Speaker 1: All right, everybody, welcome back to the Shirley You Can't
be Serious podcast.
Speaker 2: Do you have been waiting all week? We are finally
ready to dive in track my track for one of
the most iconic albums of the eighties, Slippery When Wet.
Speaker 1: We need to stop talking now and start right back
where we left off.
Speaker 2: Let's go.
Speaker 1: Again.
Speaker 3: We're back with Johann Sebastian Bach here, not the skid
row guy, but the old composer guy. That's what Dave
Brian is playing right here at the beginning of this album.
Speaker 1: And I love it. I didn't even I told you
I did not have this album.
Speaker 3: The first concert that my band did, I went out
there and played a riff on Takata and fugue by
Bach to start off the show, and we got We've
got Ritchie in there with some strong power chords.
Speaker 2: Let's listen to it.
Speaker 3: Okay, keep going, and then we crescendo into this awesome beginning.
Speaker 2: Okay, let it rock is a great concert starter. Yeah,
it's an opener, ye sure, so, I mean it's the
one Dave Brian. You know you got the silhouette and
what's going on on stage? Are they there?
Speaker 1: Yeah?
Speaker 2: Oh? You get the music. Oh, the piano players there.
Oh are those guys putting guitars on? You know it's
the beginning of a concert song, right, and then the
whos of Let It Rock is a great kickoff song.
Speaker 1: Yeah.
Speaker 2: Did you know that that intro, that piano intro has
a name? Okay, the intro before Let It rockgates kicked off.
It's called pink Flamingos. Okay, that's that's just what Dave
Brian calls.
Speaker 1: Do you know what?
Speaker 3: I know why they call it that. I did not
know that it had a name, But I can tell
you why.
Speaker 1: They call it pink flamingos.
Speaker 3: Okay, Why because no, because when they went to Vancouver,
they put them up in this flat that was a
part of it was like pink stucco flat where all
of these people had saved their whole lives to buy
an apartment in this flat and they stick them in
this tiny little two bedroom right in the middle of
this pink stucco flat, and out in the front they
had pink flamingos.
Speaker 1: Is that right?
Speaker 4: Yeah?
Speaker 2: Wow?
Speaker 1: Nobs huh nobs?
Speaker 2: Okay.
Speaker 1: I could have made that up, but I didn't.
Speaker 2: Oh man, So this song to me. Like we said,
it's a great kickoff song, great concert opener.
Speaker 1: Yeah.
Speaker 2: This is similar in tone in feel, not as gossibly,
but similar purpose as Lay your Hands on Me.
Speaker 1: Yeah.
Speaker 2: It's hey, everybody time for concert. Let's go.
Speaker 1: Yeah, let's get everybody riled up. Let's get them jazzed
up up and getting ready to pop.
Speaker 2: Yeah. Yea love it. Very fun, enjoyable song. So I
saw him on the New Jersey tour, so lay your
Hands on Me was the first song they played. But
in the concert he would say, ladies and gentlemen, master
the keyboards, David Bryant, and he would he played pink
flamingos and that led into Let It Rock.
Speaker 1: Nice.
Speaker 3: It is not one of the top songs for me
on the album, but definitely not a skipper it is.
It's great.
Speaker 1: It gets you pumped up and ready for more.
Speaker 2: The lyrics mentioned Captain Kidd. That was the code name
for John Bonjob. Okay, the King of Swing is the
code name for Richie Sambor.
Speaker 1: Break on Through to the other Side or doors reference
of course.
Speaker 2: Yep, it's got to be right, all right? That does
it for Let It Rock? Let's get into you give
love a bad name.
Speaker 4: Band name.
Speaker 2: Listen. There are three massively iconic songs on this album.
This is the first of those three. This song was
released July twenty third of eighty six, almost a month
before the album was released first single.
Speaker 1: This is the first single.
Speaker 3: Before the song came out, they were opening for thirty
eight Special. Does that blow your mind?
Speaker 2: Oh my god?
Speaker 3: They were still an opening band at this point.
Speaker 2: It's crazy. It's crazy.
Speaker 1: It is crazy.
Speaker 3: And so the video comes out not too long after this.
I mean there's still it's still not there's still just a.
Speaker 1: Band that's opening for another band.
Speaker 2: Right.
Speaker 3: The director of the video is a guy who had
directed Motley Crue videos, which, of course they were pissed
about because they're like, what yeah, because they hate effing
bon Jovi, right, crew hates bon Jovi.
Speaker 1: Right.
