1 00:00:00,160 --> 00:00:02,680 Speaker 1: All right, everybody, welcome back to the Shirley You Can't 2 00:00:02,759 --> 00:00:04,719 be Serious podcast. 3 00:00:05,519 --> 00:00:07,960 Speaker 2: Do you have been waiting all week? We are finally 4 00:00:08,000 --> 00:00:10,480 ready to dive in track my track for one of 5 00:00:10,480 --> 00:00:13,800 the most iconic albums of the eighties, Slippery When Wet. 6 00:00:13,880 --> 00:00:16,600 Speaker 1: We need to stop talking now and start right back 7 00:00:16,600 --> 00:00:17,440 where we left off. 8 00:00:17,960 --> 00:00:18,399 Speaker 2: Let's go. 9 00:00:33,640 --> 00:00:34,000 Speaker 1: Again. 10 00:00:34,439 --> 00:00:38,560 Speaker 3: We're back with Johann Sebastian Bach here, not the skid 11 00:00:38,640 --> 00:00:42,079 row guy, but the old composer guy. That's what Dave 12 00:00:42,359 --> 00:00:45,079 Brian is playing right here at the beginning of this album. 13 00:00:45,640 --> 00:00:48,439 Speaker 1: And I love it. I didn't even I told you 14 00:00:48,520 --> 00:00:49,759 I did not have this album. 15 00:00:49,840 --> 00:00:52,479 Speaker 3: The first concert that my band did, I went out 16 00:00:52,479 --> 00:00:56,600 there and played a riff on Takata and fugue by 17 00:00:57,240 --> 00:01:00,159 Bach to start off the show, and we got We've 18 00:01:00,240 --> 00:01:03,960 got Ritchie in there with some strong power chords. 19 00:01:04,200 --> 00:01:12,920 Speaker 2: Let's listen to it. 20 00:01:13,000 --> 00:01:19,040 Speaker 3: Okay, keep going, and then we crescendo into this awesome beginning. 21 00:01:20,439 --> 00:01:24,400 Speaker 2: Okay, let it rock is a great concert starter. Yeah, 22 00:01:24,439 --> 00:01:28,159 it's an opener, ye sure, so, I mean it's the 23 00:01:28,200 --> 00:01:31,560 one Dave Brian. You know you got the silhouette and 24 00:01:31,599 --> 00:01:33,599 what's going on on stage? Are they there? 25 00:01:33,920 --> 00:01:34,359 Speaker 1: Yeah? 26 00:01:34,480 --> 00:01:37,760 Speaker 2: Oh? You get the music. Oh, the piano players there. 27 00:01:38,200 --> 00:01:41,400 Oh are those guys putting guitars on? You know it's 28 00:01:41,439 --> 00:01:44,439 the beginning of a concert song, right, and then the 29 00:01:45,159 --> 00:01:49,319 whos of Let It Rock is a great kickoff song. 30 00:01:49,519 --> 00:01:55,599 Speaker 1: Yeah. 31 00:01:55,760 --> 00:01:58,840 Speaker 2: Did you know that that intro, that piano intro has 32 00:01:58,879 --> 00:02:02,920 a name? Okay, the intro before Let It rockgates kicked off. 33 00:02:02,920 --> 00:02:06,000 It's called pink Flamingos. Okay, that's that's just what Dave 34 00:02:06,000 --> 00:02:06,519 Brian calls. 35 00:02:06,519 --> 00:02:06,959 Speaker 1: Do you know what? 36 00:02:07,120 --> 00:02:08,719 Speaker 3: I know why they call it that. I did not 37 00:02:09,000 --> 00:02:11,400 know that it had a name, But I can tell 38 00:02:11,479 --> 00:02:12,599 you why. 39 00:02:12,400 --> 00:02:13,680 Speaker 1: They call it pink flamingos. 40 00:02:13,719 --> 00:02:19,680 Speaker 3: Okay, Why because no, because when they went to Vancouver, 41 00:02:20,240 --> 00:02:22,879 they put them up in this flat that was a 42 00:02:22,919 --> 00:02:27,240 part of it was like pink stucco flat where all 43 00:02:27,360 --> 00:02:29,919 of these people had saved their whole lives to buy 44 00:02:30,000 --> 00:02:32,280 an apartment in this flat and they stick them in 45 00:02:32,319 --> 00:02:35,520 this tiny little two bedroom right in the middle of 46 00:02:35,560 --> 00:02:40,000 this pink stucco flat, and out in the front they 47 00:02:40,120 --> 00:02:41,919 had pink flamingos. 48 00:02:42,240 --> 00:02:42,719 Speaker 1: Is that right? 49 00:02:42,840 --> 00:02:43,039 Speaker 4: Yeah? 50 00:02:43,120 --> 00:02:43,400 Speaker 2: Wow? 51 00:02:43,840 --> 00:02:45,319 Speaker 1: Nobs huh nobs? 52 00:02:45,400 --> 00:02:45,719 Speaker 2: Okay. 53 00:02:45,800 --> 00:02:47,400 Speaker 1: I could have made that up, but I didn't. 54 00:02:49,080 --> 00:02:52,080 Speaker 2: Oh man, So this song to me. Like we said, 55 00:02:52,120 --> 00:02:54,719 it's a great kickoff song, great concert opener. 56 00:02:54,879 --> 00:02:55,199 Speaker 1: Yeah. 57 00:02:55,240 --> 00:02:59,520 Speaker 2: This is similar in tone in feel, not as gossibly, 58 00:02:59,680 --> 00:03:02,639 but similar purpose as Lay your Hands on Me. 59 00:03:02,800 --> 00:03:03,439 Speaker 1: Yeah. 60 00:03:03,520 --> 00:03:07,199 Speaker 2: It's hey, everybody time for concert. Let's go. 61 00:03:14,719 --> 00:03:18,319 Speaker 1: Yeah, let's get everybody riled up. Let's get them jazzed 62 00:03:18,400 --> 00:03:19,639 up up and getting ready to pop. 63 00:03:19,840 --> 00:03:24,120 Speaker 2: Yeah. Yea love it. Very fun, enjoyable song. So I 64 00:03:24,159 --> 00:03:25,759 saw him on the New Jersey tour, so lay your 65 00:03:25,759 --> 00:03:28,120 Hands on Me was the first song they played. But 66 00:03:28,240 --> 00:03:31,120 in the concert he would say, ladies and gentlemen, master 67 00:03:31,240 --> 00:03:34,719 the keyboards, David Bryant, and he would he played pink 68 00:03:34,719 --> 00:03:36,919 flamingos and that led into Let It Rock. 69 00:03:37,199 --> 00:03:37,479 Speaker 1: Nice. 70 00:03:37,759 --> 00:03:40,800 Speaker 3: It is not one of the top songs for me 71 00:03:40,840 --> 00:03:43,120 on the album, but definitely not a skipper it is. 72 00:03:43,360 --> 00:03:43,840 It's great. 73 00:03:44,159 --> 00:03:46,759 Speaker 1: It gets you pumped up and ready for more. 74 00:03:47,000 --> 00:03:50,120 Speaker 2: The lyrics mentioned Captain Kidd. That was the code name 75 00:03:50,159 --> 00:03:53,199 for John Bonjob. Okay, the King of Swing is the 76 00:03:53,199 --> 00:03:54,719 code name for Richie Sambor. 77 00:03:54,639 --> 00:03:57,080 Speaker 1: Break on Through to the other Side or doors reference 78 00:03:57,120 --> 00:03:57,560 of course. 79 00:03:57,759 --> 00:04:00,240 Speaker 2: Yep, it's got to be right, all right? That does 80 00:04:00,240 --> 00:04:03,120 it for Let It Rock? Let's get into you give 81 00:04:03,199 --> 00:04:11,919 love a bad name. 82 00:04:10,879 --> 00:04:11,800 Speaker 4: Band name. 83 00:04:16,680 --> 00:04:21,600 Speaker 2: Listen. There are three massively iconic songs on this album. 84 00:04:21,800 --> 00:04:24,040 This is the first of those three. This song was 85 00:04:24,079 --> 00:04:27,480 released July twenty third of eighty six, almost a month 86 00:04:27,519 --> 00:04:29,639 before the album was released first single. 87 00:04:30,079 --> 00:04:30,959 Speaker 1: This is the first single. 88 00:04:31,199 --> 00:04:34,120 Speaker 3: Before the song came out, they were opening for thirty 89 00:04:34,160 --> 00:04:37,720 eight Special. Does that blow your mind? 90 00:04:37,839 --> 00:04:38,759 Speaker 2: Oh my god? 91 00:04:38,959 --> 00:04:41,800 Speaker 3: They were still an opening band at this point. 92 00:04:42,000 --> 00:04:43,639 Speaker 2: It's crazy. It's crazy. 93 00:04:43,680 --> 00:04:44,439 Speaker 1: It is crazy. 94 00:04:45,240 --> 00:04:47,959 Speaker 3: And so the video comes out not too long after this. 95 00:04:48,040 --> 00:04:52,519 I mean there's still it's still not there's still just a. 96 00:04:52,399 --> 00:04:54,000 Speaker 1: Band that's opening for another band. 97 00:04:54,120 --> 00:04:54,319 Speaker 2: Right. 98 00:04:55,079 --> 00:04:58,000 Speaker 3: The director of the video is a guy who had 99 00:04:58,040 --> 00:05:01,160 directed Motley Crue videos, which, of course they were pissed 100 00:05:01,160 --> 00:05:04,360 about because they're like, what yeah, because they hate effing 101 00:05:04,399 --> 00:05:07,319 bon Jovi, right, crew hates bon Jovi. 102 00:05:07,519 --> 00:05:07,720 Speaker 1: Right. 