1
00:00:01,040 --> 00:00:07,360
Speaker 1: This is a podcast from Minute Media for You Can't

2
00:00:07,440 --> 00:00:10,160
Say Him and the Case Forgot.

3
00:00:10,919 --> 00:00:11,199
Speaker 2: I'm a.

4
00:00:17,600 --> 00:00:20,160
Speaker 1: Hello everybody, and welcome back to the Shirley You Can't

5
00:00:20,199 --> 00:00:24,559
Be Serious Podcast. I am here today with Jason Colvin,

6
00:00:24,719 --> 00:00:28,199
my continuous co host, and we have our very special

7
00:00:28,239 --> 00:00:31,640
guest again with us today, number four episode with mister

8
00:00:31,800 --> 00:00:32,439
David Wright.

9
00:00:32,560 --> 00:00:33,520
Speaker 3: David, how you doing today?

10
00:00:33,560 --> 00:00:33,719
Speaker 1: Man?

11
00:00:33,920 --> 00:00:36,479
Speaker 2: Man? I am deafened to my leftist Jimmy d and

12
00:00:36,520 --> 00:00:40,600
too my right on the miciss Jason C the Shirley

13
00:00:40,719 --> 00:00:42,960
Airwaves a guest spot on the show. Well it's got

14
00:00:43,000 --> 00:00:45,600
to be deaf Daves. Where's your hip hop expert? Well?

15
00:00:45,600 --> 00:00:47,840
Here he is all the knowledge that I drop make

16
00:00:47,880 --> 00:00:50,039
suckers furious? He ask me how I am? It's not

17
00:00:50,079 --> 00:00:53,200
that mysterious, Shirley You Can't be serious? A top down,

18
00:00:53,240 --> 00:00:55,200
turn it up, brass monkey in a cup. Tune in

19
00:00:55,200 --> 00:00:57,960
the final judgment and you'll know what's up. Hell, devastating

20
00:00:58,079 --> 00:01:00,640
kount of podcaster b My name is David. You can

21
00:01:00,679 --> 00:01:04,319
call me d whoa man that is?

22
00:01:04,599 --> 00:01:07,920
Speaker 1: I'll be giving it up to you. Oh that was fantastic.

23
00:01:08,000 --> 00:01:10,799
Speaker 4: That is the best intro ever I've started the trill

24
00:01:11,599 --> 00:01:12,439
history right there.

25
00:01:12,359 --> 00:01:16,319
Speaker 1: Yeah, that's fantastic. So we started before every time we

26
00:01:16,439 --> 00:01:18,560
hit the record button, I say to Jason do you

27
00:01:18,599 --> 00:01:20,760
have something? He says, now, do you have something? And

28
00:01:20,799 --> 00:01:25,640
we just throw something at the beginning, and that was fantastic.

29
00:01:25,719 --> 00:01:26,799
That's definitely the best way.

30
00:01:26,840 --> 00:01:30,000
Speaker 4: I took time, effort, thought, Ryan off the top, Man

31
00:01:30,040 --> 00:01:32,879
off the dome, I'm gonna I'm going to capture that.

32
00:01:33,040 --> 00:01:35,159
Speaker 1: I'm gonna I'm going to put a backbeat to it,

33
00:01:35,200 --> 00:01:37,159
and I'm gonna let it just be the interest song

34
00:01:37,239 --> 00:01:41,640
for us every time. That would be awesome. Welcome back, David,

35
00:01:41,760 --> 00:01:45,200
is great to have you here again. If you, dear listener,

36
00:01:45,239 --> 00:01:47,400
are just joining us for the very first time in

37
00:01:47,439 --> 00:01:50,239
this podcast. This is number four in a series that

38
00:01:50,280 --> 00:01:52,480
we are doing where we are looking back at nineteen

39
00:01:52,680 --> 00:01:56,640
eighty six, thirty five years ago this year, covering two

40
00:01:56,920 --> 00:02:00,959
of the most iconic albums of that year, Raising Hell

41
00:02:01,040 --> 00:02:06,040
by Run DMC and Licensed to Ill by the Beastie Boys.

42
00:02:06,200 --> 00:02:09,680
Dave has been our special guest with the massive hip

43
00:02:09,680 --> 00:02:13,120
hop knowledge bringing it and just man, you couldn't have

44
00:02:13,120 --> 00:02:15,919
finished any stronger than that intro. So I'm excited to

45
00:02:16,000 --> 00:02:19,159
jump back into it today. We are talking about Raising

46
00:02:19,199 --> 00:02:22,840
Hell track by track. We have covered the history of

47
00:02:22,879 --> 00:02:25,840
the Beastie Boys, we have covered Licensed to Ill track

48
00:02:25,879 --> 00:02:28,240
by track, we have covered the history of hip hop

49
00:02:28,280 --> 00:02:31,360
itself as it leads up to Run DMC, and today

50
00:02:31,439 --> 00:02:34,560
we are going to be covering Raising Hell track by track.

51
00:02:34,759 --> 00:02:36,840
I am pumped. I can't wait.

52
00:02:36,919 --> 00:02:38,879
Speaker 4: I can't wait, Dave, are you ready to go track

53
00:02:38,919 --> 00:02:39,919
my track to Raising Hell?

54
00:02:40,039 --> 00:02:41,520
Speaker 2: Well? First of all, in case I don't have a

55
00:02:41,639 --> 00:02:43,199
chance to say this at the end, I just want

56
00:02:43,240 --> 00:02:45,919
to thank y'all so much for giving me this opportunity

57
00:02:45,639 --> 00:02:48,000
to come on here for this guest st and talk

58
00:02:48,039 --> 00:02:49,840
about this stuff. I feel like you just let me

59
00:02:49,840 --> 00:02:52,599
indulge myself, and I hope everybody's enjoyed it. I think

60
00:02:52,639 --> 00:02:55,680
it's amazing that I have an opportunity to talk about

61
00:02:55,759 --> 00:03:00,680
run DMC with two guys actually named d and Jay.

62
00:03:02,960 --> 00:03:05,599
I can sit here with with Lee's on my legs

63
00:03:05,639 --> 00:03:08,280
and Adidas on my feet, with d by my side

64
00:03:08,520 --> 00:03:09,639
and Jay with the beat.

65
00:03:11,599 --> 00:03:14,680
Speaker 1: That's fantastic, man, that is fantastic. Dave. We've had a

66
00:03:14,680 --> 00:03:15,479
great time with you, man.

67
00:03:15,520 --> 00:03:18,000
Speaker 4: It's been fun to get to know you, and you

68
00:03:18,080 --> 00:03:21,280
have been an awesome, awesome expert in this area, So

69
00:03:21,719 --> 00:03:23,800
thank you for contributing to our show man.

70
00:03:23,919 --> 00:03:26,319
Speaker 1: Yeah, it's been a complete honor. And just as a

71
00:03:26,400 --> 00:03:29,919
reminder to everyone, Dave is an author. You can catch

72
00:03:29,960 --> 00:03:33,960
his books at Galahad's doom dot com. We found out

73
00:03:34,039 --> 00:03:36,479
just this week also that he does a podcast. I

74
00:03:36,520 --> 00:03:38,280
don't know how we went this whole time and didn't

75
00:03:38,319 --> 00:03:41,039
know that, but he has got a podcast where he

76
00:03:41,120 --> 00:03:44,280
talks about soccer. It's a way to vent about your

77
00:03:44,280 --> 00:03:45,280
soccer feelings. Right.

78
00:03:46,120 --> 00:03:47,960
Speaker 2: Yeah, I'm a big I'm a big soccer fan, but

79
00:03:48,000 --> 00:03:51,360
specifically a fan of the American version of the game.

80
00:03:51,520 --> 00:03:53,840
So I'm a big major league soccer fan and US

81
00:03:53,960 --> 00:03:56,719
national team fan, and I just do a quick, little

82
00:03:56,840 --> 00:03:59,400
like news update type of podcast and usually no more

83
00:03:59,439 --> 00:04:02,960
than ten minutes. So if someone's a very casual fan

84
00:04:03,080 --> 00:04:04,960
or a curious fan but they don't really want to

85
00:04:04,960 --> 00:04:06,719
devote an hour and a half to a big deep dive,

86
00:04:06,960 --> 00:04:09,280
they can check in with my show, get what they need,

87
00:04:09,319 --> 00:04:11,719
and then be done beyond with their day. So it's

88
00:04:11,719 --> 00:04:13,919
called American Soccer Quick Kicks.

89
00:04:14,039 --> 00:04:17,959
Speaker 1: Very nice, and you got lambasted this week on Twitter

90
00:04:18,000 --> 00:04:21,160
for your thoughts on the new soccer ball. Is that right?

91
00:04:21,759 --> 00:04:24,519
Speaker 2: Yes? I got destroyed because they showed the new ball

92
00:04:24,560 --> 00:04:26,399
designed for next year and has flowers on it. I

93
00:04:26,439 --> 00:04:28,480
made the mistake of saying that you don't put flowers

94
00:04:28,519 --> 00:04:30,920
on a grown man's soccer ball, and I got completely

95
00:04:31,800 --> 00:04:35,240
viscerated by soccer Twitter for that one. I may have

96
00:04:35,360 --> 00:04:38,439
mentioned that my grandmother would be excited to see a

97
00:04:38,439 --> 00:04:42,680
ball that matches her drapes. I don't think they like

98
00:04:42,800 --> 00:04:45,720
that too much. Before we jump into the album, I

99
00:04:45,759 --> 00:04:47,560
got a couple of things I want to point out.

100
00:04:48,160 --> 00:04:51,240
First of all, this album represents pretty much the epitome

101
00:04:51,439 --> 00:04:54,720
of the collaboration with Rick Rubin and run DMC. He

102
00:04:54,879 --> 00:04:57,199
did go on to produce two more songs for them

103
00:04:57,240 --> 00:05:03,600
after this album. The first one was Christmas in holl Us,

104
00:05:05,519 --> 00:05:08,079
which is their well known holiday track. It was placed

105
00:05:08,079 --> 00:05:11,360
in die Hard. It's kind of an annual. It's a

106
00:05:11,399 --> 00:05:13,279
perennial holiday hit, at least around my house.

107
00:05:13,319 --> 00:05:16,720
Speaker 4: It is hey way, we can't blow past that man.

108
00:05:18,360 --> 00:05:20,399
Speaker 1: This is our Guyles Christmas.

109
00:05:20,079 --> 00:05:22,319
Speaker 4: Music that he plays for John McLean as they're taking

110
00:05:22,319 --> 00:05:24,519
the limo ride to knock a toy tower.

111
00:05:28,120 --> 00:05:30,639
Speaker 2: That's right because the rhymes you hear are the rhymes

112
00:05:30,639 --> 00:05:33,759
of Daryl's but each and every year we bust Christmas Carols.

113
00:05:33,839 --> 00:05:36,399
The last song he did with them was Mary Mary,

114
00:05:36,439 --> 00:05:39,000
which came off their nineteen eighty eight album Tougher Than Leather.

115
00:05:39,120 --> 00:05:41,680
And I want to mention that song because I happened

116
00:05:41,680 --> 00:05:43,920
to be in the crowd the night they were shooting

117
00:05:44,279 --> 00:05:47,399
the Mary Mary music video. It was in Albany, Georgia.

118
00:05:47,439 --> 00:05:49,639
I was with my friend from high school, Chris Grab.

119
00:05:49,800 --> 00:05:52,480
I know he's listening. Shout out to Chris. We were

120
00:05:52,519 --> 00:05:55,079
there that night when they were shooting the video and

121
00:05:55,600 --> 00:05:58,519
their camera was behind me and I'm in the video,

122
00:05:58,680 --> 00:06:00,319
but you kind of have to take my word for it.

123
00:06:00,360 --> 00:06:03,079
You can't see my face, but you got one skinny,

124
00:06:03,399 --> 00:06:06,680
little white elbow pumping his fists in the air. I

125
00:06:06,839 --> 00:06:07,959
promise you that's me.

126
00:06:08,279 --> 00:06:13,439
Speaker 1: That day's chicken wing famous elbow. And for your friend,

127
00:06:13,480 --> 00:06:18,079
I just have to say, what up, Chris? What I

128
00:06:18,160 --> 00:06:19,199
was born to do? Baby.

129
00:06:20,639 --> 00:06:23,160
Speaker 2: That summer of nineteen eighty eight, it seemed like the

130
00:06:23,160 --> 00:06:26,160
only two videos on MTV were Mary Mary and Pour

131
00:06:26,240 --> 00:06:28,639
Some Sugar on Me. I was very happy to watch

132
00:06:28,680 --> 00:06:30,720
Mary Mary every time it came on. That's my elbow.

133
00:06:31,079 --> 00:06:32,279
Speaker 4: That's fantastic, man.

134
00:06:32,519 --> 00:06:35,480
Speaker 2: So a note about the album cover for Raising Hell.

135
00:06:36,040 --> 00:06:39,079
You'll notice that, just like with their first two albums,

136
00:06:39,360 --> 00:06:41,920
the only two people that appear on the cover are

137
00:06:42,040 --> 00:06:45,040
Darryl and Joe. You don't see jam Master Jay in

138
00:06:45,160 --> 00:06:47,639
any of these first three album covers, and there's a

139
00:06:47,639 --> 00:06:50,600
good reason for that, Okay, jam Master j was not

140
00:06:50,879 --> 00:06:54,120
signed to Profile Records. The only people that had contract

141
00:06:54,240 --> 00:06:56,920
Profile were Darryl and Joe, and so they had brought

142
00:06:57,040 --> 00:06:59,920
Jay in as a side man for their road performances.

143
00:07:00,079 --> 00:07:02,319
He was, for a long time, never officially signed to

144
00:07:02,360 --> 00:07:04,319
the record deal. Even though you see him in some

145
00:07:04,399 --> 00:07:07,000
early photography, Profile wouldn't put him on the cover.

146
00:07:07,560 --> 00:07:10,040
Speaker 4: Interesting, So I've got a little bit something on the

147
00:07:10,160 --> 00:07:13,800
album cover as well. Caroline Grayshock was the photographer and

148
00:07:13,839 --> 00:07:16,480
she's the one who took Cyndi Lauper's.

149
00:07:16,160 --> 00:07:17,879
Speaker 1: She's So Unusual cover as well.

150
00:07:17,920 --> 00:07:20,079
Speaker 4: All Right, So before we go any further, this album

151
00:07:20,160 --> 00:07:22,800
was released May twenty seventh of nineteen eighty six. Run

152
00:07:22,839 --> 00:07:25,399
DMC is the first hip hop group to receive heavy

153
00:07:25,519 --> 00:07:28,519
rotation on MTV, grace the cover of Rolling Stone magazine,

154
00:07:28,639 --> 00:07:30,560
and get a Grammy nomination.

155
00:07:30,279 --> 00:07:32,759
Speaker 1: And a couple of quick background on the recording of

156
00:07:32,759 --> 00:07:35,079
the album. They had just come off of tour in

157
00:07:35,199 --> 00:07:37,920
nineteen eighty five and they went into a place called

158
00:07:38,040 --> 00:07:41,399
chun King Studios in New York City. Now, chun King

159
00:07:41,680 --> 00:07:46,120
became a huge studio for recording hip hop and rap

160
00:07:46,160 --> 00:07:49,720
style albums. You had Run, dmc, ll Cool J, Beastie Boys,

161
00:07:49,759 --> 00:07:55,000
Public Enemy, Buster Rhymes, Notorious, Big Tupac, Lauren Hill, Outcast,

162
00:07:55,279 --> 00:07:59,240
Method Man, Nas, Lil Wayne, Kanye West, all of those guys,

163
00:07:59,240 --> 00:08:03,040
and some rock group Aerosmith as we know, Beyonce, depeche Mode,

164
00:08:03,120 --> 00:08:07,839
Destiny's Child, Fergie and Lady Gaga all recorded at chunk

165
00:08:07,879 --> 00:08:10,639
King Studios at some point, but it had just gotten

166
00:08:10,680 --> 00:08:12,959
this name of chun King Studios when they came in

167
00:08:13,279 --> 00:08:16,560
to start their recording process. Now, the producer on this

168
00:08:16,639 --> 00:08:18,720
one was different than the last two albums, which we

169
00:08:18,920 --> 00:08:21,879
kind of discussed. They had had Larry Smith as their

170
00:08:21,920 --> 00:08:24,519
producer for the last couple of albums, and as Dave

171
00:08:24,639 --> 00:08:27,680
mentioned on our last episode, Run had gotten a little

172
00:08:27,680 --> 00:08:30,600
tired of how much Larry was trying to put more

173
00:08:30,720 --> 00:08:34,919
music into the albums. Although it was his brilliant idea

174
00:08:34,960 --> 00:08:37,240
when they were listening to Riot to put some rock

175
00:08:37,279 --> 00:08:38,000
into their music.

176
00:08:38,120 --> 00:08:39,159
Speaker 3: But this album.

177
00:08:39,320 --> 00:08:44,840
Speaker 1: They were using a new upstart DJ called Rick Rubin.

178
00:08:44,879 --> 00:08:46,919
Speaker 2: So you know, just to remember the timeline from our

179
00:08:46,960 --> 00:08:50,480
first episode, the first album put out by def Jam

180
00:08:50,879 --> 00:08:54,080
was ellocle Jay's Radio, which came just after Crush Groove

181
00:08:54,320 --> 00:08:57,480
late nineteen eighty five, and it was produced by Rick Rubin.

182
00:08:57,559 --> 00:09:00,799
Speaker 4: If you want more history on run DMC and hip

183
00:09:00,799 --> 00:09:03,000
hop and rap, go back and listen to our previous

184
00:09:03,039 --> 00:09:04,480
episode from last week.

185
00:09:04,320 --> 00:09:07,120
Speaker 1: Where Dave laid the knowledge on Thick and.

186
00:09:07,759 --> 00:09:10,720
Speaker 4: Is unbelievable the amount of knowledge to day brought on

187
00:09:10,759 --> 00:09:14,279
that episode for sure. By the way, you mentioned Chunking Studios. Yes,

188
00:09:14,519 --> 00:09:17,879
that is also known as the Abbey Road of hip hop.

189
00:09:17,960 --> 00:09:20,159
One thing I wanted to cover real quick, raising Hell

190
00:09:20,480 --> 00:09:24,159
did not reach number one on the Billboard Hot two hundred.

191
00:09:24,360 --> 00:09:25,840
It made it all the way to number three.

192
00:09:26,120 --> 00:09:28,919
Speaker 1: Do you know the two albums that kept run DMC

193
00:09:29,080 --> 00:09:30,000
out of the top spots.

194
00:09:30,080 --> 00:09:33,120
Speaker 4: I do, and we've talked about one at length and

195
00:09:33,159 --> 00:09:36,799
one in glancing Mm hmm, Okay, the number two.

196
00:09:36,919 --> 00:09:38,720
Speaker 1: I'll give you, Yeah, go ahead and do number two,

197
00:09:38,720 --> 00:09:40,279
and I'll give you a hint on number one. I'll

198
00:09:40,320 --> 00:09:41,360
give you a hint on number two.

199
00:09:41,759 --> 00:09:44,279
Speaker 4: She made out with Adam Horowitz backstage at the Beastie

200
00:09:44,279 --> 00:09:49,799
boyscus Madonna, but I know the album Madonna True Blue

201
00:09:51,080 --> 00:09:54,159
on the strength of Open Your Heart and Papa Don't

202
00:09:54,200 --> 00:09:58,480
Preach and La Isla Bonita reached number two September twenty,

203
00:09:58,639 --> 00:10:00,559
nineteen eighty six, the number one album.

204
00:10:00,639 --> 00:10:05,600
Speaker 1: Okay, so what it's a soundtrack? What movie was everyone

205
00:10:06,320 --> 00:10:08,480
obsessed with in nineteen eighty six?

206
00:10:08,879 --> 00:10:09,440
Speaker 2: Pop Gun?

207
00:10:09,679 --> 00:10:10,759
Speaker 1: You Got It ding.

208
00:10:10,639 --> 00:10:14,240
Speaker 4: Ding ding Ding top Gun number one, Madonna number two,

209
00:10:14,919 --> 00:10:17,039
Rundy and See number three.

210
00:10:17,279 --> 00:10:20,080
Speaker 1: I mean, that's amazing that they're up there, and with

211
00:10:20,240 --> 00:10:24,679
those two iconic albums, it's it's an truly incredible given

212
00:10:24,679 --> 00:10:28,080
that rap wasn't even in the mainstream a couple of

213
00:10:28,120 --> 00:10:28,679
years before this.

214
00:10:28,919 --> 00:10:31,480
Speaker 2: That's right, and this was the first rap album to

215
00:10:31,559 --> 00:10:32,799
ever go platinum.

216
00:10:32,799 --> 00:10:34,080
Speaker 1: Fantastic. Are you ready to dive in?

217
00:10:34,159 --> 00:10:37,159
Speaker 4: Track by track, Dave, let's do it all right. The

218
00:10:37,200 --> 00:10:41,480
first song on the track list Peter Piper, Peter Piper.

219
00:10:41,200 --> 00:10:44,039
Speaker 1: Pig Peppers run rock Humpy down.

220
00:10:44,120 --> 00:10:44,960
Speaker 4: That's his time.

221
00:10:45,000 --> 00:10:46,279
Speaker 3: Exactly nimble what nimble?

