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Speaker 1: Hudson River Radio dot Com.

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Speaker 2: I've seen please that we're more exciting than this, Honest

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to God.

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Speaker 3: Please.

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Speaker 4: This is John Fulbright. Hi, this is Jar Williams.

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Speaker 5: Hi.

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Speaker 6: This is Mitch Margle of the Tokens. Hi.

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Speaker 3: This is Gary us bonds Man here on the Rock

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and Roll History Show. Hey, everybody, welcome back to the

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Rock and Roll History Show in Hudson River Radio. I'm

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Brian Horowitz. Tonight we're gonna be talking about songs that

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give instructions or commands or tell you what to do,

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so make sure you listen closely. And as always, before

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we hop in, allow me to introduce all the cranbones

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who are joining us tonight. First and foremost, from the

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Richter Observatory. He once got arrested for stealing. Hey, he

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couldn't make bail.

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Speaker 7: Hey, that's a good comeback. I gotta admit that was good.

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Speaker 8: Hey, ho, let's go, everybody.

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Speaker 3: And from Paranormally yours. She just got over her addiction

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to marshmallows, chocolate and nuts. It was a rocky road.

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Speaker 9: Gawn, the goodness here, oh my goodness. And you know

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I only do the coaster or the vegan morsh mellows.

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Speaker 3: Right, me too. They have some pretty good ones now

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that actually toast up the right way. Oh really, oh yeah, yeah, yeah.

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Speaker 10: But the thing is the kosher ones. Sometimes they're made

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with fish gelatin and right, yeah, I don't do that.

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You can't taste it or smell it. But the boy,

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my cat's certainly fan.

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Speaker 3: I thought you were gonna say. You pop it in

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your mouth and it swims around like crazy.

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Speaker 11: Oh.

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Speaker 9: If I make the mistake of leaving an open bag

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on the dineymoon table, I come home from work and

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it's been mangled, and my cat's looks very happy.

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Speaker 3: Your cats are set around the stove holding sticks, the

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marshmallows on the end everywhere.

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Speaker 9: Actually, my stove is electric, so they must be making

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their own fire.

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Speaker 12: Which is frightening.

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Speaker 3: Yeah, that's scary. Yeah.

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Speaker 1: And if they can make crackers out of fish, why not?

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Speaker 9: Yeah, no, thank you, all right.

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Speaker 3: And from the silver screen, she saw a purple chameleon

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walk into a bar and order a beer. The bartender asked,

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are you supposed to be green? And the chameleon says, yeah,

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I have reptile dysfunction. Oh the poor guy, he got

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his beer, he's all right.

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Speaker 2: I bet he was cute purple.

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Speaker 1: Oh god, I'm getting such a visual.

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Speaker 2: With I know, I know, I was avoiding that.

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Speaker 3: And our retired teacher he was telling his wife how

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man splainters get their water from a well. Actually, John

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Kelly is here.

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Speaker 7: Oh that was that was deep, Brian, that was very deep.

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Speaker 3: At last, Bano Lea's the host of shaving Cream. She

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just flew in from a Ravioli convention. Boyard's arms tired.

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Barbara Barbara, oh.

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Speaker 7: Oh oh oh that's painful.

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Speaker 3: There, I'm sorry all around. So tonight's idea came courtesy

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of Barbara. But since Mercedes was on a trip last week,

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she has to do a makeup. So Mercedes, you get

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to go first.

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Speaker 2: I oh, I don't have to explain anything.

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Speaker 3: You can explain whatever you want. You can explain where

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you were, why you weren't here, what you brought back

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with you and oh okay, or you don't have to

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that's entirely but either way, you get to go first

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this week.

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Speaker 2: Okay, I'm thrilled. Well, I was at Amsterdam. That's where

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I was, and it was great and I loved it.

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It's my second time there in six months.

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Speaker 3: Okay.

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Speaker 8: Nice.

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Speaker 2: My son actually has an apartment there. So that's pretty cool,

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and it was lovely good. Did not did not smoke

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the weed. Okay, what can I say?

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Speaker 3: Well, that's good. How was your to teach their own?

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To teach their own? Yeah? So and your flight back

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was okay, because we're recording a little ahead of time,

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the flight disruptions around, but you were good, right, you

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made it back like you're surprised.

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Speaker 10: Yeah. Yeah.

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Speaker 2: Everybody told me not to go to sleep though, which

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you know, I got on the plane and passed out immediately,

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completely completely passed out. But yeah, I'm doing okay, So

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that's good, welcome back. Those long those long trips are hell.

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Speaker 10: Let's face it, how many hours?

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Speaker 2: I mean it's only eight you know.

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Speaker 1: Yeah, but it's a jet lag, you know, the time

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difference rushing around airports. Get on this line, get on

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that line.

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Speaker 2: Yeah.

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Speaker 7: Well, we've all done those, those European trips or overseas trips.

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You know, it's it could be a rough adjustment.

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Speaker 3: Sometimes.

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Speaker 2: My daughter had a layover and it was a two

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hour layover in Copenhagen, Yeah, and it got it ended

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up to be a total of five hour layover with

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a ten month old baby. Oh and no stroller because

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they would take the stroller out of the flight.

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Speaker 7: Almost my god, that's painful.

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Speaker 2: It's painful. Yeah, because she's a heavy baby.

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Speaker 3: So wow.

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Speaker 2: Anyway, so am I explaining the topic?

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Speaker 3: No, I thought he covered it. I mean, okay, you

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can do e recap if you'd like to.

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Speaker 1: But yeah, it's just something I hear. I was listening

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to the radio and they were playing songs that were commands,

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and I said, oh, this is a good idea for topic.

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Speaker 3: That's it.

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Speaker 2: That's it. Well, it's a really good idea for a

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topic because it's a song that I've been wanting to

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do on the show for a really long time and

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couldn't quite figure out how to get it in there.

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Speaker 1: I love your song choice.

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Speaker 10: I know, I love.

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Speaker 2: This song so much, and maybe it's a little corny

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for some people, but I love like the whole story

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and how it rolls out and being a bit of

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a glorified secretary myself for many years way back when

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the command take a letter Maria is something I can

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relate to. Seymour Stein, president of Siah Records, and my

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boss used to say this to me often and actually

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set me to Steno's school. If anybody remembers what that is.

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Speaker 7: Wow, we'll talk about a blast in the past there.

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Speaker 2: So he could dictate faster to me. But unfortunately I

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failed it miserably and I ended up having to make

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up my own scrawl in the end because yeah, because

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he was he was a big angry guy and he

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was not happy with me at all. It would take

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a letter. Maria as a song written and recorded by R. B.

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Greeves and released in nineteen sixty nine and produced by

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the president of Atlantic Records at Urtigan, who I like

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used to answer phone calls from, which is crazy Wow.

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It is described in Wikipedia as having a Latin music flavor,

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complete with a Mariachi style horn section.

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Speaker 3: Nice.

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Speaker 2: It was recorded at the famous Muscle Sholls sound studio.

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It was using studio musicians who had left nearby fame

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studios to create their own recording facility. Musicians included in

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this track included Roger Hawkins on drums, Barry Beckett on

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electric piano, Eddie Hinton and Jimmy Johnson on guitar, David

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Hood on bass, mel Lastie on trumpet, and Donna Jean

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Thatcher on vocals who later became Donna Jean Gods, I'm

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sorry God, Show.

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Speaker 6: Of the Grateful Dead correct.

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Speaker 2: The record was certified gold three months after its release

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and charted at number two on the Billboard Hot one hundred,

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but was kept out of the number one slat by

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Wedding Bell Blues by the Fifth Dimension. If anybody remembers

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that song, I love that song. It was incidentally written

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by Laura Niro. I had no idea, so take a letter.

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Maria was the first hit to come out of the

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newly formed Muscle Showals Sound studio.

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Speaker 3: Yeah it was.

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Speaker 2: I'm waiting for trying to argue with me.

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Speaker 3: Now you are correct so far.

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Speaker 2: Greeves won a Grammy for a Song of the Year

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in nineteen seventy for the song. It's been covered by

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a handful of country artists and also Meltormee, which I

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did actually listen to that version, but I'm curious. He

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had one other chart topper with Always Something Near to

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Remind Me, written by Burt Backrack and Hal David, originally

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recorded as a demo tape by Diane Warwick in nineteen

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sixty three and was a number eight hit for Naked

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Eyes in nineteen eighty three. The Greaves version is really good.

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And it reached the top forties in early nineteen seventy.

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I would recommend he just has such a great voice.

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I would highly recommend listening to that. So let's take

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a listen to take a letter, Maria.

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Speaker 11: Last night, as I got home about half fast in

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there was a woman up on you in the arms

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of another manoladging no food.

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Speaker 6: Let me tell you what happened. Then I'm back some

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cloves and I'm walked up in an angle. So take

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a letter, Maria.

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Speaker 13: I dress it to my wife, See I will be

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coming home.

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Speaker 6: Gotta stip under your life.

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Speaker 4: You take a letter, Maria.

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Speaker 13: I dressed to my wire, said I gonna be to

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my lawyer. Gotta stap under your life.

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Speaker 11: If you've made many things, but most I could secondary

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on me, and it stands like this, say you've always

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been close to me. Once I wrote to night to

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trying to build the life all work, and only.

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Speaker 14: Has just cussed me a while.

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Speaker 6: Should take a letter, Maria.

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Speaker 13: Address it to my wife, See I will be coming home.

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You gotta sign under your life will go.

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Speaker 4: I conser to my mother.

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Speaker 6: Send a copy to my mother. YadA A new life

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woman not a woman. It's hard to understand, but she could.

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Speaker 15: Find more pleasure in the arms of my men.

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Speaker 6: I never really knows.

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Speaker 16: A speech you up to me.

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Speaker 6: It just so happens.

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Speaker 11: I'm free to night, Would you better have dinner with me?

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Speaker 16: Don't they a letter Maria.

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Speaker 4: I listen to my mother.

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Speaker 6: Say I'm becoming home, got a sad A new life?

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Speaker 16: Or the letter Coria.

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Speaker 6: I listen to my wife send a copy to my mother,

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Goda my new life.

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Speaker 8: We'll take on that on.

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Speaker 10: So I think it's so good, but's so good.

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Speaker 2: I think the story is pretty clear. A man comes

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home for work and finds his wife with another man.

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He doesn't start a fight with either one of them,

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but just packs a bag and leaves, later telling his

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secretary Maria to write up a letter to his wife

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saying he's not coming home again. I always kind of

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admired the guy for not overreacting but keeping cool and

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just walking out. And after going through some of something

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similar to this in my family, it kind of really

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hits close to home for me, and as Brian brought

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up during the song as we were listening to it, yeah,

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it makes me uncomfortable that he turns around as like, oh,

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I never really noticed that you were like really hot,

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or that you were really nice to be, Like, I've

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got nothing to do tonight. I don't know that.

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Speaker 3: Hey, yeah, suddenly my schedule is open. Yeah yeah, what

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you're doing, Maria.

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Speaker 2: Yeah that makes me feel weird, especially because you know,

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being a secretary, you get hit on by everybody in

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the damn office anyway, So I know what that's like.

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Speaker 8: So RB Greaves wasn't grieving all that much.

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Speaker 2: Yeah, yeah, yeah, yeah.

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Speaker 10: I see what you did there.

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Speaker 2: So RB's actual name is Ronald Bertram Aloysius Greeves, the third.

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Speaker 10: Not Awsolemn, I know, right.

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Speaker 2: He was half Native American, and there's not much information

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on the details of the other half. He was born

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on a US Army base at Georgetown, Guyana, Guyanaana. He

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grew up on a Seminole Indian reservation in California, but

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he moved to England in nineteen sixty three, and he

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is the nephew of Sam.

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Speaker 3: Cook, which may or may not have helped him.

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Speaker 2: Prior to his recordings in the US, Greaves had built

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a career both in the Caribbean and the UK, where

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he performed under the name Sunny Child with his group

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The TNTs. It's not a lot of information out there

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on that. By the way, Greaves also did a cover

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of a Wiier shade of Pale. Neil, did you know that?

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Speaker 8: I didn't know that?

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Speaker 2: No, which is so good? I love his voice. I

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went down a rabbit hole on the lyrics of that song,

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and everyone has a different take on it. From nuns

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trying to escape the Nazis in World War Two, a

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man who visited by his long dead lover, a hodgepotch

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of literary references, a parody of the deep meaning heavy

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songs popular in the day, like the year twenty the

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year twenty five, the Titanic Arthur Miller, Marilyn Monroe and

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JFK And a mermaid who goes ashore for a night

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and a man falls in love with her in a

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dance hall. So that was mind blowing to me. I

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could not find out do you know what the lyrics are, Neil?

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I mean, do you know?

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Speaker 8: Well? What I heard that The guy who wrote the song,

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my name is Keith Reid, basically just said it was

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just kind of romanticizing a wild party that had been on,

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you know that they'd been to the night before. Nothing

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nothing as far fetched as you know, the Mermaids and

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all that. You know, it was just a wild party

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and it was way you know, he just interpreted it

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in a psychedelic way. Of course, I did.

