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

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

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

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

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get into this one with you. We are going to

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have a good time tonight and the rock and roll

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music is going to play all night.

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

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will never tear us apart.

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

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is true, we should be good.

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

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need to listen to together necessarily other than for this podcast.

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

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Serious Podcast, discussing and debating the iconic and the forgotten

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of eighties and nineties pop culture with your co hosts

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James D.

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Speaker 2: Graves and Jason Coulivin.

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

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Can't Be Series podcast, where this week we are going

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to dive into Inexcess's Kick album.

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Speaker 2: Super excited to be here. I love so much of

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

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But first you need to know is that we are

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

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

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

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of these two amazing albums from nineteen eighty seven head

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to head, see which one of them is the pop

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star best of the two.

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

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

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

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

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cover all types of eighties bands. I really am excited

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what we got coming down the pipe.

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

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

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some of these albums that were more in the pop

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realm than in the rock realm were huge facets in

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our lives during the eighties.

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

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dive into these the stories behind the songs, the stories

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

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

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

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

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

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being on earth in a leather jacket and no shirt.

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

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in the entire world in nineteen eighty eight.

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Speaker 2: I don't know why you're limiting it to lady, but.

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

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

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

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

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

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

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one for the tape, one for the CD.

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

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that time.

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

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

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those who are not familiar with this band, it is

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actually pronounced in excess right, not in inks. No, nothing

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screamed you were out of touch more in the eighties

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than calling these guys inks.

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

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Hutchins was born in Australia, then moved to Hong Kong

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for a while, then moved back to Australia and that

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he was just coming into high school at that time,

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

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the scene out of My Bodyguard. Michael Hutchins comes to

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

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already in a fight with somebody. And Andrew Ferris happens

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

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

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

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first time.

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

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

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biggest band in the world at one time. It started

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because a school bully started beating up a guy and

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another guy stepped in.

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

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parents unfortunately split up and he moved with his mother

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to Hollywood for about a year or so he ultimately

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moved back, and at that time he met up with

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his old friend Andrew Ferris again, who by this time

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

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but he had started putting together bands when Andrew Ferris

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was only five years old. His family took a holiday

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and they went and they saw the Beatles perform live.

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

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about how they were in class? These guys were all

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five These guys went to high school together. Well, first

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

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Andrew Ferris, and John Ferris. You have Gary Gary Beers.

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

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and then you have Michael Hutchins who was getting beat

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up by the by the school bully. These are six

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guys who were high school buddies. But I saw I

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saw Kirk Pingilly talking about how they were in biologic

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class or whatever. And I guess he knew Michael as

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a new friend of Andrews. And he looked and sort

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of looked over his shoulder in science class and he

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saw in his notebook that had sort of sketched out

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a drawing of two guitars and he thought, yeah, this

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guy's pretty cool and they hit it off right from there.

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

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

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R Gary single R Beers if you need to know

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the spelling there. And the reason that there's a double

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R and single ar is that it was a misprint

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on the album In Excess, their first, their debut album,

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

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

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was in a band called legaliss Elfin Warrior in nineteen

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

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

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he switched to bass, but then refused to take lessons

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and seemed to do well anyway despite the fact that

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

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with Andrew Ferris and some other classmatees named Jeff Kinley,

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Kent Kearney and Neil Sanders, and they can be put

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in that category of Mark Stone.

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

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about five minutes.

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Speaker 2: Yeah that guy.

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Speaker 1: Yeah.

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

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Tim Ferris was playing in various groups with his friend

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

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the youngest of the Farris Brothers. He had tried out

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to be a drummer with a band called Guinness with

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Tim and Kurt, but he was turned down because he

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

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

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become the Farris Brothers in nineteen seventy seven, John joined

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

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that they called themselves the Farris Brothers because like everybody

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at their high school knew them as the Farrest Brothers.

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Like that was just much easier than trying to figure

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

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We'll just call you the Farris Brothers.

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

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Is that any different than Winger or bon Jovi or

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Van Halen.

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Speaker 2: Yeah, good point.

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

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between Doctor Dolphin and in Excess. That name is substantially

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less cool than in Excess, slightly slightly less cool than

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Doctor Dolphin, way less cool than in Excess.

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Speaker 2: So once John had graduated from high school, they changed

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their name to in Excess and they all moved to

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Sydney to start doing the pub scene.

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

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I want to get too far ahead. They were supporting

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

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That's a burning you probably are familiar with that tune.

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That's it, you got it.

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Speaker 2: But one of the.

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Speaker 1: Guys from Midnight Oil encouraged them to change their name.

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He wanted them to have a new name and he

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recommended they change it to in Excess. It's I INXS.

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That was inspired by the English band x t C Ecstasy,

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

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the name in Excessive.

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Speaker 2: All right.

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Speaker 1: So the band's first performance as In Excess was September one,

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nineteen seventy nine, at the Ocean Beach Hotel. And this

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is the time in their career where they're kind of

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kicking around the idea of being a Christian band Oh Yeah.

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Speaker 2: So after performing on the pub scene for about a year,

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they landed a record contract and they released their debut album,

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which was called In Excess in nineteen eighty.

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

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Are the Vegetables in Australia and France in May of

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nineteen eighty.

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

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nineteen eighty one. Both of those were big in Australia

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and that led to them getting a contract with at

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Co Records, and in nineteen eighty three they released their

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US debut which was Sheaboo Shabbah, and they started touring

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with a big hit that they had off that album

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

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four they did four studio albums. But in nineteen eighty

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three they were a part of a festival that we

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have talked about before, the festival that involved the largest

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

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but In Excess was a part of the US Festival

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second edition nineteen eighty three, and they talked about performing

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there and they got called back out for an encore

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

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before any of these songs have made them international successes.

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And they got Encore back out and then they went

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home and they had some chili and they watched the news,

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and the news was showing only them as the band

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for the US Festival. That is how to be amazing.

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

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each other in science class are getting on cored at

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the US Festival.

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

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did a few sessions with the producer Nile Rodgers, and

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

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that they were kind of changing their feel from this

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kind of new wave style to more of a combination

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of Rolling Stones type rock and dance music.

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

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who you will remember from our Coming to America episode.

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He is the composer that has that big the Lion

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Sleeps Tonight intro at the beginning of Coming to America

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flashback they are Coming in America episode the original Sin

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

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

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I saw this interview with the band. I thought this

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

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that song, and so some people took that as an

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

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

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

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

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Chris Murphy was brought in before the head of the

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record company right and basically said, you guys need to

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stop giving me this controversial crap and give me hits.

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You go talk to your f and band and tell

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them to stop this crap and give me something I

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can play in the radio.

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

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the bad guy for a couple of stories on this particular.

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Speaker 1: Episode before we get off the original sin, I did

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want to mention it wasn't like the song wasn't a

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hit either. I mean, the record company guy was all mad,

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but that was a number one hit in Australia, I

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hit number one in France, hit number one in Aridena. Yeah,

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I mean it's a great song.

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Speaker 2: Okay. So they had worked with producers, they had worked

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with the producer now Rogers, and they had also worked

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with another producer called Mike Opitz, but then in nineteen

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eighty five they decided to go with the producer Christopher

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Thomas Chris Thomas for Listen Like Thieves, which I got

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to listen and to Christopher Thomas talk about he's he

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is an interesting guy. So he was he was born

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in forty seven. Just to give you a bass here,

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and he knew how to play instruments. He actually got

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offered a job to play bass with Jimmy Hendrix, but

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it was before Jimmy Hendrix became famous, so he's like,

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no thanks, And then he was like, what, I don't

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really like performing live. I really like being in the

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studio more. And so he decided, Okay, you know, I

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think I'd prefer to be on the production side of things.

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And so he decides, you know, I'm going to write

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a letter to George Martin, the guy who produces the

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Beatles albums, and see if he'll get me a job.

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He did, he did, wow, And so he's The Beatles

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are working on the White Album, which is like, I mean,

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it's one of their biggest albums of all time and

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George Martin is there, and then Chris Thomas goes on

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this holiday, goes on a vacation, as we call him

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here in the United States, and when he comes back,

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there's just a note from George and he says, I

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hope you enjoyed your holiday. I'm going on my holiday.

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Now you're in charge. He's twenty year old guy in

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charge of producing a Beatles album, and so he's like okay,

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and then Paul McCartney walks in and he's like, where's

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George and kids like he's left, and he's he looks

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at him and he's like, so, are you going to

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produce the album? And he says, yeah, that's I guess

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

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can produce, you can produce. And you know, he's probably

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just testing him. I mean he had to know, Like

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

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

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

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

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booth and the band would have meetings. They owned Apple

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Records at that point, and they would have meetings in

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the middle of their sessions about Apple Records, and he

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happens to overhear them talking in this meeting and they're like,

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this guy's just not doing his job at all, and

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

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

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that just gives him nothing to lose. And so when

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they go back for their afternoon session and they start

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

286
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a sudden, he buzzes from the booth and he's like, Okay,

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we're gonna need to do that one again. There's mistake,

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Like what the Beatles? The Beatles, the Beatles like, there

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wasn't a mistake. He's like, there's a mistake. He need

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to start it over again, and they come up to

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the booth. They come up to the booth and he's

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

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what mistake. He replays on the tape and they listen

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

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Speaker 1: Sorry.

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Speaker 2: They and they go back down and start recording and

297
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at the end of the day when he's expecting to

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

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come back tomorrow if you want to? And that was it.

300
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So he became He became this producer for the Beatles

301
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White album, ended up playing music like he played keyboards

302
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on some of the songs in the White Album and

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became this huge producer.

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Speaker 1: That's awesome.

305
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Speaker 2: Did Pretenders, did Sex Pistols, did Pink Floyd And so

306
00:16:10,159 --> 00:16:12,840
then we fast forward. It's time for Inexcess to come

307
00:16:12,919 --> 00:16:15,679
knocking on this guy's door. So he is the producer

308
00:16:15,919 --> 00:16:19,519
for the album Listen Like Thieves, And it's just it's

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another one of these stories that I know that we've

310
00:16:21,840 --> 00:16:25,759
told multiple times, where they've recorded all of the music

311
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on the album, they have a day left of time

312
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to record and Chris Thomas says, we still don't have

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a hit, and so they scramble and they put something

314
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together and they record it that day in a bit

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of passion and fury, and is called right. And the

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song that they record is called What you Need.

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

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00:17:02,480 --> 00:17:07,039
Speaker 2: What you Need reached that key piece of success that

319
00:17:07,160 --> 00:17:09,720
so many bands that we have talked about so far

320
00:17:10,079 --> 00:17:13,079
have reached that I feel I could be remiss not

321
00:17:13,200 --> 00:17:16,359
to mention it. It was covered by weird Al Yankovic

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00:17:16,400 --> 00:17:27,519
in his nineteen eighty six Poka Party.

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Speaker 1: Yes, another appearance by Weird Al on the show that

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00:17:32,839 --> 00:17:34,000
You Can't Be Serious podcast.

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Speaker 2: I'm not sure that the Muppets are going to come

326
00:17:35,839 --> 00:17:37,559
up in this episode, but we've got to have one

327
00:17:37,599 --> 00:17:39,720
or the other in just about every single episode, I think.

