1 00:00:04,799 --> 00:00:09,039 Speaker 1: Hudsonriverradio dot com. It's boring, You're boring. 2 00:00:09,119 --> 00:00:11,759 Speaker 2: Everybody. Quit boring everyone? 3 00:00:12,000 --> 00:00:14,599 Speaker 3: How does sassa? Jonathan Leasberry juice? 4 00:00:14,640 --> 00:00:16,760 Speaker 2: Hey, this is Tom Chapin. Hello, this just preaching in 5 00:00:17,000 --> 00:00:19,280 Rock and Roll History Show. You're listening right now. 6 00:00:23,160 --> 00:00:25,800 Speaker 1: Hey, everybody, welcome back to the Rock and Roll History 7 00:00:25,800 --> 00:00:29,640 Show on Hudson River Radio. I'm Brian Horowitz. We have 8 00:00:29,679 --> 00:00:35,679 an interesting topic tonight. We're doing musical firsts, but as always, 9 00:00:35,679 --> 00:00:39,200 we're leaving the interpretation wide open, so I have no 10 00:00:39,320 --> 00:00:43,240 idea what is to come, but let's find out before 11 00:00:43,280 --> 00:00:45,280 we hop in. As always, allow me to introduce all 12 00:00:45,280 --> 00:00:48,479 the cranbones who were joining us here tonight. First and 13 00:00:48,520 --> 00:00:52,000 foremost from the Richter Observatory. He busted a mirror and 14 00:00:52,079 --> 00:00:54,960 got seven years of bad luck, but his lawyer thinks 15 00:00:55,000 --> 00:00:58,079 he can get it down to five. Neil Richter is here. 16 00:00:58,119 --> 00:01:03,240 Speaker 3: Oh yeah, I cop to plea. I copped the plate. Wait, Brian, Brian, 17 00:01:03,280 --> 00:01:04,040 I've got one for you. 18 00:01:04,200 --> 00:01:05,159 Speaker 1: Okay, bring it up. 19 00:01:06,200 --> 00:01:08,959 Speaker 3: How do you open a raw oyster? How do you 20 00:01:09,000 --> 00:01:10,879 open a raw oyster? 21 00:01:11,280 --> 00:01:13,000 Speaker 1: A raw oyster? 22 00:01:13,319 --> 00:01:15,599 Speaker 3: It's easy, You just got to use a little muscle. 23 00:01:16,000 --> 00:01:20,719 Speaker 4: Oh that's actually really good. 24 00:01:20,840 --> 00:01:21,280 Speaker 5: That is. 25 00:01:23,959 --> 00:01:24,560 Speaker 1: Well done. 26 00:01:24,920 --> 00:01:26,840 Speaker 3: And I'll say, and I'll say, if you know, you 27 00:01:26,959 --> 00:01:33,000 know all I'm saying, and how you're doing? Everybody all right? 28 00:01:33,159 --> 00:01:36,680 Speaker 1: And from paranormally yours. She figured out what you call 29 00:01:36,760 --> 00:01:45,280 a joke with no punchline. Yal newcomers here, get it. Okay, 30 00:01:46,480 --> 00:01:50,239 I'm tired. It's Monday. I worked all day. Oh I'm 31 00:01:50,519 --> 00:01:52,840 right there with you. It's been a very long weekend, 32 00:01:54,159 --> 00:01:58,040 our officially retired teacher. If he says, if you plan 33 00:01:58,120 --> 00:02:00,280 to raise your hands in the air and wave like 34 00:02:00,319 --> 00:02:02,920 you just don't care, you should put your coffee cup 35 00:02:02,959 --> 00:02:05,519 down first. John Kelly is here. 36 00:02:06,519 --> 00:02:09,319 Speaker 6: Hey, everybody, hope you enjoy the show. 37 00:02:09,560 --> 00:02:12,919 Speaker 1: Welcome, and last, but not least, the host of shaving cream. 38 00:02:13,120 --> 00:02:15,479 She went to the doctor and said she was worried 39 00:02:15,479 --> 00:02:18,840 about shrinking. Her doctor said, you have to be a 40 00:02:18,879 --> 00:02:21,639 little patient. Barbar Delle is here. 41 00:02:23,039 --> 00:02:27,000 Speaker 7: I am a little patient, but I still worry about shrinking. 