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Speaker 1: Hello everybody, and welcome back to the Shirley You Can't

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Be Serious podcast. If you did not hear are Huey

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Lewis Part one, push pause right here and go back

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to listen to that previous episode. This one, we're going

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to go track my track through Sports. What I think

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is their best album.

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Speaker 2: I cannot begin to describe to you how excited I

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am about this.

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Speaker 3: I said it last episode.

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Speaker 1: This is like.

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Speaker 2: You've gone to your class reunion and you see the

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girl you used to date and she's still hot, and

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you're like, wow, how did I mess.

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Speaker 3: That thing up? But that's the power of pluck.

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Speaker 4: Nice.

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Speaker 1: Nice, Thanks, that's s but it. Huey Lewis and The

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News released Sports on September fifteenth of nineteen eighty three.

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We talked last week how it is one of five

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albums that reached the number one spot in nineteen eighty four.

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Super Steep competition that.

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Speaker 2: Year, Yeah, super steep competition. And these guys held their

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own as a band. I mean all of these guys

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had played the club circuit, had been going for years

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and years and never made it until this album. And

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then when they make it and they are successful, they

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get criticized for their success. They're like, oh it's popular,

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you know, it's uninspiring. And so this is the phrase

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that I love that he said. Huels said, Nowhere is

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it written that rock and roll has to be political

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or change the world.

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Speaker 3: One thing rock and roll has.

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Speaker 2: To be is true, and if it rings true, it's right,

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and that is this freaking album.

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Speaker 3: Yes, Front of Bat love it.

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Speaker 2: Okay, before we dive in, track by track, Okay, I

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have to address the elephant in the room American psycho.

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Speaker 1: Okay, let's do it.

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Speaker 2: Okay, before we get going, I just want to point

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something out. We have been talking to each other now

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for couple of years, face to face, and one of

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the reasons that I can do that is because you

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don't have nose hair. Have you been talking to people

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and like you can't even concentrate on what they're saying

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because of their nose hair?

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Speaker 1: Absolutely, they like tucked to you.

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Speaker 3: It dangles, Yes, it wiggles. It's a total distraction.

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Speaker 1: Absolutely, And so let me let me say, if you are.

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Speaker 2: One of those guys, we have a product that is

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supporting the podcast that you need to check out is

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called the weed Whacker, and it is from Manscape.

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Speaker 1: It is an amazing product. It trims your nose hair.

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It's not embarrassing. You just stick it up there. It

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takes care of it.

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Speaker 2: You're not gonna look at people and bother them, right,

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And I'm one of those guys who's self conscious about

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my nose hair. So somebody that you're gonna see me

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and I'm gonna be like yanking them out and wincing

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in pain, don't do that. There is a special thing

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that they make and they've also just released in addition

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to the weed whacker, they have just released something called

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the lawnmower. If you have other areas of your body

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that you're looking to trim up. And I'd like to

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point out that a giraffe is easier to see in

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the planes than it is in the forests.

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Speaker 3: That's wonderful, Yes, yes it is.

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Speaker 1: So it's very good around sensitive areas, if you know

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what I'm saying.

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Speaker 3: Yeah. They have also an entire shavekit called the Ultra.

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Speaker 2: Smooth Package package.

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Speaker 3: You get the idea.

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Speaker 1: So who doesn't want their package ultra smooth?

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Speaker 2: Right, right, So don't forget to go to manscapes dot

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com and use the promo code fan sided twenty to

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get twenty percent off your order and free shipping.

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Speaker 1: Whack it.

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Speaker 3: Perfect time.

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Speaker 2: So you sent me a video which is fantastic, and

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I really kind of want to play a clip from

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it right now, but before I do, I'm going to say,

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if you have not seen American Psycho, there is a

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very well known part that whenever we talk about hue

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Lewis on our Facebook page, somebody invariably quote, we're going

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to hear a scene, right, So here's the scene from

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American Psycho.

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Speaker 3: You like Huey Lewis on the news.

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Speaker 1: Their early work was a little too new wave for

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my taste, and sports came out in eighty three. I

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think that really came into their own commercially and artistically.

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The whole album has a clear, crisp sound and a

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new sine of.

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Speaker 2: Consummate professionalism that really gives the songs a bag booze.

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He's been compared to Elvis Costello, but I think Huey

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has a far more bitter, cynical sense of humor.

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Speaker 3: And then this is so beautiful.

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Speaker 2: Here's the scene that Huey Lewis did with our hero

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of all heroes, mister Weirdo Yankovic. That is a parody

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of that scene.

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Speaker 5: Do you Like American Psycho.

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Speaker 6: Although originally polarizing to audiences and critics alike, it developed

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a much deserved cult following when released on digital video

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disc or DVD. There it found a second life and

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really came into its own commercially and artistically.

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Speaker 5: The movie works both as a grim examination of male

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vanity while also maintaining real genre thrills. Justifying these total

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shifts by placing the audience inside the head of the

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new he push just lead character Christian Bale's dynamite performance,

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but gives it a big boost. The role almost went

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to Leo, but nobody could have brought that certain athos

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and charisma to it quite like Bail, a role he

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later recalled a shade of in Christopher Nolan's Batman Pictures.

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Speaker 2: Brilliant, I love it, brilliant, I love it. So you

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kind of get the impression from the way the movie

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goes is that they're kind of mocking Huey.

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Speaker 3: Lewis in the news. He gave him permission to use

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the song, right, and he listens to what he says

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and he's like, he's.

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Speaker 1: Right, He's absolutely right.

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Speaker 3: We were kind of in our new wave phase. Now.

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Speaker 2: Interestingly, the song doesn't appear on the American Psycho soundtrack.

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They asked him to do it, and he was like, okay, sure,

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what other songs are going to be in there? And

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of course they put the Phil Collins song, which he

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basically goes through the same bit with the Phil Collins song, right,

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And he's like and and he goes, well, just in

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the soundtrack, He's like, so two rock songs and then

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orchestral music, right, And they're like yeah, and he goes,

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I don't really feel like that's thin. Can you just

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kind of pull at least say no, thank you. I

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don't really think that our fans are going to go

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buy and buy an album for one song.

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Speaker 1: Doesn't really that song was hit to be square right right?

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Speaker 3: Yes?

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Speaker 2: And so when the album comes out, of course all

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the news media says Huey Lewis pulls track off the

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album because movie is too violent? Right right, I've digressed.

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Let's get back to the album. Before we start talking songs,

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let's talk about cover art. We talked about how awesome

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Bruce Springsteen's cover, how iconic that is Huey Lewis's cover.

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The album Sports has got a pretty iconic cover too.

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Speaker 1: I mean when I see it, I recognize the right away. Sports.

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Speaker 2: Yeah, he said on the day that they shot this,

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the guy who shot the pictures, his name is Bennett Hall,

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and he's done several other albums.

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Speaker 3: But he said, I was really hung over.

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Speaker 1: That very well known Hue was dying that day.

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Speaker 3: From a hangover. Yeah.

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Speaker 2: Could you imagine that your most well known picture of

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all pictures that have ever been taken of you is

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when you were.

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Speaker 1: Really he looks pretty cheaper in the picture though, Yeah.

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Speaker 2: I didn't know until he said something. So the place

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that they're at is a club in Mill Valley, California

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that they used to play at called the two Am Club, Okay,

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which the locals affectionately refer to as the Deuce the

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Deuce Deuce.

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Speaker 1: Nice. Yeah, Okay, So I've got a small story with

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the cover.

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Speaker 3: Okay.

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Speaker 1: Up in the upper corner of the TV, there's a

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football player making a catch. Yeah, okay, that's Dwight Clark

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of the San Francisco forty nine ers, who, as you know,

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I'm a Dallas Cowboy fan, and so I'm very aware

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of Dwight Clark's catch against the Dallas Cowboys knocking them

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out of the Super Bowl.

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Speaker 3: And you mean the one where Joe Montana was just

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throwing the ball away.

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Speaker 1: Yeah, yeah, yeah, that is that your.

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Speaker 3: Stance given the fact that you're a Cowboys fan.

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Speaker 1: Well, you know, I don't want to get into that

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right now. But Dwight Clark, you know, Joe Montana to

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Dwight Clark back at the end zone, he makes this

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big catch and it starts the run of the forty

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nine ers dominating the eighties. Okay, so the forty nine

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ers and here you losen news are are They're fans

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of each other?

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Speaker 3: Huh?

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Speaker 1: And so they befriend Dwight Clark and Joe Montana and

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these guys actually in hip to be square. The guys

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are going here, there, and everywhere. That's Dwight Clark and

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Joe Montana.

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Speaker 3: Get the heck out of it.

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Speaker 1: Yeah. I was gonna say that for a four episode,

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which I hope to do later on, but we'll cover

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that then, toot. Dwight Clark in the later eighties would

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give permission for Huey Lewis to be on the sidelines

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for the forty nine er game, and Huey Lewis is

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down on the sidelines. Okay, But Dione Sanders and Jerry

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Glanville had all mc hammer on the sidelines and like

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they'd gotten in trouble and it looked weird. And mc

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hammer's out on the on the field high fiving people,

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and so the NFL said, all right, no more.

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Speaker 3: Of that is why we can't have nice things.

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Speaker 1: You guys, Hammer screwed up for everybody, right, and so

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and so Dwight Clark's, well, here's the deal. I'll give

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you a forho talk ggrapher's pass on the sidelines, so

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you like our photographer team photographer. So Huey Lewis is

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like okay, and he's like, just just be cool, don't

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do anything weird. So he's like, all right, fine, I'll

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be cool. I'll just stay on the sidelines. And so

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Hugh's down there with Billy Gibson, who's the drummer for

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the news. The forty nine ers were blowing out the

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giants and the cameras were starting to wander, and Hugh's like,

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get out of here before we get anybody in trouble, right,

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And as he turns to walk out, they pull Steve Young,

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who's the quarterback of the forty nine ers off the field.

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He's like, okay, you're done for the day. And Steve

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Young as he's coming off field, cameras are all on him.

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He's like hey, Hueye. He's like hey, He's like, what

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am I going to do? The quarterback is yelling at

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me right, and he's like, hey, Steve, how's it going?

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And he's like, oh, give him a big hug, like hey,

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Huey Lewis and Steve Young. So then the commentators they're like, hey,

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John Madden wants to say hi to Huey Lewis, and

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so he was like okay. So they hand him a

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microphone and she's talking to John Madden and everybody gets

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in trouble. So they find the forty nine ers for this.

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But Carbon Policy, who is the president of the forty

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nine ers, writes this very scathing letter to the NFL

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because Huey Lewis is their spiritual advisor, and how dare

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they would they write the same letter if Billy Graham

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was on the sidelines. So Huey Lewis got the forty

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nine ers find anyway Dwight.

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Speaker 2: Bard spiritual leader of compared into Billy Graham.

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Speaker 3: That's hilarious.

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Speaker 1: All right, we ready to dive track and I track

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into this.

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Speaker 2: Yes, let's do it. I can't wait any longer. My

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Heart is Beauty.

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Speaker 7: Boom boom boom, boom boom boom.

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Speaker 1: The Heart of rock and Roll, released April tenth, nineteen

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eighty four, was the third single on the album. It

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reached number six on the chart. Okay, this is really interesting.