328
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Speaker 1: All right, So after What you Need becomes this huge

329
00:17:42,759 --> 00:17:45,279
hit in nineteen eighty five, they had this eight month

330
00:17:45,480 --> 00:17:47,480
break where they're beginning to work on a new album

331
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what You're going to talk about here in a minute,

332
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their manager Chris Murphy decided to take a bunch of

333
00:17:51,680 --> 00:17:55,079
bands have this big outdoor Australian concert. It was going

334
00:17:55,160 --> 00:17:57,799
to feature in Excess and Jimmy Barnes and the Models

335
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and the the Vinyls and Mental as Anything, all these

336
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sort of big Australian bands and so to promote the

337
00:18:04,240 --> 00:18:07,480
tour and Excess recorded two songs. They recorded a song

338
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with Jimmy Barnes that was a cover of the Easybats

339
00:18:10,759 --> 00:18:13,759
tune good Times, and they also recorded the song laying

340
00:18:13,839 --> 00:18:17,079
down the Law good Times. You may remember as the

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00:18:17,079 --> 00:18:21,720
theme song from the movie The Lost Boys.

342
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Speaker 2: The Easybeats, you may remember, was the band started by

343
00:18:25,880 --> 00:18:30,680
Georgie Young, brother of Angus and Malcolm Young from our

344
00:18:30,839 --> 00:18:32,599
ac DC episode.

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Speaker 1: Okay, so this song good Times is a fantastic song.

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This is where I jump on board within excess. First

347
00:18:40,799 --> 00:18:42,920
of all, I love the movie The Lost Boys. I'm

348
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a big fan of the soundtrack. One of the things

349
00:18:45,119 --> 00:18:48,599
about this band, like George Michael, like Def Flapper, like

350
00:18:48,680 --> 00:18:51,119
bon Jovie, like Motley Crue, all these guys were gonna

351
00:18:51,160 --> 00:18:55,480
cover is their timing is absolutely perfect for MTV. Absolutely

352
00:18:55,599 --> 00:19:01,000
They have a great looking, charismatic front man that MTV

353
00:19:01,119 --> 00:19:04,279
can put at the front of their videos and teenagers

354
00:19:04,279 --> 00:19:05,359
all over the world will watch.

355
00:19:05,559 --> 00:19:08,720
Speaker 2: And he has a very unique voice, like he's I

356
00:19:08,720 --> 00:19:10,920
mean in this album that we're about to talk about.

357
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He grunts, he shouts, he whispers, and he's got this

358
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kind of breath y It's not like what you would

359
00:19:17,400 --> 00:19:21,799
describe as a beautiful voice. It's just it's full and resonant,

360
00:19:21,920 --> 00:19:27,440
like a twelve string guitar. It's just it's engaging, like

361
00:19:27,480 --> 00:19:29,640
you want to listen to him sing.

362
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Speaker 1: That's true. And he always had a complex about his voice.

363
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He didn't think he was any good.

364
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Speaker 2: Oh right, Yeah. We didn't even talk about how he

365
00:19:37,200 --> 00:19:40,359
became their singer. Like the Farris brothers were together and

366
00:19:40,400 --> 00:19:43,920
were playing together and he was just over and Andrew

367
00:19:43,920 --> 00:19:46,279
Ferris hands him the microphone and says, want you to

368
00:19:46,319 --> 00:19:50,880
try singing, and he kind of awkwardly sings. But they

369
00:19:50,960 --> 00:19:53,559
said that's it, that's what we want. And Kirk Pengilly

370
00:19:53,680 --> 00:19:56,559
had been the singer for his band with Tim Ferriss,

371
00:19:56,759 --> 00:19:59,640
but once they heard Michael Hutchins sing, Kirk said, I'll

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be the back up singer from now on.

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

374
00:20:03,839 --> 00:20:05,599
the song what You Need, they go back to the

375
00:20:05,640 --> 00:20:07,880
studio to work on their next album Yes.

376
00:20:08,000 --> 00:20:12,400
Speaker 2: In January nineteen eighty seven, they go into Rhinoceros Studios,

377
00:20:12,440 --> 00:20:15,359
which is in Sydney, and they start recording Kick. This

378
00:20:15,440 --> 00:20:19,119
is their sixth studio album. They bring Chris Thomas back

379
00:20:19,200 --> 00:20:21,400
to produce. They were on such a high from their

380
00:20:21,440 --> 00:20:25,240
success that Nicholas said that when they started recording, he said,

381
00:20:25,279 --> 00:20:28,119
there was this really good feeling in the studio that

382
00:20:28,200 --> 00:20:31,319
this was going to be something big. The band had

383
00:20:31,400 --> 00:20:34,599
just come off a really successful tour of the US

384
00:20:34,720 --> 00:20:37,640
on the back of Listen Like Thieves, which really broke them,

385
00:20:37,799 --> 00:20:39,799
and they were on fire.

386
00:20:40,079 --> 00:20:44,440
Speaker 1: According to guitarist and saxophonist Kirk Pengilly, he said, we

387
00:20:44,519 --> 00:20:47,119
wanted to make an album where all the songs could

388
00:20:47,160 --> 00:20:48,480
be possible singles.

389
00:20:48,759 --> 00:20:53,839
Speaker 2: Andrew Ferriss said, anyone can write a song that sounds contemporary.

390
00:20:54,160 --> 00:20:56,759
We wanted our songs to sound like the future.

391
00:20:57,000 --> 00:20:59,400
Speaker 1: In preparation for this podcast, I watched some of their

392
00:20:59,440 --> 00:21:02,799
early video. They seem more kind of like like Devo

393
00:21:03,079 --> 00:21:06,480
or something. They're kind of new wave and they're definitely

394
00:21:06,519 --> 00:21:09,440
not the pop rock, you know, hit making band that

395
00:21:09,519 --> 00:21:11,759
they later became. All right, so I think you mentioned this,

396
00:21:11,839 --> 00:21:13,480
but I did want to talk about this for just

397
00:21:13,519 --> 00:21:15,960
a second. Towards the end of nineteen eighty six, the

398
00:21:16,000 --> 00:21:19,720
band members gathered at the Sydney Opera House to rehearse

399
00:21:19,759 --> 00:21:22,839
songs that later became the album Kick. Is there any

400
00:21:23,000 --> 00:21:26,839
better place for an Australian band to meet and rehearse

401
00:21:27,039 --> 00:21:28,759
other than the Sydney Opera House?

402
00:21:28,839 --> 00:21:32,839
Speaker 2: I mean, Okay, So during the production of this album,

403
00:21:33,440 --> 00:21:37,880
they were still booking dates for the band's upcoming European tour,

404
00:21:38,160 --> 00:21:42,039
and this was irritating Chris Thomas because he felt like

405
00:21:42,319 --> 00:21:44,039
they were devoting so much time to that that they

406
00:21:44,079 --> 00:21:47,480
weren't creating good songs. And he said, they had this

407
00:21:47,599 --> 00:21:51,079
incredible momentum building and we're gaining fans all the time,

408
00:21:51,160 --> 00:21:53,759
and there was this audience waiting for this product. But

409
00:21:53,920 --> 00:21:56,920
I decided they didn't have the right songs yet. And

410
00:21:56,960 --> 00:21:59,839
so what he said to him was, you guys need

411
00:21:59,880 --> 00:22:02,519
to go be alone for a while and write some

412
00:22:02,599 --> 00:22:06,319
more songs before this album, like the band was credited

413
00:22:06,359 --> 00:22:09,799
as the writers of the song, but before they produced

414
00:22:09,799 --> 00:22:13,039
this album. Based on the success of What You Need,

415
00:22:13,400 --> 00:22:17,000
Hutchins and Andrew Ferris said to the rest of the band,

416
00:22:17,480 --> 00:22:19,599
we would like to write all of the songs for

417
00:22:19,640 --> 00:22:22,400
this album, and the rest of the band said that

418
00:22:22,519 --> 00:22:23,640
sounds good to us.

419
00:22:24,920 --> 00:22:27,079
Speaker 1: So remember that song called what You Need that you

420
00:22:27,119 --> 00:22:29,759
guys wrote, and we think it's pretty good. So if

421
00:22:29,759 --> 00:22:31,599
you can come up with about nine or ten of those,

422
00:22:32,000 --> 00:22:32,599
that'd be great.

423
00:22:32,839 --> 00:22:35,400
Speaker 2: So Thomas, at the time that they were doing stuff,

424
00:22:35,440 --> 00:22:37,920
said okay, you guys need to fly out to Hong

425
00:22:38,000 --> 00:22:40,839
Kong and you got to write some ore matuury and

426
00:22:41,319 --> 00:22:43,799
so that's what they did. They spent two weeks out

427
00:22:43,839 --> 00:22:47,440
there writing stuff. So many of the songs are these

428
00:22:47,759 --> 00:22:53,039
inspiration five minutes ten minute long masterpieces that just kind

429
00:22:53,079 --> 00:22:54,480
of are divinely inspired.

430
00:22:54,599 --> 00:22:56,119
Speaker 1: So I don't know if we want to jump into

431
00:22:56,160 --> 00:22:59,240
this now, but before we break down the songs, their manager,

432
00:22:59,319 --> 00:23:02,400
Chris Murphy, gathers up the album, has a meeting with

433
00:23:02,440 --> 00:23:04,720
the head of the record company, sits down with him,

434
00:23:05,000 --> 00:23:07,240
and they hit play and they're gonna listen to the

435
00:23:07,359 --> 00:23:09,839
entire album. The head of the record company listens to

436
00:23:09,880 --> 00:23:14,440
the entire album, sitting there dead silent, arms crossed, and

437
00:23:14,480 --> 00:23:18,160
when the tape hit stop, he said, I'll give you

438
00:23:18,200 --> 00:23:20,720
a million dollars to start completely over and throw this

439
00:23:20,799 --> 00:23:25,000
in the garbage. And the manager's like, what are you

440
00:23:25,039 --> 00:23:27,359
talking about. I mean, this is the album. He's like, no,

441
00:23:27,960 --> 00:23:31,559
this is garbage. This is not good. Start over and

442
00:23:31,599 --> 00:23:34,279
he said, I'm sorry, did you say a million dollars?

443
00:23:34,319 --> 00:23:36,839
He said, I'll give you a million dollars to start fresh,

444
00:23:36,920 --> 00:23:38,440
and he said at that time, none of them had

445
00:23:38,480 --> 00:23:40,599
seen a million bucks. I mean, so it's a real temptation.

446
00:23:40,799 --> 00:23:43,200
And Chris Murphy's like, dude, I mean, did you hear

447
00:23:43,599 --> 00:23:45,680
need you tonight? I mean this is a smash hit

448
00:23:45,720 --> 00:23:48,319
Are you Crazy? And the guy's like, no million bucks,

449
00:23:48,319 --> 00:23:50,200
And Chris Murphy he walks out of the office and

450
00:23:50,240 --> 00:23:52,680
he says, I'm not doing that, and so he started

451
00:23:52,680 --> 00:23:55,480
to send the songs to college radio. When college radio

452
00:23:55,559 --> 00:23:58,759
started playing these songs and people started requesting them, and

453
00:23:58,799 --> 00:24:00,880
all of a sudden, Boom needs You tonight. Is like

454
00:24:01,119 --> 00:24:05,720
getting requested left and right, and they realized this sounds

455
00:24:05,759 --> 00:24:08,920
like a hit, and then the record company back down.

456
00:24:09,519 --> 00:24:12,680
Speaker 2: Yeah, they finally decided to add Kick to their release

457
00:24:12,680 --> 00:24:14,200
schedule for October.

458
00:24:14,279 --> 00:24:15,680
Speaker 1: All right, are we ready to dive in?

459
00:24:16,039 --> 00:24:16,640
Speaker 2: Let's do it.

460
00:24:20,759 --> 00:24:24,119
Speaker 1: First song right off the bat in your Face, it's

461
00:24:24,160 --> 00:24:28,680
called Guns in the Sky.