42 00:02:28,680 --> 00:02:30,840 Speaker 1: It happens to the best of us. You just tell 43 00:02:30,879 --> 00:02:37,240 everyone you're far away, that's all. So you look smaller. Yeah, 44 00:02:37,400 --> 00:02:39,360 I think all the cranbones are exhausted tonight. 45 00:02:39,719 --> 00:02:39,919 Speaker 5: Yeah. 46 00:02:40,800 --> 00:02:43,599 Speaker 7: Hit the wall, Yeah, Yeah, I did a lot of 47 00:02:43,680 --> 00:02:47,960 running around and I'm on some new medication that's really 48 00:02:48,080 --> 00:02:49,919 making me woozy, so I apologizing. 49 00:02:50,240 --> 00:02:52,280 Speaker 1: So you're gonna have fun of everybody tonight. 50 00:02:53,719 --> 00:02:56,000 Speaker 3: I missed my third nap of the day, so yeah, 51 00:02:56,039 --> 00:02:59,960 I'm my god, I don't know what's going on. 52 00:03:00,280 --> 00:03:03,039 Speaker 1: Fourth thing? All right, so why don't we hop in 53 00:03:03,080 --> 00:03:05,439 and we'll keep things moving and everybody can squeeze in 54 00:03:05,479 --> 00:03:09,639 their naptime afterwards. Right, Yeah, you're gonna have a dishes first, 55 00:03:09,719 --> 00:03:12,719 all right, dishes first. Tell us what you pick is 56 00:03:12,759 --> 00:03:14,680 in your backstory, and then you can go do dishes 57 00:03:16,439 --> 00:03:18,199 and if you want, I can drop off some more 58 00:03:18,280 --> 00:03:18,759 if you're. 59 00:03:18,639 --> 00:03:20,080 Speaker 3: On a roll. 60 00:03:20,159 --> 00:03:26,159 Speaker 8: No, no, no, it's worth the show, Okay. The artist 61 00:03:26,919 --> 00:03:31,520 that I chose a song from is known professionally as Hosier. 62 00:03:32,479 --> 00:03:39,199 His actual name is Andrew John Hosier Burn. That's hyphenated. 63 00:03:39,719 --> 00:03:43,680 He was born gosh, he was born the seventeenth of 64 00:03:43,759 --> 00:03:51,080 March nineteen ninety. It's crazy, I always sink nineteen ninety 65 00:03:51,199 --> 00:03:52,840 ten years ago ninety. 66 00:03:54,240 --> 00:03:56,719 Speaker 1: Yeah, so he's the late. 67 00:03:56,639 --> 00:04:01,520 Speaker 3: Nineteen hundreds, last century. 68 00:04:01,960 --> 00:04:08,719 Speaker 6: Yeah, thirty six, I already baby, Oh my. 69 00:04:08,639 --> 00:04:10,840 Speaker 3: God, I have t shirts older than that. 70 00:04:10,879 --> 00:04:16,240 Speaker 8: Oh yeah, yeah, So he's an Irish singer and musician. 71 00:04:17,000 --> 00:04:21,279 His music primarily draws from folk, soul and blues, often 72 00:04:21,399 --> 00:04:26,399 using religious and literary themes and taking political or social 73 00:04:26,680 --> 00:04:28,279 justice stances. 74 00:04:28,959 --> 00:04:29,199 Speaker 1: Now. 75 00:04:29,279 --> 00:04:33,680 Speaker 8: His song that I Chose is called First Light and 76 00:04:33,839 --> 00:04:37,920 it's the last track on his third album, which came 77 00:04:37,959 --> 00:04:41,240 out in twenty twenty three, and the album is called 78 00:04:41,560 --> 00:04:47,600 Unreal Unearth and the song serves as a thematic conclusion 79 00:04:47,639 --> 00:04:55,040 to the album's journey through Dante's Circles of Hell, representing 80 00:04:55,240 --> 00:05:02,480 an ascent into light, reconciliation, and renewal. The song explores 81 00:05:02,600 --> 00:05:07,240 themes of emerging from darkness and finding hope in new love, 82 00:05:08,000 --> 00:05:12,399 often interpreted as the morning light or a guiding force. 