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Take note of that number six. Okay, all right, now,

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out of my curiosity, I'm like, are you kidding? An

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iconic song like rock and roll doesn't reach top five?

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So here's what was the top five the week that

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this peaked at number six?

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Speaker 3: Okay.

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Speaker 1: Number one Time after Time by Cidey Lapper. Yes, pretty

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iconic eighty song.

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Speaker 3: Yeah.

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Speaker 1: Number two let's hear it for the boy Denise Williams,

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huge song off the Footloose soundtrack.

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Speaker 2: Right, which had been number one just before. Number three,

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Oh Sherry by Steve Perry, the journey sounding song that

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he did solo that we talked about back in our

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Frontiers episode.

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Speaker 3: Go check that out if you haven't yet.

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Speaker 1: Number four The Reflex by Duran durant.

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Speaker 3: Ooh goss, huge all right, yeah?

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Speaker 1: And number five Sister Christian by Night Ranger.

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Speaker 3: Oh a great song. I mean, I'm sorry, Boogie Nights

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is what I think about every.

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Speaker 1: Go back watch Boogie Knights Enjoy Heather Graham.

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Speaker 3: We haven't done anything on that one, but we will. Okay,

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all right, let's do this. Yeah, okay.

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Speaker 2: So this song was written by Huey Lewis and Johnny Cole.

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Johnny is a spectacular guitarist and also saxophonist.

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Speaker 1: He's the sex guy.

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Speaker 3: How many guys are doing saxophone song in the eighties?

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Just a couple?

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Speaker 1: How many are Huey Lewis.

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Speaker 3: And Bruce Springsteen?

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Speaker 1: Right, that's it.

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Speaker 2: This has got a really similar style to Dancing in

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the streets.

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Speaker 8: Yeah.

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Speaker 1: Yeah, Well because they have that city roll call at

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the end of the song.

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Speaker 9: Yeah.

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Speaker 1: The creation of this song, So hue Lewis gets this story. Yes,

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we talked about this a little bit. Yeah, Huey Lewis

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gets this story that the heart of rock and roll

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is in Cleveland. So he's like, I don't know about that, guys.

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And so they go and they play this show in

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Cleveland and the fans just blow his doors off, and

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on the tour bus going home afterwards, he's like, you know, what, guys,

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I think the heart of rock and roll is in

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Cleveland And they're like yeah, and he's like, I think

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that's a great title for a song. And they're like,

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but now every time I listen to that song, uh huh,

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you can hear the hard rock and roll is in Cleveland.

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Speaker 3: Yeah.

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Speaker 2: So they had had a great show in Cleveland. You

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should spawned this song. Yes, La is mentioned in this

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but if you ask Huey Lewis, what's the worst you've

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ever had where it's the worst place to play?

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Speaker 3: He says, La.

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Speaker 2: He said that they played a show. He said he

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can usually tell what the review is going to be

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of the show when they play, because if he feels

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like it's a bad show, the reviews are going to

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be bad and right.

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Speaker 3: It always turns out right.

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Speaker 2: So they do their first show in la he thinks

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they do a great job. The next morning, the manager

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is like, all right, everybody got a good review in

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the La Times. You know, come on down for breakfast.

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Not so fast to you. He apparently he got railed

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this first show. He was like totally surprised, and he says,

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so I'm just kind of like, wow, I really thought

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we did a good show. But then a few months

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later he's doing some recording. George Lucas has got a

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recording studio at the Skywalker Ranch, right, so he's with

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George Lucas. He's George Lucas is dating Linda Ronstad at

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the time, who is there recording, and he's like, oh,

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it nice to meet you.

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Speaker 3: You know that they're doing their introductions. She's like, it's

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so good to meet you. You know.

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Speaker 2: We've got Brian Wilson from the Beach Boys come in

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a little bit to sing on this song with me.

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Speaker 3: Would you like to meet him?

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Speaker 2: He's like, oh, I love that because they were a

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huge Yeah. Hugh Lewis was a huge Beach Boys fan,

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right yeah. And so Brian Wilson comes and he's a

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little awkward, he's got some issues, yeah, right, but he

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starts talking to you Lewis. He's like, oh, yes, I

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know you, I know you work.

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Speaker 3: Oh I love it. He goes, I actually saw you

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in concert. He's like oh really. When he's like in

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the la he's like, which show did you see?

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Speaker 2: And Brian was just like, I saw your very first

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show at the very first one, and he goes, okay,

324
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So tell me, truth, what did you think of it?

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He goes top five, maybe top three live performances I've

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ever seen in my whole life. Wow, and you Lewis

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is like, screw the La Times. Brian Wilson just told

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me that was one of the best shows you've ever seen.

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Speaker 3: I don't care about the bad review.

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Speaker 1: That is great. Brian Wilson, Beach Boys, that's awesome. Before

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you move on, I got one quick story. Nineteen ninety

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we had just played a baseball game after we had

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a big win. We're traveling back home on the bus.

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My coach was in an especially good mood because we won,

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so he let us turn on the radio station. This

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is in nineteen ninety, so think I mean, this is

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Appetite for Destruction. This is Doctor Phil Good, this is Winger,

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this is Para Metal, bon Jovi, New Jersey, this is

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all this doff. So what comes on the radio but

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Heart of rock and Roll. So when you're in high school,

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when you're seventeen seven years ago, is eternity, but harder

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rock and Roll comes on and one guy starts to

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sing uh huh, and it becomes like the scene on

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00:15:24,240 --> 00:15:29,679
almost Famous. The entire bus of baseball players are belting

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out harder rock and roll because everybody knows the words,

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and our coach is.

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Speaker 3: Amazed, that's fantastic.

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Speaker 1: What agrees shout out it's Jinks high school Jing so called. Okay,

349
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let's talk about the roll call at the end of

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the song.

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Speaker 10: Okay, Santa talk Livers down in Boston, a bad room, Lsa, Austin,

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San Francisco.

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Speaker 1: So at the end they list, you know, Tulsa in

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Oklahoma City, Seattle, San Francisco too, the right, everywhere there's yeah.

355
00:16:04,919 --> 00:16:07,759
So there's this roll call of cities, right, and so

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the record company is like, hey, this is great. We

357
00:16:09,679 --> 00:16:13,080
want you to make like specialized versions of this to

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play for different radio stations around the country. And he

359
00:16:17,000 --> 00:16:19,399
list is like, you know, okay, whatever, you know, whatever

360
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helps the song, right, And he's like, how many you

361
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want me to make? And they're like, well, let's see,

362
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there's like one hundred and fifty radio stations, so like

363
00:16:26,799 --> 00:16:29,639
one hundred and fifty. He's like, wait a minute, guys,

364
00:16:29,679 --> 00:16:31,960
I don't you know you know, but I can tell

365
00:16:32,000 --> 00:16:34,600
you for sure I grew up in Tulsa, Oklahoma. Okay.

366
00:16:34,799 --> 00:16:39,080
So the part where it says Tulsa Austin, Oklahoma City. Yes,

367
00:16:39,480 --> 00:16:43,080
seat San Francisco too. That part on my home radio

368
00:16:43,120 --> 00:16:49,039
station said Tulsa, Tulsa to Tulsa, Seattle, San Francisco too.

369
00:16:49,200 --> 00:16:52,399
Really yeah, for sure, one hundred percent. So they have

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all these different versions of the song and.

371
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Speaker 3: They're thinking, like, did I hear a little rock or

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00:16:56,879 --> 00:16:57,519
Port Smith.

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Speaker 1: I'm just yeah. I mean if you grew up New Mexico,

374
00:17:00,799 --> 00:17:04,359
good chance you hear Santa Fe or something in there, right, Okay, yeah, okay.

375
00:17:04,720 --> 00:17:07,400
So they came to him and they said, okay, super job.

376
00:17:07,640 --> 00:17:09,759
We like the ultimate versions. Now we want you to

377
00:17:09,799 --> 00:17:15,359
do Canada. He's like Canada. So so they came to him.

378
00:17:15,359 --> 00:17:17,880
They're like, you know, Toronto, Montreal. He's like, okay, okay,

379
00:17:18,000 --> 00:17:22,279
you know, and they're like Halifax. He's like, guys, I'm sorry,

380
00:17:22,759 --> 00:17:25,960
the harder rock and roll does not belong in Halifax.

381
00:17:27,279 --> 00:17:29,319
And he said, so he like put his foot down

382
00:17:29,319 --> 00:17:31,440
on Halifax. I'm not singing Hall of fex. Then he

383
00:17:31,480 --> 00:17:33,880
said he went and played Halifax. He's like, the place

384
00:17:33,960 --> 00:17:34,599
is really cool.

385
00:17:35,519 --> 00:17:38,480
Speaker 3: It's rock and roll. Yeahfax, harder rock and Roll.

386
00:17:40,319 --> 00:17:41,839
Speaker 2: By the way, we didn't talk about the video on

387
00:17:41,880 --> 00:17:43,960
Harder rock and Roll all I can remember is they

388
00:17:44,200 --> 00:17:47,039
pack it with a lot of flash. Really kicks him

389
00:17:47,039 --> 00:17:50,200
in the We might want to talk.

390
00:17:50,079 --> 00:17:54,480
Speaker 1: About that, Okay, We done with harder rock and roll?

391
00:17:54,720 --> 00:17:55,640
Speaker 3: Yes, all right?

392
00:17:56,079 --> 00:17:57,880
Speaker 1: Moving on to the number two song on the album.

393
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This song is called Heart and Soul.

394
00:18:15,319 --> 00:18:18,400
Speaker 3: Yes, this is not an original. He would listened to

395
00:18:18,400 --> 00:18:19,039
the new song.

396
00:18:18,880 --> 00:18:21,079
Speaker 1: I know, and that blows me away. I didn't know

397
00:18:21,079 --> 00:18:21,519
that before.

398
00:18:21,759 --> 00:18:24,119
Speaker 2: There's yeah, I did not know it either. And obviously

399
00:18:24,200 --> 00:18:26,039
this is one of their biggest ones. I mean, this

400
00:18:26,079 --> 00:18:28,039
is the first video I remember seeing.

401
00:18:28,279 --> 00:18:29,559
Speaker 1: This is the first single off the album.

402
00:18:29,680 --> 00:18:30,039
Speaker 3: Yeah.

403
00:18:30,079 --> 00:18:32,480
Speaker 1: So yeah. Hardest Soul was written by Mike Chapman and

404
00:18:32,519 --> 00:18:36,519
Nikki Chin. Okay, these are famous songwriters. They wrote I

405
00:18:36,599 --> 00:18:39,240
Want to Kiss You all Over flashback to our Happy

406
00:18:39,279 --> 00:18:40,200
Gilmour episode.

407
00:18:40,240 --> 00:18:42,640
Speaker 3: Oh wow, okay, okay, good throwback.

408
00:18:43,920 --> 00:18:47,240
Speaker 1: They wrote better Be Good to Me by Tina Turner okay,

409
00:18:47,400 --> 00:18:49,839
and they wrote Mickey by Tony Basil.

410
00:18:50,279 --> 00:19:13,039
Speaker 11: Oh wow.

411
00:19:03,680 --> 00:19:06,039
Speaker 3: Wow, Yeah, that's fantastic.

412
00:19:06,200 --> 00:19:06,400
Speaker 12: So.