222
00:10:46,360 --> 00:10:47,200
Speaker 2: Any quick?

223
00:10:49,039 --> 00:10:53,399
Speaker 1: Okay? We jump in and we are immediately made aware

224
00:10:53,720 --> 00:10:57,440
of how awesome these guys are at exchanging lyrics back

225
00:10:57,480 --> 00:11:01,200
and forth. It is brilliant. They'll do they'll do words,

226
00:11:01,279 --> 00:11:06,000
they'll do bits. It is so incredible how their rhythm

227
00:11:06,080 --> 00:11:08,200
is so in time with each other that they can

228
00:11:08,279 --> 00:11:10,799
sound like almost one person with two voices.

229
00:11:10,840 --> 00:11:11,399
Speaker 3: It's amazing.

230
00:11:11,480 --> 00:11:14,720
Speaker 2: You don't get that awesome John Bonham drum phone that

231
00:11:14,759 --> 00:11:16,519
you get in the beginning of License to Ill, But

232
00:11:16,600 --> 00:11:20,080
what you get is immediately this blistering reminder of just

233
00:11:20,120 --> 00:11:22,960
how great these two guys are together. What had become

234
00:11:23,039 --> 00:11:26,000
their trademark was switching back and forth like that in

235
00:11:26,039 --> 00:11:29,399
their delivery. But here they're they're letting you know right

236
00:11:29,480 --> 00:11:31,600
off the top they have taken things to a whole

237
00:11:31,639 --> 00:11:34,240
other level, and it just blows you away. They start

238
00:11:34,279 --> 00:11:36,679
off with this a cappella beginning and you're already just

239
00:11:36,679 --> 00:11:37,879
blown back against the wall.

240
00:11:37,960 --> 00:11:41,039
Speaker 1: Yeah. And similar to Ryman and Stealing, they're throwing in

241
00:11:41,120 --> 00:11:45,039
some literary references. It's more nursery rhymes and you know,

242
00:11:45,159 --> 00:11:47,600
young adult kind of reading, like with Rip van Winkle

243
00:11:47,679 --> 00:11:49,639
and such. But you got to be smart to hear

244
00:11:49,679 --> 00:11:51,519
what they're saying, to know what they're saying. It's it's

245
00:11:51,559 --> 00:11:53,759
great stuff. I have to think that the Beastie Boys

246
00:11:54,000 --> 00:11:55,639
we need to do something like that. When they pick

247
00:11:55,720 --> 00:11:56,320
their first.

248
00:11:56,080 --> 00:11:58,879
Speaker 4: Song, Hey, they make a reference to Humpty Dumpty, Little

249
00:11:58,879 --> 00:12:03,000
bo Pee, Rip Van Winkle, and the most amazing toy

250
00:12:03,039 --> 00:12:04,840
of the nineteen seventies Weebles.

251
00:12:05,279 --> 00:12:06,639
Speaker 1: They wobbled but they don't fall down.

252
00:12:06,639 --> 00:12:08,320
Speaker 4: Weebles wobble but they don't fall down.

253
00:12:09,600 --> 00:12:12,879
Speaker 2: They also referenced the DC comics hero Flash when they

254
00:12:12,919 --> 00:12:14,600
say he's not Flash, but he's fast and his name

255
00:12:14,679 --> 00:12:15,039
is Jay.

256
00:12:15,159 --> 00:12:18,120
Speaker 1: That's awesome. Yeah. And the music that they've got behind

257
00:12:18,159 --> 00:12:22,080
it is again it makes me think of girls. It's

258
00:12:22,120 --> 00:12:26,480
that very kind of plinkety xylophone style of music that

259
00:12:26,519 --> 00:12:28,399
they've got going with them, which is the perfect thing

260
00:12:28,480 --> 00:12:31,200
to put with a song that's referencing all these nursery

261
00:12:31,240 --> 00:12:32,399
rhymes in school stories.

262
00:12:32,480 --> 00:12:35,559
Speaker 2: The Bells are a sample of a song called take

263
00:12:35,639 --> 00:12:38,919
Me to the Marti Gras, which was by this jazz

264
00:12:39,000 --> 00:12:48,120
fusion kind of artist named Bob James. At the time

265
00:12:48,440 --> 00:12:51,759
that Ellll was working on his first album, he had

266
00:12:51,759 --> 00:12:55,120
a song called Rock the Bells and he had heard

267
00:12:55,399 --> 00:12:58,399
Run DMC working with this Bob James sample and was

268
00:12:58,440 --> 00:13:00,480
going to use the same sample in his song Rock

269
00:13:00,519 --> 00:13:02,679
the Bells. And when Run found out about it, he

270
00:13:02,759 --> 00:13:05,600
got mad and confronted him and so basically won the argument.

271
00:13:05,639 --> 00:13:08,600
So llll agreed to take this same sample from Taking

272
00:13:08,679 --> 00:13:11,279
to the Marty Grass out of his song. So now

273
00:13:11,559 --> 00:13:13,480
the album cut of Rock the Bells actually has no

274
00:13:13,519 --> 00:13:14,240
bells in it at all.

275
00:13:14,320 --> 00:13:24,320
Speaker 4: Let's play a clip of that real quick. There it is, man,

276
00:13:24,639 --> 00:13:26,039
that's it, no question answer it.

277
00:13:26,279 --> 00:13:28,879
Speaker 2: So the whole song is about jam Master J. It

278
00:13:28,879 --> 00:13:30,559
didn't even though he had a self titled song on

279
00:13:30,600 --> 00:13:33,799
the first album. So Peter Piper actually became his theme

280
00:13:33,879 --> 00:13:36,600
song and it was the one that was most identified

281
00:13:36,639 --> 00:13:39,200
with jam Master J. And in case you're not aware,

282
00:13:39,519 --> 00:13:42,200
he was killed in two thousand and two and an

283
00:13:42,240 --> 00:13:45,080
execution style murdered that for a long time was a

284
00:13:45,120 --> 00:13:47,720
cold case. That's just recently in the last year been

285
00:13:47,799 --> 00:13:50,000
some movement on that case. As a matter of fact,

286
00:13:50,039 --> 00:13:52,000
there was there was an indictment one year ago, and

287
00:13:52,240 --> 00:13:55,759
just November this year the prosecution has said that they

288
00:13:55,799 --> 00:13:57,720
will not be seeking the death penalty, but they do

289
00:13:57,759 --> 00:13:59,559
have a couple of guys that will be going to

290
00:13:59,600 --> 00:14:02,559
trial for But this was the song that they used

291
00:14:03,039 --> 00:14:06,279
at James Jay's funeral and in all his tributes, he

292
00:14:06,399 --> 00:14:08,120
was known as Peter Piper and this was this was

293
00:14:08,159 --> 00:14:09,399
the song they used to honor him.

294
00:14:09,399 --> 00:14:11,759
Speaker 4: I heard Daryl McDaniels talk about this song and when

295
00:14:11,840 --> 00:14:14,799
he was listening to the radio when this album was released,

296
00:14:15,279 --> 00:14:17,480
the DJ came on and said, we have got the

297
00:14:17,480 --> 00:14:20,879
most amazing, awesome hit of the summer from Run DMC.

298
00:14:21,000 --> 00:14:21,879
Speaker 1: You're not even gonna believe.

299
00:14:21,919 --> 00:14:24,480
Speaker 4: It's so great, And Daryl McDaniel's thinking, they're getting ready

300
00:14:24,480 --> 00:14:26,559
to play Peter Piper. Peter Piper is the one, and

301
00:14:26,600 --> 00:14:28,480
of course it was not. And we'll talk about that

302
00:14:28,559 --> 00:14:31,480
song here in just a few minutes, Okay, But this is.

303
00:14:31,480 --> 00:14:33,080
Speaker 2: A hit right out of the right out of the gate.

304
00:14:33,320 --> 00:14:35,240
This is an awesome songs in one of their classics,

305
00:14:35,360 --> 00:14:37,759
one of their best loved songs. It is awesome. It's

306
00:14:37,759 --> 00:14:39,120
a great starter to the album.

307
00:14:39,159 --> 00:14:42,840
Speaker 4: Absolutely ready for song number two. Yes, song number two

308
00:14:43,000 --> 00:14:45,360
on the album called It's Tricky.

309
00:14:45,519 --> 00:14:50,440
Speaker 2: This is my recital. I think it's very vital. That's

310
00:14:50,519 --> 00:14:51,120
right on top.

311
00:14:52,559 --> 00:14:53,240
Speaker 1: Tell me God.

312
00:14:54,720 --> 00:14:57,480
Speaker 2: Right to ro right that site on Tom It's chick.

313
00:14:58,000 --> 00:15:01,360
Speaker 4: All right now. This one I'm very familiar because they

314
00:15:01,360 --> 00:15:04,039
played it on MTV all the time. This reached number

315
00:15:04,039 --> 00:15:06,440
fifty seven on the Billboard Hot one hundred chart, released

316
00:15:06,440 --> 00:15:08,279
February eighth of nineteen eighty seven.

317
00:15:08,559 --> 00:15:12,200
Speaker 1: Let's talk about what it samples nineteen seventy nine, The

318
00:15:12,279 --> 00:15:14,200
Knack my Sharona.

319
00:15:15,039 --> 00:15:18,080
Speaker 4: When I read that, I was blown away because I

320
00:15:18,120 --> 00:15:20,360
didn't really hear it until that came to my attention.

321
00:15:20,519 --> 00:15:25,080
Speaker 1: Well, in two thousand and six, The Knack actually sued

322
00:15:25,279 --> 00:15:29,360
run DMC and their associates and some online stores for

323
00:15:30,000 --> 00:15:33,799
unlicensed use of this sample. And when they asked them,

324
00:15:34,080 --> 00:15:37,279
why did it take you twenty years to bring your

325
00:15:37,320 --> 00:15:40,639
case to court, they said, well, we just found out

326
00:15:43,200 --> 00:15:44,240
we hadn't heard it before.

327
00:15:44,360 --> 00:15:49,080
Speaker 4: Come on, man, twenty years to bring this case to court.

328
00:15:49,039 --> 00:15:52,360
Speaker 1: Right, you're just now becoming aware of the track. It's tricky.

329
00:15:54,399 --> 00:15:57,679
Speaker 2: Rock run to rock run, that's right on Thomas Chick game.

330
00:16:01,200 --> 00:16:04,559
Wow yep. And of course they structured the chorus around Mickey.

331
00:16:05,080 --> 00:16:07,919
Speaker 4: Yeah, okay, we got to talk about that too, because

332
00:16:08,480 --> 00:16:10,840
that to me as clear as a bell, right, yep.

333
00:16:11,440 --> 00:16:13,679
It's triggy to rock a rhyme to rock a rhyme,

334
00:16:13,720 --> 00:16:14,600
that's right on time.

335
00:16:14,679 --> 00:16:15,279
Speaker 1: It's tricky.

336
00:16:15,840 --> 00:16:16,039
Speaker 5: Right.

337
00:16:16,480 --> 00:16:19,639
Speaker 4: Then you've got oh, Mickey, you're so fine, You're so fine.

338
00:16:19,639 --> 00:16:20,399
Speaker 1: You blow my mind.

339
00:16:20,399 --> 00:16:23,440
Speaker 4: Hey, Mickey, Yes, those are identical.

340
00:16:24,120 --> 00:16:27,159
Speaker 2: Yeah, and it's guaranteed to be an earworm. It's gonna

341
00:16:27,159 --> 00:16:27,879
be stuck in your head.

342
00:16:29,200 --> 00:16:31,320
Speaker 1: But it's also kind of a tongue twister. Is it's

343
00:16:31,360 --> 00:16:33,720
difficult to spit that out as fast as they do.

344
00:16:33,960 --> 00:16:36,519
And that's what the song is really about, is it's

345
00:16:36,600 --> 00:16:38,759
not as easy to be a rapper as you think

346
00:16:38,759 --> 00:16:42,120
it might be. You know, people dissing on them because

347
00:16:42,120 --> 00:16:46,039
it's not real music, it's not singing, but they're saying, hey,

348
00:16:46,399 --> 00:16:48,360
you try to do this. You see if you can

349
00:16:48,360 --> 00:16:51,240
do this, mister Knox. It's tricky to rock a rhyme

350
00:16:51,320 --> 00:16:52,120
that's right on time.

351
00:16:52,279 --> 00:16:55,320
Speaker 2: It's tricky, huge hit on MTV. I know Pin and

352
00:16:55,399 --> 00:16:57,879
Teller in the video. It's not a strong track man,

353
00:16:58,000 --> 00:16:59,960
just coming out hot. Two songs in a row.

354
00:17:00,320 --> 00:17:04,160
Speaker 1: Yeah, it's interesting. They they've got a positive message that

355
00:17:04,640 --> 00:17:07,319
wasn't happening in a whole lot of rap after the eighties.

356
00:17:08,000 --> 00:17:10,599
They talk about how they get offered dope and lots

357
00:17:10,599 --> 00:17:12,519
of coke, but they said they just leave it alone.

358
00:17:12,640 --> 00:17:14,640
And this kind of goes along with another song on

359
00:17:14,680 --> 00:17:17,200
the album where he talks about going to Saint John's University.

360
00:17:17,599 --> 00:17:19,519
They were trying to speak to kids on the street

361
00:17:19,519 --> 00:17:22,519
who are out there doing drugs and not going to school,

362
00:17:22,759 --> 00:17:25,960
to say hey, we can make it not doing that stuff,

363
00:17:26,000 --> 00:17:26,720
and you can too.

364
00:17:27,440 --> 00:17:29,680
Speaker 4: I found something really cool on the internet in regards

365
00:17:29,680 --> 00:17:32,279
to It's Tricky. Okay, so there was a guy that

366
00:17:32,359 --> 00:17:35,519
he posted this on Instagram. Just a guy driving down

367
00:17:35,519 --> 00:17:38,720
the road top down, turn it up, had his windows

368
00:17:38,759 --> 00:17:41,920
down and was thumping It's tricky. Who pulls up next

369
00:17:42,000 --> 00:17:44,480
to him? Joseph Simmons run.

370
00:17:44,319 --> 00:17:44,880
Speaker 2: Oh yes.

371
00:17:45,200 --> 00:17:47,480
Speaker 4: When he pulls up next to him, rolls down his window,

372
00:17:47,599 --> 00:17:50,039
leans in. The guy's like, oh my gosh, that's run

373
00:17:50,119 --> 00:17:53,839
right next to me, and he is rocking the rhymes

374
00:17:53,920 --> 00:17:55,720
right out of his window. The guy was like, oh,

375
00:17:55,759 --> 00:17:58,480
I can't even believe it. There he goes, drives off.

376
00:17:58,519 --> 00:18:02,079
That's it, and the guy puts it was awesome.

377
00:18:02,319 --> 00:18:05,200
Speaker 2: Man, that's a lot better than my elbow story.

378
00:18:07,160 --> 00:18:09,799
Speaker 4: Okay, that's it. That's all I got on on is Triggy.

379
00:18:09,880 --> 00:18:13,119
Although I will say that video introduced me to Penn

380
00:18:13,160 --> 00:18:13,880
and Teller as well.

381
00:18:14,000 --> 00:18:15,519
Speaker 3: That was probably the first time I saw him too.

382
00:18:16,000 --> 00:18:16,359
Speaker 1: Okay.

383
00:18:16,799 --> 00:18:22,640
Speaker 4: Song number three my uh didas my uh well Coop

384
00:18:22,960 --> 00:18:28,119
doors and football almost kind of stage at Live eight

385
00:18:28,400 --> 00:18:32,960
All the People Game. This was the first single release

386
00:18:33,000 --> 00:18:36,839
from this album, Strong Coming Song twenty ninth of nineteen

387
00:18:36,839 --> 00:18:37,359
eighty six.

388
00:18:37,640 --> 00:18:40,119
Speaker 2: This is a great song, fantastic song. Is probably my

389
00:18:40,119 --> 00:18:41,440
second favorite on the whole album.

390
00:18:41,440 --> 00:18:43,799
Speaker 4: My roommate in college, when we would be getting ready

391
00:18:43,839 --> 00:18:45,799
to go play football or basketball or whatever, i'm'll be like,

392
00:18:45,880 --> 00:18:48,000
let me grab my shoes real quick. That's all he needed.

393
00:18:48,039 --> 00:18:50,559
I'd say, I need to grab my shoes. My uh

394
00:18:50,759 --> 00:18:53,880
dudas Scott Foster.

395
00:18:54,039 --> 00:18:55,200
Speaker 1: A shout out to Scott Foster.

396
00:18:55,480 --> 00:19:01,240
Speaker 4: Interestingly, this song led to the first non sport entity

397
00:19:01,720 --> 00:19:03,160
to sell sneakers.

398
00:19:03,400 --> 00:19:06,359
Speaker 2: Yes, but when they recorded this song and when this

399
00:19:06,440 --> 00:19:09,359
album was released, they had no endorsement deal in place.

400
00:19:09,440 --> 00:19:11,079
They just did it because they loved Adidas.

401
00:19:11,160 --> 00:19:13,920
Speaker 4: I read that in Hollis there was this local medic

402
00:19:14,480 --> 00:19:18,119
named doctor Diaz. Doctor Diaz was this guy around town

403
00:19:18,279 --> 00:19:22,920
who distributed a small pamphlet that talked about how fellon sneakers,

404
00:19:23,119 --> 00:19:26,680
lee jeans, these certain hats and gold chains and brand

405
00:19:26,720 --> 00:19:30,839
names of Puma and Adidas as troublesome. Like if you

406
00:19:30,880 --> 00:19:35,680
see anybody wearing Puma or Adidas or gold chains or

407
00:19:35,759 --> 00:19:39,319
sneakers with no shoelaces. These are troublemakers. These are people

408
00:19:39,359 --> 00:19:40,359
you want to watch out for.

409
00:19:41,200 --> 00:19:42,200
Speaker 1: Profiling there you go.

410
00:19:42,319 --> 00:19:44,279
Speaker 4: And so they got mad about that. They found it

411
00:19:44,319 --> 00:19:45,559
insulting and they're like.

412
00:19:45,480 --> 00:19:48,279
Speaker 1: Hey, we wear Adidas and we're not bad guys.

413
00:19:48,759 --> 00:19:51,240
Speaker 4: And so they were intent on writing a song about

414
00:19:51,279 --> 00:19:52,559
Adidas and being good guys.

415
00:19:52,720 --> 00:19:55,119
Speaker 2: So let me tell you about a man named Liar Cohen.

416
00:19:55,200 --> 00:19:57,480
But we didn't talk about him last episode. But he

417
00:19:57,519 --> 00:20:00,920
had started out run in a club up in California,

418
00:20:01,359 --> 00:20:03,680
and one time run DNC had come out there and

419
00:20:03,720 --> 00:20:06,519
performed some shows with them, and at one point he

420
00:20:06,599 --> 00:20:08,960
decided he was going to work for Rush Management. He

421
00:20:09,039 --> 00:20:11,519
basically cold calls. He walks up to the front door

422
00:20:11,519 --> 00:20:14,400
in New York and tells Rush that he wants to

423
00:20:14,400 --> 00:20:16,880
work for now. The RUSSI had known him from booking

424
00:20:16,880 --> 00:20:19,039
shows at his club. But he's like, look, you know,

425
00:20:19,079 --> 00:20:22,240
we're still a shoe string operation. And the way this

426
00:20:22,359 --> 00:20:24,640
works is is you know you get paid a percentage

427
00:20:24,680 --> 00:20:28,079
based on whatever new business you bring to the company.

428
00:20:28,200 --> 00:20:30,319
You know that that that's the only way I can pay.

429
00:20:30,440 --> 00:20:33,960
He said, well, okay, who's handling your merchandise? And Russ

430
00:20:34,000 --> 00:20:37,680
is like, uh my what he who's booking your shows,

431
00:20:37,680 --> 00:20:40,960
who's managing your your packaging your tours? He's like, uh,

432
00:20:41,279 --> 00:20:45,559
my pack packed what? And Lyer said, I'll start on Monday.

433
00:20:46,240 --> 00:20:48,680
In nineteen eighty six when he first got this job

434
00:20:48,720 --> 00:20:51,759
and he was looking to generate the money. One thing

435
00:20:51,799 --> 00:20:54,319
they did is they they pulled out of these annual

436
00:20:54,400 --> 00:20:57,960
fresh Fest concert tours and he packages together the Raising

437
00:20:58,000 --> 00:21:01,680
Hell Tour and so all the non rush elements of

438
00:21:01,880 --> 00:21:04,599
fresh Fest dropped away, so they no more fat boys,

439
00:21:04,960 --> 00:21:08,119
no more breakdancers, and it was just rush artists. So

440
00:21:08,200 --> 00:21:10,319
that's how the Raising Hell Tour came to be just

441
00:21:10,799 --> 00:21:14,039
BC Boys, Houdini, Ello, Cool J and run DMC and

442
00:21:14,079 --> 00:21:16,640
that was it. And so it was so Liar Cohen

443
00:21:16,680 --> 00:21:18,680
was the guy who put that on. And it was

444
00:21:18,720 --> 00:21:21,720
in the middle of the Raising Hell Tour that Liar

445
00:21:22,039 --> 00:21:27,000
orchestrated a fantastic stunt related to this song may Adidas.