83 00:05:14,560 --> 00:05:22,000 And his voice and the arrangement and the lyrics just 84 00:05:22,920 --> 00:05:25,800 I adore Hosier. I'm envious of a friend of mine 85 00:05:25,839 --> 00:05:30,639 who actually saw him in concert last year, because he's 86 00:05:30,680 --> 00:05:34,680 a great musician. He writes really good stuff, and she's 87 00:05:34,720 --> 00:05:37,240 easy on the eyes. I might be old, but I'm 88 00:05:37,240 --> 00:05:38,560 not dead. 89 00:05:38,680 --> 00:05:40,560 Speaker 7: I just like the fact that you said he was 90 00:05:40,680 --> 00:05:44,199 Irish and he was born on March seventeenth. 91 00:05:44,279 --> 00:05:51,399 Speaker 8: Yeah, that didn't even occur to me. Oh my gosh. 92 00:05:51,839 --> 00:05:57,519 So a little more detail about first light. It's inspired 93 00:05:57,560 --> 00:06:02,120 by the end of Dante's Poor Ratio, representing the return 94 00:06:02,199 --> 00:06:07,360 to the light after traversing the darkness of inferno. It 95 00:06:07,439 --> 00:06:11,319 focuses on finding warmth, healing, and romantic He's good at 96 00:06:11,319 --> 00:06:15,879 that transformative love after a difficult period. 97 00:06:17,160 --> 00:06:17,439 Speaker 2: Now. 98 00:06:17,680 --> 00:06:22,560 Speaker 8: Reddit users on the Hosier reddit thread note that the 99 00:06:22,560 --> 00:06:27,680 song has relatively simple open chord progression that contributes to 100 00:06:27,720 --> 00:06:33,800 its optimistic, airy feel, and the lyrics such as you 101 00:06:33,959 --> 00:06:39,279 filling my cup are interpreted as finding a profound, comforting connection, 102 00:06:40,079 --> 00:06:43,279 sometimes compared to the relief of the early morning light. 103 00:06:44,879 --> 00:06:48,519 It acts as a final optimistic resolution to the heavier 104 00:06:48,600 --> 00:06:54,800 themes that explored earlier in the album Unreal Unearth. 105 00:06:56,319 --> 00:06:58,160 Speaker 1: Let's have a listen. 106 00:06:58,639 --> 00:07:00,160 Speaker 3: I love this guy stuff. 107 00:07:24,120 --> 00:07:42,160 Speaker 9: One brind board Man, change James or so thing Ezy, 108 00:07:45,279 --> 00:07:56,720 You're free your bodies open it first A thousand miles, 109 00:07:59,439 --> 00:08:03,800 but two I didn't suit the silver BULLI point landing 110 00:08:06,040 --> 00:08:08,439 and I can scarce believe what. 111 00:08:08,720 --> 00:08:09,959 Speaker 2: I believe in in. 112 00:08:12,839 --> 00:08:13,800 Speaker 10: This beyond. 113 00:08:14,360 --> 00:08:15,360 Speaker 11: Every day. 114 00:08:17,519 --> 00:08:19,480 Speaker 2: Scared sends the time. 115 00:08:20,959 --> 00:08:24,600 Speaker 9: God, come. 116 00:08:30,319 --> 00:08:32,120 Speaker 2: You see it back, come. 117 00:08:33,600 --> 00:08:34,480 Speaker 10: The star c. 118 00:08:39,879 --> 00:08:56,240 Speaker 2: I gotta live before the first life, I. 119 00:08:56,320 --> 00:09:03,639 Speaker 9: Gotta live mod. 120 00:09:11,440 --> 00:09:16,120 Speaker 11: H so. 121 00:09:17,679 --> 00:09:24,440 Speaker 9: Heasyness or. 122 00:09:27,360 --> 00:09:30,360 Speaker 11: Facesy. 