103 00:05:08,040 --> 00:05:10,560 Speaker 3: But when they came in to shoot the video, it 104 00:05:10,600 --> 00:05:14,439 is this arena in Los Angeles. They had to paint 105 00:05:14,439 --> 00:05:17,040 over the floor and paint bon Jovi on the floor 106 00:05:17,079 --> 00:05:18,160 because they were not the. 107 00:05:18,120 --> 00:05:21,560 Speaker 2: Main attract I remember when this song flipped like I 108 00:05:21,600 --> 00:05:24,279 was an eighth grader and all of a sudden, the 109 00:05:24,399 --> 00:05:28,319 biggest thing since Slice spread was this band called bon Jovi. Yeah, 110 00:05:28,360 --> 00:05:30,839 and thirty eight special. I didn't even know really who 111 00:05:30,839 --> 00:05:34,560 they were, you know, Okay, I'm gonna blow your mind. 112 00:05:34,639 --> 00:05:36,560 Speaker 1: You ready for this? Yes, You Give. 113 00:05:36,480 --> 00:05:38,800 Speaker 2: Love a Bad Name was written by Richard Sambora, John 114 00:05:38,839 --> 00:05:42,199 bon Jovi, Desmond Child. As we said in Richie's mother's basement, 115 00:05:42,879 --> 00:05:45,560 they wrote this song a couple hours. This was the 116 00:05:45,600 --> 00:05:48,600 first song that they wrote. So have you ever heard 117 00:05:48,600 --> 00:05:50,680 the song if you were a woman and I was 118 00:05:50,720 --> 00:05:52,000 a man by Bonnie Tyler? 119 00:05:54,519 --> 00:06:02,680 Speaker 1: I have because you sent it to me. 120 00:06:02,800 --> 00:06:05,920 Speaker 3: Yeah, And I like to give myself credit that when 121 00:06:05,959 --> 00:06:07,839 you send it to me, You're like, what does the 122 00:06:07,879 --> 00:06:08,600 song sound like? 123 00:06:08,639 --> 00:06:11,360 Speaker 1: And I listened and I was like, I don't know. 124 00:06:11,439 --> 00:06:13,839 And I had to actually like mute at mid chorus. 125 00:06:13,839 --> 00:06:22,600 Speaker 3: I was like, I'm muting mid chorus and I'm like, dude. 126 00:06:21,120 --> 00:06:23,800 Speaker 1: You give love a bad name? Okay, listen. 127 00:06:24,399 --> 00:06:29,240 Speaker 2: This song was a song that Desmond Child had written 128 00:06:29,680 --> 00:06:32,959 for Bonnie Tyler that is a dead ringer for you 129 00:06:32,959 --> 00:06:46,120 to give Love a Bad Name. But he was mad 130 00:06:46,480 --> 00:06:48,680 because that song did not get the kind of attention 131 00:06:48,759 --> 00:06:50,920 that he thought of Garner. So when they were writing 132 00:06:51,000 --> 00:06:54,360 You Give a Bad Name, he borrowed from that song 133 00:06:54,720 --> 00:06:57,000 and said, you know what you had some guitars and 134 00:06:57,040 --> 00:06:59,279 had some good looking dudes up there singing this it 135 00:06:59,399 --> 00:07:01,279 might have a better chance to be a hit, And 136 00:07:01,319 --> 00:07:03,959 so he incorporated that they wrote the lyrics to it, 137 00:07:04,160 --> 00:07:06,560 and John and Richie really didn't know that, and here 138 00:07:06,560 --> 00:07:08,920 we go. You give love a bad name, massive hit. 139 00:07:09,079 --> 00:07:12,040 You blew my mind when you send me that song. Yes, okay, 140 00:07:12,199 --> 00:07:15,519 thank you. Here's a song that came out March of 141 00:07:15,600 --> 00:07:17,800 last year. Okay, it's on the. 142 00:07:17,879 --> 00:07:22,959 Speaker 1: Kings Hante Queen's on the Throne. We were pop soundings 143 00:07:25,000 --> 00:07:31,160 the way, Max, Yes, you do this already. 144 00:07:31,199 --> 00:07:31,959 Speaker 2: I did sang it. 145 00:07:32,000 --> 00:07:34,439 Speaker 1: I was hoping to blow your mind. So you know 146 00:07:34,480 --> 00:07:39,399 who a co writer on the song was, Yeah, you. 147 00:07:39,399 --> 00:07:43,000 Speaker 3: Know what if you if you're feeling thirsty, go to. 148 00:07:42,959 --> 00:07:46,040 Speaker 2: The well and you know, the well keeps producing because 149 00:07:46,040 --> 00:07:48,040 that was a hit. I asked my daughter, I'm like, 150 00:07:48,079 --> 00:07:49,439 you know this song. She's like, oh, yeah, it's on 151 00:07:49,480 --> 00:07:50,199 the radio all the time. 152 00:07:50,279 --> 00:07:53,319 Speaker 3: Yeah, of course it is, because it's got that hooky 153 00:07:53,639 --> 00:07:54,839 hooky hookie. 154 00:07:55,360 --> 00:07:55,959 Speaker 1: It really is. 155 00:07:56,360 --> 00:07:58,680 Speaker 2: That song is called Kings and Queens by Ava. 156 00:07:58,759 --> 00:07:59,079 Speaker 1: Max. 157 00:07:59,439 --> 00:08:01,839 Speaker 2: Okay, I want to talk about the video for a second. 158 00:08:02,120 --> 00:08:05,959 So seventy eight hundred degrees Fahrenheit, John talks about how 159 00:08:06,040 --> 00:08:08,959 embarrassing those videos were. They're a bunch of little movies, 160 00:08:09,000 --> 00:08:11,399 these little vignettes where one of them he was roughing 161 00:08:11,480 --> 00:08:14,560 up a guy for screwing them over for money. You 162 00:08:15,120 --> 00:08:17,240 screwed us out of money or whatever. And then, like 163 00:08:17,279 --> 00:08:20,839 I said, Linda Hamilton chasing them around, stocking them whatever. 164 00:08:20,920 --> 00:08:25,279 And so Wayne Eisham, who's the guy who did videos 165 00:08:25,279 --> 00:08:27,480 for Motley Crue, as you said, He's like, you know 166 00:08:27,519 --> 00:08:29,240 what one of these guys do best, Well, they got 167 00:08:29,439 --> 00:08:32,639 they got a million dollar smile, and they're energetic and 168 00:08:32,759 --> 00:08:35,000 fun on stage. So let's show what they can do 169 00:08:35,159 --> 00:08:39,519 on stage. And so they did this concert, this little thing, 170 00:08:39,639 --> 00:08:42,639 and they filmed it at the Olympic Auditorium in Los Angeles, 171 00:08:42,639 --> 00:08:45,960 like you said, and they just put them on stage 172 00:08:45,960 --> 00:08:48,320 and said, we'll bring some people in, brings them on 173 00:08:48,399 --> 00:08:50,840 Jovia fans and rock it out. 174 00:09:01,519 --> 00:09:04,639 Speaker 1: You'll give the hottest ones the same T shirts that 175 00:09:04,720 --> 00:09:08,399 the girl wore at when we shot the album cover man. 176 00:09:08,480 --> 00:09:11,519 Speaker 3: That is by far the most memorable part of the 177 00:09:11,600 --> 00:09:15,279 video for me even today, but definitely as a what 178 00:09:15,519 --> 00:09:17,960 ten eleven year old kid, I was like, I. 179 00:09:17,879 --> 00:09:20,039 Speaker 2: Want to be a rock star hot girls with rip 180 00:09:20,120 --> 00:09:21,559 shirts say slipper. 181 00:09:21,279 --> 00:09:24,159 Speaker 1: And what right? So did you know that they initially 182 00:09:24,200 --> 00:09:27,039 intended this to be for lover Boy? Okay? 183 00:09:27,080 --> 00:09:27,639 Speaker 2: I heard this? 184 00:09:27,879 --> 00:09:29,440 Speaker 1: Yeah? Why didn't Why I didn't go to. 185 00:09:29,480 --> 00:09:31,840 Speaker 3: Loverboy because they decided it was better for them, because 186 00:09:31,879 --> 00:09:33,559 they said, you know what, this sounds like a pretty 187 00:09:33,559 --> 00:09:33,879 good hit. 188 00:09:34,039 --> 00:09:35,759 Speaker 2: Yeah, I think we'll hang on to this one. 189 00:09:35,840 --> 00:09:40,639 Speaker 1: Yeah. Wow. Yeah. He he liked what Brian Adams had 190 00:09:40,679 --> 00:09:43,000 done with Tina Turner, and so he had this kind 191 00:09:43,039 --> 00:09:45,840 of idea in his head that I'm gonna write some 192 00:09:45,879 --> 00:09:48,720 of these songs to all write it. We'll get a 193 00:09:48,720 --> 00:09:50,840 big name to sing it. I'll sing a duet with them, 194 00:09:50,840 --> 00:09:53,159 and that'll be how I make my name. They didn't 195 00:09:53,159 --> 00:09:53,559 need it, No. 196 00:09:53,840 --> 00:09:57,159 Speaker 2: This song hit number one November twenty ninth of eighty six, 197 00:09:57,600 --> 00:10:00,600 spent twenty four weeks on the chart. In five this 198 00:10:00,679 --> 00:10:04,200 song became a number one hit in Poland when Polish singer. 199 00:10:13,559 --> 00:10:17,039 Speaker 1: Na, We're not gonna work anymore here anymore? For sure? 200 00:10:17,960 --> 00:10:20,360 Speaker 2: The Mendarian Mandarina. 201 00:10:20,799 --> 00:10:26,039 Speaker 3: Okay, Mandarina, Mandarina, It's Mandarina Okay, Okay, is it just 202 00:10:26,080 --> 00:10:27,159 the one name? Is it? 203 00:10:27,360 --> 00:10:27,600 Speaker 1: Sure? 204 00:10:27,720 --> 00:10:31,919 Speaker 2: Okay, it's like Madonna Mandarina. Okay, number one hit nineteen 205 00:10:31,960 --> 00:10:35,840 eighty six, amazing iconic eighties song, freaking love it, but 206 00:10:35,960 --> 00:10:40,159 still not the biggest song on the album. All Right, 207 00:10:40,240 --> 00:10:43,399 this brees is the song number three, the biggest song 208 00:10:43,879 --> 00:10:47,159 on the album and maybe the biggest song of the eighties. 