462
00:24:30,759 --> 00:24:35,720
Speaker 2: So this song came from even though these were Australian guys,

463
00:24:35,759 --> 00:24:41,680
this came from Reagan's plan called the SDI, which was

464
00:24:41,759 --> 00:24:45,359
more colloquially known in our day back in the eighties

465
00:24:45,440 --> 00:24:51,039
as star Wars, that there would be machines up in

466
00:24:51,079 --> 00:24:53,839
the sky that would be able to shoot down Soviet

467
00:24:53,880 --> 00:24:57,119
missiles to keep them from the Soviets from being able

468
00:24:57,119 --> 00:24:59,480
to bomb the United States. And I got to tell

469
00:24:59,519 --> 00:25:02,720
you that that that probably led to the Soviets going

470
00:25:02,799 --> 00:25:06,039
that you guys win I guess I give you're seriously

471
00:25:06,079 --> 00:25:10,640
gonna have lasers in the sky. So so Michael Hutchins

472
00:25:10,680 --> 00:25:14,000
writes this song with his idea being why are we

473
00:25:14,079 --> 00:25:17,799
going to spend money on lasers in the sky when

474
00:25:17,799 --> 00:25:20,839
there's so many more worthy causes that can help people.

475
00:25:21,119 --> 00:25:23,680
There's actually a video for this one. I had never

476
00:25:23,720 --> 00:25:27,519
seen it before, but it's this is one of many

477
00:25:27,880 --> 00:25:32,440
videos directed by Richard Lowenstein from this album, and it's

478
00:25:32,480 --> 00:25:35,960
it's just Michael Hutchins walking down the hallway filled with

479
00:25:36,000 --> 00:25:41,160
the band members intermingled with images of Reagan and Gorbachev

480
00:25:41,400 --> 00:25:43,079
and the words sd I.

481
00:25:43,079 --> 00:25:46,279
Speaker 1: Okay, so I watched this video. I really like this

482
00:25:46,400 --> 00:25:50,039
video number one. It's uh, it's constant movement, right. So

483
00:25:50,119 --> 00:25:54,960
the song's really rocky, you know, heavy guitars, especially for them,

484
00:25:55,240 --> 00:25:57,519
and it's a lot of yelling like guns in the sky,

485
00:25:57,720 --> 00:26:00,319
you know. But they're walking down the hallways and they're

486
00:26:00,319 --> 00:26:02,160
all playing the guitars. I think I was telling you this.

487
00:26:02,559 --> 00:26:06,079
So you know, some of the guys play keyboard. One

488
00:26:06,079 --> 00:26:08,480
of the guys plays a saxophone. You know, you have

489
00:26:08,559 --> 00:26:11,079
drummer and bass and guitarists, but they all know how

490
00:26:11,079 --> 00:26:15,200
to play guitar, and so Michael Hutchins along with he's

491
00:26:15,240 --> 00:26:17,880
being escorted by four other guys who are playing strong

492
00:26:17,920 --> 00:26:21,680
guitar and the drummer. But they're walking down the hallways

493
00:26:21,680 --> 00:26:23,359
of a hotel in constant movement.

494
00:26:23,480 --> 00:26:23,599
Speaker 2: Right.

495
00:26:23,640 --> 00:26:26,200
Speaker 1: The camera just keeps moving and it looks to me

496
00:26:26,319 --> 00:26:30,960
like it's the freaking Overlook Hotel from the Shining But yeah,

497
00:26:31,000 --> 00:26:35,720
they're interspliced with big words and it's guns and sky

498
00:26:36,160 --> 00:26:41,640
and SDI USA CCCP if you remember those days, right,

499
00:26:43,480 --> 00:26:46,960
And then at the very end it says in excess stop,

500
00:26:47,119 --> 00:26:49,720
I love this song. It's a great kickoff song to

501
00:26:49,759 --> 00:26:52,599
the album. It's high energy, Like I said, it's a

502
00:26:52,599 --> 00:26:56,519
hard rock rocking song for them, and it's like a chant.

503
00:26:56,559 --> 00:26:59,000
It's like a fist bumper, you know, in the concert

504
00:26:59,319 --> 00:27:01,880
you're yelling guns in the sky. I will make mention

505
00:27:02,319 --> 00:27:04,880
too that during this time in my life, of course,

506
00:27:04,920 --> 00:27:09,680
i'm fourteen and nineteen eighty seven Star Wars defense program.

507
00:27:09,880 --> 00:27:12,440
I was all on board just because it's called Star Wars.

508
00:27:13,880 --> 00:27:16,079
Speaker 2: Wars. Yes, when do we get to meet Luke?

509
00:27:16,279 --> 00:27:17,720
Speaker 1: I freaking love star Wars.

510
00:27:20,240 --> 00:27:22,640
Speaker 2: That that's a bit of brilliant marketing right there is

511
00:27:22,640 --> 00:27:23,119
with that.

512
00:27:23,160 --> 00:27:26,519
Speaker 1: Yeah, exactly. I think that Han and Cheu a you're

513
00:27:26,559 --> 00:27:29,279
gonna be chasing down missiles, but I'm not sure. Some

514
00:27:29,319 --> 00:27:32,960
interesting lyrics on this one. So this song was actually

515
00:27:33,720 --> 00:27:37,240
not written by Andrew Ferris and Michael Hutchins. This is

516
00:27:37,440 --> 00:27:40,480
just Michael Hutchins by himself. He wrote this one all

517
00:27:40,480 --> 00:27:41,480
by himself.

518
00:27:41,680 --> 00:27:47,920
Speaker 2: Right, well supposedly, Okay, yeah, I mean so they they

519
00:27:47,960 --> 00:27:50,400
as the duo, wrote all of the songs on this album,

520
00:27:50,440 --> 00:27:54,799
but they had decided together, hey, well you'll you'll have one,

521
00:27:55,000 --> 00:27:58,799
I'll have one, and so Guns in the Sky was

522
00:27:58,920 --> 00:28:05,119
Michael Hutchins one and Meditate was Andrew ferris is one.

523
00:28:05,640 --> 00:28:08,119
But really they ended up helping each other out on

524
00:28:08,160 --> 00:28:10,119
those two on both of those songs as well. It's

525
00:28:10,240 --> 00:28:12,759
really really the duo on all of them. But yes,

526
00:28:12,880 --> 00:28:16,079
the Guns in the Sky was primarily Michael Hutchins.

527
00:28:16,400 --> 00:28:19,400
Speaker 1: Okay, that's cool. There's some interesting lyrics in this one.

528
00:28:20,680 --> 00:28:24,119
You know, these are concert type lyrics, right, so you

529
00:28:24,240 --> 00:28:26,880
raise them up, you bring them down like a clock

530
00:28:26,920 --> 00:28:33,160
at two. It's concert stuff. Put your hands all right,

531
00:28:33,200 --> 00:28:35,480
you in the back like a clock at two.

532
00:28:39,359 --> 00:28:43,160
Speaker 2: So the next track on the album is New Sensation

533
00:28:53,839 --> 00:28:58,279
Shine Moment.

534
00:29:08,160 --> 00:29:15,160
Speaker 1: Okay, this song is amazing. This is a pop masterpiece.

535
00:29:15,640 --> 00:29:17,359
The hook is incredible in the song.

536
00:29:17,519 --> 00:29:20,279
Speaker 2: One of the best songs on the album, arguably the best.

537
00:29:20,359 --> 00:29:23,640
Not my favorite, but arguably the best song on the album.

538
00:29:23,720 --> 00:29:25,759
Speaker 1: I would say the same thing. It's not my favorite,

539
00:29:26,039 --> 00:29:29,079
but it's arguably the best. This song reached number three

540
00:29:29,079 --> 00:29:31,920
on the US charts, the number one song in the

541
00:29:31,960 --> 00:29:34,039
country that week hold on to the Knights by Richard

542
00:29:34,039 --> 00:29:37,480
Marx right. The number two song was Pour Some Sugar

543
00:29:37,480 --> 00:29:40,759
on Me by def Leppard Flashback to our Hysteria episode,

544
00:29:41,160 --> 00:29:44,519
and then number three New Sensation at number three for

545
00:29:44,559 --> 00:29:47,000
the record, New Sensation is a way better song than

546
00:29:47,039 --> 00:29:48,559
hold On to the Knights by Richard Mars.

547
00:29:49,480 --> 00:29:51,799
Speaker 2: For Richard Marks, I did actually like a couple of

548
00:29:51,839 --> 00:29:53,799
his songs, but we do kind of trounce on him

549
00:29:53,839 --> 00:29:54,640
a little bit.

550
00:29:54,440 --> 00:29:57,400
Speaker 1: We do, and I'm sorry about that. Maybe we should.

551
00:29:57,599 --> 00:30:02,480
Speaker 2: No, no, no, no, I'm not saying we're wrong. I was

552
00:30:02,759 --> 00:30:05,039
still a way better song. You went to a Richard

553
00:30:05,079 --> 00:30:06,079
Marks concert.

554
00:30:05,880 --> 00:30:11,920
Speaker 1: I did. We're Off too, So my girlfriend forgot our

555
00:30:11,960 --> 00:30:13,799
coat and the cold front moved in and I froze

556
00:30:13,839 --> 00:30:14,480
my butt off.

557
00:30:14,640 --> 00:30:17,920
Speaker 2: So this song, the lyrics are about seizing the day,

558
00:30:18,039 --> 00:30:20,960
you know, the celebration of life, which is really I mean,

559
00:30:21,759 --> 00:30:24,240
certainly for Michael Hutchins, what he's he seemed to be

560
00:30:24,279 --> 00:30:27,640
all about the music. You you got a banjo in there,

561
00:30:28,279 --> 00:30:31,000
I mean, that's that's a surprise for me for an

562
00:30:31,039 --> 00:30:35,680
Australian new wave slash dance, slash funk slash rock band.

563
00:30:35,880 --> 00:30:39,200
Throw some band some banjo in there. But what you

564
00:30:39,400 --> 00:30:42,559
don't have in there is a trumpet. Even though Michael

565
00:30:42,640 --> 00:30:53,319
Hutchins yells trumpet before the sack solo. Tim Farris wanted

566
00:30:53,359 --> 00:30:55,880
this to be a trumpet solo. He wanted to do

567
00:30:56,039 --> 00:30:59,519
the trumpet solo on this track, but Ngilly, who always

568
00:30:59,519 --> 00:31:03,319
does there saxophone solo, said no, sir, we are going

569
00:31:03,359 --> 00:31:07,079
to make this a sax solo because we do sax solos.

570
00:31:07,319 --> 00:31:09,680
So if you are only familiar with this song from

571
00:31:09,720 --> 00:31:12,160
the video, you're not gonna know what I'm talking about

572
00:31:12,480 --> 00:31:15,680
because they took that trumpet part out because how stupid

573
00:31:16,000 --> 00:31:19,480
would it have looked for Michael Hutchinds to go trumpet

574
00:31:20,240 --> 00:31:23,720
he comes out of saxophone.

575
00:31:24,160 --> 00:31:26,240
Speaker 1: Okay. So the video for the song, like you mentioned,

576
00:31:26,319 --> 00:31:29,559
it was directed by Richard Lowenstein. It was filmed on

577
00:31:29,599 --> 00:31:32,480
the roof of the Municipal House in Prague.

578
00:31:32,519 --> 00:31:35,799
Speaker 2: So Richard Lowenstein before, like I said, he's gonna come

579
00:31:35,839 --> 00:31:37,640
up a few more times, but I gotta say it now.