413
00:19:06,559 --> 00:19:10,559
Speaker 1: The song was first recorded by Exile in nineteen eighty one,

414
00:19:10,839 --> 00:19:12,599
and it was the title track on their album Heart

415
00:19:12,599 --> 00:19:15,279
and Soul. This blows me away that in nineteen eighty three,

416
00:19:15,319 --> 00:19:17,640
we're already re recording songs from nineteen eighty one.

417
00:19:17,960 --> 00:19:20,240
Speaker 3: Well, it obviously wasn't a huge It didn't do.

418
00:19:20,240 --> 00:19:22,599
Speaker 1: As well as they thought it should do, failed to

419
00:19:22,599 --> 00:19:25,799
crack the top one hundred. So I heard Hugh Lewis

420
00:19:25,920 --> 00:19:28,079
once again. They're looking for a hit, right, and they're

421
00:19:28,079 --> 00:19:30,440
trying to cover their butt because their third album needs

422
00:19:30,480 --> 00:19:32,720
to be a smash or the record company's going to

423
00:19:32,799 --> 00:19:34,920
walk away. So they had all these songs and they're like,

424
00:19:35,000 --> 00:19:37,039
we need one more hit. Okay, this is the pour

425
00:19:37,119 --> 00:19:40,400
some Sugar on Me, same story, Okay, we need one

426
00:19:40,559 --> 00:19:43,160
more hit. So he was talking to Mike Chapman because

427
00:19:43,279 --> 00:19:46,119
Mike Chapman had flirted with producing Hugh Lewis in the news,

428
00:19:46,640 --> 00:19:48,400
and he's like, hey, man, I need a hit. I

429
00:19:48,440 --> 00:19:50,200
need one more song that I can be a hit.

430
00:19:50,519 --> 00:19:52,319
And Mike Chapman is this song Heart and Soul we

431
00:19:52,359 --> 00:19:54,920
think is pretty good, and so here you listened to

432
00:19:55,000 --> 00:19:56,559
it and he's like, no, this sounds great, this is

433
00:19:56,599 --> 00:19:59,319
a hit. You know I want to do this. Well,

434
00:19:59,440 --> 00:20:02,400
it turns out out that Mike Chapman had given permission

435
00:20:02,440 --> 00:20:04,640
for Huey Lewis to record it and this other group

436
00:20:04,680 --> 00:20:06,000
called the bus Boys to record it.

437
00:20:06,079 --> 00:20:09,119
Speaker 2: Yeah, the bus Boys. The bus Boys are the Boys

438
00:20:09,119 --> 00:20:11,960
are back in town. That's in Ghostbusters And in forty

439
00:20:11,960 --> 00:20:15,039
eight hours they were like the band in Eddie Murphy's

440
00:20:15,160 --> 00:20:17,200
All His Stuff. The bus Boys are huge.

441
00:20:17,359 --> 00:20:20,200
Speaker 1: Wow. Okay, wow, that's good. I didn't know that. Yes,

442
00:20:20,240 --> 00:20:20,920
I didn't know that.

443
00:20:21,000 --> 00:20:24,319
Speaker 2: Again a throw forward to Ghostbusters coming up the bus Boys,

444
00:20:24,359 --> 00:20:26,680
but sorry, go ahead, So yes, let's a license the

445
00:20:26,680 --> 00:20:27,559
song of the bus Boys.

446
00:20:27,559 --> 00:20:29,839
Speaker 1: So the bus Boys recorded that for their nineteen eighty

447
00:20:29,920 --> 00:20:33,279
two album American Worker. But Huey Lewis he wanted to

448
00:20:33,279 --> 00:20:35,279
hear the recordings of it, and when he heard it,

449
00:20:35,279 --> 00:20:49,880
he thought, nah, version is better. So he was worried

450
00:20:49,880 --> 00:20:51,160
about it until he heard it and he's like.

451
00:20:51,160 --> 00:20:52,400
Speaker 3: Nah, well I can say this.

452
00:20:52,480 --> 00:20:56,000
Speaker 2: When you look up Heart and Soul on Wikipedia, it

453
00:20:56,079 --> 00:20:56,960
is a picture.

454
00:20:56,720 --> 00:20:58,680
Speaker 3: Of hue Lewis's album Okay.

455
00:20:58,920 --> 00:21:01,200
Speaker 1: Like we said, this was the first single. It was

456
00:21:01,240 --> 00:21:05,079
released August thirtieth, nineteen eighty three. This reached number eight.

457
00:21:05,480 --> 00:21:08,240
Uh huh, okay, number eight. Let's talk about the music

458
00:21:08,319 --> 00:21:09,559
video for a second. Okay.

459
00:21:09,759 --> 00:21:12,960
Speaker 2: This is one of the first videos I ever remember

460
00:21:13,039 --> 00:21:15,880
watching Okay, and I really I think there was something

461
00:21:16,200 --> 00:21:18,599
Huey Lewis is a guy who I think has looked

462
00:21:18,640 --> 00:21:21,599
forty five his entire life. Like I saw pictures of

463
00:21:21,640 --> 00:21:24,200
him when he was like in the high school basketball team,

464
00:21:24,240 --> 00:21:25,920
and he looks exactly the same.

465
00:21:26,160 --> 00:21:29,000
Speaker 3: It's now only that he's in his seventies.

466
00:21:28,519 --> 00:21:30,559
Speaker 2: That he starts to look like he's fifty five, right.

467
00:21:30,759 --> 00:21:33,640
He just has always had that same look. And so

468
00:21:33,680 --> 00:21:35,759
I see this video of a guy who doesn't look

469
00:21:35,799 --> 00:21:38,119
like the other people that I've seen on MTV in

470
00:21:38,160 --> 00:21:41,240
a suit and tie. Yeah, and then he walks into

471
00:21:41,319 --> 00:21:44,440
a place where everybody that's dancing looks like all the

472
00:21:44,519 --> 00:21:45,920
other people that I've seen on MTV.

473
00:21:46,200 --> 00:21:46,519
Speaker 3: Sure.

474
00:21:46,839 --> 00:21:50,640
Speaker 2: And so it's got this actress in it called Sidney

475
00:21:50,759 --> 00:21:53,759
Coleman Sydney Coleman. Yeah, and she had been I think

476
00:21:53,799 --> 00:21:56,079
she was in a soap opera and she played like

477
00:21:56,119 --> 00:21:58,000
a blind character in the cepoper.

478
00:21:57,640 --> 00:22:00,240
Speaker 3: Okay, but she's she is very engaging this.

479
00:22:00,440 --> 00:22:03,160
Speaker 1: Hey, she's in Heart and Soul. She's also the girl

480
00:22:03,200 --> 00:22:05,839
he's chasing around in I Want a New Drug. And

481
00:22:05,880 --> 00:22:08,400
the reason why they hired her her mom and Hugh

482
00:22:08,480 --> 00:22:09,799
Lewis's mom were friends.

483
00:22:11,079 --> 00:22:14,680
Speaker 3: That's awesome. There you go, So this video are we

484
00:22:14,720 --> 00:22:17,400
ready talking for the video. The video is really weird.

485
00:22:17,559 --> 00:22:20,319
Speaker 2: Yes, you've got all these weird folks who are lip

486
00:22:20,319 --> 00:22:22,720
syncing the song as he's kind of in there checking

487
00:22:22,759 --> 00:22:25,880
out this hot girl who's dancing, and then you see

488
00:22:26,359 --> 00:22:29,599
is it Mario Cippolini, the that looks like the Vampire?

489
00:22:29,880 --> 00:22:30,759
Speaker 1: Yes, that's right.

490
00:22:30,799 --> 00:22:31,799
Speaker 3: Oh my gosh.

491
00:22:31,839 --> 00:22:34,279
Speaker 2: I'm like, what is going on with this creepy dude.

492
00:22:34,279 --> 00:22:36,559
I'm like, oh wow, he's actually a member of the band.

493
00:22:36,640 --> 00:22:39,200
He's not just some weird character like the other ones

494
00:22:39,240 --> 00:22:42,200
they have. And then at some point they're running along

495
00:22:42,240 --> 00:22:44,720
and opening doors and you open he opens the door

496
00:22:44,799 --> 00:22:47,119
and there he is with fangs out biting the neck.

497
00:22:47,000 --> 00:22:49,720
Speaker 3: Of a girl, and they're like, what the heck and

498
00:22:49,839 --> 00:22:50,559
close that door.

499
00:22:50,720 --> 00:22:54,640
Speaker 1: Move on. Yes, very strange, interesting videos, all right. Moving on.

500
00:22:54,799 --> 00:22:56,119
Third song on the album.

501
00:22:55,880 --> 00:22:56,839
Speaker 3: That is Bad.

502
00:23:13,880 --> 00:23:17,160
Speaker 2: This moment when this song came on when I listened

503
00:23:17,200 --> 00:23:21,920
to this album again for the first time in thirty years,

504
00:23:22,720 --> 00:23:23,920
and this song came on.

505
00:23:23,920 --> 00:23:25,640
Speaker 3: And I was like, I know this song. I know

506
00:23:25,720 --> 00:23:26,119
this song.

507
00:23:26,240 --> 00:23:29,400
Speaker 2: I knew every single word, word for word, and I

508
00:23:29,440 --> 00:23:31,519
haven't heard it in thirty years now.

509
00:23:31,559 --> 00:23:33,240
Speaker 3: We talked about that this.

510
00:23:33,240 --> 00:23:35,640
Speaker 2: Song was something that Huey Lewis had written before and

511
00:23:35,720 --> 00:23:40,880
had been recorded by Dave Evan thank you, and wasn't good, right,

512
00:23:40,920 --> 00:23:42,680
I mean it was okay, it was okay, it wasn't bad.

513
00:23:43,119 --> 00:23:43,920
Speaker 3: It was very bluesy.

514
00:23:44,079 --> 00:23:46,519
Speaker 2: This one's kind of a du they're even saying do

515
00:23:46,599 --> 00:23:49,440
wop on it? Right, Absolutely, it's not got as much

516
00:23:49,440 --> 00:23:52,319
harmonic on it. It's got more harmonies on it, which

517
00:23:52,519 --> 00:23:55,119
as I understand that Johnny Cola is the one who

518
00:23:55,119 --> 00:23:57,559
puts together their harmonies, which we got to talk about

519
00:23:57,559 --> 00:23:59,680
for just a second. Okay, the blend of these guys

520
00:23:59,720 --> 00:24:01,200
is fantastic.

521
00:24:01,319 --> 00:24:01,519
Speaker 3: Yeah.

522
00:24:01,599 --> 00:24:04,400
Speaker 2: I mean they're not any one of them fantastic singers.

523
00:24:04,440 --> 00:24:08,240
They're not any one of them fantastic like expert musicians.

524
00:24:08,480 --> 00:24:12,960
Speaker 3: They're just all good and they're good together. That's the key.

525
00:24:13,720 --> 00:24:17,119
Speaker 2: And when they first started, when Bob Brown was pushing

526
00:24:17,119 --> 00:24:19,480
it and Chris Liss was like, hey, okay, we'll sign them.

527
00:24:19,720 --> 00:24:20,880
Speaker 3: But Chris list said.