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Speaker 2: Forget one it was a coke to groupie or that,

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or that could have been at.

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Speaker 10: The wild.

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Speaker 3: Could have been imagining Mermaids.

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Speaker 2: I just I mean, I think it's really cool because

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obviously it sparks people's imagination, righty.

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Speaker 8: Well, I've always said that songs like that that have

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you know, kind of ambiguous if that's the right word lyrics,

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people can attach their own meaning to it and make

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it like personalize it to themselves, you know, and even

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if it has no connection to what the song was

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actually about, they you know, they can internalize it as

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their own. And that's what you know. You get enough

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people to do that, you got to hit on your hands.

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Speaker 2: Absolutely, yeah, for sure. So I thought that was fascinating

283
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and I was again, I'm so glad I finally got

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to do this song on the show because it is

285
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a big fave of mine. And as I was saying earlier,

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I always thought I was the only one that knew

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00:17:03,559 --> 00:17:04,480
about this song.

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Speaker 3: The Giant kit.

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Speaker 2: I thought it was my special song.

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Speaker 3: Oh well, anything muscle shoals related is a okay with me.

291
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I was just back down there in March again, so

292
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it's we'll get you all down there. You can actually

293
00:17:20,599 --> 00:17:22,960
see the room where they did that whole recording. Still

294
00:17:23,079 --> 00:17:26,079
they set it back up the same way, so cool.

295
00:17:26,240 --> 00:17:29,200
David Hood is the last remaining Swamper and he's dealing

296
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with some Parkinson's issues, so he plays, but not as

297
00:17:32,319 --> 00:17:35,200
much as he used to, but his corner is still

298
00:17:35,279 --> 00:17:38,200
set up as the bass player. He's, you know, on

299
00:17:38,279 --> 00:17:41,680
my short list of the role model bass players, but

300
00:17:42,000 --> 00:17:46,400
his each musician kind of had the wrong corner in

301
00:17:46,480 --> 00:17:48,160
the room and there was a little drum booth for

302
00:17:48,359 --> 00:17:52,559
Roger Hawkins, and David picked the back door near the

303
00:17:52,640 --> 00:17:55,119
control booth because he was the only one that didn't

304
00:17:55,119 --> 00:17:57,400
smoke and he could be by the back door with

305
00:17:57,440 --> 00:17:59,640
the door propped open and get some fresh air while

306
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everybody else was chain smoking inside like everybody did in

307
00:18:03,359 --> 00:18:06,480
the sixties, you know. And he's also the last one alive,

308
00:18:06,519 --> 00:18:08,440
so maybe there's a connection there. Just going to found

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that out.

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Speaker 2: Now, you see, today the smoker would be the one

311
00:18:12,599 --> 00:18:14,400
that would want to be by the door because they

312
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can go.

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Speaker 3: Have to go outside. Yeah, smoke right back then, you

314
00:18:17,680 --> 00:18:21,119
could smoke in airplanes and oh yeah, you walk into

315
00:18:21,160 --> 00:18:23,920
a restaurant smoking or non smoking. I remember those, which

316
00:18:24,000 --> 00:18:26,480
is just as like it matters. Yeah, like there's some

317
00:18:26,599 --> 00:18:29,480
magic force field that stopped it at that table. That

318
00:18:29,759 --> 00:18:32,240
was the last table that had smoke, you know, I

319
00:18:32,279 --> 00:18:34,720
mean still you go into smoker's houses and stuff, and

320
00:18:35,200 --> 00:18:37,480
it's on the walls, it's on everything.

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00:18:38,480 --> 00:18:42,319
Speaker 9: I remember all too vividly that a job that I

322
00:18:42,519 --> 00:18:47,400
had in nineteen nineteen, nineteen ninety one. I was an

323
00:18:47,480 --> 00:18:51,680
office worker in one of these you know, open plan offices,

324
00:18:52,519 --> 00:18:55,599
and you could still smoke in the office, and I

325
00:18:55,759 --> 00:18:59,400
sat next to a chain smoker.

326
00:19:00,319 --> 00:19:01,880
Speaker 10: I'm surprised. I'm still alive.

327
00:19:02,759 --> 00:19:05,279
Speaker 3: Surprised, I'm still alive. You didn't reach over.

328
00:19:05,359 --> 00:19:11,160
Speaker 9: And I also sat between two women who despised each other,

329
00:19:11,359 --> 00:19:11,799
So that was.

330
00:19:13,599 --> 00:19:14,559
Speaker 10: That was interesting.

331
00:19:14,799 --> 00:19:18,440
Speaker 1: I remember requesting a non smoking dormitory in college.

332
00:19:19,119 --> 00:19:22,319
Speaker 2: Wow, oh yeah, and did they have them?

333
00:19:22,720 --> 00:19:26,799
Speaker 10: Yeah they had them? Oh wow, yeah yeah wow.

334
00:19:27,559 --> 00:19:29,200
Speaker 3: Yeah. Times are a little different, aren't they.

335
00:19:29,680 --> 00:19:29,880
Speaker 8: Yep?

336
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Speaker 10: Thank goodness, ye all.

337
00:19:32,559 --> 00:19:33,240
Speaker 3: Right, excellent.

338
00:19:33,319 --> 00:19:35,279
Speaker 2: At least at least we still have songs like that.

339
00:19:35,680 --> 00:19:39,839
Speaker 3: Absolutely yes, totally. So that was a good one. I

340
00:19:40,039 --> 00:19:43,400
like that one, so good job A plus and welcome back,

341
00:19:44,440 --> 00:19:45,599
and Gail, we're up to you.

342
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Speaker 10: Okay.

343
00:19:47,440 --> 00:19:51,759
Speaker 9: Tonight is another episode of What Gail happened to hear

344
00:19:52,480 --> 00:19:55,720
on the radio on her way to or from work.

345
00:19:56,799 --> 00:19:59,079
And I heard this song and I love it. I

346
00:19:59,160 --> 00:20:03,799
haven't heard it in very a long time. It's epitome

347
00:20:04,720 --> 00:20:05,519
of the eighties.

348
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Speaker 8: So I'm not gonna say anything. I'll reserve my judgment.

349
00:20:14,400 --> 00:20:16,920
Speaker 3: On after a week off.

350
00:20:18,480 --> 00:20:22,799
Speaker 2: He just crawled under the table. Yeah, it's come back.

351
00:20:23,039 --> 00:20:26,000
Speaker 8: I'm sorry. I had ear plugs in. I'm sorry, let

352
00:20:26,039 --> 00:20:30,720
me take them out. Okay, I'm back now.

353
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Speaker 9: If any of you besides me know this, Barbara might,

354
00:20:36,519 --> 00:20:40,920
I'll be surprised, because, yeah, it was kind of a

355
00:20:41,039 --> 00:20:44,559
hit over here in this country, but not as much

356
00:20:44,640 --> 00:20:50,759
as in the band's native Australia, and it wasn't one

357
00:20:50,799 --> 00:20:55,559
of the more famous nineteen eighties songs that I remember.

358
00:20:56,960 --> 00:21:01,759
The band that it's from is called Real Life and

359
00:21:03,240 --> 00:21:08,400
they started in nineteen eighty. This song called Send Me

360
00:21:08,480 --> 00:21:13,359
an Angel, was on their debut album that came out

361
00:21:13,400 --> 00:21:18,640
in nineteen eighty three. Now, the members of Real Life,

362
00:21:18,920 --> 00:21:22,000
because it says they're active nineteen eighty to present.

363
00:21:22,759 --> 00:21:26,559
Speaker 10: Well, really, the only one left.

364
00:21:27,759 --> 00:21:33,400
Speaker 9: Is David Sterry, who was the original, you know, lead vocalist,

365
00:21:33,519 --> 00:21:36,480
and he and this other guy started the band, but

366
00:21:37,039 --> 00:21:40,960
the band kind of drifted apart, and so now it's

367
00:21:41,079 --> 00:21:43,559
just him and whatever backup band.

368
00:21:43,519 --> 00:21:46,240
Speaker 10: He decides to use at the time.

369
00:21:46,400 --> 00:21:53,720
Speaker 9: Apparently he still tours. The past members were Richard z Torski,

370
00:21:53,920 --> 00:21:59,440
who David Sterry used to write the songs with. They

371
00:21:59,720 --> 00:22:03,759
had some kind of an actual falling out at one

372
00:22:03,920 --> 00:22:09,279
point and the Torski left the band. Apparently he wanted

373
00:22:09,440 --> 00:22:13,440
to become more commercial so they would make more money,

374
00:22:14,519 --> 00:22:19,119
and David Sterry wasn't really into that. He actually wanted

375
00:22:19,200 --> 00:22:22,319
to go kind of dark and goth kind of things.

376
00:22:22,440 --> 00:22:26,920
So let's have a listen to.

377
00:22:27,440 --> 00:22:41,359
Speaker 17: Send you Believe in Heaven to you Believe, don't tell, lie,

378
00:22:41,599 --> 00:22:43,400
don't be bus and true.

379
00:22:43,960 --> 00:22:50,559
Speaker 4: It all comes back to you. By on My Burning Hot,

380
00:22:51,279 --> 00:22:51,960
I've Never.

381
00:22:51,960 --> 00:23:00,400
Speaker 17: Been in Love, My Offences, the Kissa Brown, the Kidsava, Oh.

382
00:23:00,359 --> 00:23:08,119
Speaker 4: My Heart, I look for a WAPs and cows I'll

383
00:23:08,240 --> 00:23:09,200
name in my heart.

384
00:23:09,759 --> 00:23:11,880
Speaker 6: I'll turn away.

385
00:23:13,759 --> 00:23:18,039
Speaker 4: Every day. The Bobby let Us Spray. So's a big

386
00:23:18,359 --> 00:23:23,920
looking in it gets in your eyes, it's making you right,

387
00:23:24,119 --> 00:23:27,400
doesn't know what to do, don't know what to do.

388
00:23:28,279 --> 00:23:31,359
You're looking for them cot heather in the bud.

389
00:23:33,119 --> 00:23:41,559
Speaker 16: Send me elage, send men age right now.

390
00:23:44,279 --> 00:23:52,119
Speaker 4: Right, send me a cha, send.

391
00:23:51,880 --> 00:23:59,279
Speaker 16: Me an age right right.

392
00:24:01,799 --> 00:24:05,279
Speaker 17: The sea trains kind of like the sapphine in a

393
00:24:05,440 --> 00:24:07,359
room behind your smile.

394
00:24:08,880 --> 00:24:11,960
Speaker 4: But don't give up, don't give up.

395
00:24:12,799 --> 00:24:14,799
Speaker 16: You can be looking at up.

396
00:24:16,519 --> 00:24:19,359
Speaker 6: Gets in your eyes. It's making you cry.

397
00:24:19,519 --> 00:24:20,920
Speaker 4: Don't you want to do?

398
00:24:21,160 --> 00:24:25,640
Speaker 18: You don't know what to do, looking for up calling

399
00:24:26,079 --> 00:24:36,440
the boat, sell agel, Send me to the angel, right.

400
00:24:39,680 --> 00:24:55,319
Speaker 4: Right, send me send me to ride, ride again.

401
00:25:08,519 --> 00:25:17,200
Speaker 3: K K.

402
00:25:18,960 --> 00:25:24,000
Speaker 9: K S.

403
00:25:27,640 --> 00:25:31,519
Speaker 17: S R.

404
00:25:35,119 --> 00:25:57,240
Speaker 8: R S S.

405
00:26:14,440 --> 00:26:17,359
Speaker 9: Not only does he want Heaven to send him an angel,

406
00:26:17,480 --> 00:26:19,000
he wants it right now.

407
00:26:19,240 --> 00:26:22,640
Speaker 3: Right now. With those drum machines, so you could do it.

408
00:26:22,920 --> 00:26:26,079
Speaker 10: It's it's real drums and a real drummer.

409
00:26:26,880 --> 00:26:31,039
Speaker 3: Really, yeah, Tom sounded a little. Drum machines sounded like

410
00:26:31,240 --> 00:26:35,839
yeah playing electric drums. Yeah, yeah, So he gets full

411
00:26:35,920 --> 00:26:37,000
credit if that's the case.

412
00:26:38,119 --> 00:26:40,400
Speaker 8: Yeah, No, that counts. If it is. You could be

413
00:26:40,480 --> 00:26:42,240
banging on a pot of a pan and you're still

414
00:26:42,279 --> 00:26:44,079
playing it. That exactly counts. Yeah.

415
00:26:44,240 --> 00:26:47,079
Speaker 9: In the in the video, it showed real drums in

416
00:26:47,240 --> 00:26:51,359
concert they used choose real drums, so I don't know.

417
00:26:51,720 --> 00:26:52,480
Speaker 8: Right, but.

418
00:26:54,119 --> 00:26:59,079
Speaker 9: The video for that when they actually had music videos,

419
00:26:59,799 --> 00:27:02,200
and the ones in the eighties, as I've said time

420
00:27:02,279 --> 00:27:05,759
and time again, were so creative and so imaginative.