209 00:10:47,279 --> 00:10:49,519 Speaker 1: Wow, he blew back. 210 00:10:49,679 --> 00:10:53,759 Speaker 2: What maybe the biggest song of the eighties, living on 211 00:10:53,799 --> 00:10:58,279 a prayer. The song is amazingly good. My grandmother knows 212 00:10:58,320 --> 00:11:01,720 this song and my daughter knows the song. Yeah, there 213 00:11:01,759 --> 00:11:05,000 are iconic songs and then there are songs like this. 214 00:11:08,720 --> 00:11:12,919 Speaker 3: So not only do you have stellar music coming in, 215 00:11:13,120 --> 00:11:17,200 not only do you have stellar vocal chorus going on 216 00:11:17,279 --> 00:11:20,559 with all of the singers in the band, but you 217 00:11:20,840 --> 00:11:26,440 have a song that is the working man's song in 218 00:11:26,519 --> 00:11:32,440 the same vein as Bob Seeger or Bruce Springsteen or 219 00:11:32,480 --> 00:11:36,480 Billy Joel. When he starts talking about Tommy and Gina, 220 00:11:36,799 --> 00:11:39,039 you have a picture of those two people. 221 00:11:39,120 --> 00:11:44,879 Speaker 1: In your head. He paints the movie for you and 222 00:11:44,960 --> 00:11:48,279 it is perfect. It's awesome. It's awesome. 223 00:11:48,559 --> 00:11:58,120 Speaker 2: Let's talk about Tommy and Gina for a second. Okay, yes, 224 00:11:59,399 --> 00:12:01,759 when they were I think this song with Desmond Childe, 225 00:12:02,120 --> 00:12:05,480 Desmond child is his professional name. His real name is 226 00:12:05,600 --> 00:12:11,200 John Charles Barrett yep. Okay, So he's born and raised Johnny. 227 00:12:11,360 --> 00:12:11,919 Speaker 1: Yeah, okay. 228 00:12:12,519 --> 00:12:16,159 Speaker 2: His girlfriend at the time, Yes, Her nickname at the 229 00:12:16,200 --> 00:12:21,360 diner she's saying at was Gina. 230 00:12:24,679 --> 00:12:25,639 Speaker 1: She worked as a waitress. 231 00:12:25,960 --> 00:12:28,200 Speaker 2: She she was a singing waitress. Oh, okay, she was 232 00:12:28,200 --> 00:12:28,919 a singing waitress. 233 00:12:29,039 --> 00:12:29,639 Speaker 1: Yes, she was. 234 00:12:29,720 --> 00:12:33,039 Speaker 3: They called her Gina because she looked like an actress 235 00:12:33,240 --> 00:12:35,919 that was famous in the sixties whose name was Gene. 236 00:12:36,120 --> 00:12:37,159 Speaker 1: Was kind of a bombshell. 237 00:12:37,360 --> 00:12:41,440 Speaker 2: Yeah. So the working names were Johnny and Gina. They 238 00:12:41,559 --> 00:12:45,480 liked how it was that alliteration there, but John bon 239 00:12:45,600 --> 00:12:48,120 Jovi says, I can't. I can't see that the people 240 00:12:48,120 --> 00:12:49,039 think I'm talking about me. 241 00:12:49,159 --> 00:12:50,200 Speaker 1: I don't want to do that. 242 00:12:50,240 --> 00:12:52,720 Speaker 2: I can't. It can't be Johnny, right, So they changed 243 00:12:52,759 --> 00:12:54,519 it to Tommy and Gina. 244 00:12:54,679 --> 00:12:58,480 Speaker 1: So do you know who the girlfriend was, No, Gina, Yeah, Gina. 245 00:12:58,759 --> 00:13:03,879 Speaker 3: So the girlfriend of Desmond Child, Yes, who, as we 246 00:13:03,919 --> 00:13:06,919 said at the time, was working in a diner. 247 00:13:07,039 --> 00:13:08,840 Speaker 1: Yes, and people call her Gina. Yes. 248 00:13:09,000 --> 00:13:13,600 Speaker 3: Her real name was Maria Vidal Okay. And she's also 249 00:13:13,720 --> 00:13:17,279 a singer songwriter, and she also had a huge hit 250 00:13:17,440 --> 00:13:22,720 in nineteen eighty four called body Rock, What and If you. 251 00:13:22,840 --> 00:13:23,879 Speaker 1: Happen to Remember? 252 00:13:23,919 --> 00:13:27,039 Speaker 3: There was also a movie which this song featured predominantly 253 00:13:27,120 --> 00:13:32,440 in called body Rock. That was a breakdancing movie starring 254 00:13:32,960 --> 00:13:41,279 Lorenzo Lamas, and it was a megaflop as a breakdancer myself. 255 00:13:42,159 --> 00:13:44,840 I was excited about Beet Street and I was excited 256 00:13:44,879 --> 00:13:47,440 about breaking and breaking to electric boogloo. 257 00:13:48,039 --> 00:13:51,840 Speaker 1: But body Rock was so bad it didn't even it 258 00:13:51,879 --> 00:13:53,159 didn't even make the horizon. 259 00:13:54,759 --> 00:13:58,200 Speaker 3: So Maria Vidal is Gina, and yes, she went on 260 00:13:58,279 --> 00:14:00,919 to become a famous singer songwriter herself. 261 00:14:00,960 --> 00:14:02,480 Speaker 2: Wow, that is awesome. 262 00:14:02,919 --> 00:14:03,559 Speaker 1: That is awesome. 263 00:14:04,000 --> 00:14:08,159 Speaker 2: Tommy and Gina actually make a reappearance in the song 264 00:14:08,240 --> 00:14:11,879 ninety nine in the Shade on New Jersey. Oh okay, 265 00:14:12,399 --> 00:14:15,519 And in a song It's My Life, It's My Life, 266 00:14:15,559 --> 00:14:19,360 which is on the Crush album which reinvigorated Bonjovi's career. 267 00:14:19,440 --> 00:14:21,759 Speaker 1: Oh yeah, huge, that's one of my kid's favorites. 268 00:14:21,919 --> 00:14:23,240 Speaker 2: It's a great song. It's a great song. 269 00:14:23,399 --> 00:14:26,720 Speaker 1: Now I'll say this, living on a prayer and you 270 00:14:26,759 --> 00:14:28,600 give love a bad name and want a dead or 271 00:14:28,600 --> 00:14:31,759 a life. We're all on the very first mixed CD. 272 00:14:31,480 --> 00:14:33,440 Speaker 3: That I made for my two oldest children back when 273 00:14:33,480 --> 00:14:36,279 CDs were still a thing. Right, So my seventeen year 274 00:14:36,320 --> 00:14:39,159 old and my fifteen year old can tell you, Hey, 275 00:14:39,200 --> 00:14:42,120 we had a CD that had Living on a Prayer 276 00:14:42,279 --> 00:14:43,399 and this is a conversation. 277 00:14:43,519 --> 00:14:44,600 Speaker 1: I can remember. 278 00:14:44,240 --> 00:14:47,399 Speaker 3: Walking into my probably at the time, four year old 279 00:14:47,440 --> 00:14:50,080 son was talking to my six year old daughter and 280 00:14:50,120 --> 00:14:54,639 he's and he says, it's living on the prairie. She's like, 281 00:14:54,960 --> 00:14:59,360 what hell, it's living on the prayer. And he goes, 282 00:14:59,519 --> 00:15:02,080 it's live on the prayer and he listens, he goes, 283 00:15:02,080 --> 00:15:04,159 it does sound like, he goes, and then she goes, 284 00:15:04,559 --> 00:15:07,639 Wait a minute, No, you're right, that doesn't make any sense. 285 00:15:08,159 --> 00:15:10,960 Can't be living on a prayer. It has to be 286 00:15:11,000 --> 00:15:17,120 living on the prairie. Okay, let's talk about the talk 287 00:15:17,159 --> 00:15:18,000 box for a second. 288 00:15:18,559 --> 00:15:20,000 Speaker 1: Wow Wow Okay, yep. 289 00:15:20,720 --> 00:15:22,480 Speaker 2: Whoa wow wow wow? 290 00:15:22,639 --> 00:15:28,080 Speaker 3: Yeah, sorry the wow. Ritchie Sandbor is famous for the 291 00:15:28,120 --> 00:15:31,000 talk box. You and I had an argument about. 292 00:15:32,799 --> 00:15:35,320 Speaker 2: Three months ago. I can't remember, Oh, I got what 293 00:15:35,360 --> 00:15:37,039 podcast was that. I can't even remember now. 294 00:15:37,000 --> 00:15:37,600 Speaker 1: I know what it was. 295 00:15:37,679 --> 00:15:40,360 Speaker 3: It was Guns N' Roses because there's one song I 296 00:15:40,360 --> 00:15:42,519 can't remember the song is now, there's one song on 297 00:15:42,600 --> 00:15:46,679 Appetite for destruction. That slash uses a talk box and 298 00:15:46,720 --> 00:15:49,559 I said, talkbox. You'd like this because you love von 299 00:15:49,639 --> 00:15:54,240 Jovi and I said talkbox. Probably most famous example is 300 00:15:54,279 --> 00:15:59,039 Peter Frampton on Frampton Comes Alive and you go, no, 301 00:16:01,679 --> 00:16:02,639 you said. 302 00:16:02,519 --> 00:16:05,919 Speaker 2: I said, Richie Sambora Living on a Prayer, And I said, 303 00:16:06,120 --> 00:16:06,559 it's okay. 304 00:16:06,600 --> 00:16:09,440 Speaker 1: You can be wrong. Yes, yeah, it's your opinion. It's 305 00:16:09,519 --> 00:16:10,600 just that your opinion is wrong. 306 00:16:10,720 --> 00:16:11,120 Speaker 4: That's right. 