528
00:24:20,720 --> 00:24:23,000
Speaker 2: But they need to get rid of the drummer, the

529
00:24:23,079 --> 00:24:27,640
drummer Bill Gibson yep. And after Huey Lewis's experience with

530
00:24:27,759 --> 00:24:30,160
the bass player that threw up because he was on

531
00:24:30,319 --> 00:24:34,119
LSD when he got fired, he was like, no, I'm

532
00:24:34,119 --> 00:24:36,720
not going to fire it. Don't sign, don't sign us, yep,

533
00:24:36,839 --> 00:24:37,680
I sign him anyway.

534
00:24:37,759 --> 00:24:40,880
Speaker 1: That's super love the loyalty there. So bad is Bad

535
00:24:41,039 --> 00:24:42,960
It was actually written, like you said, in the late

536
00:24:43,039 --> 00:24:46,279
seventies while he was working with Phil Lenntt of Finn Lizzie.

537
00:24:46,400 --> 00:24:48,599
Speaker 2: Yeah, he did a lot of harmonica work with Finn

538
00:24:48,640 --> 00:24:52,279
Lizzie and we didn't mention this, but Clover after they

539
00:24:52,599 --> 00:24:55,960
broke up, you know, they went on and recorded on

540
00:24:56,119 --> 00:25:01,119
Elvis Costello's first really big album, and they offered Huey

541
00:25:01,160 --> 00:25:03,599
Lewis to come and record with him, and he was.

542
00:25:03,599 --> 00:25:05,680
Speaker 3: Like, yeah, I think I'd rather have a two week vacation.

543
00:25:05,880 --> 00:25:08,079
Speaker 1: The interesting thing to me and I don't quite know

544
00:25:08,160 --> 00:25:10,599
how all this works out. Yeah, but Bad is Bad

545
00:25:10,839 --> 00:25:12,599
was not released as a single.

546
00:25:12,640 --> 00:25:13,720
Speaker 3: Should have been, should have been?

547
00:25:13,799 --> 00:25:15,880
Speaker 2: This is my favorite song on this album. Okay, it'

548
00:25:16,000 --> 00:25:19,240
my and I just it's so good.

549
00:25:19,440 --> 00:25:22,480
Speaker 1: So this song didn't chart because it wasn't released, right,

550
00:25:22,799 --> 00:25:24,119
But they made a video for it.

551
00:25:24,240 --> 00:25:26,599
Speaker 2: Yeah, it's not a fantastic video. They're just kind of

552
00:25:26,599 --> 00:25:29,559
walking around in the streets of San Francisco. Yeah, filmed

553
00:25:29,559 --> 00:25:33,119
in March of nineteen eighty five. Weird, Okay, So I

554
00:25:33,160 --> 00:25:35,799
got to say, at age forty five, listening to it now,

555
00:25:36,319 --> 00:25:39,559
I didn't really understand what this song was about because

556
00:25:39,599 --> 00:25:41,279
whenever I listened to it as a kid and he

557
00:25:41,279 --> 00:25:43,559
said play the guitar like chainsaw buzz and it was.

558
00:25:43,519 --> 00:25:46,000
Speaker 1: Like I was like, Yeah, that's awesome, that's cool.

559
00:25:46,079 --> 00:25:50,759
Speaker 2: No, that's not what he means. Okay, sometimes bad, he's bad. Yeah,

560
00:25:50,960 --> 00:25:53,640
yeah he meant that. The change I mean because I've

561
00:25:53,759 --> 00:25:55,799
played guitar now, right, I was not a guitar player

562
00:25:55,799 --> 00:25:57,799
when I listened to song the first time. If the

563
00:25:58,039 --> 00:26:01,440
if it sounds buzzy, if the guitarsunds buddy buzzy.

564
00:26:01,200 --> 00:26:03,119
Speaker 3: That means it's bad. It's got a.

565
00:26:03,039 --> 00:26:05,599
Speaker 2: Thing you don't want, and so that that's bad. And

566
00:26:05,599 --> 00:26:08,799
then I should have picked up on the the stew

567
00:26:08,920 --> 00:26:12,279
is the yeah and all one dollar's worth is all

568
00:26:12,279 --> 00:26:12,960
I could stand up.

569
00:26:13,079 --> 00:26:15,480
Speaker 3: I just didn't get it. And then the.

570
00:26:15,359 --> 00:26:18,680
Speaker 2: Final lyric in the song is a great Jimmy Hendrix's

571
00:26:18,680 --> 00:26:21,079
redhouse style, which Jimmy Hendrix will come up here in

572
00:26:21,079 --> 00:26:24,000
a second, yep, but it's this great. You know, I

573
00:26:24,160 --> 00:26:27,359
tried to unlock the door style. What he comes in

574
00:26:27,759 --> 00:26:32,440
the letter says, I love you hueye, but there's another.

575
00:26:32,240 --> 00:26:56,000
Speaker 13: Strange pair of shoes yep, under my bed.

576
00:26:56,519 --> 00:26:59,799
Speaker 2: So here we are three four three and in my opinion,

577
00:27:00,200 --> 00:27:02,559
building like better and better and better.

578
00:27:02,680 --> 00:27:03,480
Speaker 1: What are we great songs?

579
00:27:03,519 --> 00:27:05,000
Speaker 3: But what are we going to see on number four?

580
00:27:05,079 --> 00:27:08,960
Speaker 1: Okay, number four? Last song on side one heard of it?

581
00:27:09,000 --> 00:27:28,240
I want a new drug. That double guitar at the

582
00:27:28,279 --> 00:27:29,839
beginning of this is fantastic.

583
00:27:29,920 --> 00:27:32,119
Speaker 2: Yeah, they do a great pan from left speaker to

584
00:27:32,200 --> 00:27:34,960
right speaker, top down, radio up.

585
00:27:35,240 --> 00:27:36,599
Speaker 3: This is the song you want to be hearing.

586
00:27:36,960 --> 00:27:40,680
Speaker 1: This was the second single, released January third, nineteen eighty four.

587
00:27:41,039 --> 00:27:45,319
This reached number six. Still haven't cracked the tall five.

588
00:27:45,400 --> 00:27:47,920
Speaker 3: Gosh, guys, is such a good song. I can't believe

589
00:27:47,960 --> 00:27:48,759
that it didn't crack.

590
00:27:49,519 --> 00:27:53,799
Speaker 2: It's amazing, right, Okay, So this song goes through every

591
00:27:54,119 --> 00:27:57,079
side effect that you can think of. For Gruggy, I

592
00:27:57,119 --> 00:27:59,839
know that you have no experience at all. I am

593
00:28:00,039 --> 00:28:03,720
embarrassed to say that I do. I can understand every

594
00:28:03,880 --> 00:28:08,319
bad side effect. There are no drugs without bad side effects, kids.

595
00:28:08,359 --> 00:28:11,880
Speaker 3: None, right, he wrote, including love love.

596
00:28:11,680 --> 00:28:15,279
Speaker 1: Does have Yeah, it's true it does. That's true.

597
00:28:15,319 --> 00:28:18,039
Speaker 3: But that's what the song is truly about.

598
00:28:18,279 --> 00:28:20,599
Speaker 1: Hugh He talks about it. It is about love. He said.

599
00:28:20,640 --> 00:28:24,119
This song is not pro drug, it's not even anti drug. No,

600
00:28:24,599 --> 00:28:27,720
it's just about love. Here's the interesting thing. Huey Lewis

601
00:28:27,759 --> 00:28:30,039
wrote the song in a few minutes. Said he was

602
00:28:30,039 --> 00:28:32,119
on his way to his attorney's house and he was

603
00:28:32,160 --> 00:28:35,039
in the car okay, and he's driving and all of

604
00:28:35,039 --> 00:28:37,920
a sudden, boom it hits. He's got it in his

605
00:28:37,960 --> 00:28:41,039
head and he basically runs in and says, Bob, give

606
00:28:41,039 --> 00:28:43,920
me a piece of paper, Give me a piece of paper,

607
00:28:44,160 --> 00:28:46,519
and he writes it down. Yeah, that to me, that

608
00:28:46,519 --> 00:28:49,000
blows me away. Like these guys are so creative that

609
00:28:49,160 --> 00:28:52,519
songs just jump into their head. This song was covered

610
00:28:52,720 --> 00:28:54,799
by our main man, weird Al Yankovic.

611
00:28:54,880 --> 00:28:55,519
Speaker 3: Oh right.

612
00:28:55,920 --> 00:28:57,920
Speaker 1: The song was called we Can't Let It Go by

613
00:28:58,319 --> 00:29:05,240
I Want a New Duck, I want won, the world

614
00:29:05,319 --> 00:29:09,160
trying to bite well, the world chew a hole my

615
00:29:09,319 --> 00:29:11,680
socks one, the world quack all night.

616
00:29:12,079 --> 00:29:15,720
Speaker 2: Which is why the end of that video where it's

617
00:29:15,759 --> 00:29:19,680
Weird Al Yacavic and Huey Lewis together parodying American Psycho

618
00:29:20,440 --> 00:29:21,599
is so brilliant.

619
00:29:21,880 --> 00:29:25,759
Speaker 1: Last line, yep, brilliant, brilliant. Hey, I will tell you

620
00:29:25,799 --> 00:29:28,680
just from personal experience. Okay, so I had this tape,

621
00:29:28,880 --> 00:29:29,759
had a cassette tape.

622
00:29:29,960 --> 00:29:30,119
Speaker 11: Huh.

623
00:29:30,559 --> 00:29:32,319
Speaker 1: You know I told you my parents they analyzed my

624
00:29:32,400 --> 00:29:35,000
music pretty good. My dad picked up the tape Harder,

625
00:29:35,079 --> 00:29:37,880
rock and Roll, hard and Soul, Bad is bad, walking

626
00:29:37,920 --> 00:29:39,039
on a Thin Line? All good?

627
00:29:39,200 --> 00:29:39,440
Speaker 3: Yeah?

628
00:29:39,480 --> 00:29:41,880
Speaker 1: Wait, what's this song called? I Want a New Drug?

629
00:29:42,119 --> 00:29:44,519
He had to pause and ask my uncle if it

630
00:29:44,599 --> 00:29:46,839
was okay. My uncle gave the thumbs up, So now

631
00:29:46,880 --> 00:29:47,839
I wore out.

632
00:29:47,720 --> 00:29:49,480
Speaker 3: Sports way to go, uncle.

633
00:29:49,240 --> 00:29:51,680
Speaker 1: I know, right, Okay, there's something at the end of

634
00:29:51,720 --> 00:29:53,799
the song that I did not know until we were

635
00:29:53,880 --> 00:29:56,680
driving in the car today to record this.

636
00:29:57,000 --> 00:29:59,920
Speaker 2: Yeah, I remember it from when I was a kid,

637
00:30:00,079 --> 00:30:01,519
and I don't know how I knew it back then,

638
00:30:01,559 --> 00:30:03,880
but I knew it. And yeah, as we're driving, I'm like, oh,

639
00:30:03,920 --> 00:30:06,160
there's Jimmy Hendrix and you're like, there's who what what?

640
00:30:06,519 --> 00:30:06,839
Speaker 1: I know?

641
00:30:07,480 --> 00:30:23,680
Speaker 3: But here it is, and that's Purple Haze by Jimmy Hendricks. Guys.