421
00:27:06,559 --> 00:27:08,039
Speaker 10: This one was awesome.

422
00:27:08,400 --> 00:27:12,920
Speaker 9: It had to do with a misty, dark forest and

423
00:27:13,799 --> 00:27:18,319
a beautiful woman all dressed in black and I couldn't

424
00:27:18,359 --> 00:27:20,519
tell if she was trying to get away from somebody

425
00:27:20,720 --> 00:27:23,039
or trying to get towards somebody.

426
00:27:23,200 --> 00:27:23,599
Speaker 3: I don't know.

427
00:27:24,519 --> 00:27:28,519
Speaker 10: And then there's this guy on horseback that you see.

428
00:27:28,559 --> 00:27:32,880
Speaker 9: He's dressed like medieval and then he gets off the

429
00:27:33,000 --> 00:27:37,079
horse in the video and he turns his face towards

430
00:27:37,160 --> 00:27:43,079
the camera and he either has a massive case of hyper.

431
00:27:44,480 --> 00:27:49,240
Speaker 10: Gricosis. Did I pronounce that right, Brian? He did very good,

432
00:27:49,839 --> 00:27:53,240
or he's a werewolf. Personally, I think the werewolf thing

433
00:27:53,319 --> 00:27:59,000
would be much cooler. But you know me, So that's

434
00:27:59,759 --> 00:28:00,880
that the video.

435
00:28:02,960 --> 00:28:06,160
Speaker 9: They had another hit called catch Me I'm Falling, but

436
00:28:06,400 --> 00:28:10,160
I don't remember that one quite honestly. The album was

437
00:28:10,759 --> 00:28:18,720
called Heartland and what happened was in nineteen eighty six

438
00:28:19,839 --> 00:28:25,319
was when Richard Zatorski left and he was replaced by

439
00:28:25,400 --> 00:28:28,000
George Poppas in nineteen ninety five.

440
00:28:28,000 --> 00:28:32,759
Speaker 10: After a long hiatus of band activity. That sounds like

441
00:28:32,920 --> 00:28:38,039
a really good name for a band long hiatus. Wow,

442
00:28:39,519 --> 00:28:43,759
I have a very twisted sense of humor. You guys

443
00:28:43,920 --> 00:28:44,240
know that.

444
00:28:47,359 --> 00:28:53,039
Speaker 9: They re recorded this in nineteen eighty nine, and I'm

445
00:28:53,119 --> 00:29:00,400
trying to find out where why, because Barbara asked me. Yeah, look,

446
00:29:00,480 --> 00:29:05,400
I don't know, I just I just know they did

447
00:29:05,480 --> 00:29:10,960
it again in eighty nine. Supposedly, the eighty nine version

448
00:29:11,839 --> 00:29:17,880
is remastered and the drums, the drums are more you know,

449
00:29:18,519 --> 00:29:19,640
faced forward.

450
00:29:20,160 --> 00:29:23,680
Speaker 1: Alrightself for the purpose of remastering. Yeah, there's a lot

451
00:29:23,720 --> 00:29:24,640
of songs out there like that.

452
00:29:24,799 --> 00:29:26,920
Speaker 10: Yeah, I mean this.

453
00:29:27,240 --> 00:29:30,480
Speaker 9: The eighty three version peaked in early nineteen eighty four

454
00:29:30,680 --> 00:29:34,240
in the US at number twenty nine on the Billboard

455
00:29:34,279 --> 00:29:38,599
Hot one hundred, which isn't too bad, but it was

456
00:29:38,680 --> 00:29:41,920
number one in Germany and New Zealand, and it was

457
00:29:42,079 --> 00:29:48,920
top ten in other countries. Now, when they re released

458
00:29:48,960 --> 00:29:51,920
it in eighty nine, it reached a peak of number

459
00:29:52,039 --> 00:29:55,799
twenty six on the Billboard Hot one hundred at the

460
00:29:55,880 --> 00:30:00,440
summer of nineteen eighty nine. The song is feat shirt

461
00:30:00,680 --> 00:30:04,920
in the sound tracks of I haven't heard of most

462
00:30:05,000 --> 00:30:10,000
of these, the American movies rad From nineteen eighty six,

463
00:30:10,759 --> 00:30:15,720
teen Wolf two nineteen eighty seven, The Wizard nineteen eighty nine,

464
00:30:16,480 --> 00:30:23,880
and the Brazilian telenovela I don't pronounce Portrait as well,

465
00:30:24,200 --> 00:30:30,000
uh Rena does Sukata nineteen ninety.

466
00:30:31,799 --> 00:30:32,359
Speaker 3: Missed that one.

467
00:30:33,880 --> 00:30:39,319
Speaker 9: Yeah, well, considering all the stuff from the topic last

468
00:30:39,359 --> 00:30:43,160
week that I found so many interesting things coming out

469
00:30:43,319 --> 00:30:53,119
of Brazil lately. Ah, So that's pretty much well I've got.

470
00:30:53,200 --> 00:30:55,880
I hope you enjoyed the song. I certainly did.

471
00:30:56,240 --> 00:30:59,480
Speaker 3: Yeah, I remember that song. I couldn't tell you if

472
00:30:59,720 --> 00:31:01,759
I remember it, but now I don't know if it

473
00:31:01,920 --> 00:31:04,880
was the original or the eighty nine, right, Yeah, because

474
00:31:04,880 --> 00:31:06,480
I would have been in high school for the eighty nine.

475
00:31:06,480 --> 00:31:07,880
It might be that one i'm remembering.

476
00:31:08,160 --> 00:31:12,559
Speaker 8: Yeah, I might surprise no one that I didn't recognize

477
00:31:12,599 --> 00:31:15,400
it at all. Yeah, I think eighty three. I was

478
00:31:15,480 --> 00:31:16,480
in a blackout, you know.

479
00:31:16,680 --> 00:31:20,519
Speaker 2: So okay, so you's not your time period, so.

480
00:31:22,000 --> 00:31:23,559
Speaker 10: You've never heard it before?

481
00:31:25,240 --> 00:31:25,880
Speaker 3: What do you think?

482
00:31:27,640 --> 00:31:30,079
Speaker 8: It was? Very generic eighties to me. You could have

483
00:31:30,160 --> 00:31:33,000
put any any band of that era. You could have

484
00:31:33,039 --> 00:31:35,480
put their name on it and I would have gone, oh, yeah, okay,

485
00:31:35,839 --> 00:31:37,960
you know, yeah, I just I just love.

486
00:31:37,880 --> 00:31:39,880
Speaker 10: That sound, I really do. And I guess.

487
00:31:40,400 --> 00:31:45,039
Speaker 9: I guess because part of the nineteen eighties was just

488
00:31:45,240 --> 00:31:49,240
a very very fun, positive time in my life. A

489
00:31:49,319 --> 00:31:52,319
lot of the eighties music when I hear it just

490
00:31:52,400 --> 00:31:54,319
brings back a lot of good memories for me.

491
00:31:54,559 --> 00:31:59,200
Speaker 3: So agreed, I'm kind of in that same boat.

492
00:31:59,359 --> 00:31:59,599
Speaker 8: That's what.

493
00:32:00,359 --> 00:32:03,880
Speaker 3: Yeah, everything came together cool. Yeah, So Neil, you you

494
00:32:04,000 --> 00:32:06,759
skipped the right decade for you, it seems.

495
00:32:07,000 --> 00:32:11,000
Speaker 8: Yeah, I felt the same way about the seventies you

496
00:32:11,119 --> 00:32:11,759
felt about the.

497
00:32:12,599 --> 00:32:16,880
Speaker 3: Yeah, definitely. Well, all right, thank you, Gail. We're gonna

498
00:32:16,880 --> 00:32:18,400
take a real quick break and we're going to be

499
00:32:18,480 --> 00:32:21,759
back with lots more. So stick around Hudson River Radio

500
00:32:22,000 --> 00:32:23,960
dot Com. Your dad likes us.

501
00:32:25,160 --> 00:32:28,279
Speaker 19: This concludes the first part of this cassette. Please turn

502
00:32:28,319 --> 00:32:35,960
the cassette over and begin again on side too, Hudson

503
00:32:36,079 --> 00:32:37,400
River Radio dot Com.

504
00:32:37,920 --> 00:32:41,839
Speaker 3: And welcome back. Neil is up. So Neil skipped last

505
00:32:41,839 --> 00:32:45,000
week as well, but prerecorded, but he's actually back in

506
00:32:45,119 --> 00:32:47,240
person tonight, so welcome back as well.

507
00:32:47,440 --> 00:32:49,680
Speaker 8: Well, and thank you. Yeah, I spent the week with

508
00:32:49,799 --> 00:32:51,319
a Transylvanian messuse.

509
00:32:52,039 --> 00:32:55,599
Speaker 3: So and We're gonna pause everything because this is a

510
00:32:55,640 --> 00:32:56,640
good story that we must.

511
00:32:57,799 --> 00:32:58,960
Speaker 8: We'll get to that in a minute.

512
00:32:59,000 --> 00:33:01,839
Speaker 3: But I didn't have something to do with Gail's werewolf.

513
00:33:04,599 --> 00:33:07,559
Speaker 8: I'm not talking anyway.

514
00:33:07,839 --> 00:33:10,759
Speaker 9: It reminds me of a really funny conversation, believe it

515
00:33:10,880 --> 00:33:12,920
or not, that I had at church some years ago.

516
00:33:13,440 --> 00:33:16,359
Speaker 10: You haven't lived until you've been talking to somebody. Okay.

517
00:33:16,680 --> 00:33:21,079
Speaker 9: It was a family from Hungary and the wife was

518
00:33:21,160 --> 00:33:24,279
who I was talking to, and she started the conversation

519
00:33:24,960 --> 00:33:28,960
with one time when I was hiking in Transylvania, and

520
00:33:29,079 --> 00:33:31,079
I'm like, you had me at Transylvania.

521
00:33:35,880 --> 00:33:40,359
Speaker 8: Nice. Anyway, your wish is my command, or your command

522
00:33:40,559 --> 00:33:44,400
is my wish, or my song is your anyway. The

523
00:33:44,519 --> 00:33:48,519
song I picked is called Don't Do It, and it's

524
00:33:48,640 --> 00:33:53,599
by the band Now. The song was penned by the

525
00:33:53,640 --> 00:33:58,039
songwriting team of Holland Dozier Holland, consisting of brothers Brian

526
00:33:58,119 --> 00:34:02,680
and Eddie Holland and Lamont. That team was responsible for

527
00:34:02,839 --> 00:34:06,359
many of the songs that shaped the Motown sound in

528
00:34:06,440 --> 00:34:11,199
the nineteen sixties. Now. The song was originally intended for

529
00:34:11,360 --> 00:34:15,239
the Supremes, but it was later given to singer Marvin

530
00:34:15,320 --> 00:34:21,000
Gay who recorded and released it in nineteen sixty four. Now,

531
00:34:21,039 --> 00:34:24,079
the song has been recorded many times by many artists

532
00:34:24,119 --> 00:34:26,519
over the years, but it's the version by the band

533
00:34:26,760 --> 00:34:29,360
that we're going to focus on here right now, and

534
00:34:29,599 --> 00:34:33,039
for reasons that will become more apparent as we go

535
00:34:33,159 --> 00:34:37,719
along now. The Band were a Canadian American rock band

536
00:34:37,760 --> 00:34:41,360
that formed in Toronto, starting out back in the late

537
00:34:41,440 --> 00:34:45,199
nineteen fifties early nineteen sixties under the name The Hawks.

538
00:34:46,400 --> 00:34:51,000
They later gained recognition as Bob Dylan's backing band in

539
00:34:51,119 --> 00:34:56,800
nineteen sixty six after Dylan went Electric. Now, after leaving Dylan,

540
00:34:57,360 --> 00:35:01,159
they changed their name to simply the Band because he

541
00:35:01,280 --> 00:35:03,960
had been Bob Dylan and is Bob Dylan and they

542
00:35:04,039 --> 00:35:10,719
were the band, so there you go. And after that

543
00:35:11,159 --> 00:35:14,159
they went on to release a number of best selling albums.

544
00:35:14,320 --> 00:35:19,360
They played at Mammoth concert festivals like Watkins Glend along

545
00:35:19,400 --> 00:35:22,440
with The Grateful Dead and The Allman Brothers. They made

546
00:35:22,440 --> 00:35:25,639
a movie with Martin Scorsese, and as they say, the

547
00:35:25,760 --> 00:35:30,199
rest is pretty much history. So the classic lineup of

548
00:35:30,280 --> 00:35:35,440
the band consisted of Levon Helm on drums, Robbie Robertson

549
00:35:35,519 --> 00:35:39,320
on guitar, Rick Danko on bass, Richard Manuel on piano,

550
00:35:39,920 --> 00:35:44,400
and Garth Hudson on oregon. Now that was their primary instruments.