307 00:16:12,320 --> 00:16:15,360 Speaker 2: Still, at least it's in the top two most famous 308 00:16:15,639 --> 00:16:18,360 talk box usage in a song. When you go back 309 00:16:18,399 --> 00:16:21,240 and listen to Living on a Prayer, the talk box 310 00:16:21,360 --> 00:16:23,360 is kind of the spine of the song. It gives 311 00:16:23,399 --> 00:16:25,360 it that chunky sound in the middle. 312 00:16:25,559 --> 00:16:28,159 Speaker 3: Yeah, and for those who are not familiar, Basically, there's 313 00:16:28,279 --> 00:16:31,639 there's a tube that goes up to the guitarist's mouth 314 00:16:32,360 --> 00:16:37,399 and they are able to make voice sounds that translate 315 00:16:37,840 --> 00:16:41,639 through the guitar, so that the guitar is creating the music. 316 00:16:41,679 --> 00:16:45,360 Speaker 1: But the sound is rounded by the voice of the guitarist, 317 00:16:45,399 --> 00:16:47,200 which is why they call it a talk box. 318 00:16:47,399 --> 00:16:50,879 Speaker 2: Okay, let's talk about this. This song has one of 319 00:16:50,960 --> 00:17:10,039 the greatest key changes in rock and roll history. Jon 320 00:17:10,079 --> 00:17:12,440 bon Jovi has talked about how when they asked him 321 00:17:12,440 --> 00:17:16,160 what his biggest regret in his entire career is, he says, 322 00:17:16,160 --> 00:17:19,319 the key change in per huh why because it's freaking 323 00:17:19,359 --> 00:17:22,480 harder to hit those notes right, and especially as you 324 00:17:22,519 --> 00:17:23,039 get older. 325 00:17:23,519 --> 00:17:25,640 Speaker 3: Well, and that was the reason that he didn't That 326 00:17:25,720 --> 00:17:27,440 was one of the reasons he didn't like the song. 327 00:17:27,960 --> 00:17:30,920 The end of the song, he's hitting the top of 328 00:17:30,960 --> 00:17:33,279 his range having to sing it with the other guys 329 00:17:33,279 --> 00:17:35,119 who are having to hit the top of their range. 330 00:17:35,680 --> 00:17:41,880 So he was against this song being on the album. 331 00:17:42,079 --> 00:17:47,160 And Richie Sambora said, this is a number one hit 332 00:17:47,400 --> 00:17:49,880 and thank goodness for the Pizza Parlor Jury. 333 00:17:50,000 --> 00:17:52,319 Speaker 2: Really one of the most iconic songs in the eighties right. 334 00:17:52,559 --> 00:17:55,839 In fact, according to VH one the Greatest Songs of 335 00:17:55,880 --> 00:17:58,160 the eighties, this is VH one. This is not Jason Golvin. 336 00:17:58,160 --> 00:18:03,359 This is VH one, the number one greatest song of 337 00:18:03,359 --> 00:18:05,640 the nineteen eighties, Living on a Prayer, Wow, Number two, 338 00:18:05,720 --> 00:18:07,759 Poor Some Sugar on Me, Number three, Hungry. 339 00:18:07,440 --> 00:18:09,680 Speaker 1: Like it just sounds like we need to cover Duran 340 00:18:09,759 --> 00:18:11,480 Duran in Season. 341 00:18:11,200 --> 00:18:15,319 Speaker 2: Three, number four, Billy Jean, number five, when dufscry so listen. 342 00:18:15,640 --> 00:18:19,720 This song was released on Halloween nineteen eighty six. It 343 00:18:19,759 --> 00:18:23,200 reached number one February fourteenth of nineteen eighty seven, was 344 00:18:23,279 --> 00:18:25,960 number one for four straight weeks, which is the longest 345 00:18:26,000 --> 00:18:27,799 of any song in nineteen eighty seven. 346 00:18:27,720 --> 00:18:29,640 Speaker 1: You Give Love a Bad Name had been there for 347 00:18:29,759 --> 00:18:30,200 one week. 348 00:18:30,319 --> 00:18:30,759 Speaker 2: One week. 349 00:18:30,880 --> 00:18:31,480 Speaker 1: Yep, yep. 350 00:18:31,759 --> 00:18:34,000 Speaker 2: Let's talk about the video for just a second. Okay, 351 00:18:34,319 --> 00:18:38,319 the video takes place. They're like in sound check and 352 00:18:38,359 --> 00:18:41,039 they're they're warming up, and it's all in black and white, 353 00:18:41,160 --> 00:18:42,880 and they're singing living on a prayer and they're run 354 00:18:42,880 --> 00:18:46,359 around having a great time, and they're practicing with these 355 00:18:46,839 --> 00:18:49,440 ropes that make them fly right, and they kind of 356 00:18:49,640 --> 00:18:52,359 bring them up over the crowd, and when it hits 357 00:18:52,400 --> 00:18:55,640 that important part of the song, it switches the color 358 00:18:56,240 --> 00:18:58,480 and then there's a live crowd, but it's like they're 359 00:18:58,519 --> 00:19:01,880 flying out over the crowd, and it is awesome. That 360 00:19:02,039 --> 00:19:04,119 key change is incredible. 361 00:19:04,240 --> 00:19:07,640 Speaker 3: So this one also got pumped back up again whenever 362 00:19:07,720 --> 00:19:10,279 Blake Lewis performed it on the two thousand and seven 363 00:19:10,400 --> 00:19:15,720 season of American Idol. But I think my favorite outside 364 00:19:15,839 --> 00:19:18,880 use of this song was on the Money episode of 365 00:19:18,920 --> 00:19:22,160 the Office, where Dwight played it on the recorder. 366 00:19:24,960 --> 00:19:26,319 Speaker 1: All right, we can't say enough. 367 00:19:26,400 --> 00:19:26,839 Speaker 2: Have we done with? 368 00:19:26,880 --> 00:19:28,480 Speaker 1: Lived on a pairent? I hate to be but we 369 00:19:28,519 --> 00:19:29,000 got to move on. 370 00:19:29,039 --> 00:19:31,279 Speaker 2: It's one of the best songs in the eighties, maybe 371 00:19:31,480 --> 00:19:33,960 maybe the best, maybe the best, and maybe my favorite. 372 00:19:34,240 --> 00:19:35,960 Speaker 1: It's it's very good. 373 00:19:36,079 --> 00:19:39,200 Speaker 2: Let's talk about the next song, song called Social Disease. 374 00:19:58,599 --> 00:20:00,920 Speaker 1: This is a different feel it does. 375 00:20:01,039 --> 00:20:02,960 Speaker 3: It says a different field than the songs that we've 376 00:20:03,000 --> 00:20:06,480 heard up until this point. And I think this is 377 00:20:06,519 --> 00:20:09,920 another song. I think they considered have an Aerosmith perform 378 00:20:10,000 --> 00:20:13,559 this song. Aersmith wanted this song, and I can totally 379 00:20:13,599 --> 00:20:15,880 hear Aerosmith doing this song absolutely. 380 00:20:15,920 --> 00:20:17,720 Speaker 2: The horns, yeah, you know. 381 00:20:17,920 --> 00:20:20,799 Speaker 3: Yeah, And that was the thing about Bruce Fairbairn. He 382 00:20:20,839 --> 00:20:22,799 was a trumpet player, like he was not. He was 383 00:20:22,839 --> 00:20:25,200 a horn player, he was not a guitarist, and so 384 00:20:25,359 --> 00:20:28,119 he kind of just let them be them. But he 385 00:20:28,200 --> 00:20:31,119 also brought the horns in. I mean, how many hard 386 00:20:31,240 --> 00:20:35,680 rock songs have horns in them? Not many unless you're 387 00:20:35,720 --> 00:20:37,880 bon Jovi or Aerosmith. 388 00:20:38,000 --> 00:20:41,640 Speaker 2: Yeah, for sure, this definitely has an Aerosmith feel, even 389 00:20:41,680 --> 00:20:44,039 the little talking parts, like at the end when he's 390 00:20:44,079 --> 00:20:46,799 like nothing a shot, can't care. I could totally hear 391 00:20:46,839 --> 00:20:47,920 Steven Tyler doing that. 392 00:20:48,039 --> 00:20:51,640 Speaker 3: Yeah, you know, which makes sense because Bruce Fairburn is 393 00:20:51,680 --> 00:20:55,400 the one who went on to produce Permanent Vacation and 394 00:20:55,759 --> 00:20:57,559 Get a Grip and Get a Grip. 395 00:20:57,680 --> 00:20:59,519 Speaker 1: Yeah, I mean he did a ton of songs, but. 396 00:20:59,559 --> 00:21:02,200 Speaker 2: It doesn't Child wrote due looks like a lady. Oh yeah, 397 00:21:02,200 --> 00:21:03,720 that's right, and Angel. 398 00:21:03,559 --> 00:21:08,279 Speaker 1: Wait a minute, and what it takes. That's right, dude, 399 00:21:08,319 --> 00:21:09,160 looks like a lady. 400 00:21:09,240 --> 00:21:12,400 Speaker 2: Of course, was about Vince Neil Fnce Neil at all crosses. 401 00:21:13,160 --> 00:21:14,079 I like this song. 402 00:21:14,440 --> 00:21:15,440 Speaker 1: I like this song a lot. 403 00:21:15,880 --> 00:21:19,880 Speaker 2: Richard Sambora actually said it's one of his album highlights. 404 00:21:20,759 --> 00:21:24,200 It kind of gets relegated to the back row when 405 00:21:24,240 --> 00:21:27,160 you talk about slabrew and what it's hard not to well, 406 00:21:27,200 --> 00:21:30,079 and especially it lies between living on a prayer and 407 00:21:30,119 --> 00:21:30,960 wanted dead or alive. 