642
00:30:24,519 --> 00:30:26,240
Speaker 2: I don't know if nobody else noticed it but me,

643
00:30:26,319 --> 00:30:28,880
but there you go, it's incredible. Any guitar, any guitar

644
00:30:28,920 --> 00:30:30,240
stuff there is going to hear that and go, oh,

645
00:30:30,279 --> 00:30:32,680
I know what he's doing there Again, these guys are

646
00:30:32,680 --> 00:30:35,400
not masterful musicians. They just are out there having some

647
00:30:35,480 --> 00:30:36,480
freaking good time.

648
00:30:36,359 --> 00:30:38,960
Speaker 1: And they're tight throwing in fun stuff. Yeah, that's really

649
00:30:38,960 --> 00:30:41,920
love it, love it. Okay, this is where we talk

650
00:30:42,000 --> 00:30:46,880
about the lawsuit between Huey Lewis and Ray Parker. R.

651
00:30:47,039 --> 00:30:47,960
Speaker 3: Yeah.

652
00:30:48,200 --> 00:30:50,880
Speaker 2: So the guys who are making Ghostbusters go to Huey

653
00:30:50,960 --> 00:30:53,400
Lewis say hey, we'd like you to record a song

654
00:30:53,559 --> 00:30:55,519
for the soundtrack, and he says.

655
00:30:55,680 --> 00:31:00,759
Speaker 1: No thanks, but no thanks, yeah, writing a song called Ghostbusters.

656
00:31:00,839 --> 00:31:04,359
Speaker 3: And then later the song that was written for Ghostbusters

657
00:31:04,519 --> 00:31:08,200
that is called who You're Gonna Call? Ghostbusters? Yes, sounds

658
00:31:08,359 --> 00:31:09,319
real familiar.

659
00:31:09,680 --> 00:31:29,759
Speaker 14: Play it right here, Okay, something strange.

660
00:31:31,440 --> 00:31:36,519
Speaker 3: Who You're Gonna Call? All right, it's unquestionable.

661
00:31:36,519 --> 00:31:41,599
Speaker 2: It's a little faster, but it's absolutely unquestionably a copy.

662
00:31:42,000 --> 00:31:44,000
Speaker 3: And I've heard Ray Parker talk about this. He did.

663
00:31:44,119 --> 00:31:45,880
Speaker 2: It's not like he wrote that part of the song.

664
00:31:46,279 --> 00:31:47,680
He had a guy who wrote it, but he didn't

665
00:31:47,680 --> 00:31:49,480
want to throw him under the bus, right, It was

666
00:31:49,519 --> 00:31:51,480
just like just came to me and it was a

667
00:31:51,559 --> 00:31:53,960
cool sounding guitar riff. So I said, great, I can

668
00:31:54,000 --> 00:31:56,160
write some lyrics to this and that's how the song

669
00:31:56,240 --> 00:32:00,000
came about. That's right, but that's his name was still

670
00:32:00,079 --> 00:32:00,960
the one on the lawsuit.

671
00:32:01,200 --> 00:32:03,799
Speaker 1: So here's the interesting thing. I heard an interview with

672
00:32:03,880 --> 00:32:06,480
Ray Parker. They settled out of court. Huey Lewis sued

673
00:32:06,519 --> 00:32:09,039
Ray Parker Jr. And they settled out of court.

674
00:32:09,160 --> 00:32:09,359
Speaker 3: Yep.

675
00:32:09,359 --> 00:32:11,839
Speaker 1: Okay for an undisclosed sum of money.

676
00:32:12,039 --> 00:32:12,400
Speaker 3: Okay.

677
00:32:12,799 --> 00:32:16,640
Speaker 1: Now flash forward about like six, seven, eight, ten years.

678
00:32:16,839 --> 00:32:18,319
Speaker 3: Yeah, it was quite a bit. It was like VH

679
00:32:18,359 --> 00:32:20,160
one behind the music, it was, Yeah.

680
00:32:19,920 --> 00:32:22,480
Speaker 1: And Huey Lewis is talking about how Ray Parker stole

681
00:32:22,640 --> 00:32:24,839
their song I Want a New Drug and turned it

682
00:32:24,880 --> 00:32:26,039
into Ghostbusters.

683
00:32:26,119 --> 00:32:28,599
Speaker 2: Yeah, this song is not for sale. And then he says,

684
00:32:28,960 --> 00:32:31,559
but I guess it turns out it was because they

685
00:32:31,599 --> 00:32:32,319
paid us for it.

686
00:32:32,519 --> 00:32:32,759
Speaker 3: Yep.

687
00:32:32,960 --> 00:32:37,000
Speaker 1: Then Ray Parker Junior sues Huey Lewis because he was

688
00:32:37,240 --> 00:32:39,759
he had some sort of note talk about it, deils.

689
00:32:40,079 --> 00:32:45,359
Speaker 2: Most settlements are confidential, and by Huey Lewis saying they

690
00:32:45,400 --> 00:32:49,079
paid us for it, he just said, what was the

691
00:32:49,119 --> 00:32:52,960
confidential part? Which was a violation. As I understand that

692
00:32:53,000 --> 00:32:54,720
there's been no resolution to that.

693
00:32:54,720 --> 00:32:57,920
Speaker 1: That's interesting. This is because these are two songs that

694
00:32:58,000 --> 00:33:01,440
I loved and could have on my entire life without

695
00:33:01,480 --> 00:33:05,079
even really dawning on me that they were the same roots.

696
00:33:05,200 --> 00:33:07,440
You know, I love that song Ghostbusters. I mean I

697
00:33:07,480 --> 00:33:08,599
love I Want a New Drug.

698
00:33:08,759 --> 00:33:10,039
Speaker 3: So funny song.

699
00:33:11,640 --> 00:33:12,480
Speaker 1: But how that works out?

700
00:33:12,559 --> 00:33:12,839
Speaker 3: Right now?

701
00:33:13,119 --> 00:33:15,599
Speaker 1: Ray Parker Junior did say that Huey Lewis did have

702
00:33:15,680 --> 00:33:18,279
to pay him for mentioning that on VH one. Behind

703
00:33:18,319 --> 00:33:21,519
the music here you may have countersuit based on that statu.

704
00:33:21,359 --> 00:33:26,480
Speaker 3: But it goes round and round. All right, enough of

705
00:33:26,519 --> 00:33:27,680
this lawyer stuff.

706
00:33:27,960 --> 00:33:30,720
Speaker 1: Okay, a couple more things I want to mention about this, Okay, Okay,

707
00:33:30,920 --> 00:33:33,880
So this, as we mentioned, I Want a New Drug

708
00:33:34,039 --> 00:33:36,680
was actually put in as the tempt track for Back

709
00:33:36,720 --> 00:33:37,240
to the Future.

710
00:33:37,279 --> 00:33:40,200
Speaker 3: Okay. Oh, for the for the opening scene, ye.

711
00:33:40,440 --> 00:33:43,799
Speaker 1: In the video, there is one iconic scene that you

712
00:33:43,920 --> 00:33:46,680
mentioned to me, and I remember it's the head in

713
00:33:46,720 --> 00:33:50,160
the ice water and that's from a movie yeah that

714
00:33:50,240 --> 00:33:50,759
I didn't know.

715
00:33:50,920 --> 00:33:53,519
Speaker 2: Okay, So the face in the nice water scene, yes,

716
00:33:53,640 --> 00:33:55,799
probably the most memorable part of the video, right right.

717
00:33:55,920 --> 00:33:59,240
I think it's from the Verdict with Paul Newman story

718
00:33:59,240 --> 00:34:02,240
where he's drunk attorney and I think he wakes up

719
00:34:02,240 --> 00:34:04,039
with a hangover and that's just cure for the hangover.

720
00:34:04,200 --> 00:34:05,839
Is singing his head in a book of ice water.

721
00:34:05,880 --> 00:34:08,000
I don't think it's the same like way he did it,

722
00:34:08,079 --> 00:34:09,760
but I think that's.

723
00:34:09,599 --> 00:34:10,079
Speaker 3: Where he got that.

724
00:34:10,119 --> 00:34:11,599
Speaker 1: They didn't put a camera in the scene.

725
00:34:11,519 --> 00:34:13,280
Speaker 2: You know that, But that's really the best part of

726
00:34:13,400 --> 00:34:15,039
that is the best part. The bubbles coming and then

727
00:34:15,039 --> 00:34:16,360
he's singing the song under the water.

728
00:34:16,440 --> 00:34:18,679
Speaker 1: That is the coolest part. And as a kid, I'm like,

729
00:34:19,199 --> 00:34:21,480
that is awesome. Okay, that's it for I wanted.

730
00:34:21,320 --> 00:34:23,559
Speaker 3: A drug push stop on your tape player.

731
00:34:23,440 --> 00:34:26,360
Speaker 1: Kick it out, flip it over side too. And we

732
00:34:26,400 --> 00:34:28,559
started off with walking on thin Line.

733
00:34:29,559 --> 00:34:34,760
Speaker 4: Sometimes I'm a third night, I look man, I pray

734
00:34:34,920 --> 00:34:40,320
for the light and sometimes stir.

735
00:34:48,480 --> 00:34:50,800
Speaker 3: So this is interesting how the song starts off. It

736
00:34:50,920 --> 00:34:52,400
is different than the other ones.

737
00:34:52,440 --> 00:34:53,880
Speaker 2: And I just want to point something out that we

738
00:34:53,880 --> 00:34:55,079
haven't kind of pointed out as.

739
00:34:55,360 --> 00:34:56,599
Speaker 3: We've gone along here.

740
00:34:56,880 --> 00:35:00,760
Speaker 2: Okay, but every single one of these songs is a

741
00:35:00,800 --> 00:35:02,639
different style of song.

742
00:35:02,960 --> 00:35:03,239
Speaker 3: Okay.

743
00:35:03,320 --> 00:35:05,840
Speaker 2: You know they came into the album thinking we want

744
00:35:05,920 --> 00:35:08,840
any one of these to be a potential hit single, right,

745
00:35:08,840 --> 00:35:11,199
trying to hit the top forty. So the first one

746
00:35:11,280 --> 00:35:14,559
hard rock and roll, that's rock heart and soul is

747
00:35:14,960 --> 00:35:18,599
pop rock. Bad is bad, that's like do up blues. Yeah,

748
00:35:18,639 --> 00:35:20,519
and then you've got I Want a New Drug, which

749
00:35:20,519 --> 00:35:23,519
is very new wave. And then we hit this one

750
00:35:23,559 --> 00:35:27,320
with this awesome intro. You got different instruments introing each

751
00:35:27,360 --> 00:35:30,280
of these songs. This one starts off heavy keyboards, like

752
00:35:46,320 --> 00:35:49,039
the keyboards given the rhythm and then coming in with

753
00:35:49,079 --> 00:35:52,239
the melody, and then it's really nice how the guitar

754
00:35:52,440 --> 00:35:55,039
takes over that rhythm spot from the keyboard. But this one,

755
00:35:55,320 --> 00:35:56,840
I don't know whether they call this rock or new

756
00:35:56,880 --> 00:35:58,920
wave or new wave rock. It's just kind of its

757
00:35:59,039 --> 00:36:02,079
own thing. But it's just amazing that these guys are

758
00:36:02,519 --> 00:36:04,400
doing all these different styles of songs.

759
00:36:04,440 --> 00:36:07,360
Speaker 1: We haven't even got to country yet, which we will

760
00:36:07,519 --> 00:36:08,880
yeah on this side of the album.