551
00:35:44,880 --> 00:35:48,280
All five members were actually all multi instrumentalists, so there

552
00:35:48,360 --> 00:35:52,559
was a lot of talent going on there. Now the

553
00:35:52,679 --> 00:35:56,039
band recorded Don't Do It several times actually, both live

554
00:35:56,280 --> 00:35:58,559
and in the studio, and the cut we're going to

555
00:35:58,639 --> 00:36:02,800
hear comes from there nineteen seventy to live double LP

556
00:36:03,159 --> 00:36:06,559
called Rock of Ages. So right now, let's do it.

557
00:36:06,760 --> 00:36:10,039
Let's hear don't do It by the band.

558
00:36:27,920 --> 00:36:32,440
Speaker 6: A baby, don't you do it? Don't do it.

559
00:36:33,920 --> 00:36:35,360
Speaker 16: Don't want to break my heart.

560
00:36:38,880 --> 00:36:39,639
Speaker 6: Don't do it.

561
00:36:40,000 --> 00:36:41,280
Speaker 4: Don't to break myth?

562
00:36:44,199 --> 00:36:48,840
Speaker 6: I said required by heavy You know myself.

563
00:36:50,639 --> 00:36:56,800
Speaker 16: Now you don't believe me. No, no, someone I'm crying.

564
00:37:00,079 --> 00:37:06,679
I'm not gonn to mean you won't me you know

565
00:37:07,760 --> 00:37:13,360
you don't understand against the best, I'm channing again.

566
00:37:14,199 --> 00:37:21,920
Speaker 6: Don't do it. Don't you break my hide? Don't do it.

567
00:37:22,239 --> 00:37:27,559
Don't you break my heart? Making of the pain, but

568
00:37:27,719 --> 00:37:29,360
going YouTube nne.

569
00:37:30,159 --> 00:37:31,000
Speaker 10: You didn't you know?

570
00:37:32,840 --> 00:37:35,719
Speaker 16: And you can be way you want me and you

571
00:37:35,920 --> 00:37:40,320
want in to do in my heart of me abs

572
00:37:41,679 --> 00:37:43,320
give your service.

573
00:37:45,360 --> 00:37:45,760
Speaker 8: Hid.

574
00:37:48,400 --> 00:37:52,480
Speaker 16: Causing me and I didn't spy against my best.

575
00:37:53,039 --> 00:37:59,039
Speaker 6: But I'm sang, don't do it, don't.

576
00:37:58,840 --> 00:37:59,880
Speaker 16: You break my heart?

577
00:38:04,480 --> 00:38:05,519
Speaker 6: Going to break my.

578
00:38:09,000 --> 00:38:10,760
Speaker 10: I go down to the river.

579
00:38:12,440 --> 00:38:18,159
Speaker 6: And then I'll be. I'm you be, But you don't

580
00:38:18,280 --> 00:38:19,039
care at me.

581
00:38:19,320 --> 00:38:20,440
Speaker 16: On the dost.

582
00:38:22,280 --> 00:38:23,039
Speaker 7: Take to see.

583
00:38:28,159 --> 00:38:35,239
Speaker 16: See. Don't dan to break my.

584
00:38:40,239 --> 00:38:41,239
Speaker 6: Not to break my.

585
00:38:43,800 --> 00:39:14,719
Speaker 16: Than I think it's the same.

586
00:39:14,840 --> 00:39:20,239
Speaker 6: There's nothing you need to But then you know, now

587
00:39:20,360 --> 00:39:21,360
you find your way.

588
00:39:21,519 --> 00:39:25,719
Speaker 9: You won't me and you don't do him the.

589
00:39:33,199 --> 00:39:36,079
Speaker 3: Chance. You dispos me.

590
00:39:39,000 --> 00:39:42,360
Speaker 16: Best, you know how, try the best.

591
00:39:43,480 --> 00:39:44,079
Speaker 6: Don't do it.

592
00:39:45,559 --> 00:39:46,960
Speaker 16: Don't you break my heart?

593
00:39:48,559 --> 00:39:52,840
Speaker 6: I don't don't you break mom?

594
00:40:24,559 --> 00:40:27,800
Speaker 8: All right, don't do it? All right? I admit I

595
00:40:27,920 --> 00:40:33,039
did do it, but that's not important right now. Rock

596
00:40:33,119 --> 00:40:36,000
of Age is the band in concert. That's the official

597
00:40:36,079 --> 00:40:40,360
title of the album, and the recording comes from a

598
00:40:40,480 --> 00:40:43,840
series of shows that compiled it from a series of

599
00:40:43,920 --> 00:40:49,480
shows that were played at New York's city's legendary Academy

600
00:40:49,519 --> 00:40:53,039
of Music over four nights, like a four night stand

601
00:40:53,159 --> 00:40:57,000
or a four night residency if you will, from December

602
00:40:57,079 --> 00:41:00,840
twenty eighth through December thirty first seventy one.

603
00:41:02,320 --> 00:41:02,480
Speaker 3: Now.

604
00:41:02,960 --> 00:41:06,199
Speaker 8: Incidentally, the Academy of Music pretty much took over as

605
00:41:06,400 --> 00:41:09,880
the New York rock venue after the closure of Bill

606
00:41:09,920 --> 00:41:13,639
Graham's Fillmore East. Now somewhere along the line they changed

607
00:41:13,639 --> 00:41:16,679
it from the Academy of Music to the Palladium, But

608
00:41:17,119 --> 00:41:20,920
that's really all that changed. It was the same place,

609
00:41:21,000 --> 00:41:23,639
and I've got some stories for a later time about that.

610
00:41:24,280 --> 00:41:30,360
But anyway, me too, I do not doubt that we

611
00:41:30,480 --> 00:41:32,920
were probably there at the same time at some point,

612
00:41:33,119 --> 00:41:38,360
I'm sure. Anyway, here's where the story gets a little interesting.

613
00:41:39,039 --> 00:41:42,440
The shows were originally scheduled actually from the twenty seventh

614
00:41:43,039 --> 00:41:50,480
through the thirtieth, now emitting New Year's Eve. And okay,

615
00:41:50,519 --> 00:41:52,719
I think you can see where this is going. Now.

616
00:41:53,960 --> 00:41:57,920
A young sixteen year old me would have loved to

617
00:41:57,960 --> 00:42:01,199
have gone to a show on New Year's Eve, but

618
00:42:02,079 --> 00:42:08,639
opted for the closest thing, December thirtieth, because but uh huh,

619
00:42:09,320 --> 00:42:14,159
after I had already bought my ticket, they switched the

620
00:42:14,280 --> 00:42:19,880
twenty seventh the first night, switched it to the thirty first,

621
00:42:20,000 --> 00:42:22,800
So there was a New Year's Eve show after all,

622
00:42:23,079 --> 00:42:26,679
only I didn't have a ticket for it because I

623
00:42:26,760 --> 00:42:32,119
thought I was getting close. Now, first of all, there

624
00:42:32,199 --> 00:42:34,079
was no such thing as like stub Hub or anything.

625
00:42:34,159 --> 00:42:37,239
You couldn't you go sell and get you know, no, yeah,

626
00:42:37,239 --> 00:42:38,840
if you wanted to buy another ticket, there was a

627
00:42:38,880 --> 00:42:41,760
guy in a trench coat outside you went scalping and

628
00:42:42,079 --> 00:42:46,480
yeah yeah, and believe me, one five or six dollars

629
00:42:46,519 --> 00:42:48,159
ticket for a sixteen year old. That was a lot

630
00:42:48,239 --> 00:42:51,800
of bread back then, you know. So I was like, oh, well, okay,

631
00:42:54,639 --> 00:42:58,400
Now to add insult to injury. On the thirty first,

632
00:43:00,039 --> 00:43:02,599
their old pal Bob Dylan showed up as a surprise

633
00:43:02,760 --> 00:43:06,239
guest and made an appearance and played a whole set

634
00:43:06,360 --> 00:43:12,079
with them, and I missed it. Now, if there is

635
00:43:12,239 --> 00:43:18,519
any consolation, if there is any salvation and redemption, I

636
00:43:18,599 --> 00:43:21,559
found a list of the recording dates for the track,

637
00:43:21,679 --> 00:43:24,119
so each the nights that each track was recorded on.

638
00:43:24,320 --> 00:43:27,519
And as it turns out, I discovered that I was

639
00:43:27,800 --> 00:43:30,840
in the audience for the track we just heard, don't

640
00:43:30,880 --> 00:43:33,199
Do It. So that applause you heard at the end,

641
00:43:34,159 --> 00:43:38,400
that's me. So yeah, I was at that show. So

642
00:43:38,559 --> 00:43:41,039
that that that was cool. That and that's why I

643
00:43:41,199 --> 00:43:46,119
picked this, this particular version of this song excellent. One

644
00:43:46,159 --> 00:43:49,440
thing I almost forgot about I remember hearing about it

645
00:43:50,519 --> 00:43:54,840
is you probably heard the horn section in the background. Yeah,

646
00:43:54,920 --> 00:43:57,760
so they had hired you know, a horn section to

647
00:43:57,800 --> 00:44:03,000
come in I believe, probably from New Orleans, because the

648
00:44:03,119 --> 00:44:08,199
legendary songwriter and producer Alan Tussaint wrote the charts for

649
00:44:08,360 --> 00:44:13,519
all the horn parts, and back then charts were in

650
00:44:13,639 --> 00:44:19,159
these like big folders, you know, sheet music big no PDFs,

651
00:44:19,320 --> 00:44:24,039
no thumb drives, no big pieces of paper. So the

652
00:44:24,119 --> 00:44:27,159
horn section packed them up in their luggage, got on

653
00:44:27,280 --> 00:44:30,239
the plane, got to New York, and the luggage had

654
00:44:30,280 --> 00:44:34,599
been lost in the meantime the charts were gone, so

655
00:44:34,719 --> 00:44:37,199
they had to scramble and I guess, you know, from memory,

656
00:44:37,320 --> 00:44:40,039
and wrote up new ones, and what they couldn't remember,

657
00:44:40,119 --> 00:44:43,440
they just, I guess, you know, winging it. But I

658
00:44:43,480 --> 00:44:46,840
thought that was pretty interesting that she was.

659
00:44:46,920 --> 00:44:49,119
Speaker 3: How professional they were too to be able to pull.

660
00:44:49,159 --> 00:44:54,639
Speaker 8: Off exactly exactly now now. This version of Don't Do

661
00:44:54,760 --> 00:44:57,880
It from RockA As was also issued as a single.

662
00:44:58,000 --> 00:45:00,920
It reached number thirty four on the Billboard Hot one

663
00:45:01,000 --> 00:45:05,920
hundred in the fall of nineteen seventy two. The band

664
00:45:06,079 --> 00:45:08,440
they were inducted to the Rock and Roll Hall of

665
00:45:08,519 --> 00:45:13,440
Fame in nineteen ninety four. In two thousand and four,

666
00:45:13,599 --> 00:45:16,760
Rolling Stone Magazine ranked them as number fifty on their

667
00:45:16,840 --> 00:45:19,800
list of the one hundred Greatest Artists of all time,

668
00:45:21,239 --> 00:45:24,880
and they received a Grammy Lifetime Achievement Award in two

669
00:45:24,960 --> 00:45:29,400
thousand and eight. Now, of course, sadly all five original

670
00:45:29,440 --> 00:45:32,440
members of the band are now gone, but you know what,

671
00:45:32,960 --> 00:45:36,159
we're not, so get out there and go to a concert.

672
00:45:37,039 --> 00:45:40,960
Speaker 3: Definitely, that's awesome. Like that swamp rock sound. What what

673
00:45:41,079 --> 00:45:43,480
always drew me to that was that it's so on point,

674
00:45:43,599 --> 00:45:48,880
but it sounds so loose and relaxed. Yeah, but it's tight.

675
00:45:49,000 --> 00:45:51,119
You could put a metrome to it and it's it's

676
00:45:51,199 --> 00:45:54,000
on point. You know, I don't know. That's just hard

677
00:45:54,079 --> 00:45:59,000
to do. So excellent choice there, Thank you. I did

678
00:45:59,039 --> 00:46:01,440
hear you clapping. I've heard you clap separately, so I could.

679
00:46:01,480 --> 00:46:02,639
I was able to pick it out.

680
00:46:03,079 --> 00:46:05,559
Speaker 8: The sound of the sound of one hand clapping.

681
00:46:08,039 --> 00:46:11,800
Speaker 3: Excellent choice. All right, Thank you Neil, and welcome back.

682
00:46:12,480 --> 00:46:14,920
Thank you John. We're up to you, okay.

683
00:46:15,199 --> 00:46:18,639
Speaker 7: Tonight I have a selection from the late great James

684
00:46:18,920 --> 00:46:23,639
Joseph Brown, the godfather of soul himself. Tonight we're going

685
00:46:23,679 --> 00:46:27,199
to listen to get up, get into it, and get involved.

686
00:46:27,679 --> 00:46:29,960
Now what the heck does he mean by that? I

687
00:46:30,039 --> 00:46:32,679
think it's just pretty much a self explanatory. It's get up,

688
00:46:32,840 --> 00:46:34,719
get into it, get involved. Whatever you want to do.