123 00:09:30,679 --> 00:09:41,159 Speaker 9: He the creeps into the corners is the moment Saint 124 00:09:43,559 --> 00:09:47,559 Fice your body jumps to corner AT's inn. 125 00:09:49,840 --> 00:09:54,320 Speaker 2: But after this, I never gone to be saying. 126 00:09:56,679 --> 00:09:59,519 Speaker 11: I never going back. 127 00:10:01,320 --> 00:10:02,480 Speaker 10: Scary said it. 128 00:10:04,720 --> 00:10:18,360 Speaker 9: Go come you set the stupid can. 129 00:10:23,639 --> 00:10:25,759 Speaker 10: I gotta live the life. 130 00:10:30,600 --> 00:10:40,799 Speaker 2: Saw the first life. I'm gonna look. 131 00:10:43,559 --> 00:10:53,919 Speaker 10: So I gotta look at. 132 00:10:56,519 --> 00:11:36,519 Speaker 1: Said now. 133 00:11:36,600 --> 00:11:40,320 Speaker 8: I usually am not a fan of what I refer 134 00:11:40,440 --> 00:11:46,240 to as mellow music, but to me, that song is 135 00:11:47,399 --> 00:11:53,320 very much a feel good song, very joyous, and it 136 00:11:53,960 --> 00:11:58,480 just to me, it's kind of a grounding, comforting. 137 00:11:58,960 --> 00:12:01,279 Speaker 1: There's a lot going on to pay attention to, too, 138 00:12:01,320 --> 00:12:02,120 with the harmonies and. 139 00:12:02,080 --> 00:12:06,000 Speaker 8: The oh yeah, the orchestra and the everything and the yes. 140 00:12:06,759 --> 00:12:09,639 Speaker 3: At first, I was going to say, oh, it's sort 141 00:12:09,639 --> 00:12:14,080 of emo. It's sort of goth at first, but it's 142 00:12:14,559 --> 00:12:17,840 but it's more positive. It's it's you know, it's more uplifting. 143 00:12:18,159 --> 00:12:22,879 Goth and emo are quite the opposite, actually, right, So yeah, 144 00:12:22,879 --> 00:12:27,240 it was. It was It was interesting that you know that. Yeah, 145 00:12:27,240 --> 00:12:30,039 the orchestration was was wild. 146 00:12:32,399 --> 00:12:35,039 Speaker 1: Yeah, I just really really like it. 147 00:12:36,480 --> 00:12:40,879 Speaker 8: Posier wrote this album during the COVID nineteen pandemic and 148 00:12:41,440 --> 00:12:44,080 said that it was his way of making sense of 149 00:12:44,120 --> 00:12:47,759 the experience of the last two years. It was, as 150 00:12:47,799 --> 00:12:52,519 I mentioned before, inspired by Dante's Inferno, which he began 151 00:12:52,799 --> 00:12:58,799 reading at the time. He framed the album around Dante's 152 00:12:58,840 --> 00:13:03,320 concept of the nine circles of Hell, Unreal Unearth as 153 00:13:03,320 --> 00:13:07,080 a whole signifies the journey through Dante's nine circles of 154 00:13:07,159 --> 00:13:11,200 Hell and coming out at the other side with each song, 155 00:13:11,320 --> 00:13:13,440 and I need to listen to the rest of this album, 156 00:13:13,480 --> 00:13:19,159 apparently because each song refers to a specific universal theme 157 00:13:19,480 --> 00:13:25,639 or feeling. Sam Eke out of Paste stated that the 158 00:13:25,720 --> 00:13:31,679 album is packed full of poetic, poetic lyricism, heavy hearted remorse, 159 00:13:32,080 --> 00:13:36,480 hopeful anticipation, and an honest expression of the joys and 160 00:13:36,639 --> 00:13:40,279 sorrow of being a human, and has a sharp balance 161 00:13:40,399 --> 00:13:45,159 that makes it never top heavy nor ever stagnant. Mojo 162 00:13:45,480 --> 00:13:51,279 wrote that Hoosier's audacity can feel outsized and overbearing, but 163 00:13:51,440 --> 00:13:56,399 his tandem of earnestness and eccentricity there is more winning 164 00:13:56,840 --> 00:13:59,600 than not, and I tend to agree. 