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