580
00:31:37,960 --> 00:31:42,920
Richard Lowenstein also directed a movie called Dogs in Space

581
00:31:43,400 --> 00:31:47,000
starring Michael Hutchins. I can't say that I've seen it.

582
00:31:47,559 --> 00:31:50,960
Speaker 1: This is actually their most played live song of all time.

583
00:31:51,640 --> 00:31:55,039
Speaker 2: This is the video that has Michael Hutchins with his

584
00:31:55,079 --> 00:31:56,000
hair slick back. Right.

585
00:31:56,759 --> 00:31:58,880
Speaker 1: Yeah, he's wearing a tie, like a coat and a tie.

586
00:31:58,799 --> 00:32:02,200
Speaker 2: And yeah, so totally a different, totally different look. And

587
00:32:02,240 --> 00:32:04,480
when I went back and watched it again, I was like,

588
00:32:05,200 --> 00:32:08,640
this is very Robert Palmer, Like this is I mean,

589
00:32:08,680 --> 00:32:11,200
he's got the band behind him instead of you know,

590
00:32:11,400 --> 00:32:16,799
girls pretending to play music. But it's very Robert Palmer.

591
00:32:16,839 --> 00:32:20,519
And then we also have this very cool effect that's

592
00:32:20,559 --> 00:32:23,400
another part of the video where the band is singing

593
00:32:23,400 --> 00:32:26,799
in kind of a stop motion style the lyrics to

594
00:32:26,839 --> 00:32:29,799
the song as these tracers of lights go.

595
00:32:30,160 --> 00:32:30,839
Speaker 1: That's really cool.

596
00:32:30,920 --> 00:32:36,799
Speaker 2: Yeah, very reminiscent of the Sledgehammer video, that's right. And

597
00:32:36,880 --> 00:32:40,359
so yeah, there's some pretty cool, cool effects going on.

598
00:32:40,480 --> 00:32:42,480
Cool things that they did with this video.

599
00:32:42,720 --> 00:32:45,400
Speaker 1: I was gonna mention. In February of twenty fourteen, the

600
00:32:45,599 --> 00:32:49,319
mini series and Excess Never Tear Us Apart on Australia television,

601
00:32:49,359 --> 00:32:51,359
which I would love to see. I couldn't find it

602
00:32:51,440 --> 00:32:52,880
on YouTube. I was looking for it. I wanted to

603
00:32:52,880 --> 00:32:56,000
watch it. New Sensation charted again in Australia after that

604
00:32:56,039 --> 00:32:59,119
mini series aired. Sometimes I like to think about the

605
00:32:59,160 --> 00:33:02,880
track listing, right, and for me, an album ought to

606
00:33:02,920 --> 00:33:05,480
be like a concert. Right. You start off with a bang,

607
00:33:06,079 --> 00:33:08,160
then you kind of ramp up to your hits, and

608
00:33:08,200 --> 00:33:10,480
then you mix in a few softers and then you

609
00:33:10,559 --> 00:33:12,680
close with the encore guns in This guy is a

610
00:33:12,680 --> 00:33:15,359
great beginning. It's real short, but I think maybe New

611
00:33:15,440 --> 00:33:19,079
Sensation would have been a great kickoff song for this album.

612
00:33:19,319 --> 00:33:22,079
Sure pop it in push play and you get that boom,

613
00:33:22,119 --> 00:33:25,680
that hook right off the back. Great song, huge, huge song.

614
00:33:26,519 --> 00:33:30,960
This was their third single released March thirty first, nineteen

615
00:33:31,000 --> 00:33:33,000
eighty eight. We Ready to go on? Are we moving on?

616
00:33:33,400 --> 00:33:37,240
Speaker 2: Yeah? All right? Yes, next track on the album is

617
00:33:38,920 --> 00:33:44,640
Devil Inside, Devil inside, every single one of us inside

618
00:33:48,079 --> 00:33:57,119
the woman They look with flesh on the.

619
00:33:57,079 --> 00:34:00,880
Speaker 1: Line, all right. So this was the second single Yeah

620
00:34:01,279 --> 00:34:05,480
released February thirteenth, nineteen eighty eight. This reached number two

621
00:34:05,759 --> 00:34:06,720
on the Hot one hundred.

622
00:34:07,319 --> 00:34:11,880
Speaker 2: This is another killer song. The beat is so solid

623
00:34:11,960 --> 00:34:15,679
and so strong. Dun't dun d d d d d

624
00:34:16,280 --> 00:34:21,159
duh d No, don't dun't du it's it is awesome.

625
00:34:21,559 --> 00:34:25,920
And the lyrics again, they just use that kind of

626
00:34:26,480 --> 00:34:30,159
they're forbidden and you know what you want that you

627
00:34:30,239 --> 00:34:34,119
can't get. And Hutchins said when he was writing these lyrics,

628
00:34:34,159 --> 00:34:36,880
he was in kind of a God in the Devil phase,

629
00:34:37,119 --> 00:34:39,000
and he said he thought that it kind of had

630
00:34:39,039 --> 00:34:41,719
to do with the chaos of everything, and when you

631
00:34:41,719 --> 00:34:44,599
put it into religious terms, the devil is the thing

632
00:34:44,599 --> 00:34:46,679
that's chaotic, this is what he said, so that every

633
00:34:46,719 --> 00:34:49,079
time you think something is right, he comes in and

634
00:34:49,199 --> 00:34:51,800
changes everything. Kind of a sad concept when you consider

635
00:34:51,880 --> 00:34:52,760
his life, I.

636
00:34:52,639 --> 00:34:55,760
Speaker 1: Mean, his personal life ends in complete chaos. But we'll

637
00:34:55,760 --> 00:34:57,840
talk about that later. Yeah, the beginning of this song,

638
00:34:57,960 --> 00:35:00,599
you have that sort of Caribbean type of sound and

639
00:35:00,639 --> 00:35:03,320
then you have that real hard strum of the guitar

640
00:35:04,639 --> 00:35:06,639
and at that moment, I'm like, I'm in.

641
00:35:06,840 --> 00:35:07,159
Speaker 2: I'm in.

642
00:35:07,199 --> 00:35:10,320
Speaker 1: This song is great. Five seconds into the song and

643
00:35:10,360 --> 00:35:10,679
I love it.

644
00:35:10,719 --> 00:35:14,360
Speaker 2: Already. So video for this one. Kirk Bengilly was not

645
00:35:14,440 --> 00:35:16,880
a fan because he felt like it was too American,

646
00:35:17,039 --> 00:35:19,480
which I don't really know what that means. But it

647
00:35:19,559 --> 00:35:22,679
was filmed in California, so I can guess I can

648
00:35:22,679 --> 00:35:25,320
see how that would be pretty American. I can tell

649
00:35:25,360 --> 00:35:28,480
you that anytime, I can forget all things about this video,

650
00:35:28,599 --> 00:35:31,920
but the girl in the white dress getting onto the

651
00:35:31,960 --> 00:35:35,400
back of the motorcycle with the black leather clad bikers,

652
00:35:35,679 --> 00:35:37,679
it's going to be etched into my memory for it.

653
00:35:38,800 --> 00:35:40,480
Speaker 1: I mean this video had I mean it had the

654
00:35:40,519 --> 00:35:43,039
devil mask right, like Michael Hutchins had that double mask

655
00:35:43,119 --> 00:35:47,159
on backwards. Ye when he flips around to do that. Right.

656
00:35:47,519 --> 00:35:49,800
But it's in a bar. You've got the skateboard, which

657
00:35:49,840 --> 00:35:51,920
is kind of cool. You've got all these sixty girls.

658
00:35:52,079 --> 00:35:54,719
It has a Lost Boys type of feel to it.

659
00:35:54,960 --> 00:35:57,559
Speaker 2: Yeah, and you have this kind of beat it moment

660
00:35:57,639 --> 00:36:01,679
where the two you know rival, you got the white preppy,

661
00:36:02,360 --> 00:36:07,079
you know, elite coming up against the black leather biker gang.

662
00:36:07,400 --> 00:36:10,760
And then the band starts walking through like Michael Jackson

663
00:36:10,760 --> 00:36:14,000
pushing everybody apart, but more and more of a kind

664
00:36:14,000 --> 00:36:17,639
of I don't know, sultry and you know, move out

665
00:36:17,679 --> 00:36:19,880
of our wig as we're coming through kind of way.

666
00:36:20,360 --> 00:36:22,599
Speaker 1: The reason why this video has a Lost Boys feel

667
00:36:22,760 --> 00:36:25,119
is because it was directed by Joel.

668
00:36:24,920 --> 00:36:26,760
Speaker 2: Schumacher, who directed The Lost Boys.

669
00:36:26,760 --> 00:36:29,239
Speaker 1: Who directed The Lost Boys. Yeah, and he directed the

670
00:36:29,320 --> 00:36:32,559
video as a favorite to them for them contributing those

671
00:36:32,559 --> 00:36:34,159
two songs to his movie.

672
00:36:34,280 --> 00:36:38,320
Speaker 2: Yep. He did not direct another music video until Kiss

673
00:36:38,360 --> 00:36:41,679
from a Rose by Seal, which was on the soundtrack

674
00:36:41,800 --> 00:36:45,360
for Batman Forever. Joel Schumacher did a good job with

675
00:36:45,400 --> 00:36:47,679
The Lost Boys, but I don't know that there's been

676
00:36:47,719 --> 00:36:49,760
another movie that I thought was great of his.

677
00:36:49,960 --> 00:36:53,440
Speaker 1: He did a great job with The Lost Boys, and

678
00:36:53,519 --> 00:36:56,119
I'll stop there. I know our good friend John reid

679
00:36:56,159 --> 00:36:59,199
Over at the thirty something Podcast is a huge fan

680
00:36:59,559 --> 00:37:03,400
of Batman and Robin that's joke, really okay, joke sid No,

681
00:37:03,480 --> 00:37:04,159
it's not right.

682
00:37:04,880 --> 00:37:07,920
Speaker 2: Yeah, shout out to the thirty something Podcast. Love those guys.

683
00:37:08,400 --> 00:37:11,960
When you're done with this episode, download their episodes, especially

684
00:37:12,039 --> 00:37:14,000
the Batman from eighty nine.

685
00:37:14,119 --> 00:37:16,760
Speaker 1: Devil Inside made it to number two. I want to

686
00:37:16,800 --> 00:37:19,800
know what songs are good enough to keep this out

687
00:37:19,800 --> 00:37:22,159
of the number one spot, And as it turns out,

688
00:37:22,639 --> 00:37:24,559
there are two songs that are good enough to keep

689
00:37:24,559 --> 00:37:27,199
it out of the number one spot. All right, So, yep,

690
00:37:27,360 --> 00:37:30,480
that week in nineteen eighty eight, the first time it

691
00:37:30,519 --> 00:37:34,079
was blocked, it was blocked by Get Out of My Dreams,

692
00:37:34,119 --> 00:37:36,559
Get Into My Car by Billy Ocean, And then the

693
00:37:36,599 --> 00:37:40,400
next week Whitney Houston jumps over him with where Do Broken.

694
00:37:40,119 --> 00:37:42,119
Speaker 2: Hearts Go, which is not even her best song.

695
00:37:42,360 --> 00:37:46,280
Speaker 1: No Devil Inside is way better than both of those songs. Now, yep,

696
00:37:46,639 --> 00:37:49,119
these songs come on on my radio. Secretly I'm turning

697
00:37:49,159 --> 00:37:53,639
them up. But double Inside is louder. Okay.