Speaker 3: But when they came in to shoot the video, it
is this arena in Los Angeles. They had to paint
over the floor and paint bon Jovi on the floor
because they were not the.
Speaker 2: Main attract I remember when this song flipped like I
was an eighth grader and all of a sudden, the
biggest thing since Slice spread was this band called bon Jovi. Yeah,
and thirty eight special. I didn't even know really who
they were, you know, Okay, I'm gonna blow your mind.
Speaker 1: You ready for this? Yes, You Give.
Speaker 2: Love a Bad Name was written by Richard Sambora, John
bon Jovi, Desmond Child. As we said in Richie's mother's basement,
they wrote this song a couple hours. This was the
first song that they wrote. So have you ever heard
the song if you were a woman and I was
a man by Bonnie Tyler?
Speaker 1: I have because you sent it to me.
Speaker 3: Yeah, And I like to give myself credit that when
you send it to me, You're like, what does the
song sound like?
Speaker 1: And I listened and I was like, I don't know.
And I had to actually like mute at mid chorus.
Speaker 3: I was like, I'm muting mid chorus and I'm like, dude.
Speaker 1: You give love a bad name? Okay, listen.
Speaker 2: This song was a song that Desmond Child had written
for Bonnie Tyler that is a dead ringer for you
to give Love a Bad Name. But he was mad
because that song did not get the kind of attention
that he thought of Garner. So when they were writing
You Give a Bad Name, he borrowed from that song
and said, you know what you had some guitars and
had some good looking dudes up there singing this it
might have a better chance to be a hit, And
so he incorporated that they wrote the lyrics to it,
and John and Richie really didn't know that, and here
we go. You give love a bad name, massive hit.
You blew my mind when you send me that song. Yes, okay,
thank you. Here's a song that came out March of
last year. Okay, it's on the.
Speaker 1: Kings Hante Queen's on the Throne. We were pop soundings
the way, Max, Yes, you do this already.
Speaker 2: I did sang it.
Speaker 1: I was hoping to blow your mind. So you know
who a co writer on the song was, Yeah, you.
Speaker 3: Know what if you if you're feeling thirsty, go to.
Speaker 2: The well and you know, the well keeps producing because
that was a hit. I asked my daughter, I'm like,
you know this song. She's like, oh, yeah, it's on
the radio all the time.
Speaker 3: Yeah, of course it is, because it's got that hooky
hooky hookie.
Speaker 1: It really is.
Speaker 2: That song is called Kings and Queens by Ava.
Speaker 1: Max.
Speaker 2: Okay, I want to talk about the video for a second.
So seventy eight hundred degrees Fahrenheit, John talks about how
embarrassing those videos were. They're a bunch of little movies,
these little vignettes where one of them he was roughing
up a guy for screwing them over for money. You
screwed us out of money or whatever. And then, like
I said, Linda Hamilton chasing them around, stocking them whatever.
And so Wayne Eisham, who's the guy who did videos
for Motley Crue, as you said, He's like, you know
what one of these guys do best, Well, they got
they got a million dollar smile, and they're energetic and
fun on stage. So let's show what they can do
on stage. And so they did this concert, this little thing,
and they filmed it at the Olympic Auditorium in Los Angeles,
like you said, and they just put them on stage
and said, we'll bring some people in, brings them on
Jovia fans and rock it out.
Speaker 1: You'll give the hottest ones the same T shirts that
the girl wore at when we shot the album cover man.
Speaker 3: That is by far the most memorable part of the
video for me even today, but definitely as a what
ten eleven year old kid, I was like, I.
Speaker 2: Want to be a rock star hot girls with rip
shirts say slipper.
Speaker 1: And what right? So did you know that they initially
intended this to be for lover Boy? Okay?
Speaker 2: I heard this?
Speaker 1: Yeah? Why didn't Why I didn't go to.
Speaker 3: Loverboy because they decided it was better for them, because
they said, you know what, this sounds like a pretty
good hit.
Speaker 2: Yeah, I think we'll hang on to this one.
Speaker 1: Yeah. Wow. Yeah. He he liked what Brian Adams had
done with Tina Turner, and so he had this kind
of idea in his head that I'm gonna write some
of these songs to all write it. We'll get a
big name to sing it. I'll sing a duet with them,
and that'll be how I make my name. They didn't
need it, No.
Speaker 2: This song hit number one November twenty ninth of eighty six,
spent twenty four weeks on the chart. In five this
song became a number one hit in Poland when Polish singer.
Speaker 1: Na, We're not gonna work anymore here anymore? For sure?
Speaker 2: The Mendarian Mandarina.