446
00:21:27,119 --> 00:21:30,720
What Liar and Russell did is they conspired to bring

447
00:21:30,920 --> 00:21:36,079
over Adidas executives from Germany and had them attend a

448
00:21:36,279 --> 00:21:40,839
sellout rundem Sea concert at Madison Square Garden. Now Joseph

449
00:21:40,880 --> 00:21:43,279
Simmons also was in on it, and when they got

450
00:21:43,319 --> 00:21:46,799
ready to sing this song. He took off his Adidas shoe,

451
00:21:46,839 --> 00:21:48,799
held it up in the air, and he told everybody

452
00:21:48,799 --> 00:21:51,039
else to do the same. And there was an ocean

453
00:21:51,400 --> 00:21:55,440
of teenagers holding their Adidas shoes in the air, waving

454
00:21:55,480 --> 00:21:57,000
them back and forth. The house lights come on, the

455
00:21:57,000 --> 00:22:00,680
spotlights are sweeping across them, and those Adidas executives, their

456
00:22:00,759 --> 00:22:04,319
jaws are on the floor. They realized in that instant

457
00:22:04,640 --> 00:22:08,279
what is happening and how powerful run DMC is to

458
00:22:08,319 --> 00:22:13,039
this market. And just like that, they signed run DMC

459
00:22:13,279 --> 00:22:16,920
to an Adidas endorsement deal, making history as the first

460
00:22:17,000 --> 00:22:19,319
non athlete to sign a sneaker deal. And this was

461
00:22:19,359 --> 00:22:23,920
the beginning of the corporate world of understanding the power

462
00:22:24,039 --> 00:22:25,599
of the hip hop market.

463
00:22:25,640 --> 00:22:27,599
Speaker 1: It's fantastic, man, it is fantastic.

464
00:22:27,680 --> 00:22:31,279
Speaker 4: They were trendsetters in so many ways. It's it's unbelievable.

465
00:22:31,680 --> 00:22:33,720
Speaker 1: Okay, So, since you brought the company up, and since

466
00:22:33,759 --> 00:22:36,480
you mentioned them earlier, I want to say this. So

467
00:22:36,960 --> 00:22:42,559
Adidas the shoe brand was started by a guy named

468
00:22:42,960 --> 00:22:50,839
Adolph Dassler. Right, he Hadi das adds exactly right. He

469
00:22:51,400 --> 00:22:55,160
had a brother whose name was Rudolph Dassler, and at

470
00:22:55,160 --> 00:22:57,880
one point they were in business together, working together, but

471
00:22:57,920 --> 00:23:00,519
they realized they didn't like, we're going to get were

472
00:23:00,680 --> 00:23:03,960
They just you know, their brotherly hate just kind of boil.

473
00:23:04,039 --> 00:23:07,599
It reached a boiling point, and so Rudolph was like,

474
00:23:07,720 --> 00:23:09,720
you know what, I'm going to go across the river.

475
00:23:09,759 --> 00:23:11,519
I'm gonna start my own company and we'll just see

476
00:23:11,559 --> 00:23:17,000
how it goes. And so Adolph makes adi Das Adidas

477
00:23:17,759 --> 00:23:20,720
and Rudolph starts another shoe company that you might have

478
00:23:20,759 --> 00:23:25,559
heard of called Puma Wow. And then they both end

479
00:23:25,640 --> 00:23:28,440
up shoot on the feet of troublemakers out there. You

480
00:23:28,480 --> 00:23:30,160
need to watch out for that. That's right, that's right.

481
00:23:31,279 --> 00:23:34,319
Speaker 2: So what's cool about this about the song, though, is

482
00:23:34,319 --> 00:23:37,559
that they're not necessarily bragging about the shoe itself. They're

483
00:23:37,559 --> 00:23:40,440
bragging about themselves about all the things they've accomplished while

484
00:23:40,440 --> 00:23:41,240
wearing the shoes.

485
00:23:41,480 --> 00:23:44,559
Speaker 4: Russell Simmons had this idea that he wanted them to

486
00:23:44,559 --> 00:23:47,880
write a song about their Adidas and he apparently came

487
00:23:47,960 --> 00:23:53,480
up with this idea while smoking angel dust. So Deary

488
00:23:53,559 --> 00:23:56,279
McDaniels said he went to see him and he's like,

489
00:23:56,559 --> 00:23:58,279
you got to come up with a song that starts

490
00:23:58,319 --> 00:24:01,839
my Adidas standing on two Street and he was and

491
00:24:01,880 --> 00:24:04,680
he was really high because he said it about fifty times.

492
00:24:07,480 --> 00:24:12,079
They actually mention their Live AID performance in the lyrics

493
00:24:12,079 --> 00:24:14,440
of this song. We talked about that Live Aid performance

494
00:24:14,759 --> 00:24:16,000
in last week's episode.

495
00:24:16,160 --> 00:24:18,319
Speaker 2: Yes a step on stage at Live Aid all the

496
00:24:18,359 --> 00:24:20,640
people gave in the poor gat payte. What I find

497
00:24:20,680 --> 00:24:23,319
amazing is that this song May Adidas has a very

498
00:24:23,319 --> 00:24:27,119
famous fan. Bob Dylan loves this song.

499
00:24:27,799 --> 00:24:31,440
Speaker 1: Really what That's awesome? Yeah.

500
00:24:31,480 --> 00:24:33,799
Speaker 2: At the time in nineteen eighty six, he said in

501
00:24:33,839 --> 00:24:35,640
an interview that he just thought this was a great

502
00:24:35,680 --> 00:24:38,720
example of just the vitality and just the uh this

503
00:24:38,920 --> 00:24:40,759
the in roads. I guess they had the voice of

504
00:24:40,799 --> 00:24:43,319
the black youth market that he just saw. This was

505
00:24:43,359 --> 00:24:44,640
a fantastic expression.

506
00:24:44,759 --> 00:24:46,480
Speaker 1: That is insane, that's incredible.

507
00:24:46,519 --> 00:24:49,559
Speaker 4: We have mentioned Bob Dylan so much recently in such

508
00:24:49,680 --> 00:24:52,799
like way Out their Ways. He wrote Knocking on Heaven's Door,

509
00:24:52,839 --> 00:24:54,960
which we talked about in our Guns N' Roses episode

510
00:24:55,000 --> 00:24:58,039
several weeks ago now, and then because of Knocking on

511
00:24:58,119 --> 00:25:00,839
Heaven's Door that was in Pat Garrett and Billy the Kid,

512
00:25:00,920 --> 00:25:04,240
we talked about him in our Young Guns Versus Tombstone.

513
00:25:03,680 --> 00:25:06,119
Speaker 2: Episode, and now we're going to talk about him.

514
00:25:06,000 --> 00:25:09,240
Speaker 1: With insane man is everywhere?

515
00:25:09,960 --> 00:25:10,440
Speaker 2: All right?

516
00:25:10,559 --> 00:25:13,319
Speaker 4: Are we ready to finish up on my ideas?

517
00:25:13,519 --> 00:25:15,359
Speaker 2: I mean, look at this one, two three, right out

518
00:25:15,400 --> 00:25:17,839
of the box. Peter Piper is tricky May Adidas. You

519
00:25:17,839 --> 00:25:21,200
would think this can't possibly get better? What's track four?

520
00:25:22,119 --> 00:25:28,079
Speaker 4: Track number four is the song that changed music culture, history,

521
00:25:28,240 --> 00:25:44,440
everything as we know it.

522
00:25:49,359 --> 00:25:50,960
Speaker 1: Okay, So I got to start off by saying that

523
00:25:51,039 --> 00:25:55,160
we talked about this song on our Aerosmith episode and

524
00:25:55,559 --> 00:25:59,119
just as a quick review of that, Steven Tyler came

525
00:25:59,200 --> 00:26:03,359
up with this beat and Joe Perry came up with

526
00:26:03,519 --> 00:26:05,640
the lick that went with it, and they were at

527
00:26:05,680 --> 00:26:08,279
the end of a very long recording session and they

528
00:26:08,319 --> 00:26:10,839
could not come up with any lyrics. They were struggling

529
00:26:10,880 --> 00:26:13,880
and struggling, and finally the producer was like, just leave,

530
00:26:14,000 --> 00:26:15,640
just get out of here, go watch a movie, have

531
00:26:15,720 --> 00:26:17,880
some fun. And they go across the street to the

532
00:26:17,920 --> 00:26:21,319
movie theater and what movie is playing Jason Young Frankenstein,

533
00:26:21,519 --> 00:26:25,359
in which we have Marty Feldman who has the iconic.

534
00:26:25,079 --> 00:26:28,920
Speaker 4: Line walk this way, no, this way.

535
00:26:28,839 --> 00:26:32,200
Speaker 1: Yes, And they thought that that line was hilarious and

536
00:26:32,279 --> 00:26:34,640
that's how this song came into being and It was

537
00:26:34,680 --> 00:26:36,880
a part of their Toys in the Attic album, which

538
00:26:36,920 --> 00:26:40,440
is probably their greatest album of the seventies. Right, sure,

539
00:26:40,720 --> 00:26:44,160
So fast forward a few years, hip hop has caught on.

540
00:26:44,680 --> 00:26:47,680
Djaying has become a thing, and all of the DJs

541
00:26:47,720 --> 00:26:50,480
take these albums and because they don't want other guys

542
00:26:50,480 --> 00:26:54,200
stealing their tricks, they wipe out basically everything except the

543
00:26:54,240 --> 00:26:58,519
track numbers. And so they have Toys in the Attic

544
00:26:58,720 --> 00:27:03,000
and everybody whose anybody knows, Hey, number four is a

545
00:27:03,039 --> 00:27:05,960
great lick and a great beat. But they would put

546
00:27:05,960 --> 00:27:08,200
that on, they'd play that lick, they'd play that beat,

547
00:27:08,240 --> 00:27:11,039
they'd scratch it back, they'd do what they did, but

548
00:27:11,079 --> 00:27:14,359
they never got to the lyrics of the song.

549
00:27:14,559 --> 00:27:17,119
Speaker 4: They would just say, hey, grab toys and they played

550
00:27:17,200 --> 00:27:17,680
number four.

551
00:27:17,920 --> 00:27:18,119
Speaker 3: Right.

552
00:27:18,359 --> 00:27:21,799
Speaker 4: But their plan was to roll that into a loop

553
00:27:22,119 --> 00:27:23,200
and then wrap over it.

554
00:27:23,359 --> 00:27:25,799
Speaker 1: Yeah, sample like they would normally do with any other song,

555
00:27:25,880 --> 00:27:27,680
like they would did with My Sharona or any of

556
00:27:27,680 --> 00:27:30,400
the others, is they're gonna they're gonna use that one

557
00:27:30,480 --> 00:27:32,720
little part and they're gonna make their own song out

558
00:27:32,720 --> 00:27:34,839
of it. But Rick was the one that said, no,

559
00:27:34,960 --> 00:27:37,359
you guys should do the original song. I mean, and

560
00:27:37,640 --> 00:27:40,119
you if you listen to it, it's well to my ears,

561
00:27:40,279 --> 00:27:42,880
almost like a rap that Steven Tyler has a very

562
00:27:43,200 --> 00:28:00,519
rhythmic way of singing his songs. And absolutely, so they

563
00:28:00,519 --> 00:28:02,599
took the album home, they put it on the record,

564
00:28:02,680 --> 00:28:05,279
they turned it on and it got past that initial

565
00:28:05,279 --> 00:28:06,960
lick and it got into the lyrics and they were

566
00:28:07,000 --> 00:28:11,200
like no, no, no, no, no, no, no way, we're

567
00:28:11,319 --> 00:28:13,279
not doing this hill billy crap.

568
00:28:13,400 --> 00:28:16,240
Speaker 4: The interesting thing was they couldn't understand. And this is

569
00:28:16,240 --> 00:28:17,880
back in the days before the Internet where you could

570
00:28:17,920 --> 00:28:20,519
google lyrics. So they had their pen in their paper

571
00:28:21,319 --> 00:28:25,519
and they're like backstage lover, always undercover, talk to my

572
00:28:26,319 --> 00:28:30,839
this is hillbilly music. They were not into it at all.

573
00:28:31,200 --> 00:28:33,240
And actually it's Jim Ester Jay who was the one

574
00:28:33,240 --> 00:28:35,000
who's like, guys, this is gonna be really good.

575
00:28:35,119 --> 00:28:37,119
Speaker 2: Jay knew a little bit more about the song, I guess,

576
00:28:37,119 --> 00:28:39,079
because maybe he was the guy with the records in

577
00:28:39,079 --> 00:28:42,200
the back in the park. But when Ruven first suggested

578
00:28:42,240 --> 00:28:45,119
walk this Way, Joe and Darryl didn't even recognize it,

579
00:28:45,240 --> 00:28:47,000
or like, what do you mean walk this way? They

580
00:28:47,039 --> 00:28:49,880
didn't recognize it by that name, and Jason was the

581
00:28:49,880 --> 00:28:51,759
one that said no, no, yeah, yeah, yeah, you know

582
00:28:51,839 --> 00:28:54,000
this one his toys in the attic. Well, they knew

583
00:28:54,039 --> 00:28:56,319
it by the album name, because all they knew is

584
00:28:56,359 --> 00:28:58,759
that opening drum beat, and it had been a staple

585
00:28:58,799 --> 00:29:01,359
in the park for years, like you said, but they

586
00:29:01,400 --> 00:29:03,000
had just never bothered to listen to the rest of

587
00:29:03,039 --> 00:29:05,079
the song and they didn't know it by its proper name.

588
00:29:05,240 --> 00:29:07,079
So it was Jason that said, no, no, no, listen, this

589
00:29:07,079 --> 00:29:09,440
could work. Now, this is a case and I don't

590
00:29:09,480 --> 00:29:11,160
know how many, It seems like it's in every episode

591
00:29:11,160 --> 00:29:13,960
where you're covering albums, but this was a case of

592
00:29:14,039 --> 00:29:16,720
where the album was basically done. They had all these

593
00:29:16,759 --> 00:29:20,480
other tracks finished, and Rick Rubin, yeah, I mean, you

594
00:29:20,519 --> 00:29:22,960
can finish the story. He was like, we need one more.

595
00:29:23,160 --> 00:29:25,640
We're missing something. And this was a late idea, in

596
00:29:25,680 --> 00:29:28,119
a late addition, and this was the one that kind

597
00:29:28,160 --> 00:29:29,200
of galvanized the whole out.

598
00:29:29,279 --> 00:29:31,119
Speaker 1: And I got to say, when we told this story

599
00:29:31,160 --> 00:29:34,799
in our Aerosmith episode, I talked about, you know, Aerosmith

600
00:29:34,920 --> 00:29:37,039
was kind of in bad trouble at that point. They

601
00:29:37,079 --> 00:29:39,200
were trying to come back, but they were not They

602
00:29:39,200 --> 00:29:42,519
had not at all come back to from what they

603
00:29:42,559 --> 00:29:45,359
were in the seventies. Or what they had would become

604
00:29:45,359 --> 00:29:47,839
in the late EA and nineties. Done with Mirrors in

605
00:29:47,920 --> 00:29:50,559
nineteen eighty five was a disaster. H It was a total

606
00:29:50,559 --> 00:29:53,119
momb And so when they get a call at the

607
00:29:53,200 --> 00:29:55,240
when I we had our episode, I said, they get

608
00:29:55,240 --> 00:29:57,599
a call from mister Rick Rubin. Well that was because

609
00:29:57,920 --> 00:30:00,799
I was thinking Rick Rubin of you know, ultimate fame.

610
00:30:00,920 --> 00:30:02,960
But at this point, Rick Rubin is a guy who's

611
00:30:03,039 --> 00:30:06,480
done nothing. He was nobody to them. So they're getting

612
00:30:06,480 --> 00:30:09,240
a call from a nobody about a rap group who's

613
00:30:09,240 --> 00:30:12,519
done a couple of albums, saying, hey, we want to

614
00:30:12,559 --> 00:30:14,880
cover your song and we want you to be involved

615
00:30:14,920 --> 00:30:18,400
with the re recording of the music. They had to

616
00:30:18,400 --> 00:30:20,640
be thinking the same thing, who are these guys?

617
00:30:20,720 --> 00:30:21,759
Speaker 3: What are we going to be doing?

618
00:30:22,119 --> 00:30:24,359
Speaker 1: And I think that even when they met up in

619
00:30:24,400 --> 00:30:28,200
the studio, there was a lot of posturing and measuring

620
00:30:28,279 --> 00:30:31,000
d's if you know what I mean, because these are

621
00:30:31,039 --> 00:30:33,319
some strong personalities in these two groups.

622
00:30:34,480 --> 00:30:37,119
Speaker 4: I've got a great story on this. After Rick Rubin

623
00:30:37,160 --> 00:30:40,079
told them to grab their loose leaf notebook and pin

624
00:30:40,400 --> 00:30:43,559
and go downstairs and write down the lyrics, and once

625
00:30:43,599 --> 00:30:46,319
they heard Stephen Tyler start to seeing they were refusing

626
00:30:46,400 --> 00:30:49,160
to do it. And so they sat there with their

627
00:30:49,279 --> 00:30:52,720
arms crossed like stubborn children, and then the phone would ring.

628
00:30:52,799 --> 00:30:54,200
The phone would ring, and they'd be like.

629
00:30:54,279 --> 00:30:56,640
Speaker 1: Not answering it, not answering it.

630
00:30:57,480 --> 00:31:00,119
Speaker 4: And they knew it was Russell who was calling to

631
00:31:00,319 --> 00:31:04,079
yell at them, right, so they would they like go

632
00:31:04,119 --> 00:31:06,559
into hiding, like for a week. They refused to do this,

633
00:31:07,519 --> 00:31:12,240
and so Jay calls one day and so they're like, hey, Jay,

634
00:31:12,480 --> 00:31:13,079
what do you want.

635
00:31:13,279 --> 00:31:15,119
Speaker 1: I know, you know you're mad at us or whatever.

636
00:31:15,160 --> 00:31:19,319
Speaker 4: He's like, guys, get down to the studio. Stephen Tyler

637
00:31:19,400 --> 00:31:22,680
and Joe Perry are coming and they're like who who?

638
00:31:24,759 --> 00:31:26,759
Speaker 1: And so Jay's like get down here, you know.

639
00:31:27,920 --> 00:31:31,319
Speaker 4: So when they arrived, they see the guys from Aerosmith

640
00:31:31,359 --> 00:31:34,519
and they're like, oh my gosh, the Rolling Stones are here.

641
00:31:37,920 --> 00:31:41,079
Speaker 2: Well, it's a fanboy for Rick Rubin, right, because I mean,

642
00:31:41,079 --> 00:31:43,440
this dude has just been like this like slob, living

643
00:31:43,480 --> 00:31:46,160
in his dorm room and he stumbled into this situation

644
00:31:46,160 --> 00:31:48,920
where he's producing records and you know, he was the

645
00:31:48,960 --> 00:31:51,240
guy who grew up with led Zeppelin and ac DC

646
00:31:51,359 --> 00:31:54,440
and Aerosmith, and he's like, what if we got Aerosmith

647
00:31:54,680 --> 00:31:57,240
and he got him. And then so he's got his

648
00:31:57,319 --> 00:31:59,960
heroes in the studio with him and he can't believe it.

649
00:32:00,400 --> 00:32:03,000
He's got D Steve Tyler and D Joe Perry and

650
00:32:03,000 --> 00:32:05,039
they're making a record for him. And so he gets

651
00:32:05,039 --> 00:32:07,680
in there and he's got Joe Perry laying down guitar,

652
00:32:08,319 --> 00:32:11,920
and Rick Rubin decides he's not playing well enough, he's

653
00:32:11,960 --> 00:32:15,039
no good, and he's got the cajones to go up

654
00:32:15,079 --> 00:32:17,680
to Joe Perry and say, you're not doing it right.

655
00:32:17,720 --> 00:32:19,039
You got to try to get in here, try it

656
00:32:19,079 --> 00:32:22,559
this way, and him on how to play his own lick.

657
00:32:23,200 --> 00:32:29,000
Speaker 1: Wow, No, play it this way.

658
00:32:29,440 --> 00:32:33,440
Speaker 2: He also, I understand Joe Perry plays bath on this track,

659
00:32:34,319 --> 00:32:36,759
but when they got ready to do that, he hadn't

660
00:32:36,799 --> 00:32:40,839
brought a bass guitar. They didn't have a bass laying around.

661
00:32:41,480 --> 00:32:43,960
And so there were these kids hanging around the studio

662
00:32:44,039 --> 00:32:46,240
the day they were recording all this, and one of

663
00:32:46,240 --> 00:32:48,079
the kids is like, hold on, I'll go get my bass.

664
00:32:48,400 --> 00:32:50,759
He and he runs out right and eventually he comes back.

665
00:32:51,039 --> 00:32:52,519
He said, here, you can play you can play this,

666
00:32:53,160 --> 00:32:54,759
and that kid was out of me off. It was

667
00:32:54,799 --> 00:32:56,039
the Beast boys hanging.

668
00:32:55,839 --> 00:32:59,000
Speaker 1: Oh my gosh, I didn't another story, but I knew

669
00:32:59,039 --> 00:33:01,000
that was where you were going with the kids hanging out.