698
00:37:53,800 --> 00:37:55,079
Speaker 2: I hate to tell you, I don't think he's a

699
00:37:55,119 --> 00:37:55,800
secret anymore.

700
00:37:59,239 --> 00:38:02,519
Speaker 1: Well, you know where's their weapons? Sharper than knives? Okay.

701
00:38:02,559 --> 00:38:08,719
So this brings us to probably their most famous, best known.

702
00:38:08,159 --> 00:38:11,360
Speaker 2: Again arguably the best song on the album. You know,

703
00:38:11,440 --> 00:38:15,119
we talk all the time about how much nostalgia is

704
00:38:15,159 --> 00:38:18,519
playing into our feelings behind a particular song, and I've

705
00:38:18,519 --> 00:38:21,960
got to say that the video for this one has

706
00:38:22,039 --> 00:38:27,599
a huge nostalgia impact for me. This video was on

707
00:38:28,000 --> 00:38:31,320
and on and on, and I watched it every time

708
00:38:31,400 --> 00:38:35,559
that it came on. I was fascinated. It was really

709
00:38:35,800 --> 00:38:40,360
really unique style of video. And then their combination of

710
00:38:40,519 --> 00:38:43,360
Meditate at the end, which was a totally different style

711
00:38:43,440 --> 00:38:48,360
but was still very cool. I just was, yeah, this

712
00:38:48,360 --> 00:38:49,960
this is a song that I'm going to listen to

713
00:38:50,039 --> 00:38:51,840
and I'm still gonna I'm want to think of all

714
00:38:51,880 --> 00:38:53,960
of the cool effects that were going on with this video.

715
00:38:54,159 --> 00:38:57,559
Speaker 1: It's super super cool video, great song. So this was

716
00:38:57,599 --> 00:39:01,039
actually their first release. This is the one that their manager,

717
00:39:01,119 --> 00:39:03,800
Chris Murphy sent to college radio and said, play this.

718
00:39:04,119 --> 00:39:06,000
We think this is a hit. Play this song, see

719
00:39:06,039 --> 00:39:07,880
what happens. And it turns out it was a hit.

720
00:39:07,960 --> 00:39:10,760
This reached number one on the Hot one hundred. This

721
00:39:10,840 --> 00:39:13,679
is their only number one hit, number one January thirtieth,

722
00:39:13,800 --> 00:39:17,079
nineteen eighty eight, knocking out of the number one spot

723
00:39:17,280 --> 00:39:19,800
The Way You Make Me Feel by Michael Jackson Flashback

724
00:39:19,880 --> 00:39:22,960
to Our Bad episode episode two.

725
00:39:23,159 --> 00:39:27,960
Speaker 2: I Believe Yeah this one. It was also monumental on MTV.

726
00:39:28,320 --> 00:39:34,199
It won five different MTV Music Video Awards, including Best Video.

727
00:39:34,480 --> 00:39:37,039
They ended up playing the final song that night. It

728
00:39:37,159 --> 00:39:40,320
was It was a big sweep for the MTV Video

729
00:39:40,440 --> 00:39:41,079
Music Awards.

730
00:39:41,159 --> 00:39:44,719
Speaker 1: Yeah, they won five moon men on the MTV Music Awards.

731
00:39:45,280 --> 00:39:48,519
Speaker 2: You'll remember from the video seeing John Ferris standing up

732
00:39:48,559 --> 00:39:54,239
with no drums but playing with drumsticks a Lah Journey

733
00:39:54,679 --> 00:39:58,199
Separate Ways video, although this is a much much cooler effect.

734
00:39:58,880 --> 00:40:00,719
Speaker 1: Well they didn't do it at the war, which you know.

735
00:40:02,960 --> 00:40:06,679
Speaker 2: This is the leather jacket no shirt video where Michael

736
00:40:06,760 --> 00:40:10,320
Hutchins is walking around. So it's seductively that it makes

737
00:40:10,360 --> 00:40:17,400
me feel uncomfortable as a heterosexual, but it is something

738
00:40:17,480 --> 00:40:21,039
that blasted them into the spot like this is the

739
00:40:21,039 --> 00:40:27,480
one that made them a worldwide, major, huge success. So

740
00:40:28,280 --> 00:40:32,519
the guitar riff on this one is incredibly famous. And

741
00:40:32,960 --> 00:40:36,079
it appeared to Andrew Ferris in his head as he

742
00:40:36,199 --> 00:40:39,239
was just about to get into a cab to fly

743
00:40:39,320 --> 00:40:42,079
to the airport to Hong Kong, and so he said

744
00:40:42,079 --> 00:40:44,360
to the cab driver, wait just a couple of minutes.

745
00:40:44,519 --> 00:40:46,639
I'm gonna go grab something from my room, and then

746
00:40:46,679 --> 00:40:48,519
he went up to his room and spent the next

747
00:40:48,559 --> 00:40:52,400
forty five minutes recording the riff and came back down

748
00:40:52,440 --> 00:40:57,480
an hour later, and the cab driver was very unhappy,

749
00:41:00,039 --> 00:41:03,000
and Michael Hutchins started writing the lyrics immediately and wrote

750
00:41:03,000 --> 00:41:04,400
them all within ten minutes.

751
00:41:04,519 --> 00:41:06,360
Speaker 1: All right, we're done with need you tonight?

752
00:41:06,920 --> 00:41:09,840
Speaker 2: Well here's the thing. Is Need You Tonight part of

753
00:41:09,880 --> 00:41:10,800
another song or not?

754
00:41:11,440 --> 00:41:12,679
Speaker 1: That's an interesting question.

755
00:41:12,760 --> 00:41:17,480
Speaker 2: I say, no, okay, well, then here's my next question

756
00:41:17,559 --> 00:41:20,280
for you. If you are listening to the radio and

757
00:41:20,440 --> 00:41:24,079
they play we Will Rock You and they don't play

758
00:41:24,239 --> 00:41:27,239
we Are the Champions after that, are you irritated?

759
00:41:27,440 --> 00:41:32,400
Speaker 1: Yes, easily. I don't really understand that. But they go

760
00:41:32,559 --> 00:41:34,400
together like peas and carrots.

761
00:41:34,440 --> 00:41:39,760
Speaker 2: For some reason, they're recording medi eight and somehow somebody

762
00:41:39,840 --> 00:41:42,480
had left a tape on of need You Tonight in

763
00:41:42,519 --> 00:41:45,880
the background, and so as they were like, oh wait,

764
00:41:46,000 --> 00:41:47,760
you know, there's something else going on, and they stopped

765
00:41:47,760 --> 00:41:49,880
it and they listened to it to see if you

766
00:41:49,920 --> 00:41:51,760
could hear the song. And as they listen, they're like,

767
00:41:51,800 --> 00:41:54,800
wait a minute, this actually fits really really well. The

768
00:41:54,840 --> 00:41:59,280
click track was the same speed, and so Andrew Ferriss said,

769
00:42:00,000 --> 00:42:01,679
you know what, I think we need to kind of

770
00:42:02,280 --> 00:42:06,000
have these songs merge together at the end, and so

771
00:42:06,400 --> 00:42:08,880
that's exactly what they did. So I guess at this

772
00:42:09,000 --> 00:42:14,679
point we're moving on to mediate or meditate or meditate.

773
00:42:14,559 --> 00:42:16,679
Speaker 1: Or try not to hate or love your mate or

774
00:42:16,800 --> 00:42:21,840
don't suffocate, right, right, So this song is not was

775
00:42:21,880 --> 00:42:23,800
never released as a single, but they played it at

776
00:42:23,800 --> 00:42:26,480
the end of the video Need You Tonight. It's modeled

777
00:42:26,519 --> 00:42:31,000
after Bob Dylan's Subterranean Homesick Blues video if you've ever

778
00:42:31,039 --> 00:42:33,760
seen that, They flip over que cards and there's words

779
00:42:33,760 --> 00:42:37,400
written on them, and then Kirk Pngilly has his saxophone

780
00:42:37,440 --> 00:42:38,199
solo at the end.

781
00:42:38,280 --> 00:42:42,440
Speaker 2: Okay, so yeah, so the song mediate was actually longer.

782
00:42:42,679 --> 00:42:46,000
The engineer said that when he rewound his tape and

783
00:42:46,119 --> 00:42:49,960
hit play just as Need You Tonight ended, it synced

784
00:42:50,039 --> 00:42:53,840
up so perfectly that he actually thought there was something wrong.

785
00:42:54,000 --> 00:42:56,760
And so that's how that's how they came together.

786
00:42:56,880 --> 00:42:58,119
Speaker 1: You've seen this video, right.

787
00:42:58,239 --> 00:43:01,679
Speaker 2: Yeah, So the Q cards, just like in the Bob

788
00:43:01,760 --> 00:43:05,719
Dylan version, have some misspelled words on there. And then

789
00:43:05,920 --> 00:43:10,400
whenever he whenever he talks about an important date, you know,

790
00:43:10,440 --> 00:43:11,400
the date that comes.

791
00:43:11,239 --> 00:43:14,159
Speaker 1: Up, Yeah, nine to eight nineteen forty five.

792
00:43:14,679 --> 00:43:18,039
Speaker 2: Which if you're in the United States like US, that

793
00:43:18,199 --> 00:43:22,639
sounds like September eighth, nineteen forty five, which is not

794
00:43:22,760 --> 00:43:27,280
a particularly eventful date. However, uh huh. That's not the

795
00:43:27,280 --> 00:43:30,159
format that people in Australia and New Zealand and some

796
00:43:30,199 --> 00:43:32,519
of the other countries in the world use, which is

797
00:43:32,559 --> 00:43:35,960
to put the day first, and then the month, and

798
00:43:36,079 --> 00:43:38,760
then the year, and when you do that, that is

799
00:43:38,880 --> 00:43:42,920
the ninth of August nineteen forty five, which.

800
00:43:43,000 --> 00:43:45,440
Speaker 1: That refers to the date that the atomic bomb was

801
00:43:45,519 --> 00:43:48,519
dropped on Nagasaki, Japan. That's incredible, that's incredible.

802
00:43:48,599 --> 00:43:48,800
Speaker 4: Yeah.

803
00:43:48,840 --> 00:43:50,320
Speaker 1: When I saw that as a kid, I'm like, what

804
00:43:50,360 --> 00:43:52,039
the heck. First of all, I didn't have Google back then,

805
00:43:52,079 --> 00:43:53,000
so I couldn't look it up.

806
00:43:54,079 --> 00:43:58,440
Speaker 2: Especially even if you had World Book or Encyclopedia Britannica.

807
00:43:58,480 --> 00:43:59,960
You could not just go look up a date.

808
00:44:00,199 --> 00:44:02,760
Speaker 1: That's right. I was going through national geographics left and right.

809
00:44:02,760 --> 00:44:08,840
I couldn't find anything. Okay for me, Media eight is

810
00:44:09,079 --> 00:44:12,239
just kind of an extension of Need You Tonight.

811
00:44:12,320 --> 00:44:14,480
Speaker 2: I don't know what'd you think of it? I mean, yeah, no,

812
00:44:14,599 --> 00:44:17,199
for me, this is a part of this is a

813
00:44:17,199 --> 00:44:19,840
part of this song. To me, I want that ending,

814
00:44:19,960 --> 00:44:23,599
especially if I'm watching the videos. But no, it's such

815
00:44:24,000 --> 00:44:27,880
a great transition that they do from Need You Tonight

816
00:44:28,039 --> 00:44:32,360
into this song and then once that sax solo comes in,

817
00:44:32,480 --> 00:44:35,760
it's totally different. Is it totally different sound? But it's

818
00:44:35,880 --> 00:44:38,159
beautiful and I love it.