Speaker 3: Okay, Mandarina, Mandarina, It's Mandarina Okay, Okay, is it just
the one name? Is it?
Speaker 1: Sure?
Speaker 2: Okay, it's like Madonna Mandarina. Okay, number one hit nineteen
eighty six, amazing iconic eighties song, freaking love it, but
still not the biggest song on the album. All Right,
this brees is the song number three, the biggest song
on the album and maybe the biggest song of the eighties.
Speaker 1: Wow, he blew back.
Speaker 2: What maybe the biggest song of the eighties, living on
a prayer. The song is amazingly good. My grandmother knows
this song and my daughter knows the song. Yeah, there
are iconic songs and then there are songs like this.
Speaker 3: So not only do you have stellar music coming in,
not only do you have stellar vocal chorus going on
with all of the singers in the band, but you
have a song that is the working man's song in
the same vein as Bob Seeger or Bruce Springsteen or
Billy Joel. When he starts talking about Tommy and Gina,
you have a picture of those two people.
Speaker 1: In your head. He paints the movie for you and
it is perfect. It's awesome. It's awesome.
Speaker 2: Let's talk about Tommy and Gina for a second. Okay, yes,
when they were I think this song with Desmond Childe,
Desmond child is his professional name. His real name is
John Charles Barrett yep. Okay, So he's born and raised Johnny.
Speaker 1: Yeah, okay.
Speaker 2: His girlfriend at the time, Yes, Her nickname at the
diner she's saying at was Gina.
Speaker 1: She worked as a waitress.
Speaker 2: She she was a singing waitress. Oh, okay, she was
a singing waitress.
Speaker 1: Yes, she was.
Speaker 3: They called her Gina because she looked like an actress
that was famous in the sixties whose name was Gene.
Speaker 1: Was kind of a bombshell.
Speaker 2: Yeah. So the working names were Johnny and Gina. They
liked how it was that alliteration there, but John bon
Jovi says, I can't. I can't see that the people
think I'm talking about me.
Speaker 1: I don't want to do that.
Speaker 2: I can't. It can't be Johnny, right, So they changed
it to Tommy and Gina.
Speaker 1: So do you know who the girlfriend was, No, Gina, Yeah, Gina.
Speaker 3: So the girlfriend of Desmond Child, Yes, who, as we
said at the time, was working in a diner.
Speaker 1: Yes, and people call her Gina. Yes.
Speaker 3: Her real name was Maria Vidal Okay. And she's also
a singer songwriter, and she also had a huge hit
in nineteen eighty four called body Rock, What and If you.
Speaker 1: Happen to Remember?
Speaker 3: There was also a movie which this song featured predominantly
in called body Rock. That was a breakdancing movie starring
Lorenzo Lamas, and it was a megaflop as a breakdancer myself.
I was excited about Beet Street and I was excited
about breaking and breaking to electric boogloo.
Speaker 1: But body Rock was so bad it didn't even it
didn't even make the horizon.
Speaker 3: So Maria Vidal is Gina, and yes, she went on
to become a famous singer songwriter herself.
Speaker 2: Wow, that is awesome.
Speaker 1: That is awesome.
Speaker 2: Tommy and Gina actually make a reappearance in the song
ninety nine in the Shade on New Jersey. Oh okay,
And in a song It's My Life, It's My Life,
which is on the Crush album which reinvigorated Bonjovi's career.
Speaker 1: Oh yeah, huge, that's one of my kid's favorites.
Speaker 2: It's a great song. It's a great song.
Speaker 1: Now I'll say this, living on a prayer and you
give love a bad name and want a dead or
a life. We're all on the very first mixed CD.
Speaker 3: That I made for my two oldest children back when
CDs were still a thing. Right, So my seventeen year
old and my fifteen year old can tell you, Hey,
we had a CD that had Living on a Prayer
and this is a conversation.
Speaker 1: I can remember.
Speaker 3: Walking into my probably at the time, four year old
son was talking to my six year old daughter and
he's and he says, it's living on the prairie. She's like,
what hell, it's living on the prayer. And he goes,
it's live on the prayer and he listens, he goes,
it does sound like, he goes, and then she goes,
Wait a minute, No, you're right, that doesn't make any sense.
Can't be living on a prayer. It has to be
living on the prairie. Okay, let's talk about the talk
box for a second.
Speaker 1: Wow Wow Okay, yep.
Speaker 2: Whoa wow wow wow?
Speaker 3: Yeah, sorry the wow. Ritchie Sandbor is famous for the
talk box. You and I had an argument about.