689
00:46:34,840 --> 00:46:36,599
You want to protest, you want to get involved in

690
00:46:36,639 --> 00:46:39,400
your community, do what you gotta do to get up

691
00:46:39,440 --> 00:46:41,440
and get involved. And this is what it is, and

692
00:46:41,559 --> 00:46:46,920
it's done in classic James Brown signature style. There's no

693
00:46:47,039 --> 00:46:50,000
other way to put it. He was it was just

694
00:46:50,079 --> 00:46:51,800
a beautiful piece of funk and.

695
00:46:53,480 --> 00:46:55,599
Speaker 3: Simply put. Let's just play it. We'll talk a little

696
00:46:55,599 --> 00:46:56,559
bit afterwards.

697
00:47:00,079 --> 00:47:00,440
Speaker 9: And do it.

698
00:47:00,639 --> 00:47:09,519
Speaker 20: Everybody around down, set everybody else, come come older, come on,

699
00:47:09,800 --> 00:47:16,320
come on god we can trumble. Come come on, have

700
00:47:16,480 --> 00:47:19,559
a ride, old down, hold nobody a run down.

701
00:47:19,880 --> 00:47:23,840
Speaker 6: Then do it. I only have them get it mom,

702
00:47:24,239 --> 00:47:25,960
there is marm happening.

703
00:47:26,679 --> 00:47:28,079
Speaker 3: No, don't wanna commele.

704
00:47:29,400 --> 00:47:33,280
Speaker 20: Everybody hold down, you get olderviody around there, turn it

705
00:47:33,400 --> 00:47:33,639
to it.

706
00:47:34,079 --> 00:47:37,519
Speaker 6: I only have there is firm turn it up there

707
00:47:37,599 --> 00:47:38,880
it worth way.

708
00:47:40,639 --> 00:47:40,880
Speaker 8: Way.

709
00:47:42,559 --> 00:47:49,599
Speaker 6: Don't pay the hang going nothing. It's back man, Now

710
00:47:49,679 --> 00:47:53,639
you do it's something. Gon pray your hands sending me

711
00:47:53,760 --> 00:47:57,760
to call you my mind. Don't pay her head lee

712
00:47:57,880 --> 00:48:01,079
to say that on my man's everybody.

713
00:48:00,719 --> 00:48:03,679
Speaker 16: On down, hold up dy run down.

714
00:48:03,800 --> 00:48:07,360
Speaker 20: Doesn't do it right on my hand, don't fun don

715
00:48:07,519 --> 00:48:09,199
mom the mom.

716
00:48:09,239 --> 00:48:19,800
Speaker 6: Wait wait wait wait the back of the trun on

717
00:48:20,039 --> 00:48:24,960
the ball. You gotta have the danger. You want to

718
00:48:25,000 --> 00:48:25,400
be caught.

719
00:48:26,719 --> 00:48:27,440
Speaker 3: You gotta have to.

720
00:48:27,480 --> 00:48:29,360
Speaker 6: Change so you have the ball.

721
00:48:31,280 --> 00:48:32,000
Speaker 16: Throw it right.

722
00:48:33,400 --> 00:48:36,039
Speaker 6: You got cop to the banks and do it and

723
00:48:36,199 --> 00:48:42,599
nothing do it one time. They get a right got

724
00:48:42,719 --> 00:48:49,199
the world, got the bank. Everybody on down, hold up, nobody,

725
00:48:49,360 --> 00:48:54,199
run down, then st everybody on him don don mom

726
00:48:54,599 --> 00:49:12,039
then song wait wait wait wait wait, go home, go home.

727
00:49:13,519 --> 00:49:14,000
Speaker 3: Go home.

728
00:49:15,320 --> 00:49:18,000
Speaker 6: You can't do it on.

729
00:49:19,559 --> 00:49:20,280
Speaker 18: Abody on that?

730
00:49:20,760 --> 00:49:22,639
Speaker 6: Tell hold up? Get nobody right there?

731
00:49:22,960 --> 00:49:25,960
Speaker 16: Telln't do it right on the tesn't work?

732
00:49:26,320 --> 00:49:31,480
Speaker 6: Can't right and wrong? That was more time about it?

733
00:49:32,079 --> 00:49:32,840
Speaker 4: What wasn't doing?

734
00:49:33,480 --> 00:49:39,840
Speaker 6: Telling arm? Tell it from? Can it rock? Wait? Ibody?

735
00:49:39,840 --> 00:49:43,119
Don't aw tell hod up? Ride a right down, turn

736
00:49:43,239 --> 00:49:47,000
into it, not only tell it from get it wrong?

737
00:49:47,400 --> 00:49:56,199
Let it rom Wait wait wait, wait.

738
00:49:57,920 --> 00:50:24,840
Speaker 3: Wait, okay.

739
00:50:25,239 --> 00:50:27,719
Speaker 7: That was James Brown, Get up, get into it and

740
00:50:27,840 --> 00:50:32,199
get involved. It was the radio edit because that can

741
00:50:32,400 --> 00:50:34,239
go on for about what seven or eight minutes. I

742
00:50:34,320 --> 00:50:39,480
think is the original yep so, but it's pretty much

743
00:50:39,519 --> 00:50:41,920
after the first three minutes. I think that's the song,

744
00:50:43,239 --> 00:50:46,920
but we were talking off air. What do I think

745
00:50:46,960 --> 00:50:48,840
is special about this. I'll be honest with you, I

746
00:50:48,880 --> 00:50:51,360
don't think it's really special. It's just kind of like

747
00:50:51,519 --> 00:50:54,079
cool James ground funk, you know.

748
00:50:54,519 --> 00:50:57,000
Speaker 3: It's that's kind of what I putting in the least

749
00:50:57,000 --> 00:51:00,119
amount of effort of everybody's a band on this particular.

750
00:50:59,760 --> 00:51:02,920
Speaker 7: Song, basically stating it giving you a command to go

751
00:51:03,039 --> 00:51:04,199
out there and get involved.

752
00:51:04,280 --> 00:51:05,000
Speaker 8: However that is.

753
00:51:05,239 --> 00:51:09,159
Speaker 7: You know, Brian, if I tried to do that, they'd

754
00:51:09,199 --> 00:51:10,719
be calling nine to one one. I can tell you

755
00:51:10,880 --> 00:51:11,239
right now.

756
00:51:11,519 --> 00:51:13,239
Speaker 3: You just walk around the room and stub your toe

757
00:51:13,320 --> 00:51:16,239
on different things. Yeah, on the night.

758
00:51:16,119 --> 00:51:19,599
Speaker 7: Table man, just make sure I hit record the whole time.

759
00:51:19,960 --> 00:51:22,800
Speaker 3: That's it nowadays and pro tools. You just line it

760
00:51:22,880 --> 00:51:25,000
up with the beat and you're good. Yeah, there you go.

761
00:51:25,239 --> 00:51:25,480
Speaker 8: Okay.

762
00:51:25,559 --> 00:51:28,159
Speaker 7: It's pretty easy, pretty easy with modern tech, I should say.

763
00:51:28,800 --> 00:51:29,239
Speaker 3: Anyway.

764
00:51:29,360 --> 00:51:31,960
Speaker 7: That was released in nineteen seventy as a two part

765
00:51:32,119 --> 00:51:36,039
single on the King label, features James Brown as lead

766
00:51:36,199 --> 00:51:39,960
vocals if you can call it that, with back with

767
00:51:40,360 --> 00:51:44,559
backing vocals and co writing by Bobby Bird, and it

768
00:51:44,679 --> 00:51:46,800
reached number four on the R and B charts and

769
00:51:47,039 --> 00:51:50,199
thirty four on the Pop charts. There were live versions

770
00:51:50,239 --> 00:51:54,239
recorded on two different albums they had on the Revolution

771
00:51:54,440 --> 00:51:57,400
of the Mind in nineteen seventy one and the Love,

772
00:51:57,599 --> 00:52:02,320
Power and Peace, also recorded in nineteen seventy one. So

773
00:52:02,599 --> 00:52:06,320
you wanted a command song, that's James Brown, the late

774
00:52:06,400 --> 00:52:11,519
great gentleman there. If you want to see that, commanding

775
00:52:11,559 --> 00:52:13,599
you to get out there and do your thing. You

776
00:52:13,639 --> 00:52:15,920
want to protest, you want to join a group, do whatever,

777
00:52:16,079 --> 00:52:17,840
you know, go out there, get out there and do it.

778
00:52:18,280 --> 00:52:19,079
Speaker 3: I hope you all.

779
00:52:19,039 --> 00:52:21,320
Speaker 8: Enjoyed your funk is my command?

780
00:52:21,719 --> 00:52:24,239
Speaker 3: Yeah, exactly, I could.

781
00:52:24,320 --> 00:52:25,960
Speaker 7: Just if you can imagine, you know, when I first

782
00:52:26,000 --> 00:52:30,079
time I listened to this, I just imagine nineteen seventy

783
00:52:30,280 --> 00:52:33,480
James Brown recording this, you know, in the studio.

784
00:52:33,719 --> 00:52:34,920
Speaker 3: I'm sure there was a little.

785
00:52:34,719 --> 00:52:39,599
Speaker 7: Smoking going on and got no sweaty. Yeah, what a

786
00:52:39,719 --> 00:52:44,239
scene that must have been. So yeah, absolutely so. I

787
00:52:44,320 --> 00:52:47,480
hope you all enjoyed that little walk down James Brown Lane.

788
00:52:47,519 --> 00:52:47,679
Speaker 8: There.

789
00:52:47,840 --> 00:52:50,599
Speaker 3: That's a good one. All right, thanks John. Yep, we're

790
00:52:50,599 --> 00:52:52,840
all going to relax a little bit now, take a breather,

791
00:52:53,480 --> 00:52:55,559
and we're gonna come back with two more. So stick around.

792
00:52:56,320 --> 00:53:08,159
Speaker 12: Let'son riverradio dot com, hunchonriverradio dot.

793
00:53:08,079 --> 00:53:11,920
Speaker 3: Com, and welcome back, Barbara. It was your topic and

794
00:53:12,079 --> 00:53:12,599
we're up to you.

795
00:53:13,800 --> 00:53:17,800
Speaker 1: Yeah, okay, well, hey, they're cool cats. My song choice

796
00:53:17,920 --> 00:53:22,280
for this topic is Put Your Cat Clothes On by

797
00:53:22,480 --> 00:53:26,559
Carl Perkins. And there's quite a bit of info out

798
00:53:26,599 --> 00:53:30,480
there on Carl Perkins, enough pretty much to dedicate an

799
00:53:30,679 --> 00:53:34,159
entire show and then some. So I try to balance

800
00:53:34,239 --> 00:53:37,800
the inclusion of important facts without making my segment too long.

801
00:53:37,920 --> 00:53:41,280
But I found his bio fascinating, and I hope you

802
00:53:41,400 --> 00:53:45,400
will too. He was born on April ninth, nineteen thirty two,

803
00:53:45,679 --> 00:53:51,039
in Tiptonville, Tennessee, and was nicknamed the King of Rockabilly,

804
00:53:52,280 --> 00:53:56,519
but he started out as the son of poor sharecroppers.

805
00:53:56,920 --> 00:53:59,679
He had two brothers, Jay and Clayton, and talk a

806
00:53:59,719 --> 00:54:03,280
little bit more about them later on. From the age

807
00:54:03,320 --> 00:54:07,719
of six, Perkins worked in the cotton fields whether school

808
00:54:07,840 --> 00:54:11,000
was in session or not. He and his brothers grew

809
00:54:11,119 --> 00:54:14,960
up hearing Southern gospel in church and also sung out

810
00:54:15,000 --> 00:54:18,800
in the fields by other sharecroppers. And every Saturday, now

811
00:54:18,880 --> 00:54:21,920
this paints a picture. Every Saturday night the family would

812
00:54:22,079 --> 00:54:25,480
gather around the radio and listen to the Grand Old

813
00:54:25,519 --> 00:54:30,480
Loppry broadcasts, and this inspired a young Perkins to ask

814
00:54:30,599 --> 00:54:34,159
his parents for a guitar, but guess what, couldn't afford one,

815
00:54:35,159 --> 00:54:38,800
So his father made one from a cigar box and

816
00:54:39,039 --> 00:54:43,719
a broomstick, and every time a string broke they could

817
00:54:43,800 --> 00:54:48,079
afford to replace it, so Perkins simply retied them, causing

818
00:54:48,159 --> 00:54:51,760
the notts to cut into his fingers. So he started

819
00:54:51,840 --> 00:54:56,039
to bend the notes when sliding from one note to another,

820
00:54:56,360 --> 00:55:00,320
causing what is known as a blue note sound, meaning

821
00:55:00,519 --> 00:55:05,440
just simply meaning a slightly different pitch. And Perkins taught

822
00:55:05,519 --> 00:55:08,159
himself to play songs he heard on the opry. In

823
00:55:08,320 --> 00:55:11,960
nineteen forty seven, at the age of fourteen, Perkins wrote

824
00:55:12,000 --> 00:55:14,559
the song let Me Take You to the Movie Meg,

825
00:55:14,920 --> 00:55:20,400
which prompted Sun Records founder Sam Phillips to sign Perkins

826
00:55:20,480 --> 00:55:23,840
to the label. At the time, Perkins and his brothers

827
00:55:23,920 --> 00:55:28,159
were playing at local taverns at night and were often

828
00:55:28,239 --> 00:55:30,119
given free beer as payment.