408 00:21:31,079 --> 00:21:32,000 Speaker 1: It's a tough spout to be in. 409 00:21:32,119 --> 00:21:35,279 Speaker 2: It's the fast forward spot on your tape probably, but 410 00:21:35,359 --> 00:21:36,920 it's still a good song's fun song. 411 00:21:37,119 --> 00:21:41,039 Speaker 3: Yeah, it's not quite a skipper, but probably when I 412 00:21:41,119 --> 00:21:44,039 was eleven, twelve, thirteen years old, I'm skipping that song. 413 00:21:44,079 --> 00:21:46,279 Speaker 2: Once you got past the sex sounds at the beginning. 414 00:21:45,960 --> 00:21:50,640 Speaker 1: Of it, that was all a little uncomfortable. Yes, is 415 00:21:50,680 --> 00:21:51,119 that it? 416 00:21:51,920 --> 00:21:52,640 Speaker 2: You mean that's it? 417 00:21:52,799 --> 00:21:53,920 Speaker 1: Yeah? 418 00:21:54,160 --> 00:21:56,640 Speaker 2: Still a fun song, but yeah, it's definitely not one 419 00:21:56,640 --> 00:21:59,519 of the three pillars, right, Okay, one of the things 420 00:21:59,559 --> 00:22:03,039 on social disease I was going to talk about. I've 421 00:22:03,039 --> 00:22:06,839 talked about how before my parents scrutinized my music pretty well. Right, 422 00:22:07,599 --> 00:22:09,759 So my dad got a hold of this tape, and 423 00:22:10,119 --> 00:22:12,559 my dad was a very on the surface, you know, 424 00:22:12,839 --> 00:22:16,119 sort of looked over my music. Huh, you're like, all right, 425 00:22:16,160 --> 00:22:17,799 let's take a look at this, and okay, let's sit here, 426 00:22:17,880 --> 00:22:20,200 let it rock. Okay, you give love a bad name? 427 00:22:20,240 --> 00:22:22,440 All right, fine, living on a prayer and we like 428 00:22:22,519 --> 00:22:28,240 that one social disease he queued in on that and 429 00:22:28,440 --> 00:22:29,559 social disease, what is that? 430 00:22:30,720 --> 00:22:33,400 Speaker 1: I don't even like this, so let's do it. Listen it. 431 00:22:33,680 --> 00:22:38,160 Sure you can't hide when the infection starts. 432 00:22:38,240 --> 00:22:44,880 Speaker 2: Because love is a social disease. 433 00:22:57,200 --> 00:22:58,119 Speaker 1: We're talking about. 434 00:22:58,799 --> 00:23:03,039 Speaker 3: Oh wait, you could run the bullet train on thirty 435 00:23:03,160 --> 00:23:04,880 eight double ds. 436 00:23:05,319 --> 00:23:09,279 Speaker 1: Now you know for sure, you know the cure to 437 00:23:09,440 --> 00:23:10,440 make a blind man. 438 00:23:10,759 --> 00:23:15,559 Speaker 3: See that's solid writing right there, getting I'm pretty sure 439 00:23:15,599 --> 00:23:20,039 they wrote that at the number five Orange. 440 00:23:20,279 --> 00:23:23,119 Speaker 2: Okay, this is one of the moments we've been waiting for. 441 00:23:24,160 --> 00:23:26,640 Speaker 1: This is my favorite song on the album. 442 00:23:26,720 --> 00:23:29,559 Speaker 2: This song is called One and Dead Our Life. 443 00:23:30,880 --> 00:23:32,880 Speaker 1: It's so amazing. 444 00:23:33,119 --> 00:23:39,720 Speaker 5: You've got an acoustic twelve string guitar, this western sounding 445 00:23:39,960 --> 00:23:44,400 beginning to it, with these mystical keyboard instruments. 446 00:23:43,839 --> 00:23:47,039 Speaker 1: Going on in the background. You get the when the 447 00:23:47,079 --> 00:23:48,200 bass comes. 448 00:23:47,880 --> 00:23:51,359 Speaker 3: In and it's that kind of hard, you know, and 449 00:23:51,880 --> 00:23:54,599 you see the bad guys showing up in the black 450 00:23:54,640 --> 00:23:58,279 hat and it all breaks down. 451 00:24:00,039 --> 00:24:05,720 Speaker 1: And he says, it's all the same, only the angel change. 452 00:24:06,119 --> 00:24:07,880 Speaker 2: What great ballhole. 453 00:24:07,880 --> 00:24:11,079 Speaker 1: Streaking song is a masterpiece. 454 00:24:11,279 --> 00:24:12,240 Speaker 2: It is a masterpiece. 455 00:24:12,599 --> 00:24:15,039 Speaker 1: The lyrics so good. 456 00:24:15,440 --> 00:24:18,720 Speaker 2: Let's talk about some people have misunderstood what a steel 457 00:24:18,799 --> 00:24:19,279 horse is. 458 00:24:19,720 --> 00:24:23,599 Speaker 3: Yeah, so when you watch the video, you're thinking a 459 00:24:23,640 --> 00:24:26,799 steel horse is going to be the jet or the 460 00:24:26,839 --> 00:24:27,759 bus right. 461 00:24:27,640 --> 00:24:30,400 Speaker 2: Right, or a motorcycle or a car right on a 462 00:24:30,440 --> 00:24:32,680 steel horse I ride uh huh, Yeah. I mean the 463 00:24:32,720 --> 00:24:34,920 idea behind the song. I think you mentioned to it earlier. 464 00:24:34,960 --> 00:24:37,240 It's like being a rock star is sort of like 465 00:24:37,279 --> 00:24:40,799 being an outlaw. You ride into town, you steal the money, 466 00:24:41,160 --> 00:24:43,359 you bag the babes, and you get out of town 467 00:24:43,440 --> 00:24:46,160 before the lawman can get you. Pretty similar, right, right, 468 00:24:46,319 --> 00:24:48,039 the same idea, same feel. 469 00:24:47,839 --> 00:24:50,160 Speaker 3: But it still wears you out, which is that I 470 00:24:50,240 --> 00:24:52,119 think they really capture in the video. 471 00:24:52,240 --> 00:24:52,920 Speaker 2: Yeah for sure. 472 00:24:53,160 --> 00:24:56,039 Speaker 1: But and they talk about the bottle, and they talk 473 00:24:56,119 --> 00:24:59,440 about dealing with life on the road. It's not all 474 00:24:59,599 --> 00:25:04,319 blam and glory. A lot of it is tough, not stuff. 475 00:25:04,599 --> 00:25:08,359 And these guys this is interesting. They toured from nineteen 476 00:25:08,519 --> 00:25:14,039 eighty three until nineteen ninety That is seven years on 477 00:25:14,160 --> 00:25:16,160 the road. Yeah, that's insane. 478 00:25:16,200 --> 00:25:17,680 Speaker 2: It almost destroyed. 479 00:25:17,240 --> 00:25:20,200 Speaker 1: The band it, yes, yes it did. 480 00:25:20,279 --> 00:25:24,119 Speaker 2: We'll talk more about that probably next week. But it 481 00:25:24,240 --> 00:25:28,119 almost killed him. This song is modeled after Turned the 482 00:25:28,119 --> 00:25:31,359 Page by Bob Seger. John was listening to Bob Seger 483 00:25:31,640 --> 00:25:34,519 and he thought to himself, that song right there, we 484 00:25:34,559 --> 00:25:37,279 need a song like that. This song really on the road. 485 00:25:37,440 --> 00:25:39,200 Speaker 1: Yeah, I mean that's what Turned the Page is about 486 00:25:39,720 --> 00:25:40,480 life on the road. 487 00:25:40,720 --> 00:25:43,799 Speaker 2: When they hit that guitar solo and millda song and 488 00:25:43,839 --> 00:25:54,200 it goes into a full scale rocker, it blows me away. 489 00:25:56,480 --> 00:26:00,119 Speaker 3: There are a great many songs in history that are 490 00:26:00,119 --> 00:26:02,960 great songs that have a good guitar solo. There are 491 00:26:02,960 --> 00:26:07,119 only a few songs in history that have guitar solos 492 00:26:07,519 --> 00:26:10,319 that are as memorable as the lyrics in the song, 493 00:26:10,839 --> 00:26:15,720 like you know every note of the solo and Ritchie 494 00:26:15,720 --> 00:26:17,039 Sampor has three of. 495 00:26:16,960 --> 00:26:20,559 Speaker 1: Those at least on this album. Yeah, on this album. 496 00:26:20,799 --> 00:26:23,839 Speaker 2: It's amazing. This song made it all the way up 497 00:26:23,880 --> 00:26:26,799 to number seven on the Hot one hundred. 498 00:26:27,319 --> 00:26:29,400 Speaker 1: Please tell me you looked at what one through six words? 499 00:26:29,400 --> 00:26:32,200 Speaker 2: Well, I looked at number one. Okay, Number one was 500 00:26:32,240 --> 00:26:36,039 you Keep Me Hanging On by Kim Wilde. Good song, 501 00:26:36,319 --> 00:26:41,279 not but not near, not wanted dead or Alive. Number seven. 502 00:26:41,720 --> 00:26:43,720 It didn't crack the top five. It doesn't make any 503 00:26:43,799 --> 00:26:46,680 sense to me. It just doesn't. The producers of Young 504 00:26:46,720 --> 00:26:49,640 Guns Too wanted to use this song for the movie, 505 00:26:49,720 --> 00:26:51,640 but John was like, you know what, the lyrics don't 506 00:26:51,640 --> 00:26:54,160 really fit for your movie. I appreciate that you like 507 00:26:54,240 --> 00:26:56,559 the song. Why don't you let me write something for 508 00:26:56,640 --> 00:27:00,799 your movie. Here you go Blaze of Glory, which was 509 00:27:01,079 --> 00:27:04,559 a number one hit, and this amazing, amazing song. 510 00:27:04,680 --> 00:27:06,759 Speaker 1: For sure, you can talk about the video about the video. 