670
00:33:01,079 --> 00:33:04,319
That is fantastic. Yeah, So fast forward a few months

671
00:33:04,319 --> 00:33:07,480
and they're at the on stage playing together in Miami

672
00:33:07,519 --> 00:33:09,400
and Adam Yawk's drunk out of his mind trying to

673
00:33:09,440 --> 00:33:14,839
play bass with Chase and Joe Perry around backwards.

674
00:33:15,319 --> 00:33:17,960
Speaker 4: You know, you mentioned that Joe Perry was not playing

675
00:33:18,039 --> 00:33:20,319
up to par I heard an interview with Rick Rubin

676
00:33:20,359 --> 00:33:23,000
and he was like, Ron and DMC, they were not

677
00:33:23,319 --> 00:33:26,039
hitting the lyrics like he really wanted them to. He's

678
00:33:26,079 --> 00:33:28,920
like they were lazy, they were goofing off. They weren't

679
00:33:28,920 --> 00:33:32,160
into it. He's like, get your butts in gear and

680
00:33:32,240 --> 00:33:35,039
lay down these tracks like you can, you know. And

681
00:33:35,119 --> 00:33:38,400
so everybody was kind of feeling it out and took

682
00:33:38,440 --> 00:33:41,440
a while to warm up to it. And Darryl McDaniel's

683
00:33:41,440 --> 00:33:43,240
they're like, when did you know that this was going

684
00:33:43,319 --> 00:33:46,000
to change people's lives? He's like, I didn't know it

685
00:33:46,039 --> 00:33:48,079
was going to do anything until it took off.

686
00:33:48,160 --> 00:33:50,440
Speaker 1: Right, And that was this story that you were alluding

687
00:33:50,480 --> 00:33:53,559
to earlier. Whenever they had been touring. They get back,

688
00:33:53,799 --> 00:33:56,599
he starts listening to the radio and there's a DJ

689
00:33:56,759 --> 00:34:00,640
that comes on and he says, this is the hottest

690
00:34:00,880 --> 00:34:03,920
rap song of the summer. Guys, everybody get ready. This

691
00:34:04,000 --> 00:34:07,480
is about to blow the summer away. It's so strong.

692
00:34:07,519 --> 00:34:09,119
And he knew what the song was going to be.

693
00:34:09,480 --> 00:34:13,639
He knew it had to be my Adidas or Peter Piper.

694
00:34:13,840 --> 00:34:16,920
And the song started playing and it was that Walk

695
00:34:17,000 --> 00:34:22,119
This Way lyric and he was like, what, Yeah.

696
00:34:22,079 --> 00:34:25,760
Speaker 2: So this album the artists themselves, they were more involved

697
00:34:25,760 --> 00:34:27,920
in the production of the tracks and the songs than

698
00:34:27,960 --> 00:34:31,280
the other albums. And Rubn was a little bit more

699
00:34:31,360 --> 00:34:33,800
hands off with this than he was with Licensed to Ill.

700
00:34:34,199 --> 00:34:37,480
But Walk This Way is all Rick Ruper, and I mean,

701
00:34:37,719 --> 00:34:39,079
you know, we talked about how he had to coach

702
00:34:39,119 --> 00:34:42,000
up Joe Perry, had to coach up Running D. I mean,

703
00:34:42,239 --> 00:34:44,840
he demanded the best from all of these guys, and

704
00:34:45,000 --> 00:34:48,280
he put this record together and it sounds amazing. I mean,

705
00:34:48,360 --> 00:34:51,000
putting aside the fact that I'm gonna pick rap every day,

706
00:34:51,519 --> 00:34:54,519
I think this version of the song sounds great. It's

707
00:34:54,639 --> 00:34:57,079
just right there in your face, popping out of the speakers.

708
00:34:57,159 --> 00:34:59,639
I think it's the production on it is better than

709
00:34:59,679 --> 00:35:02,079
the It's an old song it just got that energy

710
00:35:02,079 --> 00:35:02,440
to it.

711
00:35:02,440 --> 00:35:05,880
Speaker 1: It's fantastic. There are a few cover songs that are

712
00:35:05,920 --> 00:35:09,440
so that are as on point with the original as

713
00:35:09,480 --> 00:35:12,280
this one is that you might say they may have

714
00:35:12,360 --> 00:35:14,840
outdone themselves on this one. And obviously, if you don't

715
00:35:14,840 --> 00:35:17,920
have Steven Tyler in there singing his parts to this song,

716
00:35:18,000 --> 00:35:20,239
it's not the same song. It doesn't do the same right.

717
00:35:20,280 --> 00:35:20,760
Speaker 3: If you don't have.

718
00:35:20,800 --> 00:35:22,719
Speaker 1: Joe Perry in there doing the lick, even if he

719
00:35:22,760 --> 00:35:26,679
took some coaching, it's not the same song. But run DMC.

720
00:35:27,440 --> 00:35:30,280
Once they got their butts in gear, they were on

721
00:35:30,559 --> 00:35:33,679
point on their interpretation of these lyrics. And then we

722
00:35:33,760 --> 00:35:35,639
got to talk about the video. Let's talk about the video.

723
00:35:35,800 --> 00:35:39,519
Speaker 4: Yeah, okay, So the video is Aerosmith practicing. They're in

724
00:35:39,559 --> 00:35:42,000
the room right next door to Runny em CE and

725
00:35:42,039 --> 00:35:45,159
they're practicing runnium C guys start the beat and Steven

726
00:35:45,199 --> 00:35:48,320
Tyler's banging on the wall with his microphone stand punches

727
00:35:48,360 --> 00:35:51,559
a hole through it, sticks his head in and that's

728
00:35:51,559 --> 00:35:54,960
when he screams, walk this way, and it's a metaphor

729
00:35:55,280 --> 00:35:56,400
for tearing down walls.

730
00:35:56,719 --> 00:35:59,480
Speaker 1: Yeah, it's great. I love it, and I will say this,

731
00:35:59,599 --> 00:36:02,320
I thought of you, Dave, because you are a video guy,

732
00:36:02,400 --> 00:36:06,159
an editing guy. After Steve Tyler gets done singing through

733
00:36:06,199 --> 00:36:09,599
the hole, Joe Perry sticks his head in and looks around,

734
00:36:09,960 --> 00:36:13,559
and the camera pans across and it does this beautiful

735
00:36:13,800 --> 00:36:17,800
cross cut into the concert stage and I was like, oh,

736
00:36:18,000 --> 00:36:21,039
that was a really smooth cut right there. It looks

737
00:36:21,079 --> 00:36:22,559
like we just went through the wall and now we're

738
00:36:22,599 --> 00:36:23,840
in a completely different place.

739
00:36:24,119 --> 00:36:27,719
Speaker 2: This video was landmark. It's really kind of amazing and

740
00:36:27,760 --> 00:36:30,960
in retrospect, despite the reluctance that the artists had with

741
00:36:31,079 --> 00:36:33,960
doing the song, in hindsight, it seems like a no brainer.

742
00:36:34,039 --> 00:36:36,679
It seems perfect. The beat sounds like a rap beat.

743
00:36:36,719 --> 00:36:39,400
It had been using the park for years. The lyrics

744
00:36:39,440 --> 00:36:41,519
are already delivered in a way that almost sounds like

745
00:36:41,519 --> 00:36:45,360
a rap anyway, right. DMC had a history already of

746
00:36:45,480 --> 00:36:47,800
using rock and roll in their records. I mean, it

747
00:36:47,960 --> 00:36:50,679
just sounds fantasmic. You're bringing in this classic rock band

748
00:36:50,840 --> 00:36:53,360
that's going to bring a whole new audience to run DMC,

749
00:36:53,880 --> 00:36:56,199
and this puts them on MTV for the first time.

750
00:36:56,519 --> 00:36:59,039
This video was the first time Steve Tyler and Joe

751
00:36:59,079 --> 00:37:01,360
Perry had ever appeared on MTV.

752
00:37:01,639 --> 00:37:03,239
Speaker 1: That's insane, that's crazy.

753
00:37:03,360 --> 00:37:05,880
Speaker 2: And then not only do you have that metaphor of

754
00:37:06,199 --> 00:37:09,599
walls being knocked down, but you're using that video and

755
00:37:09,639 --> 00:37:13,000
the collaboration here of these two high profile artists to

756
00:37:13,159 --> 00:37:16,719
really send that message of that crossover, right, So you're

757
00:37:16,760 --> 00:37:19,719
just uniting the races that black and white folks together

758
00:37:19,920 --> 00:37:22,559
can both like this music, can both like this song,

759
00:37:22,679 --> 00:37:25,280
and the video really drove that home in a pretty

760
00:37:25,280 --> 00:37:28,320
cool way. But not only that, but that's exactly what

761
00:37:28,400 --> 00:37:32,000
this song did for rap. This was no longer something

762
00:37:32,119 --> 00:37:34,519
obscure and on the fringes. I was like the weird

763
00:37:34,559 --> 00:37:36,880
white dude who already knew about like, you know, Boogie

764
00:37:36,920 --> 00:37:39,199
Boys and Lottie Dotty and all this stuff my freshman year.

765
00:37:39,519 --> 00:37:42,360
But nobody really was on board with how cool rap

766
00:37:42,400 --> 00:37:45,239
could be until this song came out, and suddenly it

767
00:37:45,360 --> 00:37:48,519
was cool to like run DMC and I'm looking like

768
00:37:48,559 --> 00:37:50,159
that the hip guy in the corner who knew about

769
00:37:50,159 --> 00:37:54,199
it all along. So it cannot be overstated how massive

770
00:37:54,239 --> 00:37:57,360
of an impact this song had on breaking rap out.

771
00:37:57,840 --> 00:38:00,960
I'm busting through that wall and and taking it to

772
00:38:01,159 --> 00:38:01,920
the mainstream.

773
00:38:02,079 --> 00:38:05,679
Speaker 1: Even just the simple storyline of the video, you start

774
00:38:06,039 --> 00:38:09,519
the video with animosity, and by the time you reach

775
00:38:09,639 --> 00:38:11,719
the end, it's handshakes and hugs.

776
00:38:11,880 --> 00:38:14,519
Speaker 4: Yeah, it's great, beautiful, and in between you get a

777
00:38:14,519 --> 00:38:16,239
great look at their shoeless adiitas.

778
00:38:16,719 --> 00:38:19,360
Speaker 1: Yeah, and the veins and Steven Tyler's neck.

779
00:38:21,199 --> 00:38:23,719
Speaker 2: This song is everything I mean. I believe that it

780
00:38:23,760 --> 00:38:27,320
was the success of this song that created the environment

781
00:38:27,400 --> 00:38:31,440
in the marketplace that allowed the Beastie Boys album to

782
00:38:31,480 --> 00:38:33,960
be received so well, and it kind of primed the

783
00:38:34,039 --> 00:38:37,440
audience and got the country ready for something like the

784
00:38:37,480 --> 00:38:40,239
BAC Boys. I don't think Licensed to Ill sells as

785
00:38:40,280 --> 00:38:44,559
well as it does without raising hell first, but specifically

786
00:38:44,599 --> 00:38:45,280
walk this Way.

787
00:38:45,440 --> 00:38:48,599
Speaker 4: You're exactly right. Everything you say is absolutely true. But

788
00:38:48,840 --> 00:38:51,239
for a guy like me, what this song gave us

789
00:38:51,840 --> 00:38:54,599
was loving an elevator and Jennie's Got a Gun and

790
00:38:54,639 --> 00:38:56,960
crying and crazy and living on the edge and every

791
00:38:57,000 --> 00:39:00,199
other ariosmis song because it revitalized their care.

792
00:39:00,440 --> 00:39:03,760
Speaker 2: Yes, this is a fantastic the best of crossovers right,

793
00:39:04,039 --> 00:39:08,159
because it's a win win for everybody. Aerosmith absolutely needed

794
00:39:08,199 --> 00:39:11,119
this just as much as run DMC did, and both

795
00:39:11,239 --> 00:39:14,000
acts come out way ahead after this collaboration.

796
00:39:14,119 --> 00:39:16,880
Speaker 4: Yep, and I love what Daryl McDaniel says about this song,

797
00:39:17,280 --> 00:39:20,719
He's like, at first, we were adamantly against it, we

798
00:39:20,719 --> 00:39:22,360
were viciously opposed.

799
00:39:23,039 --> 00:39:24,800
Speaker 1: But when he talks to high school kids.

800
00:39:24,599 --> 00:39:28,559
Speaker 4: He's like, listen, always be willing to try something new.

801
00:39:29,360 --> 00:39:35,039
It may just change your life. And he's absolutely.

802
00:39:34,480 --> 00:39:37,039
Speaker 2: Right, change your lives, change the direction of music in

803
00:39:37,079 --> 00:39:40,000
the eighties. It's just absolute massive monster.

804
00:39:40,079 --> 00:39:42,119
Speaker 1: All right. I hate to be done with it, but

805
00:39:43,079 --> 00:39:46,280
we've hit four for four. At this point, we have

806
00:39:46,400 --> 00:39:51,519
had NonStop awesome ness classical. We are about to dive

807
00:39:51,559 --> 00:39:53,280
into track number five.

808
00:39:54,239 --> 00:39:55,360
Speaker 3: Is it Live the.

809
00:39:55,400 --> 00:39:59,840
Speaker 4: Microphone Master dmc cause one, two, three, full casualties.

810
00:40:00,079 --> 00:40:02,760
Speaker 2: You'll be praising d down on your knee because I'm

811
00:40:02,800 --> 00:40:08,440
plumbing and I'm stomping on in CS. Okay, I love

812
00:40:08,519 --> 00:40:10,400
the song. I don't think this was a single from

813
00:40:10,440 --> 00:40:12,159
the album, but this is one of my favorite I

814
00:40:12,159 --> 00:40:15,559
love the energy of it. It's absolutely I turned this

815
00:40:15,599 --> 00:40:17,400
one up every time it comes on. But I gotta

816
00:40:17,440 --> 00:40:20,440
tell you a story. So I'm in twelfth grade, right,

817
00:40:20,679 --> 00:40:22,480
So this is a couple of years after the album

818
00:40:22,519 --> 00:40:25,440
has come out, and I'm sitting in English class and

819
00:40:25,920 --> 00:40:29,159
I gotta tell you up front. My girlfriend is in

820
00:40:29,320 --> 00:40:32,480
the same class, and she's just a couple of rows away. Hey,

821
00:40:32,559 --> 00:40:36,599
we're sitting there and we are studying poetry, and the

822
00:40:36,679 --> 00:40:40,119
teachers going over different types of rhyming schemes. You know

823
00:40:40,239 --> 00:40:43,440
how you have AABB CC or you might have aa

824
00:40:43,599 --> 00:40:46,480
B and CCB to go with the pino. It's all

825
00:40:46,599 --> 00:40:49,760
just poetry stuff that you're learning in class, right, And

826
00:40:50,159 --> 00:40:52,199
they were like, and she was checking you see if

827
00:40:52,239 --> 00:40:54,679
everybody understands what she's talking about, says, can you think

828
00:40:54,719 --> 00:40:58,199
of examples of some rhyming schemes? And I'm sitting over

829
00:40:58,239 --> 00:41:02,559
there and I just like that, that's all I do.

830
00:41:03,559 --> 00:41:06,159
And everybody looks at me, and I play it all

831
00:41:06,199 --> 00:41:10,559
over what who me? And and and everybody in the classroom, right,

832
00:41:10,639 --> 00:41:12,880
they like they know they know me, And all of

833
00:41:12,920 --> 00:41:15,159
a sudden, they're like they're starting to giggle. They're punching

834
00:41:15,199 --> 00:41:17,559
each other and pointing like, hey, look look at that,

835
00:41:17,760 --> 00:41:22,960
and everybody starts laughing and snickering, just knowing something's something's coming, right,

836
00:41:23,559 --> 00:41:25,360
and uh, and I'm just playing it low key, you know.

837
00:41:25,480 --> 00:41:28,159
And what the teacher is this like prim and proper,

838
00:41:28,400 --> 00:41:31,440
you know, like classically educated, like Victorian like hair and

839
00:41:31,480 --> 00:41:35,400
a bun Victorian Coller. And she turns and she says, David,

840
00:41:35,840 --> 00:41:37,960
can you share with the class an example of an

841
00:41:38,039 --> 00:41:44,039
internal rhyming scheme. I'm like, just served a softball right

842
00:41:44,079 --> 00:41:48,440
over the middle of the plate, and I'm playing it

843
00:41:48,519 --> 00:41:51,119
low key, you know. But but I've got twenty five

844
00:41:51,280 --> 00:41:53,280
kids in the room, like on the hook, and I'm

845
00:41:53,320 --> 00:41:55,440
reeling them in right and I'm just like, oh, you

846
00:41:55,519 --> 00:41:58,880
want me to rhyme? And the teacher has no idea

847
00:41:58,920 --> 00:42:01,199
what's coming. And she was like yes, and I go,

848
00:42:01,440 --> 00:42:06,519
can I eat check and don't fight?

849
00:42:06,679 --> 00:42:07,559
Speaker 4: And I might check.

850
00:42:07,840 --> 00:42:09,920
Speaker 2: And all the guys in the class got their hands

851
00:42:09,920 --> 00:42:12,280
in there and they're like, go death, day, Go death.

852
00:42:14,119 --> 00:42:16,360
But all the girls in the class, they're they're ignoring

853
00:42:16,400 --> 00:42:18,920
me because all their eyes they're on my girlfriends right,

854
00:42:19,000 --> 00:42:22,159
And she's completely mortified. She's like trying to hide under

855
00:42:22,199 --> 00:42:25,199
the desk. She's given me these looks like you shut

856
00:42:25,320 --> 00:42:28,400
up now, David, shut up, and I'm like oblivious, you know,

857
00:42:28,639 --> 00:42:31,079
just kind of got quality and skill book beyond belief.

858
00:42:31,119 --> 00:42:36,480
Do I steal me for real? And that's great, man,

859
00:42:36,679 --> 00:42:40,159
And it was awesome, and then uh, she didn't dump

860
00:42:40,239 --> 00:42:46,000
me right away. But no, this was a different they'rel

861
00:42:46,119 --> 00:42:49,480
not the one that was jocking Mike D to the

862
00:42:49,679 --> 00:42:51,800
completely different girls. He got rid of me right after

863
00:42:51,920 --> 00:42:54,639
prom is over. So the moral of the story is,

864
00:42:54,800 --> 00:42:57,159
uh is I was a high school loser that never

865
00:42:57,199 --> 00:42:57,719
made it with the.

866
00:42:57,760 --> 00:43:05,039
Speaker 1: Last Oh that's fantastic, that's great, man.

867
00:43:05,719 --> 00:43:07,679
Speaker 4: Hey, I had something similar. I'm just gonna throw this

868
00:43:07,760 --> 00:43:08,360
in really quick.

869
00:43:08,440 --> 00:43:09,719
Speaker 1: In my Spanish class.

870
00:43:09,960 --> 00:43:11,960
Speaker 4: My Spanish teacher is one of those days we're watching

871
00:43:12,000 --> 00:43:14,079
a video and she's like, okay, class, we're gonna watch

872
00:43:14,079 --> 00:43:16,159
a movie, but it's gonna be in Spanish, and I'm

873
00:43:16,159 --> 00:43:17,960
gonna stop it every so often. You're gonna tell me

874
00:43:18,039 --> 00:43:19,559
what's going on if you can do it right.

875
00:43:19,639 --> 00:43:21,119
Speaker 1: And we're like, okay, whatever.

876
00:43:21,480 --> 00:43:23,639
Speaker 4: So she pops in Raiders of the Lost Art but

877
00:43:23,800 --> 00:43:27,280
in Spanish. So she keeps coppying and she's like, does

878
00:43:27,320 --> 00:43:31,000
anyone know what they're saying? And I'm like and I

879
00:43:31,199 --> 00:43:32,639
just like, like, well, they're looking for the arc, but

880
00:43:32,639 --> 00:43:34,320
they're looking at the wrong place, so the thing's one

881
00:43:34,360 --> 00:43:39,199
thing too short. And I amazed my Spanish teacher she

882
00:43:39,360 --> 00:43:40,280
had no clue.

883
00:43:43,880 --> 00:43:46,159
Speaker 1: Oh my gosh, that's awesome man.

884
00:43:47,639 --> 00:43:48,760
Speaker 2: All right, are we.

885
00:43:48,800 --> 00:43:49,679
Speaker 1: Done with is it live?

886
00:43:49,960 --> 00:43:51,800
Speaker 2: Yeah, yeah, we could be done. I love it to me.

887
00:43:51,880 --> 00:43:54,800
It's another hit. It's another it's another NonStop hits here

888
00:43:54,840 --> 00:43:55,599
coming from the top.

889
00:43:55,760 --> 00:43:57,320
Speaker 4: So the next song on the album is a song

890
00:43:57,400 --> 00:43:58,519
called Perfection.

891
00:44:00,920 --> 00:44:03,599
Speaker 2: It goes a one two three and.

892
00:44:05,480 --> 00:44:06,679
Speaker 4: It's quite essential.

893
00:44:12,280 --> 00:44:14,280
Speaker 2: Get in it because I won't.

894
00:44:15,280 --> 00:44:17,000
Speaker 4: Okay, I've got one thing to say about this, and

895
00:44:17,079 --> 00:44:18,199
I'm gonna turn you list man.