829
00:55:30,639 --> 00:55:38,280
Speaker 6: Mind you, Carl was fourteen oh, and the problem is he.

830
00:55:39,760 --> 00:55:42,760
Speaker 1: Sounds a lot like my teenage years, But I digress.

831
00:55:45,360 --> 00:55:50,239
He later began performing on WTJS in Jackson during the

832
00:55:50,360 --> 00:55:53,880
late nineteen forties and was becoming very well known, but

833
00:55:54,199 --> 00:55:57,119
not yet enough to quit his day job of either

834
00:55:57,400 --> 00:56:01,719
cotton picking, pan greasing, or factory work. This round the

835
00:56:01,760 --> 00:56:05,079
clock schedule took a turn in nineteen fifty five when

836
00:56:05,320 --> 00:56:13,800
Perkins wrote Blue Swede Shoes, which became massively successful and

837
00:56:13,960 --> 00:56:16,760
I think we all know that. Elvis Presley later performed

838
00:56:16,800 --> 00:56:20,960
it on cbstv's Stage Show in February nineteen fifty six

839
00:56:21,639 --> 00:56:29,000
and ABC's ABCTV's Ozark Jubilee. The song charted in the

840
00:56:29,199 --> 00:56:33,760
UK as well, and the Beatles famously covered the B side,

841
00:56:33,880 --> 00:56:39,039
Honey Don't. In nineteen fifty six, the Perkins brothers were

842
00:56:39,119 --> 00:56:41,840
involved in a car accident while traveling to New York

843
00:56:41,920 --> 00:56:46,920
City to appear on nbctv's Perry Como Show. Carl was

844
00:56:47,119 --> 00:56:54,360
unconscious for an entire day. While recuperating, Perkins watched Elvis

845
00:56:54,480 --> 00:56:59,320
perform Blue Swede Shoes on The Milton Burl Show. When

846
00:56:59,360 --> 00:57:02,920
he rec it enough, he finally did appear on the

847
00:57:03,000 --> 00:57:06,480
Perry Como Show, and he was still wearing his neck

848
00:57:06,559 --> 00:57:09,079
brace from the accident. And I did find pictures of

849
00:57:09,119 --> 00:57:10,119
that online.

850
00:57:09,920 --> 00:57:10,599
Speaker 10: Oh my gosh.

851
00:57:11,000 --> 00:57:11,199
Speaker 8: Yes.

852
00:57:11,880 --> 00:57:17,239
Speaker 1: Before resuming touring, Perkins had a recording session at SUN

853
00:57:17,599 --> 00:57:21,880
which resulted in some new releases, including my song Choice,

854
00:57:22,480 --> 00:57:25,559
Put Your Clothes On, Cat Clothes On, Sorry, put your

855
00:57:25,599 --> 00:57:26,119
cat clothes on.

856
00:57:27,800 --> 00:57:32,639
Speaker 15: It took my food shoes down the old wheel, got

857
00:57:32,719 --> 00:57:34,199
the rock up with the rhythm.

858
00:57:34,400 --> 00:57:36,079
Speaker 10: Run them over at the heel.

859
00:57:36,199 --> 00:57:36,960
Speaker 7: Don't put your.

860
00:57:37,000 --> 00:57:40,960
Speaker 6: Cat food go then rock.

861
00:57:42,480 --> 00:57:42,760
Speaker 2: Katie.

862
00:57:42,800 --> 00:57:45,360
Speaker 6: Put your cat close, go for.

863
00:57:48,960 --> 00:57:52,840
Speaker 3: Wee s of a black.

864
00:57:55,440 --> 00:57:55,840
Speaker 4: Get my.

865
00:57:58,199 --> 00:58:01,039
Speaker 6: Cat too good?

866
00:58:01,360 --> 00:58:03,960
Speaker 14: Let it rock on ride kitty.

867
00:58:04,039 --> 00:58:09,480
Speaker 6: Put your cat pose goes and I do really rides.

868
00:58:34,440 --> 00:58:34,480
Speaker 8: On.

869
00:58:34,679 --> 00:58:36,519
Speaker 14: Can't with it in your hand?

870
00:58:36,599 --> 00:58:40,840
Speaker 15: Off that brute John the bombing river put the whole

871
00:58:40,960 --> 00:58:46,239
els of tomorrow. But your cattle goes on, canoodle, let

872
00:58:46,320 --> 00:58:47,440
him rock on ride.

873
00:58:48,480 --> 00:58:52,719
Speaker 6: Didn't put your cat pose? Ho goes not to let

874
00:58:52,760 --> 00:58:55,519
it ride real lines.

875
00:59:18,320 --> 00:59:20,480
Speaker 4: Where my gas room was easy?

876
00:59:20,960 --> 00:59:24,599
Speaker 7: But all if cat's nose she gets that rocking beat.

877
00:59:24,719 --> 00:59:26,800
Speaker 6: She knocked the polish off her hole.

878
00:59:27,159 --> 00:59:31,239
Speaker 14: Put your cat goes on, cous and I let it

879
00:59:31,440 --> 00:59:35,159
rock on ride. Can't you put your cat pose on?

880
00:59:35,880 --> 00:59:38,719
Cause and I look, let it rise.

881
00:59:41,840 --> 00:59:43,119
Speaker 4: Can't pot cat?

882
00:59:43,280 --> 00:59:49,639
Speaker 6: Cat can't coot cat, cat, can't poot cat captain cast frow, cat.

883
00:59:49,800 --> 00:59:53,800
Speaker 14: Pulls on con on, Let it rock and ride?

884
00:59:55,639 --> 00:59:57,519
Speaker 3: Lot of stuff did stuff a great?

885
00:59:58,320 --> 00:59:58,920
Speaker 8: Oh yeah?

886
00:59:59,559 --> 01:00:04,119
Speaker 1: So what is meant by cat clothes? In nineteen fifty

887
01:00:04,239 --> 01:00:08,159
slang cat meant a cool hit person, and the song

888
01:00:08,280 --> 01:00:12,440
famously mentions blue Swede shoes. Now, I had a pair

889
01:00:12,440 --> 01:00:14,719
of blue Swede shoes as a kid, but in no

890
01:00:14,920 --> 01:00:18,239
way did that make me cool. I was and am

891
01:00:18,360 --> 01:00:21,360
far from it, no matter how much cool music I

892
01:00:21,480 --> 01:00:25,239
listened to or how many cool people I associate with.

893
01:00:27,400 --> 01:00:30,440
So on December fourth, nineteen fifty six, Perkins, along with

894
01:00:30,679 --> 01:00:33,960
Johnny Cash, Elvis Presley, and Jerry Lee Lewis, got together

895
01:00:34,079 --> 01:00:38,360
for a spontaneous collaboration at Sun Records, and this became

896
01:00:38,480 --> 01:00:44,039
known as the Million Dollar Quartet Session. Perkins left Sun

897
01:00:44,119 --> 01:00:46,960
Records and signed with Columbia in nineteen fifty eight, and

898
01:00:47,159 --> 01:00:50,000
sons Sam Phillips and Perkins were involved in a legal

899
01:00:50,039 --> 01:00:54,920
battle over royalties. Perkins meanwhile continued recording and touring. He

900
01:00:55,000 --> 01:00:57,719
toured Great Britain in nineteen sixty four along with Chuck

901
01:00:57,760 --> 01:01:01,199
Berry and the Animals and It's a Party where he

902
01:01:01,440 --> 01:01:04,599
entertained the guests by playing guitar and telling stories which

903
01:01:04,679 --> 01:01:08,199
could have been there for that. The party was also

904
01:01:08,440 --> 01:01:13,000
attended by members of the Beatles, who asked Perkins if

905
01:01:13,079 --> 01:01:16,760
they could cover some of his songs, and they ended up,

906
01:01:17,039 --> 01:01:21,360
as I said, covering Honey Don't and also Everybody's Trying

907
01:01:21,400 --> 01:01:27,519
to Be My Baby and Matchbox. The resulting royalties enabled

908
01:01:27,559 --> 01:01:32,719
Perkins to purchase for his parents their very own farm.

909
01:01:34,400 --> 01:01:37,280
He toured with Johnny Cash in nineteen sixty eight, and

910
01:01:37,440 --> 01:01:41,280
they famously supported each other's sobriety for as long as

911
01:01:41,320 --> 01:01:45,159
that lasted, as Perkins had a drinking problem at the time.

912
01:01:45,800 --> 01:01:48,800
Perkins played lead guitar on Cash as a boy named Sue.

913
01:01:49,320 --> 01:01:52,119
He also collaborated with Bob Dylan in nineteen sixty nine

914
01:01:52,199 --> 01:01:55,480
when Dylan appeared on The Johnny Cash Show. The nineteen

915
01:01:55,519 --> 01:01:59,559
eighties rockabilly movement helped revive Perkins' career, and he also

916
01:01:59,679 --> 01:02:03,559
collaborated with Paul McCartney in nineteen eighty one and recorded

917
01:02:03,599 --> 01:02:07,159
the song Get It. In nineteen eighty five, he re

918
01:02:07,400 --> 01:02:11,960
recorded Blue Swede Shoes with Lee Rocker and Slim Jim

919
01:02:12,079 --> 01:02:16,360
Phantom of Stray Cats, and also appeared on the television

920
01:02:16,440 --> 01:02:21,960
concert called Blue Swede Shoes, a rockabilly session featuring George Harrison, Ringo, Starr,

921
01:02:22,320 --> 01:02:26,360
Rose and Cash and others and Stray Cats. Brian Setzer

922
01:02:26,559 --> 01:02:29,519
would go on to cover Put Your Cat Clothes On.

923
01:02:30,960 --> 01:02:34,039
Perkins was inducted into the Nashville Hall of Fame in

924
01:02:34,119 --> 01:02:36,559
nineteen eighty five and the Rock and Roll Hall of

925
01:02:36,639 --> 01:02:40,320
Fame for the Songwriters category in nineteen eighty seven. Blue

926
01:02:40,360 --> 01:02:43,079
Swage Shoes won the Grammy Hall of Fame Award in

927
01:02:43,280 --> 01:02:47,480
nineteen eighty six, after which Perkins returned to Sun Records

928
01:02:47,519 --> 01:02:51,880
for further collaborations with Johnny Cash, Jerry Lee, Lewis, Roy Orbison,

929
01:02:52,320 --> 01:02:55,840
and continued through the nineteen eighties with more artists such

930
01:02:55,880 --> 01:02:59,679
as the Judds, Willie Nelson, Dolly Parton, Bono and John Fogerty,

931
01:03:00,159 --> 01:03:04,599
Tom Petty and Paul Simon. Perkins suffered several strokes in

932
01:03:04,719 --> 01:03:08,119
December nineteen ninety seven and passed away on January tenth,

933
01:03:08,239 --> 01:03:11,599
nineteen ninety eight, at the age of only sixty five.

934
01:03:13,119 --> 01:03:16,239
In two thousand and three, perkins widow gained ownership of

935
01:03:16,360 --> 01:03:21,800
his music catalog and contracted with Paul McCartney's MLP Communications,

936
01:03:22,280 --> 01:03:27,239
one of the world's largest music publishers. And I'm going

937
01:03:27,320 --> 01:03:30,679
to conclude by saying that Carl Perkins was not just

938
01:03:30,880 --> 01:03:34,679
an extraordinary musician. He was a major influence on the

939
01:03:34,760 --> 01:03:41,079
British invasion country rockabilly and continues to remain relevant today.

940
01:03:42,239 --> 01:03:46,760
Speaker 3: Agreed, you're here, agreed, I just aim it. You know,

941
01:03:47,000 --> 01:03:52,800
the later the two pays later on. Really all they're

942
01:03:52,880 --> 01:03:55,800
distracting when you watch videos of him performing when as

943
01:03:55,880 --> 01:03:59,199
he was getting older. Just listen, don't look.

944
01:04:01,440 --> 01:04:03,880
Speaker 10: That should be the worst of somebody's probably.

945
01:04:03,559 --> 01:04:05,760
Speaker 3: I know, I know, and I know it sounds so

946
01:04:05,960 --> 01:04:08,599
petty to say it, but it's like, it's like people

947
01:04:08,599 --> 01:04:11,480
who mess up their faces as they get older. It

948
01:04:11,679 --> 01:04:12,400
never goes well.

949
01:04:12,679 --> 01:04:15,800
Speaker 1: Yesh, It's better than that awful face lifts that these

950
01:04:15,880 --> 01:04:19,760
women get where they and men look weird. Yeah, men

951
01:04:19,840 --> 01:04:23,280
get them to, but sometimes they just look weird more.