165 00:14:00,039 --> 00:14:01,840 Speaker 7: I like that phrase, tandem of. 166 00:14:03,480 --> 00:14:07,600 Speaker 8: What did it say, tandem of earnestness and eccentricity. 167 00:14:08,080 --> 00:14:13,440 Speaker 7: I like that phrase me too, very interesting, Gil. 168 00:14:14,600 --> 00:14:18,759 Speaker 1: Nice song, all right, good pick? Yeah, thanks, all right, Neil, 169 00:14:19,080 --> 00:14:19,600 you're up. 170 00:14:20,120 --> 00:14:22,480 Speaker 3: All right. Well, I'm going to go second. But first 171 00:14:22,519 --> 00:14:28,039 things first. My song about it. First, it's called Got 172 00:14:28,039 --> 00:14:31,200 to Get the First Plane Home by The Kinks, who 173 00:14:31,200 --> 00:14:36,919 are a little older than Hosier. Is because because. 174 00:14:36,480 --> 00:14:40,360 Speaker 8: The Kings crop they probably have grandchildren Hosier's age. 175 00:14:41,639 --> 00:14:44,039 Speaker 3: Well, that's because they were a British rock band. They 176 00:14:44,120 --> 00:14:50,080 formed in London in nineteen sixty two. Yes, the band's. 177 00:14:49,879 --> 00:14:56,080 Speaker 1: Original lineup the mid nineteen hundreds. Yeah, the late nineteen hundred. Yeah, 178 00:14:56,120 --> 00:14:57,120 I was two. 179 00:14:58,279 --> 00:15:01,240 Speaker 3: That's sixty two, I was. I don't remember, I was 180 00:15:01,279 --> 00:15:01,879 young then. 181 00:15:02,320 --> 00:15:04,480 Speaker 8: They're probably like seven something like that. 182 00:15:05,519 --> 00:15:09,039 Speaker 3: Anyway, the band's original lineup consisted of brothers Ray and 183 00:15:09,159 --> 00:15:12,159 Dave Davies, with Ray on lead vocals and rhythm guitar, 184 00:15:13,159 --> 00:15:16,200 and he was the band's main songwriter as well, known 185 00:15:16,240 --> 00:15:20,799 for his unique witty and observational writing style, and Dave 186 00:15:21,120 --> 00:15:25,120 was on lead guitar and backing vocals. The quartet, as 187 00:15:25,159 --> 00:15:29,039 they were then filled out with Pete kwaf on bass 188 00:15:29,080 --> 00:15:32,799 and Mick Avery on drums. Now, this is the era 189 00:15:32,960 --> 00:15:35,559 of the band's decades long career that we're going to 190 00:15:35,559 --> 00:15:41,480 focus on for now. Their breakthrough single You Really Got 191 00:15:41,480 --> 00:15:45,360 Me in nineteen sixty four became an international hit, and 192 00:15:45,399 --> 00:15:48,360 it was followed by a string of other chart topping hits, 193 00:15:48,480 --> 00:15:51,000 including All Day and All the Night, Till the End 194 00:15:51,000 --> 00:15:55,000 of the Day and Set Me Free, and all of 195 00:15:55,039 --> 00:15:57,960 them placed them at the forefront of the British invasion 196 00:15:58,000 --> 00:16:02,080 going on in the US at that time. That is 197 00:16:03,000 --> 00:16:06,919 until some problems occurred during their nineteen sixty five American 198 00:16:07,000 --> 00:16:11,279 tour which led them to being banned from the United 199 00:16:11,320 --> 00:16:15,240 States for a number of years. Now this band, incidentally 200 00:16:15,279 --> 00:16:19,559 would be lifted in nineteen sixty nine. But that brings 201 00:16:19,639 --> 00:16:22,519 us to our song for today. The first