896
00:44:18,800 --> 00:44:19,039
Speaker 2: Okay.

897
00:44:19,239 --> 00:44:21,639
Speaker 4: One thing I know about this song is that is

898
00:44:21,880 --> 00:44:23,920
Jason Mazel on the drums.

899
00:44:27,400 --> 00:44:36,320
Speaker 2: Down front. Okay, yes, and that's really the big takeaway.

900
00:44:36,639 --> 00:44:39,400
This is the only track on the album it's got

901
00:44:39,480 --> 00:44:40,880
live drums, real drumming on it.

902
00:44:41,000 --> 00:44:43,360
Speaker 1: It's an interesting way that they handle it. It's a

903
00:44:43,440 --> 00:44:45,920
slow down beat, it's it is much slower than the

904
00:44:46,000 --> 00:44:49,239
first five songs that we've heard so far tempo wise.

905
00:44:49,719 --> 00:44:52,320
And then they do an interesting thing where I think

906
00:44:52,400 --> 00:44:56,599
it's run is doing the falsetto high pitched against against

907
00:44:56,679 --> 00:45:00,719
DMC's regular voice rap, which is interesting because later on

908
00:45:01,320 --> 00:45:05,320
DMC went through this whole weird spell where he went

909
00:45:05,519 --> 00:45:08,760
ultra low and said he was basically forced to sing

910
00:45:08,840 --> 00:45:11,199
in a higher voice that was than his normal voice.

911
00:45:11,360 --> 00:45:14,199
But anyway, it's just it's interesting that They've got that

912
00:45:14,400 --> 00:45:15,840
dynamic going on in this one.

913
00:45:15,960 --> 00:45:17,239
Speaker 3: Would you do you like this song, Dave?

914
00:45:17,480 --> 00:45:20,000
Speaker 2: I do like it. It is definitely, you know, a

915
00:45:20,079 --> 00:45:22,119
step down and energy from the other songs that have

916
00:45:22,199 --> 00:45:24,519
come before it so far. And you know, someone who's

917
00:45:24,599 --> 00:45:26,960
not like a huge devote to this album, this might

918
00:45:27,079 --> 00:45:29,320
be one that goes lower on their list. But the

919
00:45:29,400 --> 00:45:32,119
reason I like it is because it is so easy

920
00:45:32,239 --> 00:45:35,000
to do the parts because it's so slow. You know,

921
00:45:35,119 --> 00:45:36,599
this is one that I could get together with a

922
00:45:36,639 --> 00:45:39,039
buddy and we could switch off parts and sing along

923
00:45:39,440 --> 00:45:41,639
with the record. You know, could we could pull it off.

924
00:45:42,440 --> 00:45:45,079
But I don't ever skip it. It's a change of pace.

925
00:45:45,119 --> 00:45:46,719
It's a nice little thing to have right there at

926
00:45:46,719 --> 00:45:50,039
this spot in the sequence. And it's lighthearted, you know,

927
00:45:50,119 --> 00:45:52,199
it's kind of funny. It's fun It's a step down

928
00:45:52,199 --> 00:45:53,320
from the others we've heard so far.

929
00:45:53,480 --> 00:45:54,199
Speaker 1: I like the drums.

930
00:45:54,360 --> 00:45:55,599
Speaker 4: I do like the live drums.

931
00:45:55,639 --> 00:45:57,480
Speaker 1: I think that it gives a little bit more character.

932
00:45:57,719 --> 00:46:00,840
Speaker 4: You can see Jay's talent as a musician. And here, okay,

933
00:46:01,480 --> 00:46:04,280
hit stop on your tape player, eja, kick it out,

934
00:46:04,320 --> 00:46:08,280
flip it over side two, and we start off with

935
00:46:08,320 --> 00:46:13,760
a song called hit It Run you can't see him

936
00:46:14,880 --> 00:46:32,360
and the powerful start to the second side right here.

937
00:46:32,440 --> 00:46:34,119
Speaker 3: Okay, hold on, hold on. It's so rare that I

938
00:46:34,199 --> 00:46:35,320
get the opportunity to do this.

939
00:46:36,119 --> 00:46:45,039
Speaker 1: This is the titular track, Titular Uh never grown up

940
00:46:45,119 --> 00:46:46,159
from sophomore years.

941
00:46:47,719 --> 00:46:51,199
Speaker 4: This one contains the gigantic MF or in the middle

942
00:46:51,280 --> 00:46:53,679
of it. Yeah, that was a little bit of a

943
00:46:53,760 --> 00:46:54,239
shock to me.

944
00:46:54,599 --> 00:46:56,840
Speaker 2: These two albums were looking at Licensed to Ill and

945
00:46:57,000 --> 00:46:59,159
Raising Hell they you know, you look back at now

946
00:46:59,440 --> 00:47:02,920
and with like more mature ears, and they're both little

947
00:47:03,000 --> 00:47:05,800
problematic for different reasons. You know, License to Ill is

948
00:47:05,880 --> 00:47:08,559
actually completely clean in his language. It's just that some

949
00:47:08,639 --> 00:47:11,280
of the subject matter, you know, a little rough, and

950
00:47:12,000 --> 00:47:14,679
in this case, on this album, the subject matter is

951
00:47:14,760 --> 00:47:17,280
not too bad. But there are three tracks that have

952
00:47:18,159 --> 00:47:21,760
explicit language and little this was the worst one, unfortunately,

953
00:47:21,960 --> 00:47:25,519
because it does detract from what is a fantastic song.

954
00:47:25,599 --> 00:47:26,960
It's an awesome, hy energy.

955
00:47:26,840 --> 00:47:29,880
Speaker 4: Jam along with dropping that MF for like a scud

956
00:47:30,000 --> 00:47:30,800
missile right there.

957
00:47:31,039 --> 00:47:31,960
Speaker 1: I had seen some.

958
00:47:32,280 --> 00:47:35,199
Speaker 4: Interviews with Run on YouTube and I was just watching

959
00:47:35,280 --> 00:47:39,000
those and he became later in life known as Reverend Run.

960
00:47:39,320 --> 00:47:41,360
He went to church all the time as he was

961
00:47:41,440 --> 00:47:44,440
telling his story. He decided one day to go to church,

962
00:47:44,559 --> 00:47:46,239
and he was one of those deals that you know,

963
00:47:46,480 --> 00:47:49,239
as with most grown men who give in and go

964
00:47:49,360 --> 00:47:50,960
to church for the first time, they want to sit

965
00:47:51,000 --> 00:47:52,639
in a back row. They don't want anybody to talk

966
00:47:52,639 --> 00:47:54,480
to him, They just want to kind of observe. He

967
00:47:54,559 --> 00:47:57,320
sitting there one day and he saw what clearly was

968
00:47:57,440 --> 00:48:01,760
a grandmother who was dragging herr and son to church.

969
00:48:02,119 --> 00:48:03,920
He didn't want to be there, but she was making

970
00:48:04,000 --> 00:48:06,719
him right, and he was into rap music, and as

971
00:48:06,840 --> 00:48:10,519
they walked in, he locked eyes with Run. He sits

972
00:48:10,559 --> 00:48:12,679
down with his grandmother and he keeps looking back at

973
00:48:12,760 --> 00:48:14,840
Run like that can't be who I think it is.

974
00:48:15,079 --> 00:48:17,159
And he keeps looking at him, and he elbows his

975
00:48:17,239 --> 00:48:20,840
grandmother and he's like, that's that's like a rap superstar

976
00:48:21,199 --> 00:48:22,639
behind us, and she's like, that.

977
00:48:22,719 --> 00:48:25,039
Speaker 1: Ain't no rap superstar. You're in church.

978
00:48:25,480 --> 00:48:30,440
Speaker 4: Turn around and listen right that. He keeps glancing back,

979
00:48:30,519 --> 00:48:32,679
keeps glancing back, and he's and he becomes more and

980
00:48:32,800 --> 00:48:36,360
more sure that that's Run from Run DMC. And he said, like,

981
00:48:36,519 --> 00:48:39,159
on the tenth time Run winked at him, and that's

982
00:48:39,199 --> 00:48:43,840
when the guy's like, that's Run for run DMC, and

983
00:48:43,920 --> 00:48:46,440
I just thought that story was hilarious.

984
00:48:48,239 --> 00:48:50,840
Speaker 1: And he never skipped church again, that's right.

985
00:48:52,039 --> 00:48:54,360
Speaker 4: The moral of the story is always go to church

986
00:48:54,400 --> 00:48:55,840
because you never know who you're gonna see there.

987
00:48:55,960 --> 00:49:00,199
Speaker 2: So this song features Daryl almost exclusively. Daryl do all

988
00:49:00,239 --> 00:49:03,719
the rapping, and that is because Joe is actually beatboxing

989
00:49:03,800 --> 00:49:13,800
on this record TFC cham Master t and beatboxing was

990
00:49:13,840 --> 00:49:16,119
something that run DMC had never done, and it was

991
00:49:16,239 --> 00:49:19,039
kind of the domain of Dougie Fresh and the Fat Boys.

992
00:49:19,079 --> 00:49:21,760
Those were the two most prominent beat boxers, and so

993
00:49:22,039 --> 00:49:24,960
for run DMC to come out with beatboxing was kind

994
00:49:24,960 --> 00:49:27,280
of a bold move. And it's like, if they didn't

995
00:49:27,400 --> 00:49:29,519
nail it, they were gonna look like they were just

996
00:49:29,599 --> 00:49:33,360
being copycats. But I think this song is absolutely fantastic.

997
00:49:33,719 --> 00:49:37,440
I attended the Raising Hell Show in May of nineteen

998
00:49:37,480 --> 00:49:40,880
eighty six in Columbus, Georgia, and this was before Walk

999
00:49:40,920 --> 00:49:44,159
This Way had been released as a single. Okay, so

1000
00:49:44,320 --> 00:49:47,800
I'm about the the I'm not the only white kid

1001
00:49:47,840 --> 00:49:48,440
in the whole crowd.

1002
00:49:48,519 --> 00:49:48,639
Speaker 1: Right.

1003
00:49:48,719 --> 00:49:51,119
Speaker 2: If you remember the old school televisions, when you turn

1004
00:49:51,199 --> 00:49:52,840
it off and it would it would go black except

1005
00:49:52,880 --> 00:49:57,079
for that one little white dot. I would tell people

1006
00:49:57,119 --> 00:49:58,639
I was the white dot on the TV set. You

1007
00:49:58,880 --> 00:50:02,519
heard I did know King of Rock, right. King of

1008
00:50:02,599 --> 00:50:04,320
Rock was the album that got me hooked on all

1009
00:50:04,400 --> 00:50:07,480
this and King of Rock the song was my favorite

1010
00:50:07,480 --> 00:50:09,800
at the time, and I hadn't heard the Raising Hell

1011
00:50:09,880 --> 00:50:12,039
album yet when I went to this show and they

1012
00:50:12,159 --> 00:50:16,480
start off with I'm the Key of Rock, and I

1013
00:50:16,559 --> 00:50:18,840
was like, oh, they just took King of Rock and

1014
00:50:18,880 --> 00:50:20,519
they just flipped it and there's a whole new song

1015
00:50:20,760 --> 00:50:23,480
and it completely blew me away. I mean I was

1016
00:50:23,760 --> 00:50:27,239
just enraptured. So from that very first live performance, I've

1017
00:50:27,280 --> 00:50:29,480
always absolutely loved this song, all right.

1018
00:50:29,639 --> 00:50:32,400
Speaker 1: Moving on to the eighth track on the album. Yes,

1019
00:50:33,360 --> 00:50:36,159
this song is called Raising Hell.

1020
00:50:39,840 --> 00:50:41,440
Speaker 4: Class from Queens Come Checks.

1021
00:50:41,519 --> 00:50:44,360
Speaker 2: We're raising Hell like a class one of us felt rings.

1022
00:50:46,280 --> 00:50:48,280
I won't be raised something.

1023
00:50:49,000 --> 00:50:50,039
Speaker 1: We won't be faced.

1024
00:50:51,320 --> 00:50:52,679
Speaker 2: Top down, Turn it Up.

1025
00:50:55,800 --> 00:50:59,400
Speaker 4: This song is a guitar rock thumper man, Turn it Up.

1026
00:50:59,599 --> 00:51:03,000
Speaker 2: This is my favorite song in this album. I can't

1027
00:51:03,119 --> 00:51:05,239
help but listen to it and listen to it loud

1028
00:51:05,559 --> 00:51:07,559
and scream the lyrics along every time.

1029
00:51:08,719 --> 00:51:10,960
Speaker 1: Who does the guitar on this? Man? That's you know?

1030
00:51:11,079 --> 00:51:13,639
Speaker 2: I don't, I don't know. I wanted it to be

1031
00:51:13,800 --> 00:51:16,599
Eddie Martinez, but as I was researching for it, I

1032
00:51:16,679 --> 00:51:18,920
can never find the answer, So I really don't know

1033
00:51:19,039 --> 00:51:19,400
the answer.

1034
00:51:19,480 --> 00:51:20,719
Speaker 1: Man, it's great, It's great.

1035
00:51:20,760 --> 00:51:23,519
Speaker 2: I love the song too, dissing all Devil's causing havoc

1036
00:51:23,599 --> 00:51:26,360
in hell at a very high level based on Troubleshell Yell.

1037
00:51:26,559 --> 00:51:28,719
I mean, it's everything like a beast, or at least

1038
00:51:28,760 --> 00:51:31,159
there's no stuff because the rock again, I see great

1039
00:51:33,639 --> 00:51:39,679
mans kings from queens, from Queens come Kings. It's the

1040
00:51:39,800 --> 00:51:42,599
rock and roll version of rap, right. They're screaming their

1041
00:51:42,679 --> 00:51:45,840
lyrics like not every rapper yells their lyrics the way

1042
00:51:45,960 --> 00:51:48,599
run DMC does. I mean, these guys are taking a

1043
00:51:48,760 --> 00:51:52,000
rock mentality and a rock approach to their rap, even

1044
00:51:52,000 --> 00:51:55,000
when they're not using like rock arrangements. This is the song.

1045
00:51:55,079 --> 00:51:56,880
If I can only pick one song off the album,

1046
00:51:57,039 --> 00:51:57,960
it's gonna be this one.

1047
00:51:58,039 --> 00:52:00,719
Speaker 1: I gotta say I was not from with this song

1048
00:52:00,840 --> 00:52:04,079
before we started doing the research and listening to this album.

1049
00:52:04,599 --> 00:52:07,960
This song is the standout for me at this point.

1050
00:52:08,239 --> 00:52:10,039
I love the fact that he keeps talking about how

1051
00:52:10,039 --> 00:52:12,840
awesome d is because I identify with that, and so

1052
00:52:13,599 --> 00:52:15,840
you know, from the Mountain Valley to the deep Blue Sea.

1053
00:52:16,000 --> 00:52:18,679
The word is heard is told by d I love that,

1054
00:52:18,960 --> 00:52:19,559
I love it all.

1055
00:52:19,639 --> 00:52:20,599
Speaker 3: It's such a good song.

1056
00:52:20,840 --> 00:52:22,679
Speaker 1: We get these golden nuggets every once in a while

1057
00:52:22,760 --> 00:52:25,039
as we're going through these albums of like, hey, I

1058
00:52:25,119 --> 00:52:27,400
didn't really even hear this one before, and this is

1059
00:52:27,559 --> 00:52:28,840
this is definitely that song.

1060
00:52:28,920 --> 00:52:29,760
Speaker 3: For me on this album.

1061
00:52:29,920 --> 00:52:30,159
Speaker 2: Wow.

1062
00:52:30,599 --> 00:52:33,000
Speaker 4: Okay, so this is where I want to drop in

1063
00:52:33,079 --> 00:52:36,679
my Sarah McLaughlin story. Okay, we take this heavy, hard

1064
00:52:36,800 --> 00:52:40,000
kitting rocker and then flash forward eleven years to nineteen

1065
00:52:40,039 --> 00:52:43,519
ninety seven. Run DMC has fallen from grace. Daryl McDaniels

1066
00:52:43,639 --> 00:52:47,519
is a full blown alcoholic who is suicidal emotionally broken.

1067
00:52:47,800 --> 00:52:49,519
Speaker 1: Every day he wakes.

1068
00:52:49,360 --> 00:52:51,760
Speaker 4: Up and finds the reason not to commit suicide. He

1069
00:52:51,880 --> 00:52:53,719
returns from a Japanese tour.

1070
00:52:54,079 --> 00:52:54,960
Speaker 1: Dave, do you know the story?

1071
00:52:55,480 --> 00:52:56,519
Speaker 2: I don't, Okay.

1072
00:52:56,719 --> 00:52:59,239
Speaker 4: So on his way back from the Japanese tour, he's

1073
00:52:59,239 --> 00:53:01,119
supposed to fly and based on where he lives, he's

1074
00:53:01,119 --> 00:53:04,159
supposed to fly into LaGuardia Airport in New York City

1075
00:53:04,280 --> 00:53:08,039
and instead he goes to JFK. So he's megapist about that.

1076
00:53:08,239 --> 00:53:11,159
So he gets in the taxi and the taxi says Texan.

1077
00:53:11,199 --> 00:53:12,800
Guy says, where are we going, sir? And he says

1078
00:53:13,320 --> 00:53:15,960
New Jersey and the guy same thing happens. He looks

1079
00:53:15,960 --> 00:53:18,119
over his shoulder kind of glances at him, and he

1080
00:53:18,239 --> 00:53:20,679
keeps turning. Every stop light he keeps glancing at him,

1081
00:53:20,679 --> 00:53:22,920
and finally, like at the third stop light, he's like,

1082
00:53:23,199 --> 00:53:24,719
I know I'm not supposed to say this, but you're

1083
00:53:24,800 --> 00:53:26,960
run DMC, and I love run DMC, and I could

1084
00:53:26,960 --> 00:53:29,679
get fired and I just really would love an autograph

1085
00:53:29,719 --> 00:53:30,119
and I'm.

1086
00:53:29,960 --> 00:53:30,679
Speaker 2: Really really sorry.

1087
00:53:31,719 --> 00:53:34,199
Speaker 4: And Darrel's like, look, man, it's cool, don't worry about it.

1088
00:53:34,360 --> 00:53:35,559
I'll even take a picture with you.

1089
00:53:35,719 --> 00:53:36,320
Speaker 1: It'll be fine.

1090
00:53:36,960 --> 00:53:38,679
Speaker 4: And so the guy's like, oh, this is so amazing,

1091
00:53:38,760 --> 00:53:41,280
thank you so much, blah blah blah. So as they're traveling,

1092
00:53:41,480 --> 00:53:43,639
the guy says, would you mind if I turn on

1093
00:53:43,719 --> 00:53:46,280
the radio, And Darrel's like, yeah, that's fine whatever, And so,

1094
00:53:46,480 --> 00:53:48,679
because he knows he's a rapper, he turns on the

1095
00:53:48,760 --> 00:53:53,599
local hardcore wrap station in New York City and Daryl's like, look, man,

1096
00:53:54,079 --> 00:53:57,440
anything but this crap. I can't take it, none of

1097
00:53:57,519 --> 00:53:59,400
this stuff. So the guy's like, okay, let's fine.

1098
00:53:59,440 --> 00:53:59,960
Speaker 3: This fine spine.

1099
00:54:00,079 --> 00:54:02,239
Speaker 4: So he turns it to the easy listening station, and

1100
00:54:02,360 --> 00:54:04,599
the song that is playing when he turns it to

1101
00:54:04,679 --> 00:54:08,360
the easy listening station is a song called Angel by

1102
00:54:08,440 --> 00:54:09,280
Sarah McLachlin.

1103
00:54:10,559 --> 00:54:12,039
Speaker 3: Makes me think of a dog commercial.

1104
00:54:12,719 --> 00:54:16,199
Speaker 4: They play it over that please adopt a dog commercially. Yes,

1105
00:54:16,960 --> 00:54:20,119
that little hard hitting, but it's soft and it's so

1106
00:54:20,599 --> 00:54:24,639
tender and it's beautiful. But it's just this light piano,

1107
00:54:24,800 --> 00:54:27,960
easy listening song. And Darryl sitting there and he's like,

1108
00:54:28,280 --> 00:54:30,880
like breaks down because of the beauty of this song.

1109
00:54:31,039 --> 00:54:33,760
And he starts to like emotionally break and he's like,

1110
00:54:33,840 --> 00:54:36,199
if there is this kind of beauty left in the world,

1111
00:54:37,119 --> 00:54:39,239
then I can still go on living.

1112
00:54:40,039 --> 00:54:42,199
Speaker 1: And he's like, I can't express this enough to you.

1113
00:54:42,840 --> 00:54:46,800
Speaker 4: Sarah McLaughlin's Angels saved my life, okay.

1114
00:54:47,079 --> 00:54:49,000
Speaker 2: In the back of a cab, at the back of

1115
00:54:49,039 --> 00:54:49,320
a cat.

1116
00:54:49,360 --> 00:54:51,079
Speaker 4: And if you grew up in the nineties, you were

1117
00:54:51,159 --> 00:54:53,199
very familiar with the song. They played it all the.

1118
00:54:53,239 --> 00:54:55,719
Speaker 1: Time part of the soundtrack for City of Angels. Yes,

1119
00:54:55,960 --> 00:54:57,599
I owned it and listened.