Speaker 2: Three months ago. I can't remember, Oh, I got what
podcast was that. I can't even remember now.
Speaker 1: I know what it was.
Speaker 3: It was Guns N' Roses because there's one song I
can't remember the song is now, there's one song on
Appetite for destruction. That slash uses a talk box and
I said, talkbox. You'd like this because you love von
Jovi and I said talkbox. Probably most famous example is
Peter Frampton on Frampton Comes Alive and you go, no,
you said.
Speaker 2: I said, Richie Sambora Living on a Prayer, And I said,
it's okay.
Speaker 1: You can be wrong. Yes, yeah, it's your opinion. It's
just that your opinion is wrong.
Speaker 4: That's right.
Speaker 2: Still, at least it's in the top two most famous
talk box usage in a song. When you go back
and listen to Living on a Prayer, the talk box
is kind of the spine of the song. It gives
it that chunky sound in the middle.
Speaker 3: Yeah, and for those who are not familiar, Basically, there's
there's a tube that goes up to the guitarist's mouth
and they are able to make voice sounds that translate
through the guitar, so that the guitar is creating the music.
Speaker 1: But the sound is rounded by the voice of the guitarist,
which is why they call it a talk box.
Speaker 2: Okay, let's talk about this. This song has one of
the greatest key changes in rock and roll history. Jon
bon Jovi has talked about how when they asked him
what his biggest regret in his entire career is, he says,
the key change in per huh why because it's freaking
harder to hit those notes right, and especially as you
get older.
Speaker 3: Well, and that was the reason that he didn't That
was one of the reasons he didn't like the song.
The end of the song, he's hitting the top of
his range having to sing it with the other guys
who are having to hit the top of their range.
So he was against this song being on the album.
And Richie Sambora said, this is a number one hit
and thank goodness for the Pizza Parlor Jury.
Speaker 2: Really one of the most iconic songs in the eighties right.
In fact, according to VH one the Greatest Songs of
the eighties, this is VH one. This is not Jason Golvin.
This is VH one, the number one greatest song of
the nineteen eighties, Living on a Prayer, Wow, Number two,
Poor Some Sugar on Me, Number three, Hungry.
Speaker 1: Like it just sounds like we need to cover Duran
Duran in Season.
Speaker 2: Three, number four, Billy Jean, number five, when dufscry so listen.
This song was released on Halloween nineteen eighty six. It
reached number one February fourteenth of nineteen eighty seven, was
number one for four straight weeks, which is the longest
of any song in nineteen eighty seven.
Speaker 1: You Give Love a Bad Name had been there for
one week.
Speaker 2: One week.
Speaker 1: Yep, yep.
Speaker 2: Let's talk about the video for just a second. Okay,
the video takes place. They're like in sound check and
they're they're warming up, and it's all in black and white,
and they're singing living on a prayer and they're run
around having a great time, and they're practicing with these
ropes that make them fly right, and they kind of
bring them up over the crowd, and when it hits
that important part of the song, it switches the color
and then there's a live crowd, but it's like they're
flying out over the crowd, and it is awesome. That
key change is incredible.
Speaker 3: So this one also got pumped back up again whenever
Blake Lewis performed it on the two thousand and seven
season of American Idol. But I think my favorite outside
use of this song was on the Money episode of
the Office, where Dwight played it on the recorder.
Speaker 1: All right, we can't say enough.
Speaker 2: Have we done with?
Speaker 1: Lived on a pairent? I hate to be but we
got to move on.
Speaker 2: It's one of the best songs in the eighties, maybe
maybe the best, maybe the best, and maybe my favorite.
Speaker 1: It's it's very good.
Speaker 2: Let's talk about the next song, song called Social Disease.
Speaker 1: This is a different feel it does.
Speaker 3: It says a different field than the songs that we've
heard up until this point. And I think this is
another song. I think they considered have an Aerosmith perform
this song. Aersmith wanted this song, and I can totally
hear Aerosmith doing this song absolutely.
Speaker 2: The horns, yeah, you know.
Speaker 3: Yeah, And that was the thing about Bruce Fairbairn. He
was a trumpet player, like he was not. He was
a horn player, he was not a guitarist, and so
he kind of just let them be them. But he
also brought the horns in. I mean, how many hard
rock songs have horns in them? Not many unless you're
bon Jovi or Aerosmith.
Speaker 2: Yeah, for sure, this definitely has an Aerosmith feel, even
the little talking parts, like at the end when he's
like nothing a shot, can't care. I could totally hear
Steven Tyler doing that.
