:37,599
he was in his twenties in the eighties, right, I mean,

1099
00:56:37,960 --> 00:56:43,280
he looks like I just a kick ass biker rocker stud.

1100
00:56:43,519 --> 00:56:45,280
Speaker 3: So I saw this picture on the internet, and it's

1101
00:56:45,280 --> 00:56:47,480
a picture of the two guys from the songs from

1102
00:56:47,480 --> 00:56:47,800
the Big.

1103
00:56:47,760 --> 00:56:50,480
Speaker 2: Chair cover right Curtain Roland here, Kurten.

1104
00:56:50,320 --> 00:56:52,400
Speaker 3: Roland, and then I saw a picture of them basically

1105
00:56:52,480 --> 00:56:55,920
in the same positions, except now clearly they're much older.

1106
00:56:56,079 --> 00:56:56,239
Speaker 4: You know.

1107
00:56:56,480 --> 00:56:59,360
Speaker 3: Roland's got a white beard and white hair, Kurt's barely

1108
00:56:59,360 --> 00:57:04,280
got any hair. And the caption was funny, how time lies?

1109
00:57:04,639 --> 00:57:07,159
Speaker 2: Oh, it all comes back all right? Sad to say it,

1110
00:57:07,320 --> 00:57:09,559
but we are to the last song on the album.

1111
00:57:09,639 --> 00:57:40,000
So I need everybody, everybody, I need you to listen, okay.

1112
00:57:40,079 --> 00:57:43,360
So clearly this song spills over from the live version

1113
00:57:43,400 --> 00:57:46,000
of Broken that we just listened to, from song number

1114
00:57:46,039 --> 00:57:49,719
seven on the A Yes, yes, And I have a prediction.

1115
00:57:50,079 --> 00:57:52,480
I have a prediction, everybody. I Jason and I have

1116
00:57:52,639 --> 00:57:55,599
not talked about this song before, but my prediction is

1117
00:57:55,679 --> 00:57:58,840
that Jason actually really loves this song really. Yes, you

1118
00:57:58,920 --> 00:58:01,320
know why is my prediction? Why because it has got

1119
00:58:01,480 --> 00:58:03,679
Phil Collins and Genesis all.

1120
00:58:05,119 --> 00:58:05,519
Speaker 4: I like it.

1121
00:58:05,920 --> 00:58:08,280
Speaker 3: Yeah, I like it. Yeah, we know each other's taste

1122
00:58:08,320 --> 00:58:09,360
pretty well now we do.

1123
00:58:09,639 --> 00:58:12,239
Speaker 2: And this song. I enjoy this song. I gotta say,

1124
00:58:12,400 --> 00:58:14,679
I would not have put it as the tempole end

1125
00:58:14,800 --> 00:58:15,360
of the album.

1126
00:58:15,480 --> 00:58:16,840
Speaker 3: Yeah, it doesn't really fit at the end.

1127
00:58:17,119 --> 00:58:19,639
Speaker 2: No, this is a this is a great song for

1128
00:58:20,760 --> 00:58:24,320
a middle an intermission. A let's just kind of live

1129
00:58:24,440 --> 00:58:26,599
and soak in this moment for a little bit. But

1130
00:58:26,880 --> 00:58:28,800
if you had said to me, do we put the

1131
00:58:28,880 --> 00:58:31,599
song Listen last? Or do we put the song head

1132
00:58:31,639 --> 00:58:34,920
over Heels last? I'd be like, head over Heels, right,

1133
00:58:35,079 --> 00:58:35,719
don't fail this.

1134
00:58:36,000 --> 00:58:37,960
Speaker 3: You want to spike the football on your way out.

1135
00:58:38,079 --> 00:58:40,840
Speaker 2: Yeah, but as you mentioned, they didn't even really like

1136
00:58:40,960 --> 00:58:41,639
head over Heels.

1137
00:58:42,880 --> 00:58:43,079
Speaker 3: Yeah.

1138
00:58:43,320 --> 00:58:45,480
Speaker 2: I mentioned just a bit ago that Ian Stanley, the

1139
00:58:45,519 --> 00:58:48,519
guy that did their keyboards, he was the one that

1140
00:58:48,960 --> 00:58:51,719
arranged this song. And this song is complex, right, There's

1141
00:58:51,760 --> 00:58:53,960
no question there's a lot of a lot of jamming

1142
00:58:54,039 --> 00:58:56,239
going on here. But if we're if we're saying this

1143
00:58:56,400 --> 00:58:59,239
is an organized machine, Ian Stanley's the one that kind

1144
00:58:59,280 --> 00:59:01,840
of put this together. How did Ian Stanley get in

1145
00:59:01,920 --> 00:59:02,320
the band?