761
00:36:08,960 --> 00:36:09,159
Speaker 3: Yeah.

762
00:36:09,239 --> 00:36:12,960
Speaker 1: Okay. So this is the fifth single YEP, released October

763
00:36:13,039 --> 00:36:16,280
ninth of nineteen eighty four. This only reached number eighteen.

764
00:36:16,599 --> 00:36:19,000
Speaker 3: Yeah, this was their least successful single.

765
00:36:19,239 --> 00:36:23,400
Speaker 2: But this to throw back to our Bruce Springsteen episode,

766
00:36:23,559 --> 00:36:25,760
this is They're Born in the USA. Not because it's

767
00:36:25,760 --> 00:36:28,440
a big hit, but because this one is about what

768
00:36:28,480 --> 00:36:30,360
it's like to be the Vietnam Vet that.

769
00:36:30,320 --> 00:36:31,440
Speaker 3: Nobody cares about right.

770
00:36:31,800 --> 00:36:33,599
Speaker 1: In fact, I called you the other day and I said,

771
00:36:33,800 --> 00:36:36,639
which one of the songs on sports belongs on Born

772
00:36:36,679 --> 00:36:39,000
in the USA? And we both agreed this one, This

773
00:36:39,119 --> 00:36:39,360
is it?

774
00:36:39,480 --> 00:36:40,239
Speaker 3: For sure? Yes?

775
00:36:40,280 --> 00:36:43,639
Speaker 1: Not if this is it? Not? If this one? Yes.

776
00:36:45,840 --> 00:36:49,079
Andre Pessis wrote this song. He also wrote this song

777
00:36:49,719 --> 00:36:51,519
just Take My Heart by mister Big.

778
00:36:51,800 --> 00:36:51,960
Speaker 11: Oh.

779
00:36:52,000 --> 00:36:55,920
Speaker 3: Okay, yeah, I remember that one. Yeah, mister Big was

780
00:36:56,920 --> 00:36:59,079
kind of hot for a moment. They're they're nice to

781
00:36:59,159 --> 00:36:59,960
Big for a second.

782
00:37:01,119 --> 00:37:03,440
Speaker 1: They were mister balliy for a second. Yes, I've got

783
00:37:03,440 --> 00:37:04,519
a great story about this song.

784
00:37:04,719 --> 00:37:05,519
Speaker 3: Okay, Okay.

785
00:37:05,800 --> 00:37:10,519
Speaker 1: So during live performances, Huey Lewis has been surprised before

786
00:37:10,639 --> 00:37:14,480
by Chris Berman. He's a famous ESPN personality, so they

787
00:37:14,519 --> 00:37:16,239
asked him, what do you get up on stage and

788
00:37:16,320 --> 00:37:19,760
sing walking on a fin line with Huey Lewis. He said,

789
00:37:19,800 --> 00:37:22,320
because if I sing Power of Love there'll be a riot.

790
00:37:26,199 --> 00:37:28,039
And you know what, He's probably right?

791
00:37:28,159 --> 00:37:32,400
Speaker 2: Okay, So interestingly, yes, and you say that this song

792
00:37:32,559 --> 00:37:35,519
was the last single released off of this album, right,

793
00:37:35,719 --> 00:37:37,559
The next single power of Love?

794
00:37:38,039 --> 00:37:38,239
Speaker 3: Right?

795
00:37:38,559 --> 00:37:38,840
Speaker 13: Yes?

796
00:37:39,880 --> 00:37:45,119
Speaker 1: Moving on, okay, the next song is called Finally Found

797
00:37:45,159 --> 00:37:56,159
a Home. Okay, So this has got some strong guitar

798
00:37:56,199 --> 00:37:57,239
work here at the beginning, right here.

799
00:37:57,239 --> 00:37:59,440
Speaker 3: Oh absolutely, I love it. And it's an acoustic guitar

800
00:38:00,079 --> 00:38:00,920
that they've got going.

801
00:38:01,000 --> 00:38:02,840
Speaker 8: This could I mean, this could be a Tesla song

802
00:38:03,320 --> 00:38:05,960
when it starts out right nice, I mean this is

803
00:38:06,239 --> 00:38:08,719
and Tesla isn't coming along for a little bit now

804
00:38:08,920 --> 00:38:12,079
right again, we have a completely different style of song

805
00:38:12,599 --> 00:38:15,079
that they're doing here. And what I love about this

806
00:38:15,159 --> 00:38:18,239
song is how it kind of sums up what's happened

807
00:38:18,280 --> 00:38:20,760
to Huey Lewis at this point. You know, everybody expects

808
00:38:20,800 --> 00:38:22,800
all of these great things from him because he's the

809
00:38:22,800 --> 00:38:24,760
guy who got the eight hundred on the math portion

810
00:38:24,960 --> 00:38:27,800
of the act, right, He's the guy who had the

811
00:38:27,800 --> 00:38:30,519
promising pitch your arm. It was going to go to

812
00:38:30,599 --> 00:38:32,920
you know, Winter Cornell was going to be a success.

813
00:38:33,320 --> 00:38:34,320
Speaker 3: And then he spent.

814
00:38:34,239 --> 00:38:38,880
Speaker 2: Eleven years failing around, right failing, only to have that

815
00:38:38,920 --> 00:38:42,360
band break up and become a house band somewhere and

816
00:38:42,480 --> 00:38:46,039
just by like I said, the best hustle move ever

817
00:38:46,480 --> 00:38:49,320
manages to do it. But he always stuck with doing

818
00:38:49,360 --> 00:38:52,480
what he loved. He didn't compromise what he wanted to do,

819
00:38:53,119 --> 00:38:55,480
and ultimately he found his home in that song.

820
00:38:55,400 --> 00:38:58,280
Speaker 1: Nice, nice, I love it. His hard work paid off.

821
00:38:58,400 --> 00:38:59,960
Speaker 3: Yeah, he finally kind of.

822
00:39:00,800 --> 00:39:15,039
Speaker 12: And this one could have been a single.

823
00:39:15,159 --> 00:39:16,159
Speaker 1: This is a great song.

824
00:39:16,239 --> 00:39:16,599
Speaker 3: Love it.

825
00:39:16,800 --> 00:39:18,880
Speaker 1: If this If you put this on you know, top

826
00:39:18,960 --> 00:39:20,800
forty radio, and you put a cool video with.

827
00:39:20,800 --> 00:39:23,519
Speaker 3: This, this is a hit. Yeah, I'm convinced. I'd love

828
00:39:23,519 --> 00:39:24,840
to hear Tesla Singers song.

829
00:39:27,119 --> 00:39:27,199
Speaker 12: Thin.

830
00:39:27,320 --> 00:39:27,800
Speaker 1: That'd be good.

831
00:39:27,800 --> 00:39:29,880
Speaker 2: We got to call Frank Hannon up. All right, would

832
00:39:29,880 --> 00:39:31,679
you guys do a cover of this song for us?

833
00:39:31,719 --> 00:39:32,039
Speaker 3: Please?

834
00:39:32,159 --> 00:39:34,320
Speaker 1: Okay, So we're done with Finally Found a Home. Now

835
00:39:34,360 --> 00:39:36,960
we're moving in to my favorite song on the album,

836
00:39:37,119 --> 00:39:37,880
if this is it?

837
00:39:54,519 --> 00:39:54,880
Speaker 4: All Right?

838
00:39:54,960 --> 00:39:58,320
Speaker 1: That guitar right there, it just sings right, it's just

839
00:39:58,400 --> 00:40:02,119
a it's just a melodic g tar and it's almost sad.

840
00:40:02,159 --> 00:40:03,719
It's a great breakup song.

841
00:40:03,559 --> 00:40:06,360
Speaker 3: You know. It is a great breakup song. That's rights.

842
00:40:06,679 --> 00:40:10,000
Speaker 2: It is the perfect music to go with the lyrics

843
00:40:10,000 --> 00:40:12,559
of this song because it is such a great song.

844
00:40:12,679 --> 00:40:16,480
Speaker 3: This is solid guitar, but it's so hooky. Yeah yeah,

845
00:40:16,559 --> 00:40:17,039
I mean.

846
00:40:17,920 --> 00:40:20,400
Speaker 1: The line at the beginning, I feel the pain. I

847
00:40:20,480 --> 00:40:25,199
heard you say, tell am, I'm not heartbreak? How does heartbreak?

848
00:40:25,199 --> 00:40:25,960
Speaker 3: It is heartbreak?

849
00:40:26,119 --> 00:40:29,000
Speaker 1: I feel the pain? Yeah, And I've been there, and

850
00:40:29,039 --> 00:40:30,199
you've been there, we've all been there.

851
00:40:30,480 --> 00:40:31,199
Speaker 3: I've never been there.

852
00:40:34,679 --> 00:40:38,000
Speaker 1: Okay. So this was their fourth single, released April tenth,

853
00:40:38,119 --> 00:40:42,039
nineteen eighty four. To me, this song is the summer

854
00:40:42,079 --> 00:40:42,960
of nineteen eighty four.

855
00:40:43,159 --> 00:40:46,079
Speaker 3: This song was on a lot all the time, a

856
00:40:46,119 --> 00:40:46,960
lot for sure.

857
00:40:47,280 --> 00:40:50,199
Speaker 1: So we are going through this incredible run through summer

858
00:40:50,239 --> 00:40:53,159
of eighty four and this song was all huge.

859
00:40:53,199 --> 00:40:54,800
Speaker 3: Oh my gosh.

860
00:40:54,760 --> 00:41:11,159
Speaker 9: Yes, yes, this is it.

861
00:41:16,199 --> 00:41:18,599
Speaker 1: As we've gone track by track for this, yes, I've said,

862
00:41:18,599 --> 00:41:21,400
pay attention to the chart toppers, yes, okay, and where

863
00:41:21,440 --> 00:41:23,800
they finish Okay, Hard and Soul went to number eight,

864
00:41:23,960 --> 00:41:26,840
Hard rock and roll number six, Yes, I want a

865
00:41:26,880 --> 00:41:32,239
new drug number six. If this is it third consecutive number.

866
00:41:31,960 --> 00:41:34,840
Speaker 2: Six, that's got to be frustrating, I telling you, is

867
00:41:34,840 --> 00:41:37,000
it frustrating or is it like, yeah, we did it again.

868
00:41:37,199 --> 00:41:39,239
I mean yeah, I mean I bet at number three

869
00:41:39,280 --> 00:41:41,280
they're like, can we just crack the top five?

870
00:41:41,360 --> 00:41:43,920
Speaker 1: I know, it's crazy. Well, so none of them reached

871
00:41:43,920 --> 00:41:44,519
the top five.

872
00:41:44,639 --> 00:41:45,400
Speaker 3: That's the power.

873
00:41:46,760 --> 00:41:51,719
Speaker 1: All right on the way, and thankfully we got Power

874
00:41:51,719 --> 00:41:52,360
of Love coming.

875
00:41:52,800 --> 00:41:56,519
Speaker 2: So the video if you guys, anybody, if you can't,

876
00:41:56,559 --> 00:41:59,119
if you're not calling the video right off the top

877
00:41:59,159 --> 00:42:02,719
of your head. All I have to say is heads

878
00:42:02,760 --> 00:42:05,679
buried in the sand, right, like the guys are buried

879
00:42:05,760 --> 00:42:08,199
up to their necks rocking back and forth.