952
01:04:24,400 --> 01:04:25,599
Speaker 10: Yeah, look at the pictures.

953
01:04:25,679 --> 01:04:29,320
Speaker 3: And you're not fooling anybody. You're not turning the clock back.

954
01:04:29,480 --> 01:04:32,880
You're turning the clock sideways, we know, right, Like, if

955
01:04:33,159 --> 01:04:34,760
you're losing your hair, I get it, all right. And

956
01:04:34,840 --> 01:04:38,000
if medication doesn't wear a hat, just do what I do.

957
01:04:38,159 --> 01:04:40,079
Speaker 8: Yeah, wear a hat, you know, wear a cool hat,

958
01:04:40,119 --> 01:04:41,480
and you know nobody cares.

959
01:04:41,559 --> 01:04:45,159
Speaker 3: Nobody cares. Everybody knows you're getting you know all right.

960
01:04:45,239 --> 01:04:47,079
You were big in the fifties and sixties. It's now

961
01:04:47,119 --> 01:04:48,119
the nineteen nineties.

962
01:04:48,519 --> 01:04:52,519
Speaker 1: We know, real your real friends and your real family

963
01:04:52,639 --> 01:04:54,800
will love and accept you as you are. It doesn't

964
01:04:55,000 --> 01:04:59,519
naturally mean I am ugly. I'm never going to get prettier.

965
01:05:00,079 --> 01:05:04,599
Speaker 2: My friends and family love me, Barbara.

966
01:05:06,400 --> 01:05:09,880
Speaker 8: But listen, if you've got the Beatles looking up to you,

967
01:05:10,599 --> 01:05:13,800
I don't care. Yeah, have to worry about what the

968
01:05:13,920 --> 01:05:15,840
Beatles looked up to you?

969
01:05:16,480 --> 01:05:22,880
Speaker 3: Right, your songs many you can wear your two pays

970
01:05:22,920 --> 01:05:25,119
a loincloth and you'd be just as good. Then you'll

971
01:05:25,159 --> 01:05:29,239
be fine. And the size of those two pays you

972
01:05:29,559 --> 01:05:36,239
nothing showing. All right, Well, thank you, Barbara. That I

973
01:05:36,360 --> 01:05:38,039
was hoping somebody would follow up, But I guess we're

974
01:05:38,039 --> 01:05:42,360
gonna end on that, all right. One more to go.

975
01:05:42,679 --> 01:05:46,280
So my story starts with a tenor singer named Rick

976
01:05:46,400 --> 01:05:48,960
Lewis who was in the US Army in the early

977
01:05:49,039 --> 01:05:53,039
nineteen fifties. He was discharged, came back home, took a

978
01:05:53,079 --> 01:05:57,679
little downtime. He lived in Philadelphia with his mom. Everybody

979
01:05:57,760 --> 01:06:01,119
deserves a little downtime after serving in in the military,

980
01:06:01,400 --> 01:06:03,880
I agree, But his downtime seemed to go on a

981
01:06:03,920 --> 01:06:06,760
little bit longer than his mom thought it should. He

982
01:06:07,280 --> 01:06:09,639
wanted to sing and he was working on putting groups together.

983
01:06:09,840 --> 01:06:12,920
But you know, his mom finally hit the wall and

984
01:06:13,079 --> 01:06:18,239
told Rick get a job, and that was the influence

985
01:06:18,320 --> 01:06:21,639
first song that Rick Lewis would go on to write,

986
01:06:22,039 --> 01:06:27,800
even before he put his singing group together. So one

987
01:06:27,840 --> 01:06:29,559
of the groups that he put together was a duop

988
01:06:29,599 --> 01:06:33,960
group called the Thunderbirds. They first focused on church related material,

989
01:06:34,000 --> 01:06:36,320
but then they started drifting towards the mainstream because that's

990
01:06:36,320 --> 01:06:37,639
where the audience really was.

991
01:06:39,320 --> 01:06:39,920
Speaker 8: In the group.

992
01:06:41,480 --> 01:06:44,280
Speaker 3: The lead vocalist was Bill Horton. He was from North

993
01:06:44,320 --> 01:06:47,719
Carolina born in nineteen twenty nine. Rick Lewis the tenor.

994
01:06:47,800 --> 01:06:50,719
He sang the tenor part. He was the youngest member,

995
01:06:50,880 --> 01:06:55,840
born in Pennsylvania in nineteen thirty three. Earl Beal sang baritone.

996
01:06:55,920 --> 01:06:59,159
He was born in nineteen twenty four in Pennsylvania, one

997
01:06:59,199 --> 01:07:01,280
hundred and two years ago go, which is just boggling

998
01:07:01,360 --> 01:07:05,639
my mind. Raymond Edwards was the base voice. He was

999
01:07:05,719 --> 01:07:08,920
born in nineteen twenty two in Virginia, one hundred and

1000
01:07:09,079 --> 01:07:12,920
four years ago. The group shared writing credit for the

1001
01:07:13,039 --> 01:07:16,760
song Get a Job, as they did with all their tracks,

1002
01:07:16,840 --> 01:07:20,159
because even though Lewis wrote the lyrics, they all contributed

1003
01:07:20,239 --> 01:07:23,760
elements that made it what many people would consider the

1004
01:07:23,960 --> 01:07:27,320
defining do wop song. And I think it still is today.

1005
01:07:28,360 --> 01:07:31,199
We'll see if you guys agree with me. You mentioned duop,

1006
01:07:31,360 --> 01:07:34,599
this is the song that comes up. They auditioned get

1007
01:07:34,679 --> 01:07:37,639
a job around, but nobody was interested until they played

1008
01:07:37,639 --> 01:07:41,679
it for a popular local DJ named Kay Williams. Kay

1009
01:07:41,719 --> 01:07:44,960
Williams was an influential radio personality. He was a black

1010
01:07:45,039 --> 01:07:49,519
DJ and exposed his audience to new black artists, including

1011
01:07:49,639 --> 01:07:52,920
giving bb King his first exposure on radio, so we

1012
01:07:53,039 --> 01:07:56,960
have him to thank for that. Kay also managed local bands,

1013
01:07:57,039 --> 01:07:59,960
He owned a record store, He wrote a newspaper, Colum.

1014
01:08:00,360 --> 01:08:02,960
He would later host a TV show, and he would

1015
01:08:02,960 --> 01:08:05,480
serve on the board of the Wharton School of Business

1016
01:08:05,519 --> 01:08:08,719
at the University of Pennsylvania, among other things. So I

1017
01:08:08,760 --> 01:08:12,599
would say he did pretty well all things considered. One

1018
01:08:12,639 --> 01:08:14,559
of the other things that he did was own a

1019
01:08:14,719 --> 01:08:19,279
small record label named Junior. He signed the Thunderbirds, but

1020
01:08:19,439 --> 01:08:21,640
insisted that they changed their name. He didn't like the

1021
01:08:21,720 --> 01:08:25,840
name Thunderbirds. It was Earl Beale who suggested the Silhouettes

1022
01:08:26,560 --> 01:08:30,760
after the song Silhouettes on the Shade by the Rays,

1023
01:08:30,760 --> 01:08:33,560
which had come out earlier the same year, nineteen fifty seven.

1024
01:08:33,640 --> 01:08:36,239
You may remember that song. One of my favorites from

1025
01:08:36,239 --> 01:08:37,439
the fifties, Silhouettes on the.

1026
01:08:37,479 --> 01:08:39,960
Speaker 2: Shade love it that Harmons Hermits did right.

1027
01:08:40,359 --> 01:08:42,520
Speaker 3: Harmon's Hermits did a cover of it later. Yeah, yeah,

1028
01:08:43,039 --> 01:08:45,920
you are correct, yep. They all liked the name of

1029
01:08:45,920 --> 01:08:49,079
the Silhouettes. So it was the Silhouettes who were signed

1030
01:08:49,119 --> 01:08:52,560
to the Junior label and they recorded two songs at

1031
01:08:52,600 --> 01:08:57,399
the Robinson Recording Laboratories in Philadelphia in October nineteen fifty seven.

1032
01:08:58,000 --> 01:09:00,720
One was a ballad called I Am Lone, which is

1033
01:09:00,800 --> 01:09:03,079
the track that Kay was more interested in and thought

1034
01:09:03,159 --> 01:09:06,039
would be the hit, and they did get a job,

1035
01:09:06,079 --> 01:09:09,119
which was supposed to be the B side in nineteen.

1036
01:09:09,399 --> 01:09:12,039
In November nineteen fifty seven, the records made their way

1037
01:09:12,079 --> 01:09:15,600
to local radio stations, who flipped them over and played

1038
01:09:15,600 --> 01:09:18,359
the B side back when DJ's actually picked their own tracks.

1039
01:09:18,359 --> 01:09:21,119
Because the DJs liked the B side better and get

1040
01:09:21,159 --> 01:09:26,039
a job caught on immediately. Junior Records did additional pressings,

1041
01:09:26,119 --> 01:09:28,560
but they just couldn't keep up with the demand. The

1042
01:09:28,640 --> 01:09:32,840
Silhouettes themselves actually loaded boxes of forty fives into their

1043
01:09:32,920 --> 01:09:35,479
own cars and were delivering them to record stores to

1044
01:09:35,520 --> 01:09:38,079
try to keep up with the demand. I wish I

1045
01:09:38,479 --> 01:09:41,880
knew if they introduced themselves to these record stores and

1046
01:09:42,000 --> 01:09:43,760
said that's actually me on the record, or if they

1047
01:09:43,840 --> 01:09:46,640
just quietly were dropping boxes off. I don't know, but

1048
01:09:46,720 --> 01:09:49,199
how cool would it be to have that, you know?

1049
01:09:50,560 --> 01:09:53,600
So Kay Williams wound up licensing the song to Ember

1050
01:09:53,800 --> 01:09:56,760
Records in New York City, who had a u a

1051
01:09:56,840 --> 01:10:00,439
larger manufacturing and distribution capability than he co do just

1052
01:10:00,520 --> 01:10:04,359
to keep up with the demands. In January nineteen fifty eight,

1053
01:10:04,600 --> 01:10:07,840
Dick Clark heard Get a Job and had the Silhouettes

1054
01:10:07,880 --> 01:10:10,920
on his show American Bandstand a bunch of times to

1055
01:10:11,000 --> 01:10:14,840
perform the song, and that national exposure shot the record

1056
01:10:14,920 --> 01:10:17,800
to number one on both the Billboard Pop Charts and

1057
01:10:18,119 --> 01:10:20,880
the R and B Charts for thirteen weeks. It held

1058
01:10:20,920 --> 01:10:23,960
the spot for thirteen weeks, which is awesome. And remember

1059
01:10:24,039 --> 01:10:26,840
this is the nineteen fifties, segregation was still in full swing.

1060
01:10:27,279 --> 01:10:29,359
They held the number one spot on both charts. The

1061
01:10:29,600 --> 01:10:33,039
R and B charts was the black chart. That was

1062
01:10:33,159 --> 01:10:36,479
just another name for it, so they it was one

1063
01:10:36,520 --> 01:10:38,720
of those songs that just ignored the color barrier. So

1064
01:10:39,479 --> 01:10:43,359
I think that's fantastic. They sold an estimated three million

1065
01:10:43,439 --> 01:10:46,720
copies and guess how much money the band got from

1066
01:10:46,800 --> 01:10:48,000
these three million copies?

1067
01:10:48,520 --> 01:10:52,439
Speaker 8: Oh boy, probably about as much as you make today

1068
01:10:52,680 --> 01:10:57,479
on downads, which is pretty much about three dollars.

1069
01:10:57,600 --> 01:11:00,680
Speaker 3: Yeah, yeah, somewhere around there. They made just about nothing

1070
01:11:00,840 --> 01:11:04,319
on the show. Somehow. I still have no idea how

1071
01:11:04,359 --> 01:11:08,399
this happened. Dick Clark's programming director wound up with half

1072
01:11:08,439 --> 01:11:11,920
of the publishing rights to get a job. I don't

1073
01:11:11,960 --> 01:11:14,119
know how. I don't know what the connections were, but

1074
01:11:14,239 --> 01:11:16,199
he wound up skimming that right off the top.

1075
01:11:16,760 --> 01:11:19,720
Speaker 8: Are you saying that the music business is a little.

1076
01:11:21,039 --> 01:11:24,920
Speaker 3: Sketchy, Yeah, just a little bit. Mercedes could certainly go

1077
01:11:25,039 --> 01:11:30,520
on about that. Yeah, but yes, yes, My understanding is

1078
01:11:30,560 --> 01:11:35,159
it's quite corrupt in many many aspects. Everybody made money

1079
01:11:35,159 --> 01:11:38,119
on get a job except the band and Kay Williams,

1080
01:11:38,159 --> 01:11:41,000
the guy who actually recorded it, produced it, made it

1081
01:11:41,319 --> 01:11:41,640
the hit.