1120
00:54:57,360 --> 00:54:59,039
Speaker 3: To it all the time. I thought it was truly beautiful.

1121
00:54:59,199 --> 00:55:02,480
Speaker 2: It's beautiful in thems.

1122
00:55:10,840 --> 00:55:13,159
Speaker 4: So he said he went into a shell and all

1123
00:55:13,239 --> 00:55:16,079
he did at his house was read comic books and

1124
00:55:16,199 --> 00:55:19,280
listen to Sarah McLachlan CDs. Right, they would pick him

1125
00:55:19,320 --> 00:55:21,880
up to go do play a show. Jay and Ron

1126
00:55:21,920 --> 00:55:24,280
would show up and say let's go get in the car,

1127
00:55:24,320 --> 00:55:26,639
and he's like, you'd have to play my Sarah McLachlin CD.

1128
00:55:27,320 --> 00:55:29,199
And they're like, man, get that crap out of here.

1129
00:55:29,239 --> 00:55:30,039
Speaker 2: We're not listening to that.

1130
00:55:30,360 --> 00:55:32,719
Speaker 4: And he said he would take his bags, go back

1131
00:55:32,760 --> 00:55:35,679
in the house and shut the door. I'm not coming

1132
00:55:35,760 --> 00:55:37,599
unless you play my Sarah McLachlan CD.

1133
00:55:38,159 --> 00:55:39,119
Speaker 1: Save my Life man.

1134
00:55:39,639 --> 00:55:42,599
Speaker 4: So finally, his manager, who was his best friend at

1135
00:55:42,639 --> 00:55:44,639
the time, his name is Eric, talks him into going

1136
00:55:44,679 --> 00:55:48,559
this Clive Davis after Grammy's party and it's a big deal,

1137
00:55:48,719 --> 00:55:50,519
but he's all he wants to do is sit around

1138
00:55:50,559 --> 00:55:53,719
listen to Sarah McLaughlin CD. And so they know he's suicidal,

1139
00:55:53,760 --> 00:55:56,039
they know he's troubled, he's an alcoholic. So they drag

1140
00:55:56,159 --> 00:55:58,400
him to this Grammy show and he's sitting there and

1141
00:55:58,719 --> 00:56:00,960
it's the same deal. He sits chair right by the

1142
00:56:01,039 --> 00:56:02,559
door and all he wants.

1143
00:56:02,320 --> 00:56:04,400
Speaker 1: To do is go home, all right, and do I

1144
00:56:04,480 --> 00:56:04,920
have to wait?

1145
00:56:05,119 --> 00:56:06,000
Speaker 2: How long do I have to wait.

1146
00:56:06,280 --> 00:56:08,239
Speaker 1: So he says, you've got one hour. I'm gonna be

1147
00:56:08,239 --> 00:56:09,960
here one hour, he said.

1148
00:56:10,039 --> 00:56:13,159
Speaker 4: The first dude who walks in the door is Buster Rhymes,

1149
00:56:14,599 --> 00:56:18,960
and Buster Rhymes is like, this dude is hip hop personified,

1150
00:56:19,119 --> 00:56:21,599
and he brings all this attention to him, and he's

1151
00:56:21,719 --> 00:56:24,519
just like, please just go away. I just want to

1152
00:56:24,559 --> 00:56:24,960
go home.

1153
00:56:25,559 --> 00:56:26,559
Speaker 1: Listen to my Sarah.

1154
00:56:26,360 --> 00:56:31,239
Speaker 4: McLaughlin CD, so he says, then he goes away. The

1155
00:56:31,360 --> 00:56:34,000
second dude who walks into Stevie one, he said, Stevie

1156
00:56:34,079 --> 00:56:34,920
Wonder didn't see him.

1157
00:56:35,239 --> 00:56:36,480
Speaker 3: Obviously that's a joke.

1158
00:56:36,599 --> 00:56:39,679
Speaker 1: Yeah, but.

1159
00:56:42,079 --> 00:56:45,039
Speaker 4: But Stevie's people kind of push him over towards him,

1160
00:56:45,679 --> 00:56:47,880
and he's so bitter and so angry. He's like, I

1161
00:56:47,960 --> 00:56:50,840
hope freaking Stevie Wonder falls on his face as he's walking.

1162
00:56:50,639 --> 00:56:51,000
Speaker 3: Out of here.

1163
00:56:51,800 --> 00:56:53,280
Speaker 1: But what Stevie gets over there, he.

1164
00:56:53,400 --> 00:56:55,760
Speaker 4: Talks to him briefly, Okay, thank you, thinking think you

1165
00:56:55,920 --> 00:56:57,920
go away, But he said. The third person that walked

1166
00:56:57,960 --> 00:57:02,639
in the door is Sarah McLachlin, uh, and he's freaking out.

1167
00:57:02,639 --> 00:57:05,159
He's like sweating and he's like a fanboy. He's like,

1168
00:57:05,199 --> 00:57:06,760
oh my gosh, I've got to go talk to her

1169
00:57:07,079 --> 00:57:09,000
and tell her what she's done for me in my life.

1170
00:57:09,639 --> 00:57:13,079
So he gets up, gathers his courage, walks over to

1171
00:57:13,199 --> 00:57:16,239
her and says, excuse me, mister McLachlan, I just want

1172
00:57:16,280 --> 00:57:18,000
to tell you that your song Angel is the most

1173
00:57:18,000 --> 00:57:20,159
beautiful thing I've ever heard, and it changed me and

1174
00:57:20,280 --> 00:57:24,440
it saved my life. And she goes, hey, you're you're

1175
00:57:24,840 --> 00:57:28,719
DMC from Run DMC and he's like yes, and she's

1176
00:57:28,760 --> 00:57:30,519
like it's trick.

1177
00:57:30,440 --> 00:57:31,159
Speaker 2: Do roku ro.

1178
00:57:33,440 --> 00:57:38,760
Speaker 1: Walk this way and he's like no, no, no. So anyway,

1179
00:57:38,920 --> 00:57:39,400
he got.

1180
00:57:39,320 --> 00:57:44,119
Speaker 4: Through that massive depression with the help of Sarah McLaughlan,

1181
00:57:44,679 --> 00:57:47,440
and eventually he kicked the alcohol habit as well.

1182
00:57:47,559 --> 00:57:50,840
Speaker 2: That's fantastic story. We done with that one, Yeah, al Teimer,

1183
00:57:50,840 --> 00:57:53,039
I want to say this real quick. Run DMC's final

1184
00:57:53,159 --> 00:57:55,119
album came out in two thousand and one. It was

1185
00:57:55,199 --> 00:57:57,159
called Crown Royal, and this was at a time when

1186
00:57:57,199 --> 00:58:01,280
Daryl had lost his voice. He actually couldn't perform. They

1187
00:58:01,360 --> 00:58:04,239
called it a Run DMC album, and Run carried the

1188
00:58:04,360 --> 00:58:06,599
album with a new guest star in every track, and

1189
00:58:06,679 --> 00:58:09,159
they had a song called School of Old, which was

1190
00:58:09,239 --> 00:58:13,119
a collaboration between Run and Kid Rock, and it's one

1191
00:58:13,159 --> 00:58:15,960
of the best songs on that album, and they reused

1192
00:58:16,039 --> 00:58:18,960
the final verse from the song raising Hell. They reuse

1193
00:58:19,039 --> 00:58:21,239
it in School of Old on the on their two

1194
00:58:21,239 --> 00:58:23,360
thousand and one album, and that's a song that's worth

1195
00:58:23,440 --> 00:58:23,760
checking out.

1196
00:58:23,800 --> 00:58:25,360
Speaker 3: It's pretty cool, awesome, awesome.

1197
00:58:25,559 --> 00:58:27,280
Speaker 1: I found out who the guitar player is in the

1198
00:58:27,360 --> 00:58:31,800
song you guys ready, yeah, okay, yeah, Rick Rupin Rick

1199
00:58:31,840 --> 00:58:33,800
Hoopin is the one playing the guitar on the song.

1200
00:58:34,559 --> 00:58:36,480
Speaker 2: I should have known. That's awesome, all right.

1201
00:58:36,559 --> 00:58:38,639
Speaker 4: So that brings us the song number nine on the album.

1202
00:58:38,760 --> 00:58:41,920
This was the third single released October twenty first, nineteen

1203
00:58:41,960 --> 00:58:45,239
eighty six. This song is called U b illan O J.

1204
00:58:46,719 --> 00:59:04,280
Speaker 2: Wait Wait well, this song was a big hit among

1205
00:59:04,360 --> 00:59:07,119
my friends. It's obviously it's a comedy song, right. It's

1206
00:59:07,119 --> 00:59:09,199
almost like in the tune of I mean in the

1207
00:59:09,320 --> 00:59:12,119
vein of like Charlie Brown, if you remember those old

1208
00:59:12,239 --> 00:59:15,280
kind of songs like that that were kind of joke records.

1209
00:59:15,360 --> 00:59:16,639
We got a big kick out of this, and we

1210
00:59:16,679 --> 00:59:20,239
always enjoyed playing it. Personally. For me, it's it's not

1211
00:59:20,400 --> 00:59:23,480
my favorite on the album, just because I'm usually not

1212
00:59:23,519 --> 00:59:25,480
in the mood for comedy when I'm listening to run DMC.

1213
00:59:25,760 --> 00:59:26,480
Speaker 1: But it is.

1214
00:59:26,679 --> 00:59:28,440
Speaker 2: It is a lot of fun. It's a fun song.

1215
00:59:28,559 --> 00:59:29,480
Speaker 1: It's a little bit goofy.

1216
00:59:29,760 --> 00:59:31,039
Speaker 3: This was a fun song to break too.

1217
00:59:31,119 --> 00:59:33,880
Speaker 2: I can tell you that there's a nice moment in

1218
00:59:33,960 --> 00:59:36,239
the song where he goes and it was deaf, and

1219
00:59:36,440 --> 00:59:38,400
I was able to take that song deaf and use

1220
00:59:38,440 --> 00:59:39,239
it myself, you know.

1221
00:59:39,360 --> 00:59:43,280
Speaker 4: As for deaf Dave, I could say, you explained to

1222
00:59:43,360 --> 00:59:46,480
me last week, which I hadn't always been super crystal

1223
00:59:46,519 --> 00:59:48,840
clear on what it meant to be ill or illing,

1224
00:59:50,760 --> 00:59:52,800
and so ill is the opposite of chill, right, it's

1225
00:59:53,119 --> 00:59:56,000
you're acting like a fool, you're acting crazy, you're acting dumb,

1226
00:59:56,360 --> 00:59:57,239
you be illing.

1227
00:59:57,880 --> 00:59:58,239
Speaker 2: That's right.

1228
00:59:58,400 --> 01:00:01,119
Speaker 1: Whack, by the way, has made it back into the vernacular.

1229
01:00:01,159 --> 01:00:03,559
I've got kids who are using whack now. I imagine

1230
01:00:03,599 --> 01:00:04,519
Illen will be next.

1231
01:00:06,679 --> 01:00:07,559
Speaker 2: That's my vernacular.

1232
01:00:07,639 --> 01:00:08,119
Speaker 1: But that's.

1233
01:00:10,559 --> 01:00:12,679
Speaker 4: Peaked at number twenty nine on the Hot one hundred.

1234
01:00:12,719 --> 01:00:15,679
All right, So next song on the album is called

1235
01:00:15,960 --> 01:00:24,239
dumb Girl. Interesting to find out how many times they

1236
01:00:24,280 --> 01:00:24,880
actually say.

1237
01:00:24,760 --> 01:00:25,800
Speaker 1: The word dumb at the beginning.

1238
01:00:27,119 --> 01:00:30,960
Speaker 2: This song is all about that bass. If you wanted

1239
01:00:31,079 --> 01:00:35,159
to show off your car's system, Dumb Girl was the

1240
01:00:35,239 --> 01:00:37,440
track you could go through in nineteen eighty six, turn

1241
01:00:37,559 --> 01:00:42,039
up those sub warfers and rattle windows all around the block.

1242
01:00:42,400 --> 01:00:44,840
One of those songs that would be obnoxious in traffic

1243
01:00:44,880 --> 01:00:47,440
and you couldn't even hear anything else except that bass

1244
01:00:47,639 --> 01:00:48,639
just shaking the ground.

1245
01:00:48,840 --> 01:00:51,000
Speaker 1: So here's the thing I read about this. This was

1246
01:00:51,360 --> 01:00:52,559
something I found really interesting.

1247
01:00:52,760 --> 01:00:56,199
Speaker 4: So it is generally not like them to be insulting

1248
01:00:56,239 --> 01:00:58,440
to women and to write a song about, you know,

1249
01:00:58,599 --> 01:01:01,519
dumb girl. It's just a little I mean, not that

1250
01:01:01,679 --> 01:01:04,639
big of a deal, but it's it's you know, uncharacteristic

1251
01:01:04,719 --> 01:01:07,320
for them. So the rumor is that Ello cool J

1252
01:01:07,480 --> 01:01:09,559
wrote this song when he was seventeen years old.

1253
01:01:09,880 --> 01:01:11,000
Speaker 1: That was the rumor on the street.

1254
01:01:11,199 --> 01:01:13,320
Speaker 3: He's not listed among the songwriters. I can tell you

1255
01:01:13,440 --> 01:01:15,000
that that's That was the.

1256
01:01:15,079 --> 01:01:18,360
Speaker 4: Rumor I found on the internet, because the Internet is

1257
01:01:18,400 --> 01:01:19,280
always right, right.

1258
01:01:20,760 --> 01:01:21,360
Speaker 5: I like the song.

1259
01:01:21,400 --> 01:01:22,679
Speaker 2: I just think it's a lot of fun there. They're

1260
01:01:22,679 --> 01:01:25,920
switching back and forth real well in this and the

1261
01:01:26,039 --> 01:01:26,719
dumb did he dumb?

1262
01:01:26,760 --> 01:01:27,199
Speaker 1: Did he? Did he?

1263
01:01:27,320 --> 01:01:27,719
Speaker 4: Dumb? Dumb?

1264
01:01:27,760 --> 01:01:29,559
Speaker 2: All that stuff's a lot of fun. And of course

1265
01:01:29,599 --> 01:01:31,719
the bass just hitting like crazy. I listened to it

1266
01:01:31,760 --> 01:01:32,800
every time. I'll never skip it.

1267
01:01:32,960 --> 01:01:35,920
Speaker 1: I love it, So who's JC. The first line of

1268
01:01:35,960 --> 01:01:38,199
the song is I'd seen you Jack and j C

1269
01:01:38,440 --> 01:01:42,880
because they got him most haze. Oh right here o

1270
01:01:43,039 --> 01:01:43,440
cong was.

1271
01:01:43,440 --> 01:01:47,320
Speaker 4: Written about me and my girlfriend that right now, and

1272
01:01:47,440 --> 01:01:48,840
it actually this is our line.

1273
01:01:48,960 --> 01:01:53,400
Speaker 1: J c ain' d just be his fan, all right.

1274
01:01:53,719 --> 01:01:56,119
Speaker 4: The next song on the album is a song called

1275
01:01:56,639 --> 01:01:57,760
Son of Bifer He.

1276
01:01:57,840 --> 01:01:59,840
Speaker 3: Yo j yoj check this out.

1277
01:02:00,320 --> 01:02:03,800
Speaker 1: I was born son oh by friend brother.

1278
01:02:04,280 --> 01:02:10,079
Speaker 2: Put it runs. So this song is only about twenty

1279
01:02:10,159 --> 01:02:13,039
seven seconds long. It's a reprise of the last verse

1280
01:02:13,039 --> 01:02:15,039
I hit it runs, and it just seems like a

1281
01:02:15,119 --> 01:02:17,840
silly little interlude. It barely even counts as a song.

1282
01:02:18,519 --> 01:02:21,679
But while researching for this podcast, I came across the

1283
01:02:21,760 --> 01:02:25,199
story about Darryl McDaniels, and wow, it just it makes

1284
01:02:25,320 --> 01:02:27,519
this song, of all things, it makes this song a

1285
01:02:27,559 --> 01:02:29,199
lot more poignant than you ever would guess.

1286
01:02:29,519 --> 01:02:29,719
Speaker 1: Yeah.

1287
01:02:29,960 --> 01:02:33,920
Speaker 4: The interesting thing, during Darryl's depression, he thought, well, to

1288
01:02:34,039 --> 01:02:36,079
help me get out of this depression, I'm going to

1289
01:02:36,119 --> 01:02:38,199
write a book because I want people to understand who

1290
01:02:38,320 --> 01:02:38,760
Daryl is.

1291
01:02:39,320 --> 01:02:41,519
Speaker 1: They know who dmc is. I want him to know

1292
01:02:41,599 --> 01:02:42,239
who Daryl is.

1293
01:02:42,840 --> 01:02:44,599
Speaker 4: And so he knew that he had been born May

1294
01:02:44,679 --> 01:02:47,599
thirty first, nineteen sixty four, but he didn't really know

1295
01:02:47,679 --> 01:02:50,079
the details. So he called his mother and he says, hey, Mom,

1296
01:02:50,199 --> 01:02:53,000
I know I was born May thirty first, nineteen sixty four,

1297
01:02:53,440 --> 01:02:54,760
but I've got a few questions for you.

1298
01:02:55,519 --> 01:02:57,960
Speaker 1: How much did I weigh? What time of day was it?

1299
01:02:58,159 --> 01:02:59,519
And what hospital was I born in?

1300
01:03:00,000 --> 01:03:02,199
Speaker 4: ANSWER's all three of those. He says, Okay, okay, okay,

1301
01:03:02,360 --> 01:03:03,880
thanks mom, love you, Touch to you later.

1302
01:03:04,239 --> 01:03:05,320
Speaker 1: Boom hangs up with her.

1303
01:03:05,519 --> 01:03:08,559
Speaker 4: One hour later, she calls him back with his father

1304
01:03:08,679 --> 01:03:10,599
on the line, and he thinks, well, this is going

1305
01:03:10,679 --> 01:03:13,039
to be something nostalgic or trivial, something like that. So

1306
01:03:13,079 --> 01:03:15,679
they're going to tell him another detail that they remembered

1307
01:03:15,719 --> 01:03:17,519
about the day he was born. So he's like, hey, guys,

1308
01:03:17,599 --> 01:03:21,280
what's going on. And she's like, oh, hey, Darryl, I

1309
01:03:21,400 --> 01:03:23,039
just want to let you know you were a month

1310
01:03:23,079 --> 01:03:24,320
old when we brought you home.

1311
01:03:24,760 --> 01:03:27,599
Speaker 1: You were adopted. We love you. Bye.

1312
01:03:28,199 --> 01:03:34,639
Speaker 4: Click, So he said. On top of being suicidal, emotionally broken, alcoholic,

1313
01:03:34,920 --> 01:03:38,400
he finds out at age thirty five and he was adopted.

1314
01:03:38,800 --> 01:03:41,039
Speaker 3: Wow, it shook his world.

1315
01:03:41,239 --> 01:03:43,360
Speaker 2: He had no idea he had grown up in such

1316
01:03:43,400 --> 01:03:46,079
a loving home and remember We talked last week about

1317
01:03:46,119 --> 01:03:48,880
how his mother was so overprotective. It kind of recast

1318
01:03:48,920 --> 01:03:51,199
all that into different light now. She didn't want him

1319
01:03:51,199 --> 01:03:52,719
to go to the city, she didn't want.

1320
01:03:52,559 --> 01:03:53,239
Speaker 3: Them to leave the house.

1321
01:03:53,280 --> 01:03:54,760
Speaker 2: He didn't want him to have friends over when she

1322
01:03:54,880 --> 01:03:57,480
wasn't home. She was very protective of her son, and

1323
01:03:57,639 --> 01:04:01,280
they absolutely loved him very much and a great upbringing,

1324
01:04:01,400 --> 01:04:03,679
you know. And people would tease him about how he

1325
01:04:03,719 --> 01:04:07,159
didn't look anything like his parents, right, But any fleeting

1326
01:04:07,280 --> 01:04:09,760
thought that he had like that just didn't last long

1327
01:04:09,800 --> 01:04:11,880
and was dismissed because of how much love he felt

1328
01:04:11,920 --> 01:04:13,519
from his mom and dad and how close he was

1329
01:04:13,599 --> 01:04:17,519
to his parents. But hip hop and is particularly so

1330
01:04:17,679 --> 01:04:20,519
much of his type of rap is about I am Daryl,

1331
01:04:20,559 --> 01:04:23,360
I am Daryl Mack, I am the devastating Mike Controller,

1332
01:04:23,599 --> 01:04:26,320
I am the son of Byford, and all these things.

1333
01:04:26,519 --> 01:04:29,119
And then he's thirty five years old and he founds

1334
01:04:29,119 --> 01:04:31,039
out he's not even sure who he is at all.

1335
01:04:31,360 --> 01:04:35,400
He did nothing that he thought he knew can he

1336
01:04:35,639 --> 01:04:37,119
remain certain about at this point?