880
00:42:08,400 --> 00:42:10,760
Speaker 3: That is this video right here.

881
00:42:11,199 --> 00:42:14,199
Speaker 1: They have a lot of those silly kind of play videos.

882
00:42:14,199 --> 00:42:14,880
It's really cool.

883
00:42:15,000 --> 00:42:15,239
Speaker 3: Yeah.

884
00:42:15,840 --> 00:42:18,079
Speaker 2: So the guy who directed this video is a guy

885
00:42:18,159 --> 00:42:20,000
named Ed Griles.

886
00:42:20,239 --> 00:42:21,960
Speaker 3: Ed Griles, Yes, okay, Ed.

887
00:42:21,920 --> 00:42:25,360
Speaker 2: Griles started He started making videos back in seventy nine

888
00:42:25,639 --> 00:42:29,440
with Deep Purple and Rainbow, and then he also made.

889
00:42:29,320 --> 00:42:33,280
Speaker 3: Videos for a group called Blue Angel. Okay, do you

890
00:42:33,320 --> 00:42:36,000
know what singer game from Blue Angel now? She just

891
00:42:36,039 --> 00:42:36,840
wanted to have fun?

892
00:42:37,039 --> 00:42:39,880
Speaker 1: Cinndy Laupper was also.

893
00:42:39,719 --> 00:42:44,800
Speaker 2: Huge in nineteen eighty four Age, which is, by the way,

894
00:42:45,400 --> 00:42:49,679
the year that the MTV Video Music Awards started.

895
00:42:49,960 --> 00:42:52,840
Speaker 3: And guess who directed Ed Ed Grives?

896
00:42:52,920 --> 00:42:55,360
Speaker 1: Nice? Yeah, nice. I do have in my notes that

897
00:42:55,480 --> 00:42:59,199
Ed Growls directed Hard Rock and Roll Stuck with You,

898
00:42:59,280 --> 00:43:00,960
which is Hugeluis.

899
00:43:00,599 --> 00:43:03,400
Speaker 3: Song off A four right off A four Yeah.

900
00:43:03,360 --> 00:43:06,000
Speaker 1: Which is another great Hugul Louis album. And he also

901
00:43:06,039 --> 00:43:09,800
directed girls Just Want to Have Fun and Time After Times,

902
00:43:09,960 --> 00:43:14,039
not the Ozzy Osbourne version, right, Okay, all right, I've

903
00:43:14,039 --> 00:43:16,880
got something that's gonna blow you away. This video, yes,

904
00:43:17,480 --> 00:43:19,280
was shot at a beach.

905
00:43:20,039 --> 00:43:22,639
Speaker 3: Yes, Okay, how am I gonna phrase it? That is not surprising?

906
00:43:23,679 --> 00:43:26,119
That was a colossal fail.

907
00:43:26,239 --> 00:43:28,400
Speaker 1: All right, here we go. I'm gonna try to tea

908
00:43:28,440 --> 00:43:29,280
this up a little bit better.

909
00:43:31,239 --> 00:43:31,599
Speaker 3: All right.

910
00:43:31,679 --> 00:43:33,039
Speaker 1: This video was shot at a beach.

911
00:43:33,159 --> 00:43:38,039
Speaker 3: Yes, hang on, hay on him. I'm waiting with hadd bread.

912
00:43:38,360 --> 00:43:44,679
Speaker 1: This video was shot and set at an amusement park

913
00:43:44,880 --> 00:43:48,679
on the beach. Okay about a movie that we've already covered.

914
00:43:49,199 --> 00:43:49,559
Speaker 3: Oh?

915
00:43:49,840 --> 00:43:52,280
Speaker 1: Shoot, does this ring a bell with you at all?

916
00:43:52,679 --> 00:43:55,920
Speaker 3: Okay, so beach movie that we've covered?

917
00:43:56,599 --> 00:44:00,400
Speaker 1: No, what movie have we covered? Where the action takes

918
00:44:00,440 --> 00:44:03,440
place at an amusement park on the beach?

919
00:44:03,760 --> 00:44:04,320
Speaker 3: Lost Boys?

920
00:44:04,400 --> 00:44:05,199
Speaker 1: The Lost Boys?

921
00:44:05,599 --> 00:44:05,840
Speaker 5: Oh?

922
00:44:06,079 --> 00:44:08,280
Speaker 3: Same beach? Wow?

923
00:44:08,559 --> 00:44:12,239
Speaker 1: The Santa Cruz Crui Boardwalk murder Capital of the World.

924
00:44:14,400 --> 00:44:16,880
Hue and the boys are lucky to get out of there.

925
00:44:16,760 --> 00:44:20,840
Speaker 2: Os after four attempts.

926
00:44:20,400 --> 00:44:20,920
Speaker 1: On that one.

927
00:44:21,039 --> 00:44:22,000
Speaker 3: Hey, blew my mind?

928
00:44:22,039 --> 00:44:25,119
Speaker 1: There we go. Didn't want to blow that. Okay, let's

929
00:44:25,119 --> 00:44:26,519
talk about the women in this video.

930
00:44:26,679 --> 00:44:31,079
Speaker 2: Okay, okay, Yeah, you got two ladies, one that's ready

931
00:44:31,119 --> 00:44:32,639
to get rid of him and one that's ready to

932
00:44:32,679 --> 00:44:36,320
take her spot. Okay, the pretty one, the one that's

933
00:44:36,360 --> 00:44:38,559
ready to get rid of him is Jane Across.

934
00:44:38,800 --> 00:44:42,760
Speaker 1: Janet Cross was Babe City in nineteen eighty four, the

935
00:44:42,800 --> 00:44:46,239
white swimsuit, the burnette. You know, she's walking around with

936
00:44:46,280 --> 00:44:49,119
different boyfriends all the time, breaking hue Less's heart.

937
00:44:49,320 --> 00:44:49,599
Speaker 3: Right.

938
00:44:50,159 --> 00:44:52,920
Speaker 1: She is now a renowned New York architect.

939
00:44:53,119 --> 00:44:57,639
Speaker 3: What wow? Yes, okay, yeah, that's awesome. That is good.

940
00:44:58,000 --> 00:44:59,679
Speaker 1: She was hoping that this video would kind of be

941
00:44:59,719 --> 00:45:02,760
your big break. Didn't pan out for her, so now

942
00:45:02,760 --> 00:45:04,119
she's an architect in New York City.

943
00:45:04,239 --> 00:45:09,440
Speaker 2: Wow, you got something on Sandra Wilder, Jeene Wilder's niece.

944
00:45:10,320 --> 00:45:11,760
I can tell you that she was also in a

945
00:45:11,800 --> 00:45:15,639
Scorpions video and also in The Woman in Red, which

946
00:45:16,039 --> 00:45:17,320
starred Kelly.

947
00:45:17,079 --> 00:45:25,960
Speaker 1: LeBrock and Jeanie Hey. Maybe right, maybe yeah, okay, No,

948
00:45:26,199 --> 00:45:28,119
Jean Wilder's not as really it's Frankenstein.

949
00:45:31,400 --> 00:45:35,320
Speaker 3: Oh my gosh, that was so good. That was so good.

950
00:45:35,519 --> 00:45:36,480
Speaker 1: All right, done it?

951
00:45:36,599 --> 00:45:38,960
Speaker 3: This is yes, this is it for this is it?

952
00:45:39,159 --> 00:45:39,519
Speaker 12: All right?

953
00:45:40,280 --> 00:45:42,239
Speaker 1: Next one is called You Cracked Me Up?

954
00:45:51,119 --> 00:45:54,639
Speaker 3: Okay, fantastic new wave beginning.

955
00:45:54,679 --> 00:45:57,800
Speaker 2: This sounds like a car song, right, they've hooked into that.

956
00:45:57,800 --> 00:46:01,440
Speaker 3: That car sound very cool synth intro.

957
00:46:01,920 --> 00:46:03,719
Speaker 2: You know where you got the idea for all of

958
00:46:03,559 --> 00:46:06,599
the horrible things that this person he's talking to tell me.

959
00:46:06,760 --> 00:46:09,639
So this came from people who would try to meet them,

960
00:46:09,840 --> 00:46:12,559
like after the show, like they'd come and meet them,

961
00:46:12,599 --> 00:46:14,880
you know, try to corner them in the parking lot

962
00:46:15,000 --> 00:46:17,360
or whatever. Before they were super big and famous, like

963
00:46:17,400 --> 00:46:20,639
when they were playing at Uncle Charlie's, they would have

964
00:46:20,679 --> 00:46:22,880
these people that constantly could just kind of came up

965
00:46:22,920 --> 00:46:25,519
and just did all of these annoying things, or were

966
00:46:25,559 --> 00:46:28,920
obviously high or thought they were a star already, And

967
00:46:29,199 --> 00:46:32,119
that's where they got all lyrics for this obnoxious person

968
00:46:32,119 --> 00:46:32,559
that he's.

969
00:46:32,440 --> 00:46:35,599
Speaker 1: Returned nice nice. This song was written after he met

970
00:46:35,639 --> 00:46:42,039
with that young reporter from the Arkansas NY Denny So

971
00:46:42,320 --> 00:46:44,119
too bad. This song is not about Denny, but it

972
00:46:44,159 --> 00:46:48,000
could have been right right. This song was written by

973
00:46:48,159 --> 00:46:51,760
Hu Lewis and Mario Sipalina. It's only one of four

974
00:46:51,800 --> 00:46:53,760
songs on this whole album that wasn't released as a single.

975
00:46:53,800 --> 00:46:54,679
Speaker 3: It's a great song, it's.

976
00:46:59,360 --> 00:47:00,320
Speaker 1: It's not as good.

977
00:47:00,559 --> 00:47:04,360
Speaker 3: No skippers on this out maybe one. Are you referring

978
00:47:04,400 --> 00:47:05,199
to the last song?

979
00:47:05,480 --> 00:47:07,639
Speaker 1: I am referring to the last song.

980
00:47:07,880 --> 00:47:10,960
Speaker 3: Okay, we need to just jump right into it. Mister.

981
00:47:11,400 --> 00:47:14,079
All right, Mink Williams is gonna come down and back

982
00:47:14,159 --> 00:47:15,400
you for this.

983
00:47:15,639 --> 00:47:18,280
Speaker 1: Okay, all right, moving on to the last song. That

984
00:47:18,400 --> 00:47:20,039
song is called Honky Tonk Blues.

985
00:47:27,440 --> 00:47:29,079
Speaker 3: I can't believe that you hate the song.

986
00:47:29,280 --> 00:47:30,159
Speaker 1: I don't hate it.

987
00:47:30,440 --> 00:47:31,960
Speaker 3: You're skipping this, I'm it.

988
00:47:32,000 --> 00:47:35,159
Speaker 2: Oh my gosh, this is like, this is like a

989
00:47:35,199 --> 00:47:38,760
sleep at the Wheel. Roy Benson, cold close personal friend

990
00:47:38,800 --> 00:47:44,800
of Huey Lewis. This is bluegrass steel guitar at its finest.

991
00:47:45,119 --> 00:47:46,280
Speaker 3: How can you be against the song.

992
00:47:46,599 --> 00:47:48,320
Speaker 1: I'm just in a rush to get back to hard

993
00:47:48,440 --> 00:47:48,920
rock and roll.