819
00:44:38,199 --> 00:44:40,559
Speaker 1: All right, let's move on. That brings us to the

820
00:44:40,599 --> 00:44:49,880
song The Loved One. This is a original hit by

821
00:44:49,880 --> 00:44:53,280
the Australian R and B band called The loved Ones.

822
00:44:53,559 --> 00:44:56,000
This was a hit in May of nineteen sixty six.

823
00:44:56,239 --> 00:44:58,360
I love this song. This is one of my favorite

824
00:44:58,360 --> 00:44:59,519
songs on the album.

825
00:44:59,320 --> 00:45:03,599
Speaker 2: This one. They had actually recorded it twice. The original

826
00:45:03,760 --> 00:45:07,239
The original studio version was done as a standalone single

827
00:45:07,400 --> 00:45:10,719
in March of nineteen eighty one in Australia only and

828
00:45:10,840 --> 00:45:13,519
it ended up at number twenty on the National charts,

829
00:45:13,679 --> 00:45:17,039
and it was later on the compilation album. They did

830
00:45:17,039 --> 00:45:20,800
an eighty two called in Excessive. Then they re recorded

831
00:45:20,840 --> 00:45:25,599
it for this album and it sounds better now. I

832
00:45:25,639 --> 00:45:28,599
will say that I'm not a huge fan of the lyrics.

833
00:45:28,760 --> 00:45:30,880
I mean, obviously they didn't write the lyrics, but I

834
00:45:30,920 --> 00:45:35,320
think what they do with the music on this is solid.

835
00:45:35,480 --> 00:45:39,800
It's such a great intro. The music is fantastic. The

836
00:45:39,840 --> 00:45:42,679
band does a great job with this one and singing.

837
00:45:42,920 --> 00:45:45,639
I mean, there's not a problem with Michael Hutchins's voice.

838
00:45:45,679 --> 00:45:47,840
I just think the chorus of the song's kind of sophomoric.

839
00:45:47,920 --> 00:45:50,480
I mean, it's just not very interesting to me. So

840
00:45:50,880 --> 00:45:53,840
it's not my favorite. But but as far as the music, goes.

841
00:45:53,880 --> 00:45:54,920
I think they do a great job.

842
00:45:55,239 --> 00:45:57,599
Speaker 1: I love it. So we've covered Pearl Jam and we've

843
00:45:57,599 --> 00:46:00,480
talked about how Eddie Vedder tries to cramle bunch of

844
00:46:00,480 --> 00:46:03,239
words into a song and sometimes it's difficult to understand

845
00:46:03,280 --> 00:46:06,000
what he's saying. These just flow right out and they're

846
00:46:06,159 --> 00:46:09,400
so singable. You have that Oh baby, I love you

847
00:46:09,559 --> 00:46:14,039
so I need you now, I want you back. I

848
00:46:14,119 --> 00:46:16,639
can't go on when I'm so simple. It's simple.

849
00:46:16,800 --> 00:46:20,400
Speaker 2: It's simple and boring. It's boring. I just think, I.

850
00:46:20,440 --> 00:46:22,800
Speaker 1: Think it's great. Anytime we're driving down the road and

851
00:46:22,840 --> 00:46:25,639
I want on Kathy to come out right, I put

852
00:46:25,679 --> 00:46:28,360
this in and turn it up and she is singing

853
00:46:28,519 --> 00:46:31,519
and waving, and she and I are both big fans

854
00:46:31,519 --> 00:46:33,920
of The Loved One. So my lovely wife. So you

855
00:46:34,000 --> 00:46:38,760
mentioned earlier their album Inexcessive that was released in nineteen

856
00:46:38,800 --> 00:46:42,039
eighty two. So off of their album Inexcessive in nineteen

857
00:46:42,039 --> 00:46:44,599
eighty two, they have a song called the Unloved One,

858
00:46:44,719 --> 00:46:46,480
which I thought that was kind of interesting. This is

859
00:46:46,480 --> 00:46:49,440
for our Australian friends, all right. So in two thousand

860
00:46:49,480 --> 00:46:52,800
and one, The Loved One was selected as the number

861
00:46:53,119 --> 00:46:57,320
six song on the list of top thirty Australian songs

862
00:46:57,360 --> 00:46:59,480
of all time. How about that it's the number six

863
00:46:59,559 --> 00:47:00,880
Australian song of all time.

864
00:47:01,000 --> 00:47:03,960
Speaker 2: It's fantastic. I'm glad you loved this song and the

865
00:47:04,480 --> 00:47:08,320
fun Kathy comes out. Can we narrow about never tears apart?

866
00:47:08,519 --> 00:47:08,920
Speaker 4: Please?

867
00:47:09,079 --> 00:47:10,840
Speaker 2: I've been waiting for this song.

868
00:47:12,360 --> 00:47:16,679
Speaker 1: All right, stop the tape, kick it out, flip it over,

869
00:47:16,880 --> 00:47:20,639
let's go aside to you ready? Yeah, okay? First song

870
00:47:20,760 --> 00:47:21,519
is Wildlife.

871
00:47:22,719 --> 00:47:26,039
Speaker 2: I skipped Wildlife, Jake, what's.

872
00:47:25,760 --> 00:47:32,159
Speaker 4: That have them?

873
00:47:32,280 --> 00:47:34,320
Speaker 2: I love it? This was a new This was a

874
00:47:34,360 --> 00:47:36,320
new song for me. I did not own the Kick

875
00:47:36,400 --> 00:47:39,360
album and so I hadn't really listened to this song

876
00:47:39,480 --> 00:47:40,639
for I think it's great.

877
00:47:40,679 --> 00:47:41,719
Speaker 1: It's great. It's great.

878
00:47:41,960 --> 00:47:45,840
Speaker 2: Yeah, it's I don't I think the song is about

879
00:47:45,880 --> 00:47:50,199
freedom that The lyrics are pretty vague, but I think

880
00:47:50,239 --> 00:47:52,119
it's just kind of about doing what you want to

881
00:47:52,159 --> 00:47:56,119
do and even if it's bad, it ain't bad enough,

882
00:47:56,199 --> 00:47:59,360
so that's it. I think it's about going out and

883
00:47:59,400 --> 00:48:01,239
having a little fun, living the wildlife.

884
00:48:01,400 --> 00:48:03,559
Speaker 1: I mean, this is not one of the stronger songs

885
00:48:03,559 --> 00:48:05,639
on the album, but it's still good. I mean, I

886
00:48:05,639 --> 00:48:07,679
don't think there's a bad song on this album. This

887
00:48:07,760 --> 00:48:09,199
is a great concert song.

888
00:48:09,320 --> 00:48:12,199
Speaker 2: This is not a skipper. No, this is a good song.

889
00:48:12,719 --> 00:48:14,719
This is a really good song. Yeah for sure. I

890
00:48:14,719 --> 00:48:17,559
think say it's still a strong track, okay, all right,

891
00:48:17,639 --> 00:48:19,360
and it's a good it's a good intro to the

892
00:48:19,400 --> 00:48:22,760
side too. He talked about the you know, the beginning

893
00:48:22,760 --> 00:48:25,119
of the album needs to be something big, and I

894
00:48:25,119 --> 00:48:27,440
think this is a good this is a good beginning.

895
00:48:27,480 --> 00:48:28,960
Speaker 1: I'm trying not to gush o Verry's song.

896
00:48:29,679 --> 00:48:32,960
Speaker 2: Well, I mean, I'm just just telling you. I don't

897
00:48:33,000 --> 00:48:35,400
think that they're I mean, I think there are there.

898
00:48:35,559 --> 00:48:37,280
There is a bad song on this album, So okay,

899
00:48:37,559 --> 00:48:38,960
I will get there. It's just not this one. This

900
00:48:39,000 --> 00:48:40,559
one's a good one, Okay.

901
00:48:40,239 --> 00:48:42,320
Speaker 1: Very good. I think there's there's one part in the

902
00:48:42,360 --> 00:48:45,079
song that he says, what we do, what we do,

903
00:48:45,159 --> 00:48:49,079
he repeats himself, and that little part right sounds like

904
00:48:49,119 --> 00:48:51,960
what you need yep, so and that makes it fun.

905
00:48:52,480 --> 00:48:55,480
I like picking that up my ear tingles. I'm like, hey,

906
00:48:55,559 --> 00:48:58,440
that's what you need? Yes, all right, So we both

907
00:48:58,519 --> 00:49:01,239
like wildlife. It's not a single, but it's not a skipper.

908
00:49:01,280 --> 00:49:01,920
It's a good song.

909
00:49:02,280 --> 00:49:05,599
Speaker 2: Can we talk about never tarrist apart, I've been waiting

910
00:49:06,079 --> 00:49:09,920
and waiting. This is my favorite Inxcess song. I'm dying.

911
00:49:09,960 --> 00:49:11,599
Can we talk about never Tear Us Apart?

912
00:49:11,639 --> 00:49:14,000
Speaker 1: Now, let's talk about never tear us apart.

913
00:49:14,360 --> 00:49:15,360
Speaker 4: Don't ask men.

914
00:49:17,719 --> 00:49:22,679
Speaker 1: Watch you know it's true, don't have to tell you.

915
00:49:27,119 --> 00:49:27,719
Speaker 4: That's just.

916
00:49:29,639 --> 00:49:32,519
Speaker 2: This is so good. I don't want to talk. I

917
00:49:32,519 --> 00:49:34,920
want to just listen to the song. Because you have

918
00:49:35,039 --> 00:49:38,880
beautiful parts throughout the song. You start off with this

919
00:49:39,239 --> 00:49:43,679
kind of waltzy string section going, and the lyrics are

920
00:49:43,800 --> 00:49:48,440
simple and beautiful and romantic and sensual, and then you

921
00:49:48,519 --> 00:49:52,119
have this break and the guitar comes in and it's

922
00:49:52,159 --> 00:49:56,639
hard and it's rock and roll, and it's awesome. What

923
00:49:57,199 --> 00:49:59,480
a fantastic song.

924
00:50:00,000 --> 00:50:01,639
Speaker 1: Song's amazing, It's amazing.

925
00:50:02,079 --> 00:50:03,159
Speaker 2: I like it a little bit.

926
00:50:05,519 --> 00:50:08,440
Speaker 1: Now. This song's incredible. I could listen to it all day.

927
00:50:08,480 --> 00:50:11,960
Speaker 2: I love it so this song when they originally did it,

928
00:50:11,960 --> 00:50:15,840
it was a piano ballad and it didn't have the

929
00:50:15,960 --> 00:50:20,320
orchestra in there at all, and Chris Thomas, the producer,

930
00:50:20,519 --> 00:50:25,480
said it was a Fats Domino bluesy kind of rolling

931
00:50:25,559 --> 00:50:29,159
stone zy early sixties song. I heard it and I

932
00:50:29,239 --> 00:50:32,360
thought we can do more, and I came up with

933
00:50:32,400 --> 00:50:35,920
the idea to substitute the strings for the piano, and

934
00:50:36,039 --> 00:50:39,920
that changed everything. It was what the song deserved because

935
00:50:40,039 --> 00:50:43,559
in the structure and the lyrics it was so strong already,

936
00:50:43,599 --> 00:50:47,360
and then you got more of these lyrics and they're intensified,

937
00:50:47,840 --> 00:50:52,519
and then you have the break and that saxophone. Holy

938
00:50:52,599 --> 00:50:54,679
crap when that saxophone comes in.