1337
01:04:37,280 --> 01:04:40,159
Speaker 4: So kind of the end of the story is he

1338
01:04:40,599 --> 01:04:43,320
proceeds to he was a private investigator to find his

1339
01:04:43,400 --> 01:04:46,320
birth mom, and he really wanted to have a copy

1340
01:04:46,400 --> 01:04:49,039
of his pre adoption birth certificate. That piece of paper

1341
01:04:49,159 --> 01:04:52,360
was really important to him because on it it showed

1342
01:04:52,480 --> 01:04:55,639
who he actually was. And so he talked to the

1343
01:04:55,719 --> 01:04:58,639
lady at the Department of Health and she had it

1344
01:04:58,920 --> 01:05:01,039
in her hand but couldn't give it to him. And

1345
01:05:01,159 --> 01:05:04,039
so he's like, that's that's crazy. Why can you not

1346
01:05:04,239 --> 01:05:06,559
give that to me? And so he actually has now

1347
01:05:07,159 --> 01:05:11,679
helped pass laws that allow adoptees to get a copy

1348
01:05:11,719 --> 01:05:13,039
of their pre adoption very certificate.

1349
01:05:13,079 --> 01:05:13,599
Speaker 3: It's awesome.

1350
01:05:13,760 --> 01:05:15,840
Speaker 2: Well, the one thing that was really healing for him

1351
01:05:15,960 --> 01:05:19,079
and really helped him, and he said it served as

1352
01:05:19,079 --> 01:05:22,119
an anchor, was he discovered that his birth name actually

1353
01:05:22,360 --> 01:05:25,880
was Daryl. His real mother gave him Daryl at his

1354
01:05:26,039 --> 01:05:29,199
birth and that really helped him have something to hold

1355
01:05:29,239 --> 01:05:31,199
on to and all his brag and he did on

1356
01:05:31,440 --> 01:05:34,639
record about his name being Daryl, and that really saw

1357
01:05:34,719 --> 01:05:36,400
him through the storm. Really the worst part of all this.

1358
01:05:37,480 --> 01:05:39,119
Speaker 4: On a lighter note, you know the beginning of the

1359
01:05:39,159 --> 01:05:42,000
song when he's son of Bifer, brother of Al.

1360
01:05:42,440 --> 01:05:44,360
Speaker 1: He got that from a thor comic.

1361
01:05:44,519 --> 01:05:47,199
Speaker 4: We talked about how Daryl McDaniels was a big, big

1362
01:05:47,400 --> 01:05:49,800
comic book fan and he got it from Thor where

1363
01:05:49,960 --> 01:05:53,159
Thor was son of Odin, brother of Loki.

1364
01:05:53,480 --> 01:05:56,199
Speaker 1: So just to touch on something that's put him where

1365
01:05:56,239 --> 01:05:58,320
he was at that point. You know, we talked last

1366
01:05:58,360 --> 01:06:01,760
episode about the fact that before they really did their

1367
01:06:01,800 --> 01:06:04,880
first show, the only wrapping that he had done had

1368
01:06:04,960 --> 01:06:07,440
been up in their lab, you know, in the attic

1369
01:06:07,719 --> 01:06:10,199
when he was drunk. Well, he realized, because he was

1370
01:06:10,599 --> 01:06:13,400
normally a very introverted guy, he realized that if I

1371
01:06:13,519 --> 01:06:16,360
start drinking a little bit, it'll loosen me up and

1372
01:06:16,519 --> 01:06:20,400
I can perform on stage. Well that was fine, because

1373
01:06:20,440 --> 01:06:22,079
that meant he would just drink before they went on

1374
01:06:22,159 --> 01:06:25,199
stage and everything would be fine. But then they hit

1375
01:06:25,280 --> 01:06:27,159
it big, and they hit it really big, and he

1376
01:06:27,320 --> 01:06:30,840
had to be not Daryl but DMC, not just on

1377
01:06:31,000 --> 01:06:33,559
stage but all the time because they were constantly in

1378
01:06:33,599 --> 01:06:36,840
the public eye. And so he started drinking more and

1379
01:06:37,039 --> 01:06:40,800
more so he could maintain that persona and eventually he

1380
01:06:41,000 --> 01:06:43,679
was drink He was going through a case of forties

1381
01:06:43,800 --> 01:06:46,639
a day, like it was just in his hand all

1382
01:06:46,760 --> 01:06:51,360
day long, was a forty and like case of forties

1383
01:06:51,639 --> 01:06:55,079
a day. And I mean it was just that he

1384
01:06:55,159 --> 01:06:58,159
didn't eat, he didn't do anything. He didn't drink anything else.

1385
01:06:58,320 --> 01:07:02,800
It was just drinking beer all day long. And eventually

1386
01:07:02,880 --> 01:07:04,800
he had a he had an episode much like we

1387
01:07:04,840 --> 01:07:07,880
talked about Duff McKagan heaven, where he woke up and

1388
01:07:08,079 --> 01:07:10,800
like he was feeling the most intense pain of his

1389
01:07:11,119 --> 01:07:13,800
entire life. And they took him to the hospital and

1390
01:07:13,920 --> 01:07:17,800
the doctor said, you know, you drink very much, and

1391
01:07:17,960 --> 01:07:20,800
he's like yeah, and he's like, okay, well, I'm going

1392
01:07:20,840 --> 01:07:24,199
to give you a choice. Okay, you can keep drinking

1393
01:07:24,679 --> 01:07:29,079
and die, or you can stop now, never drink again,

1394
01:07:29,519 --> 01:07:31,480
and you will be able to live. But those are

1395
01:07:31,480 --> 01:07:32,360
your only two childs.

1396
01:07:32,400 --> 01:07:36,480
Speaker 2: Wow. And then something amazing happened. Daryl McDaniels produced a

1397
01:07:36,639 --> 01:07:40,960
song and emerged as an artist in a way that

1398
01:07:41,280 --> 01:07:44,320
you perhaps never would have expected. He called his friend

1399
01:07:44,400 --> 01:07:50,639
Sarah McLaughlin and they produced a song about this all right,

1400
01:07:50,760 --> 01:07:54,559
about this journey of discovering that you're adopted. It's called

1401
01:07:55,079 --> 01:07:58,119
just Like Me. That Tom was born. It was a

1402
01:07:58,199 --> 01:08:02,280
beautiful day, It was nine to six, and Sarah MacLauchlan

1403
01:08:02,320 --> 01:08:05,159
appears on the record with him. She chose to collaborate

1404
01:08:05,159 --> 01:08:07,400
with him because she also is adopted.

1405
01:08:07,639 --> 01:08:09,960
Speaker 6: Joy She was a young girl and.

1406
01:08:11,800 --> 01:08:13,760
Speaker 2: Trying real hard to her the truth.

1407
01:08:14,519 --> 01:08:17,279
Speaker 3: Is there a chance for the baby time that?

1408
01:08:31,960 --> 01:08:35,000
Speaker 2: I mean, I can't get through the video in one sitting.

1409
01:08:35,039 --> 01:08:37,760
I have to stop and gather myself. It's really it's

1410
01:08:37,880 --> 01:08:40,920
it's a powerful song because you know how personal and

1411
01:08:41,039 --> 01:08:43,439
how true of a story it is. It's a powerful song,

1412
01:08:43,479 --> 01:08:45,439
and I have to think that it would it would

1413
01:08:45,520 --> 01:08:48,399
have to be impactful and healing to anybody who's ever

1414
01:08:48,479 --> 01:08:50,520
been in a similar situation that he's been.

1415
01:08:50,800 --> 01:08:51,479
Speaker 1: It's fantastic.

1416
01:08:52,159 --> 01:08:54,520
Speaker 4: You know. One of the things he talks about. Somebody

1417
01:08:54,640 --> 01:08:56,359
was asking him, why is it so important for you

1418
01:08:56,399 --> 01:08:59,600
have that birth certificate, that pre adoption birth certificate, and

1419
01:08:59,720 --> 01:09:02,760
he said, well, you never start a book on chapter two.

1420
01:09:15,079 --> 01:09:17,920
Speaker 2: He's also a producer of his own line of comic books.

1421
01:09:18,199 --> 01:09:19,800
Speaker 1: Yeah, that's awesome. That's awesome.

1422
01:09:20,199 --> 01:09:20,359
Speaker 2: You know.

1423
01:09:20,640 --> 01:09:21,960
Speaker 1: One of the things I love about him.

1424
01:09:22,119 --> 01:09:24,039
Speaker 4: Every time I see him, he's wearing a different shirt.

1425
01:09:24,039 --> 01:09:26,399
I've seen him wear an ac DC black and black shirt.

1426
01:09:26,840 --> 01:09:29,640
I've seen him wear Arismith shirts. Of course, he wore

1427
01:09:29,680 --> 01:09:32,920
a Nirvana shirt. All these different bands that you wouldn't

1428
01:09:32,920 --> 01:09:35,079
necessarily think or associate with run DMC.

1429
01:09:35,720 --> 01:09:37,199
Speaker 2: Yep, he's a big classic rock guy.

1430
01:09:37,279 --> 01:09:40,760
Speaker 1: Now, sure, that's so cool. That's so cool, all right.

1431
01:09:40,920 --> 01:09:44,760
Speaker 4: Last track on the album is a song called Proud

1432
01:09:44,840 --> 01:09:45,319
to Be Black?

1433
01:09:45,560 --> 01:09:45,920
Speaker 2: You know what?

1434
01:09:47,680 --> 01:09:48,800
Speaker 4: And that's a fat job.

1435
01:09:49,960 --> 01:09:57,640
Speaker 2: That was fine, I take it back job. Well, like

1436
01:09:57,720 --> 01:10:00,399
I said before, I saw RENDMC in concert three times,

1437
01:10:00,720 --> 01:10:02,520
so I'm an eighty six the Raising Hell tour when

1438
01:10:02,560 --> 01:10:04,800
I was not familiar with the album, and I did

1439
01:10:04,920 --> 01:10:08,560
see them in two thousand and one, but in nineteen

1440
01:10:08,640 --> 01:10:11,840
eighty eight on the Runs House tour, they came out

1441
01:10:11,920 --> 01:10:13,960
this is where. This is the show where they recorded

1442
01:10:13,960 --> 01:10:16,880
the Mary Mary video, right, And of course at this point,

1443
01:10:16,920 --> 01:10:19,680
I'm very familiar with the Raising Hell album and I'm

1444
01:10:19,760 --> 01:10:21,399
down on the floor and I'm squeezed in and I'm

1445
01:10:21,439 --> 01:10:23,960
close to the stage. It was at this point in

1446
01:10:24,079 --> 01:10:27,119
my life where I learned that there are some songs

1447
01:10:27,159 --> 01:10:29,279
that white dudes don't sing at the top of their

1448
01:10:29,359 --> 01:10:37,479
lun the show, I'm just into it, right, I'm feeling

1449
01:10:37,520 --> 01:10:39,479
the music and I'm sitting there going I'm Proud to

1450
01:10:39,600 --> 01:10:43,159
be black, y'all, and I start getting looks and I

1451
01:10:43,319 --> 01:10:48,439
did receive. I got real quiet with my mouth shut

1452
01:10:48,479 --> 01:10:49,359
for the rest of the jam.

1453
01:10:50,079 --> 01:10:53,680
Speaker 1: That's funny, Yeah, so this this song makes references to

1454
01:10:54,079 --> 01:10:58,760
Jesse Owens, to Martin Luther King, to Harriet Tubman, and

1455
01:10:58,960 --> 01:11:03,359
to Malcolm George Washington Carver, and I just got to

1456
01:11:03,399 --> 01:11:05,800
say this. So, in doing the research that we did

1457
01:11:05,880 --> 01:11:07,800
and looking at the history of rap, I came across

1458
01:11:07,840 --> 01:11:10,520
something I didn't know before. So we talked about the

1459
01:11:10,600 --> 01:11:13,600
influences on hip hop and some of the rhymes and

1460
01:11:13,680 --> 01:11:15,840
such and some of the I listened to some of

1461
01:11:15,880 --> 01:11:19,359
the earlier rap songs and I found out that one

1462
01:11:19,439 --> 01:11:22,319
of them was strongly influenced by a speech that Malcolm

1463
01:11:22,520 --> 01:11:26,079
X gave where he was talking about the difference between

1464
01:11:26,279 --> 01:11:29,159
the slaves that lived in the house and the slaves

1465
01:11:29,239 --> 01:11:31,920
that worked the field. And he was talking about how

1466
01:11:31,960 --> 01:11:35,279
the slaves that worked in the house were always cowing

1467
01:11:35,359 --> 01:11:38,920
to the master, and if anything were going wrong, like

1468
01:11:39,119 --> 01:11:41,840
that the house was on fire, they would realize they're

1469
01:11:41,840 --> 01:11:43,800
going to lose their home, and so they'd run intil

1470
01:11:43,800 --> 01:11:47,399
the master, whereas the slaves in the field couldn't have

1471
01:11:47,520 --> 01:11:50,319
cared less if the house was on fire, which is

1472
01:11:50,439 --> 01:11:53,960
where you get the song lyrics the roof, the roof,

1473
01:11:54,239 --> 01:11:55,560
the roof is on fire.

1474
01:11:56,520 --> 01:11:57,760
Speaker 2: We don't need no water.

1475
01:11:58,039 --> 01:12:01,880
Speaker 1: Let that burn and I never knew that.

1476
01:12:02,039 --> 01:12:02,439
Speaker 3: There you go.

1477
01:12:02,680 --> 01:12:05,119
Speaker 1: Wow, there's a tidbit for you. Wow. There you go.

1478
01:12:05,359 --> 01:12:08,079
Speaker 2: A couple of things about this. It's interesting to look

1479
01:12:08,119 --> 01:12:10,680
at the writer credits for this song because one of

1480
01:12:10,720 --> 01:12:14,279
the writers is doctor Dre No not that one.

1481
01:12:14,680 --> 01:12:14,960
Speaker 1: Wow.

1482
01:12:16,960 --> 01:12:19,680
Speaker 2: So doctor Dre from Yo MTV raps fame who spent

1483
01:12:19,800 --> 01:12:23,039
a spent a stint as the DJ for Beastie Boys

1484
01:12:23,199 --> 01:12:28,199
that helped co write Proud to Be Black. Now, guess

1485
01:12:28,359 --> 01:12:32,439
who the other credited writer is on this song? A

1486
01:12:32,520 --> 01:12:39,560
guy named Daniel Simmons. Run's dad, Wow write this song? Okay.

1487
01:12:40,680 --> 01:12:45,359
Run's dad. Daniel Sr. Was someone who, at the beginning

1488
01:12:45,399 --> 01:12:47,840
of our story last week, was an administrator in the

1489
01:12:47,840 --> 01:12:50,279
public school system. He would go on to become a

1490
01:12:50,399 --> 01:12:53,560
professor in black history. In nineteen sixty three, when they're

1491
01:12:53,560 --> 01:12:56,960
still living in Jamaica, Queens, he started getting involved in

1492
01:12:57,119 --> 01:13:00,720
activism for the civil rights movement. He in a protest

1493
01:13:00,760 --> 01:13:03,119
that was going on there locally in Jamaica, Queens and

1494
01:13:03,279 --> 01:13:05,199
then that that really kind of woke him up and

1495
01:13:05,319 --> 01:13:08,239
got him kind of politically active in the civil rights movement.

1496
01:13:08,520 --> 01:13:10,560
As a matter of fact, he drove down I think

1497
01:13:10,600 --> 01:13:13,279
it was August nineteen sixty three, and he marched with

1498
01:13:13,439 --> 01:13:16,479
Doctor King in the Freedom March and was there in

1499
01:13:16,640 --> 01:13:18,640
the crowd on the day of the I have a

1500
01:13:18,760 --> 01:13:19,479
Dream speech.

1501
01:13:19,800 --> 01:13:20,840
Speaker 1: Oh wow wow.

1502
01:13:21,479 --> 01:13:23,399
Speaker 2: And he helped write Proud to Be Black.

1503
01:13:23,479 --> 01:13:25,399
Speaker 3: That's amazing, It's fantastic. It's fantastic.

1504
01:13:25,520 --> 01:13:27,960
Speaker 1: Great story man. Best way to end our discussion of

1505
01:13:28,039 --> 01:13:31,520
track by track on this album, now we come to

1506
01:13:32,199 --> 01:13:35,079
the moment of decision. Okay, So here we are. We've

1507
01:13:35,159 --> 01:13:38,319
gone through the history of Beastie Boys. We've gone through

1508
01:13:38,479 --> 01:13:42,399
Licensed Ill track by track, We've gone through the history

1509
01:13:42,439 --> 01:13:46,520
of hip hop itself and Run DMC and Raising Hell

1510
01:13:46,720 --> 01:13:48,840
track by track, and so Jason you're on.

1511
01:13:49,199 --> 01:13:49,439
Speaker 2: Yeah.

1512
01:13:51,319 --> 01:13:54,000
Speaker 4: So, as a person who was didn't own either one

1513
01:13:54,000 --> 01:13:56,479
of these albums, I found that as I went through them,

1514
01:13:56,680 --> 01:13:58,359
I liked a lot of the songs on there that

1515
01:13:58,439 --> 01:14:00,319
I didn't know I wasn't familar.

1516
01:14:00,199 --> 01:14:01,079
Speaker 1: With before we started this.

1517
01:14:01,199 --> 01:14:04,279
Speaker 4: Okay, as I go through the track list from License

1518
01:14:04,319 --> 01:14:07,520
to Ill, You've got some major, major songs for my youth.

1519
01:14:07,600 --> 01:14:09,640
Speaker 1: You've got Fight for Your Right, You've got No Sleep

1520
01:14:09,680 --> 01:14:10,239
Till Brooklyn.

1521
01:14:10,319 --> 01:14:14,039
Speaker 4: You've got Paul Revere, we loved Brass Monkey and Girls

1522
01:14:14,319 --> 01:14:15,720
and Ryman and Steeling was great.

1523
01:14:16,399 --> 01:14:17,880
Speaker 1: Those songs are awesome.

1524
01:14:18,199 --> 01:14:21,840
Speaker 4: They're also rock based, a lot of led Zeppelin in there.

1525
01:14:22,000 --> 01:14:24,520
Speaker 1: Then you go back to the Raisin Hell album.

1526
01:14:24,640 --> 01:14:28,560
Speaker 4: You've got Peter Piper awesome, You've got of course, Walk

1527
01:14:28,640 --> 01:14:31,279
This Way is mind blowing, It's tricky, was on.

1528
01:14:31,439 --> 01:14:34,880
Speaker 1: MTV all the time, you be illing. Raisin Hell is awesome.

1529
01:14:35,039 --> 01:14:37,880
Speaker 4: But for me, I have to go with Beastie Boys

1530
01:14:38,640 --> 01:14:40,439
on The Power behind.

1531
01:14:40,279 --> 01:14:42,840
Speaker 1: Fight for Your Right and No Sleep Till Brooklyn.

1532
01:14:43,039 --> 01:14:45,720
Speaker 4: I'm going License to Ill as the better of these

1533
01:14:45,720 --> 01:14:46,279
two albums.

1534
01:14:46,399 --> 01:14:52,960
Speaker 1: The Graves. Okay, so coming into this I thought I

1535
01:14:52,960 --> 01:14:55,760
would probably say the same thing. I thought I would

1536
01:14:55,800 --> 01:15:01,520
probably say License to Ill. There are so many strong songs,

1537
01:15:02,119 --> 01:15:05,479
and they borrow from some of my favorite songs, with

1538
01:15:06,199 --> 01:15:08,199
a lot of led Zeppelin, When the Levee Breaks, the

1539
01:15:08,600 --> 01:15:11,680
Oceans and all of these other songs, and I love it.

1540
01:15:11,920 --> 01:15:14,319
If I'm walking out the door and I want to

1541
01:15:14,319 --> 01:15:17,199
grab an album, this is easily one I could grab

1542
01:15:17,399 --> 01:15:19,960
and throw in the CD player and enjoy the long

1543
01:15:20,039 --> 01:15:23,119
trip to wherever it is that I'm going. But for

1544
01:15:24,000 --> 01:15:28,319
this particular matchup, I'm falling back on nostalgia as the

1545
01:15:28,439 --> 01:15:33,239
young kid who took a paint pen and wrote doctor

1546
01:15:33,359 --> 01:15:38,640
Fresh in bubble letters on his boombox. Because he wanted

1547
01:15:38,720 --> 01:15:42,159
to be a bee boy. He wanted to dance to

1548
01:15:42,880 --> 01:15:45,840
whatever awesome rap was out there at the time. Run

1549
01:15:45,920 --> 01:15:50,439
DMC was a part of my childhood, whereas Beastie Boys

1550
01:15:50,520 --> 01:15:53,079
was something that I didn't grow a taste for until later.

1551
01:15:53,800 --> 01:15:56,880
And so because I love it, because it brings me

1552
01:15:56,960 --> 01:15:59,279
back to those days of my youth, I got to

1553
01:15:59,319 --> 01:16:02,239
pick Craze. All right, Dave, you're the tiebreaker.