511 00:27:06,960 --> 00:27:11,000 So it's very much in the vein of living on 512 00:27:11,039 --> 00:27:14,359 a prayer and you give love a bad name in 513 00:27:14,400 --> 00:27:16,960 that it's them on the road and them on the. 514 00:27:16,960 --> 00:27:20,720 Speaker 3: Stage, but it's the other side of it. Yeah, it's 515 00:27:20,759 --> 00:27:23,440 the worn outside, it's and it's all in black and white. 516 00:27:23,599 --> 00:27:27,119 Same guy, say why Wayne Iisham did this video as well. 517 00:27:27,279 --> 00:27:31,759 It captures an almost art house film feel of life 518 00:27:31,799 --> 00:27:35,839 on the road. We talk about those you know, the 519 00:27:35,920 --> 00:27:41,279 Journey has their on the road songs, and Motley Crue 520 00:27:41,279 --> 00:27:44,200 has their on the road songs, and this this is 521 00:27:44,279 --> 00:27:46,839 their the tough life of being. 522 00:27:46,680 --> 00:27:47,440 Speaker 1: On the road. Yeah. 523 00:27:47,440 --> 00:27:49,680 Speaker 2: Curiously enough, one of the towns you see in the 524 00:27:49,720 --> 00:27:52,079 background in this video so Coloma City. 525 00:27:52,640 --> 00:27:53,559 Speaker 1: Nice. 526 00:27:54,160 --> 00:27:55,359 Speaker 2: Nobody cares about it but us. 527 00:27:55,400 --> 00:27:59,599 Speaker 3: But this song did something that wasn't being done at 528 00:27:59,599 --> 00:28:04,279 the time, but afterwards became a really big deal, which 529 00:28:04,559 --> 00:28:08,480 was mixing the acoustic guitar in with the. 530 00:28:08,440 --> 00:28:09,319 Speaker 1: Heavy metal sound. 531 00:28:10,519 --> 00:28:14,279 Speaker 3: It just you try to think of something before nineteen 532 00:28:14,319 --> 00:28:17,960 eighty six that had them starting off with acoustic guitar. 533 00:28:18,079 --> 00:28:22,039 I can't think of anything. But then you get Mister Big, 534 00:28:22,200 --> 00:28:25,319 you get Extreme, you get all of these other bands 535 00:28:25,400 --> 00:28:28,359 afterwards that are like, yeah, let's put the acoustic guitar 536 00:28:28,480 --> 00:28:31,279 back into our hard rock, heavy metal sets. 537 00:28:31,640 --> 00:28:34,519 Speaker 1: That was I believe inspired by this song. 538 00:28:35,079 --> 00:28:37,079 Speaker 2: I know. I saw an interview with David Bryan and 539 00:28:37,559 --> 00:28:39,920 he's the one who actually said, you know what, guys, 540 00:28:39,960 --> 00:28:42,119 if this is going to be our national anthem, this 541 00:28:42,160 --> 00:28:44,559 is going to be our theme song, we really need 542 00:28:44,599 --> 00:28:47,200 to go all the way. So he's the one who's like, 543 00:28:47,400 --> 00:28:50,119 we need the wind at the beginning, and we need that, 544 00:28:50,559 --> 00:28:55,920 you know, the chimes and add that extra element of cowboy. 545 00:28:55,759 --> 00:28:56,839 Speaker 1: They didn't get this. 546 00:28:57,279 --> 00:28:59,279 Speaker 3: They had they loved the song, but they didn't. They 547 00:28:59,319 --> 00:29:01,480 couldn't get it right in the studio, and they worked 548 00:29:01,519 --> 00:29:02,880 at it, and they worked at it, and they worked 549 00:29:02,880 --> 00:29:05,359 at it, and they couldn't get it right. And finally 550 00:29:05,640 --> 00:29:10,960 Bruce said, take great, go to the restaurant down the street, 551 00:29:11,599 --> 00:29:12,480 have a little bit of wine. 552 00:29:13,559 --> 00:29:15,079 Speaker 1: Say, went to the restaurant down the street. 553 00:29:14,839 --> 00:29:18,440 Speaker 3: And they had a little bit of wine, and they 554 00:29:18,480 --> 00:29:20,440 came back and they nailed it in one table. 555 00:29:21,359 --> 00:29:27,160 Speaker 2: Nice, okay, freaking amazing song. Iconic eighties song, one of 556 00:29:27,160 --> 00:29:28,720 the three titans on this album. 557 00:29:29,079 --> 00:29:30,880 Speaker 1: Are you done with one? Dead or Life? I hate 558 00:29:30,880 --> 00:29:32,039 to be done with it, but I think I. 559 00:29:32,000 --> 00:29:35,960 Speaker 2: Am all right. Pres stop and your tape player kick 560 00:29:36,000 --> 00:29:38,599 it out, flip it over side too. 561 00:29:39,920 --> 00:29:41,680 Speaker 1: Are you gonna say it? Or am I gonna say it? 562 00:29:43,240 --> 00:29:54,359 Speaker 2: WHOA, We're halfway there. First song on side two, Raise 563 00:29:54,400 --> 00:29:55,200 your Hands. 564 00:29:59,039 --> 00:30:02,519 Speaker 3: Rate kickoff the side too. Man, you can't beat this. 565 00:30:02,519 --> 00:30:04,599 Speaker 2: This is a rocker, man, This is like the heaviest 566 00:30:04,640 --> 00:30:05,519 rocker on the album. 567 00:30:05,640 --> 00:30:08,759 Speaker 1: Yeah, I mean it's it's perfect that they end with 568 00:30:08,880 --> 00:30:11,880 the at the end of side one. 569 00:30:12,160 --> 00:30:14,160 Speaker 3: You know, they brought it down and put in the 570 00:30:14,200 --> 00:30:18,519 acoustic and they're like, okay. 571 00:30:17,319 --> 00:30:19,240 Speaker 1: Back up, boom yep. 572 00:30:19,519 --> 00:30:22,359 Speaker 2: John said that raise your Hands is my way of 573 00:30:22,400 --> 00:30:27,680 saying good morning class. Yeah, this is a great song. 574 00:30:27,759 --> 00:30:30,000 This song. I would compare it to Homebound train off 575 00:30:30,000 --> 00:30:33,000 in New Jersey again, first song on the second side. 576 00:30:33,319 --> 00:30:35,000 Speaker 1: Yeah, yeah good. 577 00:30:35,480 --> 00:30:38,480 Speaker 2: This song is used in the movie space Balls when 578 00:30:38,519 --> 00:30:40,720 Barf and Loan stargo the diner and you see the 579 00:30:40,759 --> 00:30:45,160 Millennium falcon parked out front. They're playing raise your Hands. 580 00:30:45,319 --> 00:30:47,079 They also play good Enough by van Halen. 581 00:30:47,240 --> 00:30:49,079 Speaker 1: That's the shirt line. I was like, I thought it 582 00:30:49,119 --> 00:30:49,880 was van Halen. 583 00:30:49,920 --> 00:30:51,839 Speaker 2: Okay, they play van Halen and they play raise your. 584 00:30:51,799 --> 00:30:53,880 Speaker 1: Hands by Fine Jovie. All right, perfect, all right. 585 00:30:53,960 --> 00:30:56,440 Speaker 2: So one of the things I like about the end 586 00:30:56,440 --> 00:30:58,640 of this song, and it's just a little bit, but 587 00:30:58,759 --> 00:31:02,480 you kind of get that town roll call right where 588 00:31:02,480 --> 00:31:03,960 he's like, oh. 589 00:31:03,920 --> 00:31:12,279 Speaker 3: Right, yeah, every calling around right, Yeah, New York, Detroit, Phoenix, Sarahville, 590 00:31:12,359 --> 00:31:13,400 New Jersey. 591 00:31:13,720 --> 00:31:16,240 Speaker 2: Right, but it's very easy to slip in. 592 00:31:17,440 --> 00:31:18,000 Speaker 1: That's great. 593 00:31:18,000 --> 00:31:23,000 Speaker 2: Tulsa, Milwaukee, Miami Beach, Raise your Hands. 594 00:31:23,039 --> 00:31:25,160 Speaker 1: I'll raise the flag feel Defender. 595 00:31:29,039 --> 00:31:31,240 Speaker 2: Yeah, they got a little bit of that in there. 596 00:31:31,920 --> 00:31:34,359 Speaker 1: Yeah, it's some Motley crustyle song. 597 00:31:34,480 --> 00:31:37,160 Speaker 2: All right, we're done with raise your Hands. Next song 598 00:31:37,200 --> 00:31:47,839 on the album is a song called without Love. This 599 00:31:47,920 --> 00:31:50,000 is one of those songs co written by Desmond Child. 600 00:31:50,880 --> 00:31:52,799 I like this song a lot. It's a ballad. It's 601 00:31:52,799 --> 00:31:55,880 a kind of a slow rocker. Get this. This is 602 00:31:55,920 --> 00:32:00,319 the one song that they've never performed lives and not 603 00:32:00,480 --> 00:32:01,519 really surprising to me. 604 00:32:02,599 --> 00:32:03,599 Speaker 1: I'm not a fan of this one. 605 00:32:03,759 --> 00:32:07,200 Speaker 3: No this and I you know, I want this to 606 00:32:07,240 --> 00:32:09,279 be a great album from beginning to end. 607 00:32:09,160 --> 00:32:11,799 Speaker 1: But this one did not do anything for me at all. 608 00:32:11,920 --> 00:32:16,400 I definitely would be this part of the song. I 609 00:32:16,519 --> 00:32:17,119 like this one. 610 00:32:17,359 --> 00:32:20,279 Speaker 2: I like this one. A friend of mine, Mike Harmon, 611 00:32:20,400 --> 00:32:22,400 guy I work with, this is his favorite song on 612 00:32:22,400 --> 00:32:22,720 the album. 