Speaker 3: Yeah, you know, which makes sense because Bruce Fairburn is
the one who went on to produce Permanent Vacation and
Get a Grip and Get a Grip.
Speaker 1: Yeah, I mean he did a ton of songs, but.
Speaker 2: It doesn't Child wrote due looks like a lady. Oh yeah,
that's right, and Angel.
Speaker 1: Wait a minute, and what it takes. That's right, dude,
looks like a lady.
Speaker 2: Of course, was about Vince Neil Fnce Neil at all crosses.
I like this song.
Speaker 1: I like this song a lot.
Speaker 2: Richard Sambora actually said it's one of his album highlights.
It kind of gets relegated to the back row when
you talk about slabrew and what it's hard not to well,
and especially it lies between living on a prayer and
wanted dead or alive.
Speaker 1: It's a tough spout to be in.
Speaker 2: It's the fast forward spot on your tape probably, but
it's still a good song's fun song.
Speaker 3: Yeah, it's not quite a skipper, but probably when I
was eleven, twelve, thirteen years old, I'm skipping that song.
Speaker 2: Once you got past the sex sounds at the beginning.
Speaker 1: Of it, that was all a little uncomfortable. Yes, is
that it?
Speaker 2: You mean that's it?
Speaker 1: Yeah?
Speaker 2: Still a fun song, but yeah, it's definitely not one
of the three pillars, right, Okay, one of the things
on social disease I was going to talk about. I've
talked about how before my parents scrutinized my music pretty well. Right,
So my dad got a hold of this tape, and
my dad was a very on the surface, you know,
sort of looked over my music. Huh, you're like, all right,
let's take a look at this, and okay, let's sit here,
let it rock. Okay, you give love a bad name?
All right, fine, living on a prayer and we like
that one social disease he queued in on that and
social disease, what is that?
Speaker 1: I don't even like this, so let's do it. Listen it.
Sure you can't hide when the infection starts.
Speaker 2: Because love is a social disease.
Speaker 1: We're talking about.
Speaker 3: Oh wait, you could run the bullet train on thirty
eight double ds.
Speaker 1: Now you know for sure, you know the cure to
make a blind man.
Speaker 3: See that's solid writing right there, getting I'm pretty sure
they wrote that at the number five Orange.
Speaker 2: Okay, this is one of the moments we've been waiting for.
Speaker 1: This is my favorite song on the album.
Speaker 2: This song is called One and Dead Our Life.
Speaker 1: It's so amazing.
Speaker 5: You've got an acoustic twelve string guitar, this western sounding
beginning to it, with these mystical keyboard instruments.
Speaker 1: Going on in the background. You get the when the
bass comes.
Speaker 3: In and it's that kind of hard, you know, and
you see the bad guys showing up in the black
hat and it all breaks down.
Speaker 1: And he says, it's all the same, only the angel change.
Speaker 2: What great ballhole.
Speaker 1: Streaking song is a masterpiece.
Speaker 2: It is a masterpiece.
Speaker 1: The lyrics so good.
Speaker 2: Let's talk about some people have misunderstood what a steel
horse is.
Speaker 3: Yeah, so when you watch the video, you're thinking a
steel horse is going to be the jet or the
bus right.
Speaker 2: Right, or a motorcycle or a car right on a
steel horse I ride uh huh, Yeah. I mean the
idea behind the song. I think you mentioned to it earlier.
It's like being a rock star is sort of like
being an outlaw. You ride into town, you steal the money,
you bag the babes, and you get out of town
before the lawman can get you. Pretty similar, right, right,
the same idea, same feel.
Speaker 3: But it still wears you out, which is that I
think they really capture in the video.
Speaker 2: Yeah for sure.
Speaker 1: But and they talk about the bottle, and they talk
about dealing with life on the road. It's not all
blam and glory. A lot of it is tough, not stuff.
And these guys this is interesting. They toured from nineteen
eighty three until nineteen ninety That is seven years on
the road. Yeah, that's insane.
Speaker 2: It almost destroyed.
Speaker 1: The band it, yes, yes it did.
Speaker 2: We'll talk more about that probably next week. But it
almost killed him. This song is modeled after Turned the
Page by Bob Seger. John was listening to Bob Seger
and he thought to himself, that song right there, we
need a song like that. This song really on the road.
Speaker 1: Yeah, I mean that's what Turned the Page is about
life on the road.
Speaker 2: When they hit that guitar solo and millda song and
it goes into a full scale rocker, it blows me away.
Speaker 3: There are a great many songs in history that are
great songs that have a good guitar solo. There are
only a few songs in history that have guitar solos
that are as memorable as the lyrics in the song,
like you know every note of the solo and Ritchie
Sampor has three of.