1082
01:11:42,600 --> 01:11:45,119
Speaker 8: They needed to get a job after the recording, Yeah.

1083
01:11:45,000 --> 01:11:47,640
Speaker 3: They did. Actually, funny should mention that because lead singer

1084
01:11:47,680 --> 01:11:50,840
Bill Horton and bass singer Raymond Edwards quit because they

1085
01:11:50,920 --> 01:11:52,399
had to. They had to go and make a living.

1086
01:11:52,439 --> 01:11:55,199
They had families. They left on good terms. There were

1087
01:11:55,239 --> 01:11:58,000
no hard feelings. Everybody understood you have to, you know,

1088
01:11:58,279 --> 01:12:02,239
make money to live. Rick Lewis and Earl Beal recruited

1089
01:12:02,279 --> 01:12:04,920
two new members. They kept touring as the Silhouettes, and

1090
01:12:05,039 --> 01:12:08,159
they did well enough they made a living at it. All.

1091
01:12:08,199 --> 01:12:11,319
The original members wound up reuniting in nineteen eighty for

1092
01:12:11,399 --> 01:12:14,239
a one off TV special, and they had so much

1093
01:12:14,279 --> 01:12:17,840
fun doing it that they continued to perform regularly, mostly

1094
01:12:17,960 --> 01:12:20,760
in the Pennsylvania New Jersey areas. They would go up

1095
01:12:20,760 --> 01:12:23,800
into Massachusetts, New England every once in a while. And

1096
01:12:23,960 --> 01:12:27,000
while all of this was going on, rick Lewis fought

1097
01:12:27,039 --> 01:12:29,359
the good fight to regain the royalties that they never

1098
01:12:29,479 --> 01:12:32,399
got for their song, and in nineteen eighty seven he

1099
01:12:32,560 --> 01:12:36,640
was finally successful. He finally got his first publishing check

1100
01:12:37,000 --> 01:12:42,079
thirty years after the song came out, which boggles my mind,

1101
01:12:42,239 --> 01:12:45,319
and good for him for putting up that fight for

1102
01:12:45,479 --> 01:12:48,039
thirty years before he finally got something that he was

1103
01:12:48,079 --> 01:12:51,840
supposed to get. The Silhouettes were inducted into the Duop

1104
01:12:51,920 --> 01:12:55,439
Hall of Fame in the inaugural class of nineteen eighty nine.

1105
01:12:56,039 --> 01:12:58,520
By nineteen ninety, they had decided to slow down a

1106
01:12:58,560 --> 01:13:00,960
little bit. They were getting older. They back on gigs

1107
01:13:01,520 --> 01:13:05,279
Their last performance together was on November sixth, nineteen ninety three,

1108
01:13:05,600 --> 01:13:08,560
in Beverly, Massachusetts, where they did a four song set

1109
01:13:08,880 --> 01:13:12,399
that ended with get a job. Bill Horton passed away

1110
01:13:12,680 --> 01:13:16,479
in nineteen ninety five, Raymond Edwards in nineteen ninety seven,

1111
01:13:16,680 --> 01:13:19,960
Earl Beal in two thousand and one, and Richard Lewis

1112
01:13:20,119 --> 01:13:22,279
was the last survivor. He passed away in two thousand

1113
01:13:22,279 --> 01:13:25,520
and five. But this song lives on and will continue

1114
01:13:25,560 --> 01:13:29,239
to live on. It's been used countless times in movies

1115
01:13:29,319 --> 01:13:32,319
and compilation albums, on soundtracks, all that kind of stuff.

1116
01:13:33,319 --> 01:13:37,439
I growing up never really understood all the lyrics because

1117
01:13:37,720 --> 01:13:39,359
the way it was recorded. I always thought it was

1118
01:13:39,359 --> 01:13:40,920
a little bit mushy and all that. So I thought

1119
01:13:40,960 --> 01:13:43,239
I would read some of the lyrics to you, because

1120
01:13:43,359 --> 01:13:46,239
maybe you don't know them either. Starts with well, every

1121
01:13:46,319 --> 01:13:48,479
morning about this time she gets me out of bed

1122
01:13:48,640 --> 01:13:51,640
a cry, and get a job. After breakfast, every day

1123
01:13:51,720 --> 01:13:54,600
she throws the want ads my way and never fails

1124
01:13:54,640 --> 01:13:56,800
to say get a job. Then it goes to the

1125
01:13:56,880 --> 01:14:00,720
chorus later on Lord, And when I get the paper,

1126
01:14:00,840 --> 01:14:03,319
I read it through and through. I my girl never

1127
01:14:03,439 --> 01:14:05,680
failed to see if there is any work for me,

1128
01:14:06,359 --> 01:14:08,479
I got to go back to the house. Hear that

1129
01:14:08,600 --> 01:14:12,239
woman's mouth preaching at a crying tell me that I'm

1130
01:14:12,319 --> 01:14:15,279
lying about getting a lying about a job that I

1131
01:14:15,359 --> 01:14:16,359
never could find.

1132
01:14:18,239 --> 01:14:18,560
Speaker 8: Love it.

1133
01:14:19,039 --> 01:14:21,439
Speaker 3: So feel free to sing along with the silhouettes and

1134
01:14:21,920 --> 01:14:22,640
get a job.

1135
01:14:24,600 --> 01:15:00,920
Speaker 5: Shut because you know the wanted shut up sh Pardo

1136
01:15:04,279 --> 01:15:07,560
Channah Shah part can.

1137
01:15:07,439 --> 01:15:10,399
Speaker 8: Get get back cap kept on the kid, John.

1138
01:15:10,319 --> 01:15:13,000
Speaker 5: China China, who of me?

1139
01:15:13,119 --> 01:15:17,000
Speaker 6: And I ain't getting the army in through.

1140
01:15:19,279 --> 01:15:24,760
Speaker 18: My girl, Tamavil says anywhere by.

1141
01:15:26,920 --> 01:15:28,479
Speaker 6: Then go back to the house.

1142
01:15:28,840 --> 01:15:32,640
Speaker 18: There the Bama's mouth may fine till it had a

1143
01:15:32,760 --> 01:15:33,800
lot about the job.

1144
01:15:36,199 --> 01:15:38,800
Speaker 12: Put fine Shanna Shanna.

1145
01:15:38,520 --> 01:15:47,920
Speaker 5: Dam Channa, Shanna, Hanna Pardo, Shana Tard Channel Chana Na

1146
01:15:48,359 --> 01:15:53,520
Party the kept yet kept get on the kill Shanada San.

1147
01:16:14,239 --> 01:16:14,800
Speaker 6: Give him.

1148
01:16:16,239 --> 01:16:16,680
Speaker 3: M in.

1149
01:16:19,600 --> 01:16:27,840
Speaker 21: My saying there is anywhere for me. I mean, go

1150
01:16:28,039 --> 01:16:30,640
back to the house and you're the worm's mountain.

1151
01:16:30,920 --> 01:16:32,920
Speaker 6: Richard Brin down.

1152
01:16:32,920 --> 01:16:40,199
Speaker 5: A shout ouna.

1153
01:16:40,520 --> 01:16:52,760
Speaker 6: Shout on, shout on Don con Shanna Lad.

1154
01:16:52,720 --> 01:16:56,079
Speaker 15: Shout John Combo.

1155
01:16:58,800 --> 01:17:00,119
Speaker 16: Sha House.

1156
01:17:01,760 --> 01:17:04,920
Speaker 3: Classic. Growing up, that was one of the first songs

1157
01:17:04,920 --> 01:17:07,119
where like the bass voice to me really jumped out

1158
01:17:07,119 --> 01:17:08,520
and I was like, oh, that's so cool.

1159
01:17:09,880 --> 01:17:13,079
Speaker 8: Well, you know, any rock and roller worth his salt,

1160
01:17:13,199 --> 01:17:17,359
whether you're playing or just as a fan, how many

1161
01:17:17,560 --> 01:17:22,119
times did you hear someone tell you to get a job?

1162
01:17:22,239 --> 01:17:24,880
I mean all you wanted to do is kind of

1163
01:17:25,399 --> 01:17:28,159
be a bum and listen to rock and roll music. Yeah,

1164
01:17:28,720 --> 01:17:32,840
it's like universal and it transcends all the genres and

1165
01:17:32,880 --> 01:17:35,520
all the decades and all that. To me, that's why

1166
01:17:35,640 --> 01:17:39,079
that song resonated more than when it was a B

1167
01:17:39,319 --> 01:17:44,119
side than the original A side did. It's like everybody

1168
01:17:44,239 --> 01:17:47,680
gets it. Everybody who anybody who has a rock and

1169
01:17:47,800 --> 01:17:48,960
roll hert gets it.

1170
01:17:50,239 --> 01:17:53,359
Speaker 3: I've had conversations with some people, but you know, somebody

1171
01:17:53,399 --> 01:17:56,680
wants to be a professional musician. That's a job. It

1172
01:17:56,760 --> 01:17:58,520
takes a lot of work, It takes a lot of dedication.

1173
01:17:58,640 --> 01:18:01,119
You have to promote yourself. But what's the difference between

1174
01:18:01,199 --> 01:18:03,720
that and starting your own plumbing business or contract or

1175
01:18:03,800 --> 01:18:06,680
business or You still have to hustle, You still have

1176
01:18:06,720 --> 01:18:08,720
to promote yourself, you still have to get your name

1177
01:18:08,760 --> 01:18:11,720
out in front of it. So what's the difference. Why

1178
01:18:11,880 --> 01:18:14,920
is one considered an honorable profession and the other one

1179
01:18:14,960 --> 01:18:15,720
you considered a bum?

1180
01:18:17,039 --> 01:18:20,000
Speaker 8: Because it's rock and roll yeah, yeah, or any kind

1181
01:18:20,039 --> 01:18:21,600
of music, and that's what makes it great.

1182
01:18:21,880 --> 01:18:26,439
Speaker 3: Yeah, I would agree, I would agree. So that's something

1183
01:18:26,479 --> 01:18:28,199
we haven't talked about in a while. In the middle,

1184
01:18:28,239 --> 01:18:31,399
there was the saxophone solo, because for years, especially in

1185
01:18:31,479 --> 01:18:33,600
the early rock and roll, it was the saxophone that

1186
01:18:33,640 --> 01:18:36,720
would take the front and center position for solos. If

1187
01:18:36,760 --> 01:18:38,119
you did that later on, that would have been a

1188
01:18:38,199 --> 01:18:41,399
guitar solo, maybe a piano solo. But so that was

1189
01:18:41,439 --> 01:18:44,279
played by Rollie McGill, who played saxophone on a bunch

1190
01:18:44,279 --> 01:18:47,000
of other different recordings as too, but a great example

1191
01:18:47,039 --> 01:18:50,239
of that as well. I thought, so love that song.

1192
01:18:50,359 --> 01:18:55,239
It just doesn't get old. What can I say? Yeah,

1193
01:18:55,319 --> 01:18:58,720
it's great, yep, all right, good, Well I'm done. You

1194
01:18:58,800 --> 01:19:03,319
guys done. Yeah, we're good. Everybody's gonna go follow instructions

1195
01:19:03,439 --> 01:19:05,239
or write their own or ignore I guess rock and

1196
01:19:05,319 --> 01:19:08,840
Roman you have to ignore them. What can I say? Hey, yeah,

1197
01:19:09,560 --> 01:19:11,960
all right, so let's pull the plug, let's move on

1198
01:19:12,319 --> 01:19:15,720
and uh see the rest of the week takes us right, son,

1199
01:19:15,760 --> 01:19:18,560
it's good, all right. Thank you cram Bones for excellent

1200
01:19:18,640 --> 01:19:20,840
choices as always, and thank you all for joining us

1201
01:19:20,840 --> 01:19:23,039
for the rock and roll history show. Don't forget to

1202
01:19:23,079 --> 01:19:25,800
subscribe in your favorite podcast app and check out all

1203
01:19:25,840 --> 01:19:27,840
the other shows we do at Hudson River Radio because

1204
01:19:27,880 --> 01:19:31,119
there is something for everybody. We already actually picked our

1205
01:19:31,159 --> 01:19:33,760
topic for next week while songs were playing because we

1206
01:19:33,840 --> 01:19:35,880
were just bouncing ideas, so we know what we're doing,

1207
01:19:35,960 --> 01:19:38,520
which is so rare. So we'll see you next week

1208
01:19:38,600 --> 01:19:40,439
with another brand new episode of the Rock and Roll

1209
01:19:40,520 --> 01:19:43,680
History Show. Till then, be safe and peace out, everybody.

1210
01:19:45,960 --> 01:19:46,920
Speaker 6: Rock cop bottom it.

1211
01:19:50,119 --> 01:19:51,039
Speaker 16: Okay, Bye bye.

1212
01:19:52,960 --> 01:19:57,520
Speaker 3: Hudson River Radio dot com a subsidiaria of Placier Entertainment LLC.

1213
01:19:58,000 --> 01:20:01,600
Speaker 9: Potentially successful it multi high underd dollar corporation US