613 00:32:22,839 --> 00:32:24,920 Speaker 1: Wow, sorry for this one. 614 00:32:25,000 --> 00:32:28,519 Speaker 2: Yeah, that's all right, good song, ballad. 615 00:32:28,759 --> 00:32:30,960 Speaker 1: I have a feeling there's a broad strapped involved in 616 00:32:31,640 --> 00:32:33,720 this song. At some point. There's got to be right. 617 00:32:36,039 --> 00:32:39,880 Speaker 2: That lavender purple class that was Yeah, the Mysteries of 618 00:32:39,960 --> 00:32:46,480 the Brock. It's a sweet song. Again, these guys, they 619 00:32:46,599 --> 00:32:49,440 sing songs that most people can relate to. They like 620 00:32:49,680 --> 00:32:51,519 people like to listen to rock, and they like to 621 00:32:51,559 --> 00:32:54,279 have fun. They want to hear songs about love, and 622 00:32:54,319 --> 00:32:58,200 this is one of those songs. Next song, next song 623 00:32:58,279 --> 00:33:00,000 is called I'd Die for You. 624 00:33:08,640 --> 00:33:11,079 Speaker 1: Okay. So when I heard that I'm listening to this. 625 00:33:11,039 --> 00:33:12,960 Speaker 3: Album, I told you I did not have this album 626 00:33:13,000 --> 00:33:13,759 when I was a kid. 627 00:33:14,200 --> 00:33:16,240 Speaker 1: I liked a lot of the songs off the album, 628 00:33:16,240 --> 00:33:17,559 but I didn't have this album on this kid. 629 00:33:17,960 --> 00:33:20,640 Speaker 3: This song starts playing it and I'm like, I didn't 630 00:33:20,640 --> 00:33:30,359 think Runaway was on this album. Yeah, it's not Runaway obviously, 631 00:33:30,519 --> 00:33:34,920 but I was like, whoa, it's similar, is very, very 632 00:33:34,960 --> 00:33:36,559 similar to the beginning of Runaway. 633 00:33:37,160 --> 00:33:37,960 Speaker 2: Here's the funny thing. 634 00:33:38,119 --> 00:33:38,400 Speaker 1: Okay. 635 00:33:38,440 --> 00:33:41,680 Speaker 2: When you and I talked this week prior to our podcast, Yeah, 636 00:33:42,359 --> 00:33:44,640 you said, is that the song that sounds like Runaway? 637 00:33:44,640 --> 00:33:47,799 And I'm like, crap, that song does sound like Runaway. 638 00:33:48,559 --> 00:33:51,200 And I know these songs. It just never done on 639 00:33:51,279 --> 00:33:53,160 me that this is a clone of Runaway. 640 00:33:53,200 --> 00:33:54,680 Speaker 1: Oh totally, So. 641 00:33:54,880 --> 00:33:58,720 Speaker 2: I like it. It's that sort of youthful passion drive. 642 00:33:58,880 --> 00:34:02,119 You know, I'd die you, adcraft you, I'll do anything. 643 00:34:02,480 --> 00:34:03,880 But yeah, it's a clone of Runaway. 644 00:34:04,200 --> 00:34:07,119 Speaker 1: Yeah, and it's it's not Runaway. 645 00:34:06,799 --> 00:34:08,360 Speaker 2: Runaways Runaways better. 646 00:34:08,760 --> 00:34:11,079 Speaker 1: Yeah. But it's not bad, right, it's not bad. 647 00:34:11,119 --> 00:34:11,480 Speaker 2: It's fun. 648 00:34:11,480 --> 00:34:13,719 Speaker 1: It's still a good Yeah, it's still a good pumping. 649 00:34:13,880 --> 00:34:16,239 Speaker 3: If I had to pick one word to describe this album, 650 00:34:16,239 --> 00:34:22,920 it would be throbbing, nice, pulsating, robbing pumping. 651 00:34:23,519 --> 00:34:28,199 Speaker 2: There is some passionate desperation to this. Yeah. And if 652 00:34:28,239 --> 00:34:29,760 you are a person out there and you don't like 653 00:34:29,800 --> 00:34:34,960 the eighty synthesizer, we're in the wrong place because we 654 00:34:35,039 --> 00:34:39,679 love it. Yeah, all right, now, then let's get to 655 00:34:39,760 --> 00:34:42,639 one of the staple makeout songs in nineteen eighty seven. 656 00:34:43,800 --> 00:34:54,760 This song is called never Say Goodbye. 657 00:34:55,679 --> 00:34:58,840 Speaker 3: Here's where I go and awkwardly ask the girl to 658 00:34:58,880 --> 00:35:01,400 slow dance school Journey? 659 00:35:01,559 --> 00:35:04,119 Speaker 1: What should say? Should say yes? They always said yes, 660 00:35:04,159 --> 00:35:06,360 but nothing ever came up. It was just to dance. 661 00:35:06,920 --> 00:35:09,000 Speaker 3: And I never could figure out how those other guys 662 00:35:09,000 --> 00:35:11,360 are like making out midway through the song, Like. 663 00:35:11,400 --> 00:35:13,519 Speaker 2: You know how many mixtapes I put this song on 664 00:35:13,679 --> 00:35:17,800 for how many different girls make out mixtapes. Absolutely, this 665 00:35:17,880 --> 00:35:20,679 is a go to makeout song. I mean this is 666 00:35:20,880 --> 00:35:27,760 a wonderful, lovely powervallid on the album Yeah, you can 667 00:35:27,800 --> 00:35:30,400 see the whole room swaying when they play. 668 00:35:30,239 --> 00:35:32,800 Speaker 1: This for sure? Was this one a single? 669 00:35:32,960 --> 00:35:35,679 Speaker 2: This one was a single? Yeah, Well, here's the deal. 670 00:35:36,400 --> 00:35:36,920 Speaker 1: It was. 671 00:35:37,920 --> 00:35:40,559 Speaker 2: They had a video for it in June of nineteen 672 00:35:40,599 --> 00:35:43,079 eighty seven. It reached number eleven on the Main Street 673 00:35:43,119 --> 00:35:45,760 Rock Charts and number twenty one on the UK Singles. 674 00:35:46,440 --> 00:35:50,559 Because it was not released domestically as a commercially available single, 675 00:35:50,679 --> 00:35:53,400 Never Say Goodbye was ineligible to chart on the Hot 676 00:35:53,400 --> 00:35:56,920 one hundred. Nevertheless, it reached number twenty eight on the 677 00:35:56,960 --> 00:36:00,000 Hot one hundred airplay chart. I love this song. 678 00:36:00,079 --> 00:36:00,760 Speaker 1: It's beautiful. 679 00:36:01,159 --> 00:36:03,639 Speaker 2: If you really want to get my favorite version of 680 00:36:03,679 --> 00:36:07,679 this song, yeah, listen to the acoustic live rendition that's 681 00:36:07,719 --> 00:36:10,960 on the B side of I'll Sleep when I'm Dead 682 00:36:11,320 --> 00:36:13,800 song that came out in nineteen ninety three. He has 683 00:36:13,840 --> 00:36:16,800 this sort of monologue at the beginning, He's like for 684 00:36:16,880 --> 00:36:18,679 this girl in the front row with the pen and 685 00:36:18,679 --> 00:36:22,800 paper making requests, and they go right in to Never 686 00:36:22,840 --> 00:36:23,320 Say Goodbye. 687 00:36:23,519 --> 00:36:28,639 Speaker 3: This song is so much high school love life it 688 00:36:28,719 --> 00:36:29,679 is so much. 689 00:36:30,039 --> 00:36:36,679 Speaker 1: You've got a skimmiscool raising cars and cool. 690 00:36:37,239 --> 00:36:40,079 Speaker 2: We're the sis bad lay. 691 00:36:42,920 --> 00:36:47,960 Speaker 3: Less cool and then we've got Remember at the prom 692 00:36:47,960 --> 00:36:50,719 that night, you and me we had a fight with 693 00:36:50,880 --> 00:36:54,199 the band. They played our favorite song, and I told 694 00:36:54,239 --> 00:36:56,440 you in my arms so strong. 695 00:36:56,480 --> 00:37:07,719 Speaker 4: Also closer dancers law, never let You Go another boomer. 696 00:37:11,360 --> 00:37:12,599 Speaker 1: I love it, I love it. 697 00:37:12,599 --> 00:37:15,480 Speaker 2: It's wonderful. It is a it's a it's a prom song. 698 00:37:15,480 --> 00:37:16,360 Speaker 1: You're absolutely right. 699 00:37:22,960 --> 00:37:26,480 Speaker 2: This is specifically mentioned as a song selected by the 700 00:37:26,519 --> 00:37:30,360 Pizza Parlor jury that would not have made the album 701 00:37:30,400 --> 00:37:35,039 if not for them. Thank you Pizza Parlor Jerry, whoever 702 00:37:35,079 --> 00:37:38,519 you are the kid who said this song doesn't suck, 703 00:37:39,119 --> 00:37:43,599 This one doesn't sing. Thank you? Okay, So one little 704 00:37:43,679 --> 00:37:45,679 tidbit I wanted to talk to you about on Never 705 00:37:45,719 --> 00:37:51,920 Say Goodbye. The original demo has Richie Sambora on lead vocals. Really, 706 00:37:51,960 --> 00:37:54,119 it's kind of interesting if you go back and listen 707 00:37:54,119 --> 00:37:57,599 to the demo, it's it's Richie and for whatever reason, 708 00:37:57,880 --> 00:38:02,119 mainly because they have a superstar lead singer. 