Speaker 1: Those at least on this album. Yeah, on this album.
Speaker 2: It's amazing. This song made it all the way up
to number seven on the Hot one hundred.
Speaker 1: Please tell me you looked at what one through six words?
Speaker 2: Well, I looked at number one. Okay, Number one was
you Keep Me Hanging On by Kim Wilde. Good song,
not but not near, not wanted dead or Alive. Number seven.
It didn't crack the top five. It doesn't make any
sense to me. It just doesn't. The producers of Young
Guns Too wanted to use this song for the movie,
but John was like, you know what, the lyrics don't
really fit for your movie. I appreciate that you like
the song. Why don't you let me write something for
your movie. Here you go Blaze of Glory, which was
a number one hit, and this amazing, amazing song.
Speaker 1: For sure, you can talk about the video about the video.
So it's very much in the vein of living on
a prayer and you give love a bad name in
that it's them on the road and them on the.
Speaker 3: Stage, but it's the other side of it. Yeah, it's
the worn outside, it's and it's all in black and white.
Same guy, say why Wayne Iisham did this video as well.
It captures an almost art house film feel of life
on the road. We talk about those you know, the
Journey has their on the road songs, and Motley Crue
has their on the road songs, and this this is
their the tough life of being.
Speaker 1: On the road. Yeah.
Speaker 2: Curiously enough, one of the towns you see in the
background in this video so Coloma City.
Speaker 1: Nice.
Speaker 2: Nobody cares about it but us.
Speaker 3: But this song did something that wasn't being done at
the time, but afterwards became a really big deal, which
was mixing the acoustic guitar in with the.
Speaker 1: Heavy metal sound.
Speaker 3: It just you try to think of something before nineteen
eighty six that had them starting off with acoustic guitar.
I can't think of anything. But then you get Mister Big,
you get Extreme, you get all of these other bands
afterwards that are like, yeah, let's put the acoustic guitar
back into our hard rock, heavy metal sets.
Speaker 1: That was I believe inspired by this song.
Speaker 2: I know. I saw an interview with David Bryan and
he's the one who actually said, you know what, guys,
if this is going to be our national anthem, this
is going to be our theme song, we really need
to go all the way. So he's the one who's like,
we need the wind at the beginning, and we need that,
you know, the chimes and add that extra element of cowboy.
Speaker 1: They didn't get this.
Speaker 3: They had they loved the song, but they didn't. They
couldn't get it right in the studio, and they worked
at it, and they worked at it, and they worked
at it, and they couldn't get it right. And finally
Bruce said, take great, go to the restaurant down the street,
have a little bit of wine.
Speaker 1: Say, went to the restaurant down the street.
Speaker 3: And they had a little bit of wine, and they
came back and they nailed it in one table.
Speaker 2: Nice, okay, freaking amazing song. Iconic eighties song, one of
the three titans on this album.
Speaker 1: Are you done with one? Dead or Life? I hate
to be done with it, but I think I.
Speaker 2: Am all right. Pres stop and your tape player kick
it out, flip it over side too.
Speaker 1: Are you gonna say it? Or am I gonna say it?
Speaker 2: WHOA, We're halfway there. First song on side two, Raise
your Hands.
Speaker 3: Rate kickoff the side too. Man, you can't beat this.
Speaker 2: This is a rocker, man, This is like the heaviest
rocker on the album.
Speaker 1: Yeah, I mean it's it's perfect that they end with
the at the end of side one.
Speaker 3: You know, they brought it down and put in the
acoustic and they're like, okay.
Speaker 1: Back up, boom yep.
Speaker 2: John said that raise your Hands is my way of
saying good morning class. Yeah, this is a great song.
This song. I would compare it to Homebound train off
in New Jersey again, first song on the second side.
Speaker 1: Yeah, yeah good.
Speaker 2: This song is used in the movie space Balls when
Barf and Loan stargo the diner and you see the
Millennium falcon parked out front. They're playing raise your Hands.
They also play good Enough by van Halen.
Speaker 1: That's the shirt line. I was like, I thought it
was van Halen.
Speaker 2: Okay, they play van Halen and they play raise your.
Speaker 1: Hands by Fine Jovie. All right, perfect, all right.
Speaker 2: So one of the things I like about the end
of this song, and it's just a little bit, but
you kind of get that town roll call right where
he's like, oh.
Speaker 3: Right, yeah, every calling around right, Yeah, New York, Detroit, Phoenix, Sarahville,
New Jersey.