1554
01:16:02,479 --> 01:16:05,920
Speaker 2: Well, first of all, you have to understand that the

1555
01:16:06,079 --> 01:16:08,600
good news is you don't really have to choose, right,

1556
01:16:08,720 --> 01:16:12,680
You still get to listen to both albums. These are

1557
01:16:12,760 --> 01:16:15,159
both Hall of Fame albums for me. They are absolutely

1558
01:16:15,279 --> 01:16:17,640
still at the top of my list. It's hard for

1559
01:16:17,720 --> 01:16:20,319
me to think of these as nostalgia trips because the

1560
01:16:20,359 --> 01:16:22,560
truth is neither one of these albums have ever left

1561
01:16:22,600 --> 01:16:26,640
my rotation. They remain a part of my listening habits,

1562
01:16:26,680 --> 01:16:29,239
and they have through all these years. Another thing about

1563
01:16:29,279 --> 01:16:32,600
these two albums is that this largely validated my existence

1564
01:16:32,640 --> 01:16:34,960
in high school right because I'd been the weird fringe

1565
01:16:35,000 --> 01:16:37,880
guy that was listening to all this weird rap before

1566
01:16:37,920 --> 01:16:40,079
it had broken out and go to mainstream, and it

1567
01:16:40,159 --> 01:16:42,159
was all I wanted to listen to. And nobody knew

1568
01:16:42,199 --> 01:16:44,640
these acts of these songs, and I got some barbs

1569
01:16:44,680 --> 01:16:48,319
thrown my way occasionally. But it was when these songs

1570
01:16:48,439 --> 01:16:50,680
hit and it broke through and now you had white

1571
01:16:50,760 --> 01:16:53,399
kids as well as black kids listening to rap, then

1572
01:16:53,600 --> 01:16:57,680
suddenly my status got elevated. I felt not only more accepted,

1573
01:16:57,760 --> 01:16:59,199
but you know, I'm also the guy there turn into

1574
01:16:59,279 --> 01:17:01,600
with questions and every thing. So I felt the one

1575
01:17:01,720 --> 01:17:03,279
time in my life where I felt like the hipster

1576
01:17:03,399 --> 01:17:04,880
that was ahead of the crowd. And they go hand

1577
01:17:04,920 --> 01:17:06,640
in hand, right. They came out the same year, but

1578
01:17:06,880 --> 01:17:09,039
by the same producer, the acts knew each other, they

1579
01:17:09,079 --> 01:17:12,520
toured together. It's really hard to separate these two albums

1580
01:17:12,600 --> 01:17:15,600
from me. What I'm saying is with both albums, I

1581
01:17:15,720 --> 01:17:18,279
never skip a track, and that's something that you can

1582
01:17:18,399 --> 01:17:22,000
rarely say about any album, and they're both true for

1583
01:17:22,119 --> 01:17:24,399
this one. So where do I draw the line, what

1584
01:17:24,600 --> 01:17:26,720
hair do I split, and what side do I come

1585
01:17:26,800 --> 01:17:29,880
down on? Well, it comes down to your mood, really right,

1586
01:17:30,359 --> 01:17:34,079
because there are different attitudes that are the prevailing attitude

1587
01:17:34,119 --> 01:17:36,560
in each album. I think the BC Boys one is

1588
01:17:36,600 --> 01:17:39,880
more fun, you know, and it's more lighthearted, and it's

1589
01:17:40,000 --> 01:17:42,479
not not necessarily obvious punch lines. Maybe sometimes there are,

1590
01:17:42,600 --> 01:17:46,520
but but you come away smile. And then with Run DMC,

1591
01:17:47,279 --> 01:17:50,359
you've got more of an edgier rock attitude. Even though

1592
01:17:50,359 --> 01:17:53,039
there's some rock and roll music on license to ill,

1593
01:17:53,399 --> 01:17:56,800
the overall attitude is a tougher one on raising hell.

1594
01:17:57,079 --> 01:17:59,000
So it's may come down to just the mood you're

1595
01:17:59,000 --> 01:18:01,279
in that day. But what I do is I come

1596
01:18:01,359 --> 01:18:03,920
down to this. Even though the Beast of Boys are

1597
01:18:04,000 --> 01:18:07,039
authentic and they're legit, they come from the club scene

1598
01:18:07,079 --> 01:18:11,920
in New York, but they come from the pump lineage

1599
01:18:12,159 --> 01:18:16,520
right and whereas Run DMC, with the tider Russell Simmons,

1600
01:18:16,960 --> 01:18:19,359
they are right there a part of that main hip

1601
01:18:19,399 --> 01:18:22,079
hop lineage that I ran down, starting with Cool Hirk

1602
01:18:22,159 --> 01:18:25,319
last week, coming all the way through. And so because

1603
01:18:25,359 --> 01:18:27,640
of that, because of all the weight of hip hop

1604
01:18:27,680 --> 01:18:31,279
and everything I find cool about that, and their connection

1605
01:18:31,359 --> 01:18:33,479
to Russell and all the early days in the early eighties,

1606
01:18:33,720 --> 01:18:36,760
I come down on Run DMC. They're the greatest rap

1607
01:18:36,880 --> 01:18:39,800
act ever. This is their greatest album. There's no way

1608
01:18:39,880 --> 01:18:42,680
anybody can knock them from the perse the final judgment,

1609
01:18:42,720 --> 01:18:47,439
I'm dropping the mic. It is raising hell, yes, awesome.

1610
01:18:47,600 --> 01:18:49,279
Speaker 4: Love it coming strong right there?

1611
01:18:49,439 --> 01:18:52,079
Speaker 1: I love it well. Guys, tell us what you think

1612
01:18:52,319 --> 01:18:55,520
you've tuned in for these episodes. You gotta love these albums.

1613
01:18:56,079 --> 01:18:57,760
They have to be a part of your life if

1614
01:18:57,840 --> 01:19:00,520
you were alive in the eighties. But hit us up

1615
01:19:00,560 --> 01:19:04,119
on Twitter and on Facebook at Shirley Podcast if you

1616
01:19:04,159 --> 01:19:06,560
want to send us an email like mister deaf Dave

1617
01:19:06,680 --> 01:19:08,960
did for us to go. Hey, if you guys ever

1618
01:19:09,079 --> 01:19:12,279
cover run DMC and Beastie Boys, I want to be

1619
01:19:12,359 --> 01:19:12,800
a part of it.

1620
01:19:13,079 --> 01:19:13,279
Speaker 3: Man.

1621
01:19:13,520 --> 01:19:17,319
Speaker 1: By all means, hit us up Shirleypodcast at gmail dot com.

1622
01:19:18,119 --> 01:19:21,039
Speaker 4: Dave, thank you so much for giving us your time

1623
01:19:21,079 --> 01:19:23,840
and expertise on these two amazing albums.

1624
01:19:24,319 --> 01:19:26,479
Speaker 2: You have no idea how much fun I've had. I

1625
01:19:26,560 --> 01:19:28,479
know this is kind of this is probably a unique thing.

1626
01:19:28,520 --> 01:19:30,560
You haven't hang anybody on like this for this much,

1627
01:19:30,640 --> 01:19:31,680
four weeks in a row like this.

1628
01:19:32,159 --> 01:19:32,640
Speaker 1: It was what a.

1629
01:19:32,680 --> 01:19:35,159
Speaker 2: Privilege one honor. I absolutely love your show. I love

1630
01:19:35,239 --> 01:19:37,800
your format. I've listened to every single one of them

1631
01:19:37,880 --> 01:19:40,079
except for the Bill and Ted ones because I haven't

1632
01:19:40,079 --> 01:19:43,239
seen faced the music yet. But other than that I've

1633
01:19:43,319 --> 01:19:46,039
seen your whole show, and I'm looking forward to going

1634
01:19:46,079 --> 01:19:48,000
back to being a listener and tuning in what you

1635
01:19:48,079 --> 01:19:50,520
have for us next time. And just best of luck

1636
01:19:50,520 --> 01:19:52,560
to you guys going forward. Anytime I can help you

1637
01:19:52,640 --> 01:19:55,039
all out, you know, call me up. I'm ready to help.

1638
01:19:55,319 --> 01:19:58,439
Speaker 1: Awesome. Thanks, thanks so much. We can't wait. It's I'm

1639
01:19:58,439 --> 01:20:00,720
a little emotional here at the end of this adventure

1640
01:20:00,760 --> 01:20:02,760
that we've had, but we will find a way to

1641
01:20:02,840 --> 01:20:04,399
do it again. Yeah, we'll see you down the road.

1642
01:20:04,479 --> 01:20:06,880
Speaker 2: Dave, thank you so much, good man, thanks a lot.

1643
01:20:07,319 --> 01:20:09,479
Speaker 4: And for everybody else out there, when you come back

1644
01:20:09,560 --> 01:20:12,840
next week, we're going to be diving into Christmas movies. Okay,

1645
01:20:13,079 --> 01:20:15,319
these are classic Christmas movies, the.

1646
01:20:15,359 --> 01:20:16,840
Speaker 1: Christmas movies of little boys.

1647
01:20:17,279 --> 01:20:20,920
Speaker 4: We are going to compare a Christmas story to Home Alone.

1648
01:20:21,199 --> 01:20:24,800
Speaker 1: Shoot your eye out, So come back and.

1649
01:20:24,840 --> 01:20:25,439
Speaker 3: Join us for those.

1650
01:20:25,520 --> 01:20:27,640
Speaker 4: We can't wait to get into those. Dave, thanks again,

1651
01:20:27,800 --> 01:20:29,800
and we will see everybody next week.

1652
01:20:30,000 --> 01:20:31,800
Speaker 1: Okay. D For the Shirley showcase.

1653
01:20:31,880 --> 01:20:33,960
Speaker 4: This week, I've got my dear friends Mark and Melissa

1654
01:20:34,039 --> 01:20:36,039
Mingle and they are going to tell us what they

1655
01:20:36,119 --> 01:20:39,399
think about Purple Rain the movie versus Footloose, the movie.

1656
01:20:39,479 --> 01:20:41,319
Speaker 1: All right, this is one of our episodes on the

1657
01:20:41,399 --> 01:20:45,399
nineteen eighty four Summer special. So let's hear what Melissa

1658
01:20:45,640 --> 01:20:47,159
and Mark I have to say.

1659
01:20:47,279 --> 01:20:50,239
Speaker 5: Hi, this is Mark Mingle, this is Melissa Mingle, and

1660
01:20:50,359 --> 01:20:54,600
we are going to quickly give you our feedback on Footloose,

1661
01:20:54,720 --> 01:20:58,960
the film and Purple Rain from nineteen eighty four. Mark,

1662
01:20:59,199 --> 01:21:02,880
how old were you in the summer of nineteen eighty four.

1663
01:21:03,239 --> 01:21:05,760
Speaker 6: I turned twelve at the end of the summer of

1664
01:21:05,800 --> 01:21:09,800
eighty four, and so I specifically do remember going to

1665
01:21:09,880 --> 01:21:12,119
the theater with my sister and some friends.

1666
01:21:11,880 --> 01:21:14,439
Speaker 4: To see Footloose, and at the time loved it.

1667
01:21:14,720 --> 01:21:18,199
Speaker 6: I mean, you know, I was just about to become

1668
01:21:18,239 --> 01:21:22,159
a teenager, and all these teenagers singing and dancing and

1669
01:21:22,239 --> 01:21:24,560
all this stuff they were wanting to do seem very cool,

1670
01:21:24,600 --> 01:21:26,600
and all the songs seem very cool to me. So

1671
01:21:26,720 --> 01:21:29,359
I really loved Footloose enjoyed it. Of course, all the

1672
01:21:29,479 --> 01:21:32,399
music was getting popular on the radio with Kenny Loggins

1673
01:21:32,439 --> 01:21:34,720
and other artists, so yeah, it was totally cool for.

1674
01:21:34,800 --> 01:21:35,399
Speaker 5: Me at the time.

1675
01:21:35,640 --> 01:21:38,520
Speaker 6: I don't know that it holds up terribly well over

1676
01:21:38,600 --> 01:21:40,560
the years if you go back and watch it now

1677
01:21:40,720 --> 01:21:44,960
at Purple Rain, I believe was rated R and I

1678
01:21:45,199 --> 01:21:47,960
did not go to rate at our movies when I

1679
01:21:48,039 --> 01:21:52,000
was twelve. For you so it, I didn't see that

1680
01:21:52,159 --> 01:21:55,880
till later. It was maybe eighty six, eighty seven, probably

1681
01:21:55,960 --> 01:21:58,960
before I saw that, and so and I don't know,

1682
01:21:59,319 --> 01:22:01,359
I'll be honest, I don't remember if I saw it

1683
01:22:01,399 --> 01:22:03,479
all in one sitting, if I sat through the whole

1684
01:22:03,520 --> 01:22:07,279
thing on HBO or something that I are on video,

1685
01:22:07,520 --> 01:22:10,479
so I saw some of it. I love the music

1686
01:22:11,199 --> 01:22:13,640
for Purple Rain. I mean there's tons and tons of

1687
01:22:13,680 --> 01:22:16,439
great hits from that album. But I know the album

1688
01:22:16,520 --> 01:22:17,640
better than I know the movie.

1689
01:22:17,960 --> 01:22:18,239
Speaker 1: Okay.

1690
01:22:18,399 --> 01:22:24,439
Speaker 5: So I was fourteen that summer and I loved both soundtracks,

1691
01:22:24,520 --> 01:22:27,399
which we are not supposed to talk about. We're supposed

1692
01:22:27,439 --> 01:22:32,000
to just talk about the films. I now love. Many

1693
01:22:32,079 --> 01:22:35,600
of the actors that were in Footloose, Kevin Bacon, Sarah

1694
01:22:35,680 --> 01:22:39,920
Jessica Parker. The pastor and his wife were John Lithgow

1695
01:22:40,479 --> 01:22:45,159
and Diane West. Yes, I had a little see the

1696
01:22:45,279 --> 01:22:49,159
trophy husband remembers things better than me. Great cast, But

1697
01:22:49,399 --> 01:22:52,319
even as a fourteen year old, there were things that

1698
01:22:52,479 --> 01:22:56,439
I thought dialogue wise and things about the film that

1699
01:22:56,600 --> 01:22:59,279
seemed a little mainstream, and I'm going to say it.

1700
01:22:59,359 --> 01:23:02,399
I'm going to say word pedestrian, just trying to appeal

1701
01:23:02,600 --> 01:23:03,359
to the masses.

1702
01:23:04,840 --> 01:23:07,560
Speaker 6: Also, Kevin Bacan being like twenty eight and playing a

1703
01:23:07,640 --> 01:23:09,840
teenager in high school is kind of a stretch.

1704
01:23:09,600 --> 01:23:13,800
Speaker 5: But still, well, that's grease and everything else. But Purple

1705
01:23:13,960 --> 01:23:17,960
Rain even we probably need to have a double feature

1706
01:23:18,000 --> 01:23:23,079
and rewatch these, but I felt like that was more

1707
01:23:23,199 --> 01:23:26,520
of a true film, not just a movie appealing to

1708
01:23:26,640 --> 01:23:29,199
the masses. I felt like there was more truth to

1709
01:23:29,319 --> 01:23:33,520
the characters even as a kid. I felt like it

1710
01:23:33,720 --> 01:23:37,439
was more of a film, not just a Hollywood movie.

1711
01:23:37,840 --> 01:23:40,920
And both soundtracks are great, but I think there was

1712
01:23:41,039 --> 01:23:44,600
more depth to Purple Rain. But I think we might

1713
01:23:44,720 --> 01:23:48,000
need to rewatch both of them because we are much

1714
01:23:48,119 --> 01:23:52,800
older now. But I'm definitely putting my vote for Purple

1715
01:23:52,960 --> 01:23:53,720
Rain as best.

1716
01:23:54,000 --> 01:23:57,239
Speaker 6: I would probably vote for Footloose because I could identify

1717
01:23:57,399 --> 01:23:59,439
in the film with some of them growing up in

1718
01:24:00,560 --> 01:24:05,000
you know, kind of a pretty you know, conservative Baptist church.

1719
01:24:05,079 --> 01:24:08,640
As a kid, like you start to think about things like, hey,

1720
01:24:08,760 --> 01:24:11,479
why can we dance or not dance? And you know,

1721
01:24:12,239 --> 01:24:15,000
my church wasn't really like the church, and Footloose at all,

1722
01:24:15,159 --> 01:24:17,800
but seeing kids want to kind of grow up and

1723
01:24:17,880 --> 01:24:21,840
express themselves and not just be you know, controlled by others,

1724
01:24:22,119 --> 01:24:26,960
I mean, without being just overtly rebellious. It seemed like

1725
01:24:27,000 --> 01:24:29,239
a pretty harmless way to kind of rebel and have

1726
01:24:29,399 --> 01:24:31,640
fun by dancing with your friends. So I don't know,

1727
01:24:31,760 --> 01:24:34,039
I thought that seemed kind of cool and more relatable

1728
01:24:34,119 --> 01:24:37,399
to me as a kid than Purple Rain, which seemed

1729
01:24:37,560 --> 01:24:40,479
much more like adults living in an adult world than

1730
01:24:41,039 --> 01:24:43,279
high school kids, which I could relate to really well

1731
01:24:43,359 --> 01:24:46,640
as an almost junior high kid at the time.

1732
01:24:47,119 --> 01:24:50,119
Speaker 5: That's true, and we both actually grew up in Oklahoma,

1733
01:24:50,680 --> 01:24:54,279
where that film was set, so so that probably does

1734
01:24:54,359 --> 01:24:57,680
hit closer to home. But overall, Mark is going to

1735
01:24:57,760 --> 01:25:01,640
vote Footloose and I'm going to vot Purple Rain, and

1736
01:25:02,239 --> 01:25:08,239
we both vote for Sureley, you can't be serious being amazing.

1737
01:25:09,079 --> 01:25:12,439
Thank you for asking for our feedback. Love you guys.

1738
01:25:13,039 --> 01:25:15,760
Speaker 1: Oh my gosh. I just want to wrap them up

1739
01:25:15,800 --> 01:25:18,119
in a little present and sticking into my pocket. They

1740
01:25:18,159 --> 01:25:21,119
are the cutest couple I've ever heard in my life.

1741
01:25:21,880 --> 01:25:23,600
They are awesome. They're my dear friends.

1742
01:25:23,960 --> 01:25:28,159
Speaker 4: Melissa as an absolute eighties junkie, and so's Mark so

1743
01:25:28,760 --> 01:25:30,680
she can't wait for our Duran Durana so that we're

1744
01:25:30,680 --> 01:25:32,039
going to do next year.

1745
01:25:32,079 --> 01:25:35,199
Speaker 1: So I'm excited for that one as well. Melissa is

1746
01:25:35,279 --> 01:25:39,199
always very interactive with us on Facebook and has given

1747
01:25:39,279 --> 01:25:42,279
us some really gold nuggets as far as information goes

1748
01:25:42,319 --> 01:25:44,720
over the last couple of years. So thank you, Melissa,

1749
01:25:44,840 --> 01:25:48,000
Thank you Mark. Really appreciate you guys doing this for us.

1750
01:25:48,079 --> 01:25:50,439
It means so much to us. Thank you for being

1751
01:25:50,560 --> 01:25:51,680
the followers of the podcast.

1752
01:25:51,800 --> 01:25:56,039
Speaker 4: I love that she thinks purple Rain is deep. Melissa,

1753
01:25:56,079 --> 01:25:59,920
thank you very much and understanding the depth of Apple

1754
01:26:00,520 --> 01:26:02,119
and Prince in prople.

1755
01:26:02,359 --> 01:26:04,760
Speaker 1: Did you watch rated ar movies in nineteen eighty four?

1756
01:26:05,239 --> 01:26:05,359
Speaker 3: Uh?

1757
01:26:06,560 --> 01:26:08,560
Speaker 1: How am I going to answer that without your ground.

1758
01:26:10,319 --> 01:26:15,079
Speaker 4: You? If you want to contribute to our Shirley showcase,

1759
01:26:15,399 --> 01:26:18,920
send us an email at Shirley podcast at gmail dot com.

1760
01:26:19,199 --> 01:26:21,199
Speaker 1: We would love to hear from you one.

1761
01:26:21,079 --> 01:26:23,119
Speaker 2: More time for old time's sake. I'm deaf n To

1762
01:26:23,199 --> 01:26:25,199
my left is Jimmy d and to my right on

1763
01:26:25,319 --> 01:26:27,840
the mic it's Jason C. Four weeks in a row

1764
01:26:28,000 --> 01:26:30,560
on the Shirley airwaves. I guess spot on the show. Well,

1765
01:26:30,600 --> 01:26:33,520
it's got to be deaf Daves where's your hip hop expert? Well,

1766
01:26:33,560 --> 01:26:35,640
here he is all the knowledge that I trump. You

1767
01:26:35,760 --> 01:26:37,920
gotta be serious. You ask me how I am. It's

1768
01:26:38,000 --> 01:26:42,159
not that fear, oh man, I totally mess it up? Expert.

1769
01:26:42,239 --> 01:26:44,000
Well here he is all the knowledge that I tromp

1770
01:26:44,199 --> 01:26:46,399
make suckers furious. You ask me how I am. It's

1771
01:26:46,479 --> 01:26:49,720
not that mysterious, Shirley, you can't be serious. A top tail.

1772
01:26:49,800 --> 01:26:51,520
Turn it up, frass monkey in a cup to an

1773
01:26:51,600 --> 01:26:53,920
in for final judgment, you will find what's up? How

1774
01:26:54,039 --> 01:26:56,720
devastating can a podcaster be? My name is David, who

1775
01:26:56,760 --> 01:27:00,640
you could call me d That is awesome, dude, Go man,

1776
01:27:00,880 --> 01:27:01,920
I can't believe you did that.

1777
01:27:02,520 --> 01:27:08,560
Speaker 1: That's so good. Up with them? Oh man, that's fantastic,