939
00:50:56,119 --> 00:51:09,400
Speaker 4: Oh my gosh.

940
00:51:09,800 --> 00:51:15,159
Speaker 2: Is a song that exudes passion and sensuality with all

941
00:51:15,199 --> 00:51:18,480
of these kind of elements. You know, it's a waltz

942
00:51:19,199 --> 00:51:23,719
along with a rock song along with the jazzy saxophone.

943
00:51:23,760 --> 00:51:27,480
It's amazing. It is absolutely incredible.

944
00:51:27,559 --> 00:51:30,360
Speaker 1: I have a very specific memory about this song. I

945
00:51:30,400 --> 00:51:33,440
will take to my grave every time this song comes.

946
00:51:33,440 --> 00:51:37,079
On the first day of my sophomore year in high school.

947
00:51:37,519 --> 00:51:39,880
This is the song that my alarm clock kicked on.

948
00:51:40,199 --> 00:51:42,519
It will always be to me the first song I

949
00:51:42,519 --> 00:51:44,400
heard on the first day of school my sophomore year.

950
00:51:44,519 --> 00:51:47,039
Speaker 2: This the video for this one, another one, directed by

951
00:51:47,159 --> 00:51:52,119
Richard Lowenstein. It was done in Prague, and you'll remember

952
00:51:52,679 --> 00:51:57,320
it's kind of this long, one shot take that starts

953
00:51:57,320 --> 00:52:01,320
off really with an establishing shot of the city itself

954
00:52:01,960 --> 00:52:06,159
and the they're in a park and then Michael Hutchins

955
00:52:06,239 --> 00:52:10,519
is walking along this very kind of autumn weather and

956
00:52:10,559 --> 00:52:13,800
he walks by the string quartet as they're playing, and

957
00:52:13,920 --> 00:52:19,679
it is the video matches the feeling of the song perfectly.

958
00:52:19,880 --> 00:52:22,079
Speaker 1: So this song has two stops in it, right, one

959
00:52:22,119 --> 00:52:24,239
at the forty eight second mark and one at the

960
00:52:24,280 --> 00:52:27,719
one nine mark. Right. During live shows, they would stop

961
00:52:27,880 --> 00:52:29,480
and the band would turn out the lights and they

962
00:52:29,480 --> 00:52:32,440
would wait. I could just see this being great in concert, right,

963
00:52:33,079 --> 00:52:35,159
So that hard stop in the song and just kill

964
00:52:35,199 --> 00:52:38,199
the lights and just let the crowd just get warmped

965
00:52:38,280 --> 00:52:41,239
up and then and then come in with the boom.

966
00:52:41,039 --> 00:52:46,039
Speaker 2: Boom, boom boom. I feel justified. And this is a

967
00:52:46,079 --> 00:52:49,960
sad thing that I'm about to say, but when Michael

968
00:52:50,000 --> 00:52:54,480
Hutchins died, they had his funeral at Saint Andrew's Cathedral

969
00:52:55,000 --> 00:52:58,159
and the band members were the pallbearers, and as they

970
00:52:58,159 --> 00:53:01,079
carried his casket, this was the song that was playing

971
00:53:01,079 --> 00:53:04,800
in the background, the kind of idea that even though

972
00:53:04,800 --> 00:53:08,480
you're gone, will never be apart, and the lyrics I

973
00:53:08,599 --> 00:53:12,719
was standing you were there, two worlds collided and they

974
00:53:12,719 --> 00:53:15,639
could never tear us apart. I don't know if you've

975
00:53:15,679 --> 00:53:19,639
had those moments in life, where you must have everybody

976
00:53:19,719 --> 00:53:23,840
had everybody has had these moments where you like a girl,

977
00:53:24,119 --> 00:53:28,679
you're with the girl together. You haven't expressed your feelings

978
00:53:28,719 --> 00:53:32,920
for her, she hasn't expressed feelings for you. But suddenly,

979
00:53:32,960 --> 00:53:40,280
without any real preparation or idea, your eyes just lock

980
00:53:41,280 --> 00:53:45,519
and then you throw yourselves at each other in a

981
00:53:45,599 --> 00:53:51,159
passionate kiss and embrace. And I think of that every

982
00:53:51,199 --> 00:53:54,840
time when I hear this song, just those worlds colliding.

983
00:53:55,199 --> 00:53:56,320
It's awesome.

984
00:53:56,360 --> 00:53:58,320
Speaker 1: All right, let's talk about the chart history for just

985
00:53:58,320 --> 00:54:01,320
a second. I think this is interesting. OK. This song

986
00:54:01,440 --> 00:54:04,599
charted again in February of twenty fourteen. After that Australian

987
00:54:04,639 --> 00:54:08,079
TV series Never Tarists apart the mini series on in Excess,

988
00:54:08,440 --> 00:54:10,320
which I would love to see. So it peaked at

989
00:54:10,400 --> 00:54:14,800
number eleven in Australia, surpassing its original peak of fourteen

990
00:54:15,000 --> 00:54:18,360
back in nineteen eighty eight. In the United States, this

991
00:54:18,440 --> 00:54:21,920
song got to number seven the week of November fifth,

992
00:54:22,039 --> 00:54:24,639
nineteen eighty eight. The number one song in the country

993
00:54:24,719 --> 00:54:26,800
that week Kokomo by The Beach Boys.

994
00:54:27,320 --> 00:54:30,280
Speaker 2: I cannot imagine why this wasn't at the very least

995
00:54:30,320 --> 00:54:31,239
the top five song.

996
00:54:31,360 --> 00:54:34,760
Speaker 1: The number four song that same week the Locomotion by

997
00:54:34,840 --> 00:54:35,800
Kylie Minogue.

998
00:54:36,119 --> 00:54:37,840
Speaker 2: Who ooh Yeah.

999
00:54:37,960 --> 00:54:41,639
Speaker 1: Michael Hutchins and Kylie Minogue were kind of Australia's hot

1000
00:54:41,639 --> 00:54:44,000
couple there for a little bit. Are we done with

1001
00:54:44,079 --> 00:54:44,920
never tarists apart?

1002
00:54:45,599 --> 00:54:46,199
Speaker 2: Yeah?

1003
00:54:46,280 --> 00:54:48,679
Speaker 1: I hate to be but yeah, yes, yes, Okay, So

1004
00:54:48,719 --> 00:54:51,000
this brings us to a song called Mystify.

1005
00:54:50,880 --> 00:54:55,280
Speaker 4: Oh fells Missing Streets.

1006
00:54:57,039 --> 00:54:59,039
Speaker 2: So I'm going to stay here at the beginning that

1007
00:55:00,159 --> 00:55:03,079
much like the way that the beginning of the song starts,

1008
00:55:03,440 --> 00:55:06,280
but the video I like it even better.

1009
00:55:06,920 --> 00:55:08,519
Speaker 1: I'm with you, I totally agree with you.

1010
00:55:08,719 --> 00:55:13,280
Speaker 2: In the video, it is just Michael and Andrew Ferris

1011
00:55:13,679 --> 00:55:17,480
sitting at a piano and going over the song, almost

1012
00:55:17,559 --> 00:55:19,320
as if they're writing it. I don't know how they

1013
00:55:19,320 --> 00:55:21,840
did the video and how all this worked, but it's

1014
00:55:22,000 --> 00:55:27,159
just the piano and Michael Hutchins singing like they're working together.

1015
00:55:27,199 --> 00:55:30,159
It is not even I'm performing, It's I'm just singing

1016
00:55:30,199 --> 00:55:32,360
like he's putting his hair in a ponytail. It's very

1017
00:55:32,400 --> 00:55:37,039
casual and it's it's a much better introduction with the song.

1018
00:55:37,320 --> 00:55:40,719
And then when the big part kicks in, that's the

1019
00:55:40,760 --> 00:55:43,360
point that you get the whole band coming in and

1020
00:55:43,400 --> 00:55:45,920
you've got this very You've got a black and white

1021
00:55:45,960 --> 00:55:49,639
style where it's like they're recording. They're they're doing their

1022
00:55:50,199 --> 00:55:51,760
recording of the song in the studio.

1023
00:55:52,039 --> 00:55:52,599
Speaker 4: Yeah.

1024
00:55:52,880 --> 00:55:54,760
Speaker 1: When I watch the video, to me, it looks like

1025
00:55:54,800 --> 00:55:57,960
you're getting a look behind the curtain. So Andrew Ferris

1026
00:55:58,039 --> 00:56:00,800
is at the piano, Michael Hutchins is of working with him.

1027
00:56:00,840 --> 00:56:02,960
He's like, okay, yeah, do that again, all right, and

1028
00:56:03,000 --> 00:56:05,280
then he just starts singing. It looks like they're writing

1029
00:56:05,320 --> 00:56:05,880
the song.

1030
00:56:07,039 --> 00:56:17,760
Speaker 4: Fat so twist that with me.

1031
00:56:20,599 --> 00:56:23,400
Speaker 1: This was actually the fifth single released. It was released

1032
00:56:23,400 --> 00:56:26,519
in March of nineteen eighty nine. Didn't chart in the US,

1033
00:56:26,599 --> 00:56:28,760
but I really don't know why. I mean, the video's cool,

1034
00:56:28,800 --> 00:56:31,119
the song's great. I don't know why it didn't quite

1035
00:56:31,320 --> 00:56:33,880
strike a chord with the American audience at that time.

1036
00:56:33,920 --> 00:56:37,559
But anyway, this song was written, fantastic song. Yeah, I

1037
00:56:37,599 --> 00:56:39,519
was gonna, I was gonna let you know. I reached

1038
00:56:39,519 --> 00:56:41,679
out to a college and high school friend of mine,

1039
00:56:41,719 --> 00:56:43,719
Jeanie Alexander, and I knew she was a big an

1040
00:56:43,800 --> 00:56:45,800
excess fan. I just sit her a text this week

1041
00:56:45,840 --> 00:56:47,079
and I said, Hey, I know you're a big an

1042
00:56:47,119 --> 00:56:49,800
excess fan. What what do you have for me on Kick.

1043
00:56:49,840 --> 00:56:51,840
You know what, what memories do you have? And so

1044
00:56:51,880 --> 00:56:54,679
she wrote me some stuff, but specifically she said that

1045
00:56:54,760 --> 00:56:58,440
Mystifies her favorite song. She says it's silky, smooth and powerful.

1046
00:56:58,960 --> 00:57:02,679
The lyrics that start with that silky silken moment and

1047
00:57:02,840 --> 00:57:06,880
just meshes with the twisted, tangled, powerful, wild with power.

1048
00:57:07,000 --> 00:57:09,519
So how could one not love it? And so she's

1049
00:57:09,559 --> 00:57:11,480
a big fan of Michael Hutchins. She said that was

1050
00:57:11,519 --> 00:57:13,719
kind of one of her first big crushes. She said

1051
00:57:13,760 --> 00:57:15,679
he was a good boy and a bad boy mixed together.

1052
00:57:15,880 --> 00:57:19,760
So Annie, thanks for that. We appreciate you, thanks for listening,

1053
00:57:19,840 --> 00:57:21,840
and thanks for that little tidbit on Mystify.

1054
00:57:22,360 --> 00:57:23,599
Speaker 2: Very well, said very well.

1055
00:57:23,599 --> 00:57:25,760
Speaker 1: So all right, so this brings us to the song Kick.

1056
00:57:33,920 --> 00:57:35,639
Speaker 2: This big kay good song.