Speaker 2: Right, but it's very easy to slip in.
Speaker 1: That's great.
Speaker 2: Tulsa, Milwaukee, Miami Beach, Raise your Hands.
Speaker 1: I'll raise the flag feel Defender.
Speaker 2: Yeah, they got a little bit of that in there.
Speaker 1: Yeah, it's some Motley crustyle song.
Speaker 2: All right, we're done with raise your Hands. Next song
on the album is a song called without Love. This
is one of those songs co written by Desmond Child.
I like this song a lot. It's a ballad. It's
a kind of a slow rocker. Get this. This is
the one song that they've never performed lives and not
really surprising to me.
Speaker 1: I'm not a fan of this one.
Speaker 3: No this and I you know, I want this to
be a great album from beginning to end.
Speaker 1: But this one did not do anything for me at all.
I definitely would be this part of the song. I
like this one.
Speaker 2: I like this one. A friend of mine, Mike Harmon,
guy I work with, this is his favorite song on
the album.
Speaker 1: Wow, sorry for this one.
Speaker 2: Yeah, that's all right, good song, ballad.
Speaker 1: I have a feeling there's a broad strapped involved in
this song. At some point. There's got to be right.
Speaker 2: That lavender purple class that was Yeah, the Mysteries of
the Brock. It's a sweet song. Again, these guys, they
sing songs that most people can relate to. They like
people like to listen to rock, and they like to
have fun. They want to hear songs about love, and
this is one of those songs. Next song, next song
is called I'd Die for You.
Speaker 1: Okay. So when I heard that I'm listening to this.
Speaker 3: Album, I told you I did not have this album
when I was a kid.
Speaker 1: I liked a lot of the songs off the album,
but I didn't have this album on this kid.
Speaker 3: This song starts playing it and I'm like, I didn't
think Runaway was on this album. Yeah, it's not Runaway obviously,
but I was like, whoa, it's similar, is very, very
similar to the beginning of Runaway.
Speaker 2: Here's the funny thing.
Speaker 1: Okay.
Speaker 2: When you and I talked this week prior to our podcast, Yeah,
you said, is that the song that sounds like Runaway?
And I'm like, crap, that song does sound like Runaway.
And I know these songs. It just never done on
me that this is a clone of Runaway.
Speaker 1: Oh totally, So.
Speaker 2: I like it. It's that sort of youthful passion drive.
You know, I'd die you, adcraft you, I'll do anything.
But yeah, it's a clone of Runaway.
Speaker 1: Yeah, and it's it's not Runaway.
Speaker 2: Runaways Runaways better.
Speaker 1: Yeah. But it's not bad, right, it's not bad.
Speaker 2: It's fun.
Speaker 1: It's still a good Yeah, it's still a good pumping.
Speaker 3: If I had to pick one word to describe this album,
it would be throbbing, nice, pulsating, robbing pumping.
Speaker 2: There is some passionate desperation to this. Yeah. And if
you are a person out there and you don't like
the eighty synthesizer, we're in the wrong place because we
love it. Yeah, all right, now, then let's get to
one of the staple makeout songs in nineteen eighty seven.
This song is called never Say Goodbye.
Speaker 3: Here's where I go and awkwardly ask the girl to
slow dance school Journey?
Speaker 1: What should say? Should say yes? They always said yes,
but nothing ever came up. It was just to dance.
Speaker 3: And I never could figure out how those other guys
are like making out midway through the song, Like.
Speaker 2: You know how many mixtapes I put this song on
for how many different girls make out mixtapes. Absolutely, this
is a go to makeout song. I mean this is
a wonderful, lovely powervallid on the album Yeah, you can
see the whole room swaying when they play.
Speaker 1: This for sure? Was this one a single?
Speaker 2: This one was a single? Yeah, Well, here's the deal.
Speaker 1: It was.
Speaker 2: They had a video for it in June of nineteen
eighty seven. It reached number eleven on the Main Street
Rock Charts and number twenty one on the UK Singles.
Because it was not released domestically as a commercially available single,
Never Say Goodbye was ineligible to chart on the Hot
one hundred. Nevertheless, it reached number twenty eight on the
Hot one hundred airplay chart. I love this song.
Speaker 1: It's beautiful.
Speaker 2: If you really want to get my favorite version of
this song, yeah, listen to the acoustic live rendition that's
on the B side of I'll Sleep when I'm Dead
song that came out in nineteen ninety three. He has
this sort of monologue at the beginning, He's like for
this girl in the front row with the pen and
paper making requests, and they go right in to Never
Say Goodbye.