1146
00:59:02,599 --> 00:59:03,039
Speaker 3: No idea.

1147
00:59:03,360 --> 00:59:08,679
Speaker 2: He offered the guys his recording facility to record it.

1148
00:59:09,360 --> 00:59:11,000
Speaker 3: That's the way to do it, man. Yeah, that's how

1149
00:59:11,079 --> 00:59:12,400
David Roth got into Van Haleen.

1150
00:59:13,079 --> 00:59:15,360
Speaker 2: Basically, He's like, I got a place you guys can

1151
00:59:15,440 --> 00:59:17,480
go record over there as fine, And then, of course,

1152
00:59:18,000 --> 00:59:21,280
just within very short amount of time, he had joined

1153
00:59:21,320 --> 00:59:26,039
the band. Now, speaking of angry married couple, Yes, Roland

1154
00:59:26,159 --> 00:59:29,719
and Kurt had an acrimonious split. It did in the

1155
00:59:30,039 --> 00:59:34,960
mid late nineties, right and ninety one, Right, ninety one,

1156
00:59:35,000 --> 00:59:38,800
that's right. So six years after this album they're like, fu,

1157
00:59:39,039 --> 00:59:41,159
I'm not recording with you anymore. They did not like

1158
00:59:41,239 --> 00:59:41,559
each other.

1159
00:59:41,639 --> 00:59:43,760
Speaker 3: Okay, so they went ten years without speaking.

1160
00:59:44,119 --> 00:59:47,639
Speaker 2: That's incredible, given how gifted they are, how well that

1161
00:59:47,719 --> 00:59:50,000
they did work together. But yeah, there there must have

1162
00:59:50,119 --> 00:59:52,440
been something very bad that happened.

1163
00:59:52,519 --> 00:59:54,039
Speaker 3: Roland talked about it. He goes, you know, when I

1164
00:59:54,119 --> 00:59:56,800
read about our breakup, he goes, I was there, so

1165
00:59:56,880 --> 00:59:59,119
I know what happened. Everybody makes it sound like we

1166
00:59:59,199 --> 01:00:01,400
were having fistfive and throwing stuff at each other, because

1167
01:00:01,400 --> 01:00:03,679
it wasn't like that at all. He was like, what

1168
01:00:03,880 --> 01:00:06,679
happened was I would be like, I'm right, and this

1169
01:00:06,840 --> 01:00:08,320
is the way we need to do it, and Kurt

1170
01:00:08,360 --> 01:00:10,199
would be like, no, I'm right, and this is the

1171
01:00:10,239 --> 01:00:11,760
way we do it. Need to do it, and then

1172
01:00:11,800 --> 01:00:13,639
they would go stand in opposite corners of the room.

1173
01:00:13,679 --> 01:00:15,920
There's no yelling, there's no screaming, there's no throwing stuff,

1174
01:00:15,920 --> 01:00:17,360
there's no fu there's no, nothing.

1175
01:00:17,760 --> 01:00:21,159
Speaker 2: It was just stare into a different area exactly. Somebody

1176
01:00:21,199 --> 01:00:22,519
would take a picture and it would be the next

1177
01:00:22,559 --> 01:00:27,559
album cover, just exactly. But it caused a ten year rift,

1178
01:00:27,840 --> 01:00:28,400
ten your rift.

1179
01:00:28,440 --> 01:00:30,400
Speaker 3: And when they got back together and made the next album,

1180
01:00:30,480 --> 01:00:32,920
you know what, the album's called, Everybody Loves a Happy Ending.

1181
01:00:33,800 --> 01:00:34,639
I thought that was perfect.

1182
01:00:34,760 --> 01:00:36,840
Speaker 2: It is perfect. And like I said, the stuff that

1183
01:00:36,920 --> 01:00:40,679
they did just a year ago, they they're playing together

1184
01:00:40,800 --> 01:00:42,440
beautifully right now, beautifully.

1185
01:00:42,639 --> 01:00:45,880
Speaker 3: I saw Roland also talk about how they compliment each

1186
01:00:45,920 --> 01:00:49,800
other so well that they really can't stay apart. Yeah,

1187
01:00:50,519 --> 01:00:53,320
they are intertwined and that's how it is.