1057
00:57:36,320 --> 00:57:38,239
Speaker 1: This song just makes me feel good man. This is

1058
00:57:38,239 --> 00:57:41,400
a fun song. It's got those strong horns and it's upbeat.

1059
00:57:42,480 --> 00:57:44,519
Sometimes you kick, sometimes you get kicked.

1060
00:57:44,519 --> 00:57:46,519
Speaker 2: You know, it's just I love it.

1061
00:57:46,599 --> 00:57:49,000
Speaker 1: This was the song that they led concerts off with

1062
00:57:49,079 --> 00:57:51,119
in nineteen eighty seven, and it makes sense because it's

1063
00:57:51,199 --> 00:57:54,400
just it's high energy, upbeat. We're getting ready to have

1064
00:57:54,440 --> 00:57:56,039
a great time. Get on board.

1065
00:57:56,119 --> 00:57:58,079
Speaker 2: How can you not be excited about what's to come.

1066
00:57:58,119 --> 00:58:00,519
When this is what leads you off, that's for sure.

1067
00:58:00,719 --> 00:58:03,239
I think this one would have been a better first

1068
00:58:03,280 --> 00:58:05,559
song on either side A or Side B.

1069
00:58:06,000 --> 00:58:09,480
Speaker 1: No, I agree with you. That's totally a kickoff song. Yeah, yeah,

1070
00:58:09,519 --> 00:58:11,400
and really when they got the title of the album,

1071
00:58:11,519 --> 00:58:13,599
this really kind of makes sense to be the number

1072
00:58:13,639 --> 00:58:16,480
one slot, I think, sure, yeah, instead of guns in

1073
00:58:16,519 --> 00:58:16,840
this Guy.

1074
00:58:16,920 --> 00:58:18,880
Speaker 2: I don't know why they didn't release this one as

1075
00:58:18,880 --> 00:58:21,760
a single. It is a quality song that I could

1076
00:58:21,760 --> 00:58:23,800
see doing well in the charts. How they released it.

1077
00:58:23,960 --> 00:58:26,199
Speaker 1: Yeah. The only thing about the song that I didn't

1078
00:58:26,280 --> 00:58:29,000
like as much, the sex solo is not quite as

1079
00:58:29,119 --> 00:58:31,239
full and as energetic as I think it could be.

1080
00:58:31,920 --> 00:58:35,079
I would probably put a guitar solo in right there.

1081
00:58:35,159 --> 00:58:39,159
That's high energy fun get after it. But that's just

1082
00:58:39,239 --> 00:58:45,360
me moving on after that fun song that brings us

1083
00:58:45,360 --> 00:59:02,599
to a song called Colleen All Nations, this.

1084
00:59:02,719 --> 00:59:06,480
Speaker 2: Song you don't like your The music is okay, but

1085
00:59:07,239 --> 00:59:11,000
this is the I mean, media was like a minute

1086
00:59:11,039 --> 00:59:14,280
and a half long of this repetitive, kind of rappy

1087
00:59:14,440 --> 00:59:17,360
kind of no no no no no no no none

1088
00:59:17,440 --> 00:59:20,840
and no no no. And this is an entire song

1089
00:59:20,880 --> 00:59:25,360
of that this is bland and a boring melody.

1090
00:59:25,480 --> 00:59:27,880
Speaker 1: Okay, well, that's fine. I still like this song. I'm

1091
00:59:27,920 --> 00:59:31,880
not skipping this song if I'm listening. However, this sounds

1092
00:59:31,920 --> 00:59:35,079
like a broken down version of New Sensation. In fact,

1093
00:59:35,119 --> 00:59:36,840
I thought it was when I heard it for the

1094
00:59:36,840 --> 00:59:37,280
first time.

1095
00:59:37,440 --> 00:59:41,519
Speaker 2: It has that same feel. It's just unlike New Sensation.

1096
00:59:42,599 --> 00:59:44,159
It doesn't have a melody.

1097
00:59:43,800 --> 00:59:45,119
Speaker 1: To its right, that's right.

1098
00:59:45,480 --> 00:59:49,119
Speaker 2: It's like a droning it. It's not I don't enjoy it.

1099
00:59:49,199 --> 00:59:51,880
Speaker 1: My biggest memory of this song came the summer of

1100
00:59:51,880 --> 00:59:53,760
eighty eight, and I think I told you the story

1101
00:59:53,760 --> 00:59:59,000
off air, but MTV gave away this big Inexcess prize

1102
00:59:59,039 --> 01:00:02,199
package the summer of and I remember going, wow, that'd

1103
01:00:02,239 --> 01:00:07,159
be freaking awesome. So MTV had this big summer giveaway

1104
01:00:07,480 --> 01:00:10,800
and it basically it was win tickets to see in

1105
01:00:10,920 --> 01:00:14,119
Excess and you know, travel around the world. I don't

1106
01:00:14,119 --> 01:00:17,320
know exactly where it was, but you got to go

1107
01:00:17,400 --> 01:00:19,639
see Nxcess for free. And it was the Calling All

1108
01:00:19,760 --> 01:00:25,800
Nations concert prize from MTV. So that for me, I'm like,

1109
01:00:25,840 --> 01:00:28,800
oh yeah, freaking yeah, Calling All Nations. But one of

1110
01:00:28,840 --> 01:00:30,679
the things that they gave away if you won this

1111
01:00:30,800 --> 01:00:33,480
prize from MTV was a Texas trailer park. I mean,

1112
01:00:34,039 --> 01:00:38,840
what a Texas trailer park that was the prize? Okay,

1113
01:00:39,119 --> 01:00:41,159
I've always wanted to own a Texas trailer park and

1114
01:00:41,199 --> 01:00:43,920
I missed my opportunity for Summer of nineteen eighty eight,

1115
01:00:44,559 --> 01:00:48,480
Broken Rams. I like this song, but it other.

1116
01:00:48,360 --> 01:00:52,000
Speaker 2: Than sometimes you get kicked, Sometimes you.

1117
01:00:52,000 --> 01:00:57,760
Speaker 1: Kid, sometimes you get kicked, this is probably the other

1118
01:00:57,840 --> 01:01:00,679
than medi eight. It's my probably my least favorite song

1119
01:01:00,679 --> 01:01:02,159
on the album, but I still like it. Not a

1120
01:01:02,159 --> 01:01:04,960
bad song on the entire album for me. I think

1121
01:01:05,000 --> 01:01:08,920
what Inaccess did so well as they found great hooks,

1122
01:01:09,199 --> 01:01:13,039
they paired them with great sing along choruses, and then

1123
01:01:13,039 --> 01:01:15,320
they minimized everything else and they just kind of put

1124
01:01:15,360 --> 01:01:17,039
those out front. But this is just not one of

1125
01:01:17,079 --> 01:01:19,679
their strongest offerings. This brings us to the final song

1126
01:01:19,719 --> 01:01:21,519
on the album, Tiny Daggers.

1127
01:01:27,880 --> 01:01:31,239
Speaker 2: What a happy way end the album. I like it

1128
01:01:31,239 --> 01:01:33,320
so much. This could be the end of a John

1129
01:01:33,400 --> 01:01:36,880
Hughes movie. Molly Ringwald is finally getting to go out

1130
01:01:36,920 --> 01:01:40,440
with the boy that she loves. This is a great

1131
01:01:40,559 --> 01:01:44,840
eighties song. This is so very eighties. I like it.

1132
01:01:44,320 --> 01:01:46,960
It makes me feel good. This is a feel good song.

1133
01:01:47,199 --> 01:01:49,800
Speaker 1: Like we talked about the track listing, this is a

1134
01:01:49,840 --> 01:01:53,440
great encore song or like a close it out song. Yeah,

1135
01:01:53,559 --> 01:01:56,920
it's a thanks for listening, feel good, thanks for buying

1136
01:01:56,920 --> 01:02:00,519
the CD, Come back next time. Yeah, I love this

1137
01:02:00,599 --> 01:02:03,119
song too. I think this could have been a successful single.

1138
01:02:03,199 --> 01:02:06,159
I am behind it as one that they could have

1139
01:02:06,199 --> 01:02:08,719
released and done something with. This is one of those

1140
01:02:08,800 --> 01:02:11,719
where if, in my mind anyway, if they had made

1141
01:02:11,760 --> 01:02:16,079
the we talked about the road concert video where it's

1142
01:02:16,199 --> 01:02:18,480
you know, you travel with the band and it shows

1143
01:02:18,559 --> 01:02:21,760
them backstage and then they go out front and you know,

1144
01:02:22,320 --> 01:02:24,639
similar to like Home Sweet Home anyway, one of those

1145
01:02:24,719 --> 01:02:27,840
videos where you see him rehearsing, you see him prepping,

1146
01:02:28,000 --> 01:02:30,320
and then they come out and they're pumping their fists

1147
01:02:30,639 --> 01:02:33,840
and the crowd I'm thinking Wembley Stadium, you know, you know,

1148
01:02:33,960 --> 01:02:37,639
ninety thousand people pumping to tiny daggers. This song does

1149
01:02:37,679 --> 01:02:38,039
it for me.

1150
01:02:38,119 --> 01:02:40,880
Speaker 2: I love it. Yeah. So the lyrics. The lyrics are

1151
01:02:40,920 --> 01:02:48,639
about about that girlfriend who doesn't like you anymore. Whatever

1152
01:02:48,719 --> 01:02:51,559
it was that I did that put those tiny daggers

1153
01:02:51,559 --> 01:02:54,519
in your heart. I'm sorry, kind of do you ever

1154
01:02:54,559 --> 01:02:57,280
think about me? Maybe I shouldn't even ask that question.

1155
01:02:57,519 --> 01:03:00,679
Speaker 1: It's funny that it's those kind of a set lyrics

1156
01:03:00,719 --> 01:03:02,320
to such a feel good song, you know.

1157
01:03:02,639 --> 01:03:03,039
Speaker 2: Yeah.

1158
01:03:03,119 --> 01:03:05,239
Speaker 1: I think it's cool that they come right out of

1159
01:03:05,239 --> 01:03:07,480
the gate on this song Boom. You're in the middle

1160
01:03:07,519 --> 01:03:09,880
of the song and it starts off with the chorus. Yeah,

1161
01:03:09,920 --> 01:03:12,639
it's such a good song. It's a great, great close

1162
01:03:12,679 --> 01:03:14,599
out to the album. It makes me feel good, all right.

1163
01:03:14,679 --> 01:03:17,280
So that wraps up the track listing for Kick. No

1164
01:03:17,400 --> 01:03:19,920
bad songs for me. I'm turning it up. I'm having

1165
01:03:19,960 --> 01:03:22,000
a great time. I'm feeling good.

1166
01:03:21,800 --> 01:03:26,880
Speaker 2: All right, Jason. So, this album peaked at number three

1167
01:03:27,519 --> 01:03:33,400
on the Billboard Charts Yes. Number two was Dirty Dancing Yes,

1168
01:03:34,119 --> 01:03:36,360
and the number one spot was held.

1169
01:03:36,119 --> 01:03:39,519
Speaker 1: By George Michael's Faith, which we will take.

1170
01:03:39,480 --> 01:03:42,920
Speaker 2: Up on our next episode to determine who is the

1171
01:03:42,960 --> 01:03:46,719
best pop star of October nineteen eighty seven.

1172
01:03:46,800 --> 01:03:53,800
Speaker 1: Releases come back next week as we dive into another fantastic,

1173
01:03:54,480 --> 01:03:58,400
full throttle hit machine, George Michael's Faith from nineteen eighty

1174
01:03:58,400 --> 01:03:58,679
seven