Speaker 3: This song is so much high school love life it
is so much.
Speaker 1: You've got a skimmiscool raising cars and cool.
Speaker 2: We're the sis bad lay.
Speaker 3: Less cool and then we've got Remember at the prom
that night, you and me we had a fight with
the band. They played our favorite song, and I told
you in my arms so strong.
Speaker 4: Also closer dancers law, never let You Go another boomer.
Speaker 1: I love it, I love it.
Speaker 2: It's wonderful. It is a it's a it's a prom song.
Speaker 1: You're absolutely right.
Speaker 2: This is specifically mentioned as a song selected by the
Pizza Parlor jury that would not have made the album
if not for them. Thank you Pizza Parlor Jerry, whoever
you are the kid who said this song doesn't suck,
This one doesn't sing. Thank you? Okay, So one little
tidbit I wanted to talk to you about on Never
Say Goodbye. The original demo has Richie Sambora on lead vocals. Really,
it's kind of interesting if you go back and listen
to the demo, it's it's Richie and for whatever reason,
mainly because they have a superstar lead singer.
Speaker 1: Right, they probably just who's a bit of a he
takes charge.
Speaker 2: There's no doubt he's But anyway, they went went back
with John on Lee vocals for whatever reason.
Speaker 1: Yeah, I don't know that they either one of them
would have been the success that they are without the
I think that's very true. Yeah, love it, Love it.
Speaker 2: Last song on the album a song called Wild in
the Streets.
Speaker 1: Yeah.
Speaker 3: I wish they would have ended the song or ended
the album with the last song.
Speaker 1: I don't know how many times I've said that. I
don't I but.
Speaker 3: Yes, I can hear this and I can say, yeah,
this is a close out song. You're closing out the
concert with this song, and you're probably going to come.
Speaker 1: Out later with an encore. Right. Yeah, But I know
that there were better songs that they had in these
recording sessions that didn't make it under the album that
I think should have been a or would have been
a better choice than this one. I'm with you.
Speaker 2: I I like this song. I do know this song
very well. In other words, to it, it does serve
a purpose in concert as a that's the end of
the first listing until we come back for our encore.
Speaker 1: Right.
Speaker 2: This is a have a great night, see you later, Seattle, right,
and we're gonna go turn off flights to hang out. Wow.
Speaker 4: Wow, it's good.
Speaker 2: It's eighties bon Jovi. There probably are better songs. In fact,
there's a song I do want to talk about after
this one that didn't make the album that probably should
have maybe in its place. One of the things I
want to mention this song has a video that I
did not see until two days ago. What there is
a there's a video for Wild in the Streets. And
the cool thing about this video is it's concert footage
and it's you know, John and the guys running around
when they're in their twenties and they look great and
they're having a great time. Jon bon Jovi is wearing
a YouTube the Unforgettable Fire shirt in this video.
Speaker 1: It's really cool. That's awesome.
Speaker 2: I did read some stuff some riders and things that
they thought this was another number one hit in the making,
like this could have been as big. I'm like, I
don't know, guys, Okay, d One of the songs I
really want to talk about that isn't a part of
Slippery and Wet. It was recorded around the same time.
It was actually a song on the Disorderlies soundtrack The
Fat Boys.
Speaker 1: Do you remember that one? Yeah?
Speaker 2: Anyway, that song is called Edge of a Broken Heart.
Lonely Hot, not that oh okay, and it's not the
it's not the Vixen song either, Broken Heart. This is
the bon Jovie song Edge of a Broken Heart. John
has talked about how it didn't quite make the cut,
but fans have kind of grown attached to it, and
he said, you know what, looking back on it, it
was appropriate for that album. And basically I'm sorry, Yeah,
my bad.
Speaker 3: Yeah, which means that he's probably the one that said,
we hope, yeah, we should.
Speaker 1: Take this off.
Speaker 3: Yeah.
Speaker 2: Well we've come to the end.
Speaker 3: So they've just released a mega hit album, mega hit album,
mega hit, two number one songs, one of which spends
longer in the top position than any other song that year.
They're selling millions of albums, they're touring all over the place.
Speaker 2: What comes next, You'll have to come back next week
when we discuss their follow up album, New Jersey.
Speaker 1: The Yeah, it's.
Speaker 2: Been fun, man, I love talking about these. I think
I'm just going to drive home and listen to this album.
Speaker 1: Yeah, good night, everybody.
Speaker 2: Will see you back here next week on the Shrey
Can't Be Serious podcast, where we will discuss New Jersey
and which album we think is the best.
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