1188
01:00:53,639 --> 01:00:56,719
Speaker 2: One little tidbit on that intermission period. All right, Okay,

1189
01:00:57,039 --> 01:01:00,079
so I Stanley guys, that guy that are arranged and

1190
01:01:00,159 --> 01:01:01,679
that we're listening, you know we're talking about right now.

1191
01:01:02,000 --> 01:01:05,800
He collaborated with Roland oors a Ball on a side

1192
01:01:05,880 --> 01:01:10,519
project called Ready for This. Yeah man crab Man crab

1193
01:01:10,719 --> 01:01:18,159
Man crab oh, okay, man crab. They released a song

1194
01:01:18,920 --> 01:01:22,800
released a single called Fish for Life, which is on

1195
01:01:23,079 --> 01:01:25,239
the Karate Kid to soundtrack.

1196
01:01:25,159 --> 01:01:27,719
Speaker 3: Get Out of Here with That. That is awesome.

1197
01:01:27,920 --> 01:01:29,960
Speaker 2: Yeah, fish for Life excellent, excellent.

1198
01:01:30,039 --> 01:01:32,480
Speaker 3: Well, I do have one sort of sad story. Okay,

1199
01:01:32,960 --> 01:01:37,280
So roland Oor's ball was involved with a lady named

1200
01:01:37,360 --> 01:01:40,599
Caroline Johnston for many years. They were dating since they

1201
01:01:40,599 --> 01:01:44,320
were teens, got married, had two sons together. She slowly

1202
01:01:44,440 --> 01:01:48,480
developed an alcohol problem and she died in twenty seventeen

1203
01:01:48,800 --> 01:01:53,280
due to alcohol related dementia and soirrhosis. Oh no, And

1204
01:01:53,960 --> 01:01:57,079
when she passed away, he looked up and who is

1205
01:01:57,199 --> 01:02:01,559
there to walk him through that? Kurtzmth Kurtz. That's what friends,

1206
01:02:02,000 --> 01:02:03,400
true friends are for.

1207
01:02:04,239 --> 01:02:07,519
Speaker 2: Love it, love it. Well, here we are. We're at

1208
01:02:07,519 --> 01:02:09,679
the end of the album and I loved every minute

1209
01:02:09,719 --> 01:02:13,119
of it. Fantastic album. Like I said at the beginning,

1210
01:02:13,199 --> 01:02:15,599
this is that girl that I didn't really pay attention

1211
01:02:15,719 --> 01:02:17,960
to in high school, and we come back for their

1212
01:02:17,960 --> 01:02:19,199
reunion and I'm falling in love.

1213
01:02:19,320 --> 01:02:20,079
Speaker 3: It's fantastic.

1214
01:02:20,320 --> 01:02:22,679
Speaker 2: Guys, be sure and hit that follow button, hit that

1215
01:02:22,719 --> 01:02:24,840
subscribe button, whatever you need to do so that you

1216
01:02:24,920 --> 01:02:27,280
can catch our next episode where we are going to

1217
01:02:27,360 --> 01:02:30,800
compare songs from The Big Chair two Make It Big

1218
01:02:30,960 --> 01:02:31,639
by Wham.

1219
01:02:40,840 --> 01:02:43,280
Speaker 3: Two of the biggest albums of the summer of nineteen

1220
01:02:43,320 --> 01:02:43,920
eighty five.

1221
01:02:44,800 --> 01:02:46,519
Speaker 2: So be sure and join us for that if you

1222
01:02:46,559 --> 01:02:48,960
would do us the honor. If you've listened this far,

1223
01:02:49,360 --> 01:02:52,239
give us a five star rating, put a review out there.

1224
01:02:52,440 --> 01:02:54,000
Speaker 3: Tell us love reviews.

1225
01:02:54,159 --> 01:02:56,679
Speaker 2: We love them. They help us out so much and

1226
01:02:56,760 --> 01:02:59,760
they let other people know us about us. And if

1227
01:02:59,800 --> 01:03:02,400
you are even more deeply in love with with us

1228
01:03:02,519 --> 01:03:05,119
than that, check out our Patreon page, where we have

1229
01:03:05,400 --> 01:03:08,239
a new episode every single month where we deep dive

1230
01:03:08,280 --> 01:03:10,480
into the one hit wonders of the eighties and nineties

1231
01:03:10,800 --> 01:03:12,360
and some other songs too.

1232
01:03:12,559 --> 01:03:14,639
Speaker 3: I love it, Dee, we've done another one. Can't wait

1233
01:03:14,719 --> 01:03:15,639
to be back here next week.

1234
01:03:15,880 --> 01:03:16,920
Speaker 2: Make it big waym