top it 202 00:16:22,840 --> 00:16:27,039 got to get the First Plane Home. It comes from 203 00:16:27,039 --> 00:16:32,480 the band's third studio LP, called The Kink Controversy Controversy spelled, 204 00:16:32,519 --> 00:16:37,799 of course, with a K. The album's titled Not So 205 00:16:38,000 --> 00:16:42,200 Veiled reference to their dubious reputation that for on stage 206 00:16:42,240 --> 00:16:45,360 fighting and concert riots, which is what led them to 207 00:16:45,440 --> 00:16:48,519 their band on US concerts in the first place. The 208 00:16:48,600 --> 00:16:51,440 record was released in the UK in November of nineteen 209 00:16:51,480 --> 00:16:53,840 sixty five and here in the States in March of 210 00:16:53,919 --> 00:16:58,720 sixty six, and it's a transitional album stylistically for the band, 211 00:16:58,799 --> 00:17:04,240 containing the familiar Kink's powerchored driven sound, but also indications 212 00:17:04,680 --> 00:17:07,880 of the future direction that Ray Davies' songwriting style would 213 00:17:07,880 --> 00:17:13,279 be going forward. The song and the LP were produced 214 00:17:13,319 --> 00:17:19,160 by Shell Tell me, the legendary American producer who probably 215 00:17:19,200 --> 00:17:20,920 deserves a story of his own right here on the 216 00:17:21,000 --> 00:17:23,200 Rock and Roll History Show, but that's for another day. 217 00:17:24,799 --> 00:17:26,920 He was known not only for his work with The Kinks, 218 00:17:27,079 --> 00:17:29,519 but also with bands like The Who as well in 219 00:17:29,559 --> 00:17:33,480 the nineteen sixties. Now, as for the song itself, it's 220 00:17:33,480 --> 00:17:38,279 really pretty simple, just a story of presumably a musician 221 00:17:38,319 --> 00:17:41,359 on tour far from home who just wants to get 222 00:17:41,400 --> 00:17:45,319 back to his girlfriend. So he's just gotta get the 223 00:17:45,359 --> 00:17:46,599 first playing home. 224 00:17:50,559 --> 00:17:52,960 Speaker 11: The last empty siza. 225 00:17:54,119 --> 00:17:54,759 Speaker 5: Away from the. 226 00:17:56,319 --> 00:18:00,519 Speaker 11: Sat from me. 227 00:18:01,839 --> 00:18:03,440 Speaker 6: I gotta get the first game home. 228 00:18:04,559 --> 00:18:06,160 Speaker 11: I gotta get the first grave home. 229 00:18:07,000 --> 00:18:09,200 Speaker 10: I got aween wing from my own. 230 00:18:09,480 --> 00:18:12,599 Speaker 11: See, isn't it a girl that's wasting for me? 231 00:18:13,279 --> 00:18:13,960 Speaker 10: Love tell the. 232 00:18:14,000 --> 00:18:17,559 Speaker 11: Guy in day or when I thought it would be seen. 233 00:18:18,759 --> 00:18:22,359 Speaker 12: I love that gird apologize, but I gotta get a 234 00:18:22,440 --> 00:18:23,200 first rain home. 235 00:18:24,400 --> 00:18:26,119 Speaker 1: I gotta get the first plays. 236 00:18:25,799 --> 00:18:51,839 Speaker 10: Hook got aween way from my own. 237 00:18:52,119 --> 00:18:56,079 Speaker 9: See, there isn't a girl that waiting for me love 238 00:18:56,240 --> 00:18:58,480 turn about day. 239 00:18:58,680 --> 00:19:02,119 Speaker 10: When I thought it was, I love that. 240 00:19:04,319 --> 00:19:08,720 Speaker 11: I gotta get. I gotta get the first. 241 00:19:09,880 --> 00:19:10,720 Speaker 10: I gotta get the. 242 00:19:21,200 --> 00:19:26,640 Speaker 3: Classic Kink sound, classic British Invasion sound, and classic sixties sound. 