709 00:38:02,119 --> 00:38:06,119 Speaker 1: Right, they probably just who's a bit of a he 710 00:38:06,280 --> 00:38:06,840 takes charge. 711 00:38:07,960 --> 00:38:10,800 Speaker 2: There's no doubt he's But anyway, they went went back 712 00:38:10,960 --> 00:38:12,840 with John on Lee vocals for whatever reason. 713 00:38:13,000 --> 00:38:15,119 Speaker 1: Yeah, I don't know that they either one of them 714 00:38:15,159 --> 00:38:17,559 would have been the success that they are without the 715 00:38:17,800 --> 00:38:20,599 I think that's very true. Yeah, love it, Love it. 716 00:38:21,159 --> 00:38:24,119 Speaker 2: Last song on the album a song called Wild in 717 00:38:24,119 --> 00:38:24,639 the Streets. 718 00:38:30,360 --> 00:38:31,440 Speaker 1: Yeah. 719 00:38:31,760 --> 00:38:34,079 Speaker 3: I wish they would have ended the song or ended 720 00:38:34,079 --> 00:38:35,199 the album with the last song. 721 00:38:36,280 --> 00:38:38,000 Speaker 1: I don't know how many times I've said that. I 722 00:38:38,000 --> 00:38:39,079 don't I but. 723 00:38:41,119 --> 00:38:43,079 Speaker 3: Yes, I can hear this and I can say, yeah, 724 00:38:43,199 --> 00:38:45,360 this is a close out song. You're closing out the 725 00:38:45,920 --> 00:38:48,239 concert with this song, and you're probably going to come. 726 00:38:48,199 --> 00:38:51,559 Speaker 1: Out later with an encore. Right. Yeah, But I know 727 00:38:51,679 --> 00:38:53,599 that there were better songs that they had in these 728 00:38:53,639 --> 00:38:55,960 recording sessions that didn't make it under the album that 729 00:38:56,039 --> 00:38:58,000 I think should have been a or would have been 730 00:38:58,039 --> 00:39:00,000 a better choice than this one. I'm with you. 731 00:39:00,079 --> 00:39:02,519 Speaker 2: I I like this song. I do know this song 732 00:39:02,639 --> 00:39:04,880 very well. In other words, to it, it does serve 733 00:39:04,920 --> 00:39:07,760 a purpose in concert as a that's the end of 734 00:39:07,800 --> 00:39:10,360 the first listing until we come back for our encore. 735 00:39:10,519 --> 00:39:10,880 Speaker 1: Right. 736 00:39:11,079 --> 00:39:14,920 Speaker 2: This is a have a great night, see you later, Seattle, right, 737 00:39:14,960 --> 00:39:25,480 and we're gonna go turn off flights to hang out. Wow. 738 00:39:24,960 --> 00:39:32,840 Speaker 4: Wow, it's good. 739 00:39:33,079 --> 00:39:37,280 Speaker 2: It's eighties bon Jovi. There probably are better songs. In fact, 740 00:39:37,280 --> 00:39:39,039 there's a song I do want to talk about after 741 00:39:39,079 --> 00:39:42,039 this one that didn't make the album that probably should 742 00:39:42,119 --> 00:39:45,119 have maybe in its place. One of the things I 743 00:39:45,119 --> 00:39:48,760 want to mention this song has a video that I 744 00:39:48,840 --> 00:39:53,679 did not see until two days ago. What there is 745 00:39:53,719 --> 00:39:57,039 a there's a video for Wild in the Streets. And 746 00:39:57,079 --> 00:40:02,000 the cool thing about this video is it's concert footage 747 00:40:02,000 --> 00:40:04,199 and it's you know, John and the guys running around 748 00:40:04,239 --> 00:40:05,960 when they're in their twenties and they look great and 749 00:40:05,960 --> 00:40:08,760 they're having a great time. Jon bon Jovi is wearing 750 00:40:08,800 --> 00:40:11,840 a YouTube the Unforgettable Fire shirt in this video. 751 00:40:11,920 --> 00:40:13,079 Speaker 1: It's really cool. That's awesome. 752 00:40:13,679 --> 00:40:16,440 Speaker 2: I did read some stuff some riders and things that 753 00:40:16,599 --> 00:40:19,760 they thought this was another number one hit in the making, 754 00:40:19,920 --> 00:40:22,119 like this could have been as big. I'm like, I 755 00:40:22,159 --> 00:40:25,440 don't know, guys, Okay, d One of the songs I 756 00:40:25,480 --> 00:40:27,480 really want to talk about that isn't a part of 757 00:40:27,480 --> 00:40:29,719 Slippery and Wet. It was recorded around the same time. 758 00:40:30,119 --> 00:40:34,960 It was actually a song on the Disorderlies soundtrack The 759 00:40:34,960 --> 00:40:35,519 Fat Boys. 760 00:40:35,760 --> 00:40:36,800 Speaker 1: Do you remember that one? Yeah? 761 00:40:36,880 --> 00:40:39,280 Speaker 2: Anyway, that song is called Edge of a Broken Heart. 762 00:40:48,760 --> 00:40:54,599 Lonely Hot, not that oh okay, and it's not the 763 00:40:55,000 --> 00:40:58,480 it's not the Vixen song either, Broken Heart. This is 764 00:40:58,519 --> 00:41:01,320 the bon Jovie song Edge of a Broken Heart. John 765 00:41:01,360 --> 00:41:03,760 has talked about how it didn't quite make the cut, 766 00:41:03,840 --> 00:41:06,920 but fans have kind of grown attached to it, and 767 00:41:07,039 --> 00:41:09,800 he said, you know what, looking back on it, it 768 00:41:09,960 --> 00:41:15,159 was appropriate for that album. And basically I'm sorry, Yeah, 769 00:41:15,440 --> 00:41:15,880 my bad. 770 00:41:16,039 --> 00:41:19,400 Speaker 3: Yeah, which means that he's probably the one that said, 771 00:41:19,920 --> 00:41:21,360 we hope, yeah, we should. 772 00:41:21,079 --> 00:41:21,599 Speaker 1: Take this off. 773 00:41:21,760 --> 00:41:21,960 Speaker 3: Yeah. 774 00:41:23,800 --> 00:41:25,599 Speaker 2: Well we've come to the end. 775 00:41:26,000 --> 00:41:32,760 Speaker 3: So they've just released a mega hit album, mega hit album, 776 00:41:32,760 --> 00:41:36,800 mega hit, two number one songs, one of which spends 777 00:41:36,920 --> 00:41:40,000 longer in the top position than any other song that year. 778 00:41:40,440 --> 00:41:45,480 They're selling millions of albums, they're touring all over the place. 779 00:41:46,960 --> 00:41:50,079 Speaker 2: What comes next, You'll have to come back next week 780 00:41:50,400 --> 00:41:54,079 when we discuss their follow up album, New Jersey. 781 00:41:55,159 --> 00:41:57,320 Speaker 1: The Yeah, it's. 782 00:41:57,159 --> 00:42:00,920 Speaker 2: Been fun, man, I love talking about these. I think 783 00:42:00,960 --> 00:42:03,400 I'm just going to drive home and listen to this album. 784 00:42:03,559 --> 00:42:04,840 Speaker 1: Yeah, good night, everybody. 785 00:42:04,840 --> 00:42:06,559 Speaker 2: Will see you back here next week on the Shrey 786 00:42:06,559 --> 00:42:09,440 Can't Be Serious podcast, where we will discuss New Jersey 787 00:42:09,800 --> 00:42:13,039 and which album we think is the best. 788 00:42:12,800 --> 00:42:15,440 Speaker 1: Don't forget to hit that subscribe button. Do it now. 789 00:42:15,599 --> 00:42:17,599 Speaker 3: I'm not just saying this, I really mean it. You 790 00:42:17,679 --> 00:42:21,079 got your phone right there, the app is right there. 791 00:42:21,159 --> 00:42:22,639 All you have to do is hit the little button 792 00:42:22,639 --> 00:42:24,840 that says subscribe. 793 00:42:24,639 --> 00:42:27,880 Speaker 1: And then go tell your friends about this wonderful podcast. 794 00:42:28,000 --> 00:42:29,039 You know that's right. 795 00:42:29,199 --> 00:42:31,199 Speaker 2: And if you want to go to the Patreon page 796 00:42:31,639 --> 00:42:34,800 become a Patreon You've got some stuff out there. We'll 797 00:42:34,840 --> 00:42:37,960 send you this really cool cup and you can have 798 00:42:38,039 --> 00:42:40,199 voting rights for what episodes are coming up. 799 00:42:40,239 --> 00:42:41,599 Speaker 1: They've got some cool headphones. 800 00:42:41,679 --> 00:42:43,679 Speaker 3: All depends on what level you're at, but you can 801 00:42:43,760 --> 00:42:46,400 come in as an executive producer for as littlest five 802 00:42:46,440 --> 00:42:46,960 bucks a month. 803 00:42:47,079 --> 00:42:47,960 Speaker 2: Five bucks a month. 804 00:42:48,000 --> 00:42:50,199 Speaker 1: It's like a couple of coffee. Yeah, I can't even 805 00:42:50,239 --> 00:42:52,440 get a cup of coffee for that at Starbucks. It's 806 00:42:52,519 --> 00:42:53,639 like seping box. 807 00:42:55,400 --> 00:43:02,360 Speaker 2: Thanks everybody, We will see you back here next week.