994
00:47:49,000 --> 00:47:50,280
Speaker 3: Oh my gosh. Okay.

995
00:47:50,320 --> 00:47:53,639
Speaker 2: So this song was originally recorded by Hank Williams.

996
00:47:55,880 --> 00:47:57,000
Speaker 9: I got the Huncle.

997
00:47:59,320 --> 00:48:00,039
Speaker 11: Uncle Tom.

998
00:48:02,320 --> 00:48:09,079
Speaker 10: And what I Got.

999
00:48:07,599 --> 00:48:11,519
Speaker 3: His son has re recorded Hank Williams Junior.

1000
00:48:11,960 --> 00:48:14,480
Speaker 2: It was on Nitty Gritty Dirt Band nineteen seventy two

1001
00:48:14,559 --> 00:48:17,519
album Will the Circle Be Unbroken? It was a big

1002
00:48:17,599 --> 00:48:21,519
hit for Charlie Pride. It was on Waylon Jennings' nineteen

1003
00:48:21,559 --> 00:48:24,679
eighty two album Black on Black, and then Huey Lewis,

1004
00:48:24,679 --> 00:48:27,239
and then after Huey Lewis, The Pirates of the Mississippi

1005
00:48:27,320 --> 00:48:29,679
came out with it and got to number twenty six

1006
00:48:30,119 --> 00:48:30,960
on the Hot.

1007
00:48:30,760 --> 00:48:34,159
Speaker 3: Country Singles charts with this song. This is an amazing song.

1008
00:48:34,440 --> 00:48:35,880
Speaker 1: I'm waiting to be impressed.

1009
00:48:36,400 --> 00:48:42,320
Speaker 3: Are you what? You're gonna make me blow a vein?

1010
00:48:43,119 --> 00:48:44,880
Speaker 1: I'm sorry, this is not my style.

1011
00:48:45,239 --> 00:48:47,360
Speaker 2: Oh all right, you're not a country I'm not a

1012
00:48:47,400 --> 00:48:49,079
country guy either, but this is good.

1013
00:48:49,119 --> 00:48:51,760
Speaker 3: This is good country music, Okay, pleas.

1014
00:48:51,480 --> 00:48:54,679
Speaker 2: It shows the versatility of this band who's given us

1015
00:48:54,800 --> 00:48:57,880
pop and new wave and blues and do wop and

1016
00:48:57,920 --> 00:49:01,199
now they come and they they give us the honkyng Listen.

1017
00:49:01,320 --> 00:49:04,760
Speaker 1: This is versus country. They are showing off their versatility.

1018
00:49:04,800 --> 00:49:07,079
I cannot argue with that. It sounds like a great

1019
00:49:07,119 --> 00:49:09,159
country song. I'm just not a big country I would

1020
00:49:09,239 --> 00:49:12,280
rather have another new wave, pop radio friendly hit this.

1021
00:49:12,760 --> 00:49:13,039
Speaker 5: Yeah.

1022
00:49:13,440 --> 00:49:15,599
Speaker 1: Can we exchange this one for power of Love and

1023
00:49:15,639 --> 00:49:17,760
just trade them right out?

1024
00:49:18,400 --> 00:49:21,920
Speaker 3: Okay, that's fine, we turned off, We turned off. You're

1025
00:49:22,000 --> 00:49:23,239
kind of soured.

1026
00:49:23,400 --> 00:49:25,960
Speaker 1: I all experience. I am sorry, I am sorry.

1027
00:49:25,960 --> 00:49:27,599
Speaker 3: I can't believe you said there's a skipper. But that's

1028
00:49:27,599 --> 00:49:28,719
all right, You're just wrong.

1029
00:49:28,960 --> 00:49:30,880
Speaker 1: I'm just ready to get back to heart of rock

1030
00:49:30,920 --> 00:49:31,679
and roll, you know.

1031
00:49:31,599 --> 00:49:34,440
Speaker 3: All right? All right, fair enough.

1032
00:49:33,880 --> 00:49:35,880
Speaker 1: Okay, so this is the end of the album. Yes,

1033
00:49:36,239 --> 00:49:38,320
HiT's stop on your tape player, kick an outflip and

1034
00:49:38,320 --> 00:49:40,000
I'll return it back to hard rock and roll and restart.

1035
00:49:40,199 --> 00:49:43,480
Speaker 2: Yeah, okay, or grab your Back to the Future soundtrack

1036
00:49:43,599 --> 00:49:46,679
throw it in, because man, what a freaking good soundtrack

1037
00:49:46,760 --> 00:49:47,199
that was.

1038
00:49:47,480 --> 00:49:48,719
Speaker 1: We are into final judgment.

1039
00:49:48,960 --> 00:49:52,800
Speaker 3: Okay, am I going first?

1040
00:49:52,880 --> 00:49:54,280
Speaker 1: I went first last time, your first?

1041
00:49:54,280 --> 00:49:54,599
Speaker 3: This time?

1042
00:50:04,000 --> 00:50:04,320
Speaker 5: Okay.

1043
00:50:04,480 --> 00:50:05,519
Speaker 3: So here's what I gotta say.

1044
00:50:05,599 --> 00:50:05,920
Speaker 12: All right.

1045
00:50:06,079 --> 00:50:11,039
Speaker 2: The songs on Huey Lewis and The News Sports are

1046
00:50:11,280 --> 00:50:16,199
all ear candy. They're wonderful, and it took me a

1047
00:50:16,239 --> 00:50:20,159
little while to fall in love with Bruce Springsteen Born

1048
00:50:20,159 --> 00:50:22,639
in the Usa, But I realized what the difference was,

1049
00:50:22,760 --> 00:50:24,559
and it took an experience of.

1050
00:50:24,480 --> 00:50:25,920
Speaker 3: Life to make happen.

1051
00:50:26,320 --> 00:50:29,239
Speaker 2: When I'm in my car and the sun is out

1052
00:50:29,320 --> 00:50:31,559
and it's summertime and I want to have fun, I'm

1053
00:50:31,599 --> 00:50:34,280
listening to Hugh Lewis in The New Sports when I've

1054
00:50:34,360 --> 00:50:37,039
just had an argument with my wife and it's late

1055
00:50:37,039 --> 00:50:40,639
at night and I'm driving fast and angry. I need

1056
00:50:40,800 --> 00:50:45,199
those deep picture painting lyrics of Born in the Usa.

1057
00:50:45,320 --> 00:50:47,880
Speaker 3: So which album I'm gonna pick When I'm walking out the.

1058
00:50:47,840 --> 00:50:51,840
Speaker 2: Door depends on which situation I'm in, all right, but

1059
00:50:52,400 --> 00:50:57,079
I gotta say as good as Born in the USA is,

1060
00:50:57,320 --> 00:50:58,679
and it is fantastic.

1061
00:50:59,280 --> 00:51:00,400
Speaker 3: It is fantastic.

1062
00:51:00,639 --> 00:51:05,639
Speaker 2: The lyrics, no question, better deeper lyrics. But for pure

1063
00:51:05,679 --> 00:51:07,760
listening pleasure, I got to pick Hue listen to the

1064
00:51:07,880 --> 00:51:11,199
new Sports So Good, so much a part of my

1065
00:51:11,360 --> 00:51:12,280
youth growing up.

1066
00:51:12,440 --> 00:51:14,079
Speaker 3: That's where it is for me. Okay, where you're at.

1067
00:51:20,599 --> 00:51:23,119
Speaker 1: Basically, that's the exact same way that I feel. Born

1068
00:51:23,119 --> 00:51:30,079
in the USA has deep, meaningful, poignant, serious even songs. Okay,

1069
00:51:30,440 --> 00:51:32,400
now there are a few exceptions. I think Glory Days

1070
00:51:32,440 --> 00:51:36,519
is great fun and it is ear candy. Yep, Glory

1071
00:51:36,639 --> 00:51:38,239
Days is a top down, turn it up.

1072
00:51:38,159 --> 00:51:41,239
Speaker 3: Song, my favorite favorite song of his.

1073
00:51:41,440 --> 00:51:42,400
Speaker 11: Overall, I think.

1074
00:51:42,280 --> 00:51:44,559
Speaker 1: I think so too right. You know, Born in the USA.

1075
00:51:44,639 --> 00:51:47,400
We talked about how that is a not quite what

1076
00:51:47,559 --> 00:51:50,360
you think it's about song, right, And then they have

1077
00:51:50,440 --> 00:51:54,079
some some more subdued songs like I'm on Fire and

1078
00:51:54,239 --> 00:51:58,920
Hometown and so Great, iconic, huge seller of nineteen eighty four,

1079
00:51:59,480 --> 00:52:03,119
deeply ingrained in the mid eighties. But for me, I'm

1080
00:52:03,119 --> 00:52:05,920
a feel good guy, and Huey Lewis is all about

1081
00:52:05,960 --> 00:52:08,000
feel good music. So if I'm walking out the door,

1082
00:52:08,199 --> 00:52:10,320
it would have to be a rainy, stormy day for

1083
00:52:10,360 --> 00:52:12,800
me to grab born in the USA over sports. Right

1084
00:52:13,199 --> 00:52:15,559
for me, it's almost always going to be sports.

1085
00:52:15,679 --> 00:52:17,320
Speaker 3: All right, we're on the same page again.

1086
00:52:17,519 --> 00:52:17,960
Speaker 1: How about that?

1087
00:52:18,280 --> 00:52:19,280
Speaker 3: That's I see.

1088
00:52:19,360 --> 00:52:21,559
Speaker 2: We've had a couple this year so far. Oh right,

1089
00:52:21,639 --> 00:52:28,400
you're finally coming around. Tell us what you think. Hit

1090
00:52:28,480 --> 00:52:32,000
us up on Twitter at Charley Podcast. Hit us up

1091
00:52:32,119 --> 00:52:35,400
on Facebook at Charley Podcast. Be sure to check out

1092
00:52:35,400 --> 00:52:39,480
our Patreon page where you can become an executive producer

1093
00:52:39,519 --> 00:52:42,239
of one of our episodes with a very.

1094
00:52:42,039 --> 00:52:46,360
Speaker 3: Small donation to our podcast. And Jason, what have we

1095
00:52:46,400 --> 00:52:47,360
got coming up next?

1096
00:52:47,559 --> 00:52:50,440
Speaker 1: Okay, you thought this one was big? Yeah, nineteen eighty four,

1097
00:52:50,480 --> 00:52:53,199
Wait till we talk about next week. Next week is

1098
00:52:53,360 --> 00:52:55,920
Ghostbusters versus Gremlins.

1099
00:52:56,119 --> 00:52:57,079
Speaker 3: Fantastic.

1100
00:52:57,599 --> 00:53:02,000
Speaker 2: We've got more funny than scary monster type movies. Yeah,

1101
00:53:02,079 --> 00:53:05,400
sort of supernatural, gigantic in nineteen eighty four, I mean,

1102
00:53:05,400 --> 00:53:08,559
they were everywhere that you could not go somewhere without

1103
00:53:08,559 --> 00:53:11,719
seeing a mogwai or a slammer. Tune in for that,

1104
00:53:12,000 --> 00:53:14,440
Come back and listen in with us, join the fun.

1105
00:53:15,039 --> 00:53:16,079
Speaker 3: See you guys next week.