243 00:19:26,880 --> 00:19:30,160 I love that. I love that stuff. That that's where 244 00:19:30,200 --> 00:19:34,000 I live right there now. With the brothers Navies always 245 00:19:34,039 --> 00:19:37,559 on board, the Kinks would rotate and expand in members 246 00:19:37,640 --> 00:19:42,000 over the following decades. They pioneer the concept album and 247 00:19:42,079 --> 00:19:45,599 record many more memorable hits. I can't even go on 248 00:19:45,640 --> 00:19:48,319 to list them all the hits they had in great 249 00:19:48,359 --> 00:19:51,440 songs they had in the seventies and eighties. But like 250 00:19:51,519 --> 00:19:56,079 I said, that that's the era that that that speaks 251 00:19:56,079 --> 00:19:59,480 to me. They gave their last public performance in mid 252 00:19:59,559 --> 00:20:03,599 nineteen ninety six, and that was after being inducted to 253 00:20:03,680 --> 00:20:06,200 the Rock and Roll Hall of Fame in nineteen ninety 254 00:20:06,680 --> 00:20:09,039 Now there have been rumors of a King's reunion for 255 00:20:09,160 --> 00:20:12,240 a long time, but neither Ray or Dave have shown 256 00:20:12,319 --> 00:20:15,640 much interest in playing together again because pretty much they've 257 00:20:15,680 --> 00:20:20,880 both had successful solo careers. Now. To say the Kings 258 00:20:20,920 --> 00:20:24,920 were influential would be a gross understatement. Punk rock and 259 00:20:24,960 --> 00:20:28,039 new wave groups such as The Ramones, the Clash Pretenders, 260 00:20:28,119 --> 00:20:32,480 and the Jam. Heavy metal acts like Van Halen and Brick. 261 00:20:32,559 --> 00:20:36,200 Pop bands like Oasis and Blur all owe them a 262 00:20:36,240 --> 00:20:43,240 debt of gratitude. Now the big question, did I ever 263 00:20:43,319 --> 00:20:44,920 see the Kinks perform. 264 00:20:44,640 --> 00:20:48,160 Speaker 2: Live at least? 265 00:20:48,799 --> 00:20:52,200 Speaker 3: Well, what do you think? Yeah? Of course, probably at 266 00:20:52,279 --> 00:20:56,240 least probably three times that I can remember, somewhere around 267 00:20:56,240 --> 00:20:59,319 the mid late seventies, at places like the Beacon Theater 268 00:20:59,400 --> 00:21:03,279 in New York and the Capitol Theater out in Passaic, 269 00:21:03,400 --> 00:21:06,599 New Jersey. And oh I also got to see Dave 270 00:21:06,680 --> 00:21:10,519 Davies performed solo right here in Rockland County, believe it 271 00:21:10,640 --> 00:21:13,240 or not, at a small club in Suffern back in 272 00:21:13,240 --> 00:21:14,559 the early two thousands. 273 00:21:14,839 --> 00:21:17,279 Speaker 1: Really cool. 274 00:21:17,359 --> 00:21:21,039 Speaker 3: Yeah, yeah, yeah it was. I was like, you're kidding me. 275 00:21:21,160 --> 00:21:24,799 I'm there, you know, and you know he's got his autograph, 276 00:21:24,920 --> 00:21:26,279 got to talk to him for a minute. 277 00:21:26,599 --> 00:21:26,880 Speaker 1: Nice. 278 00:21:27,279 --> 00:21:31,119 Speaker 3: That's very cool. Wow. So in closing, just let me 279 00:21:31,160 --> 00:21:36,839 say just always remember it's only Kinky the first time. 280 00:21:37,519 --> 00:21:39,240 Thank you ladies and gentlemen, Thank you. 281 00:21:41,480 --> 00:21:44,839 Speaker 1: Fiks. We are going to take a quick break and 282 00:21:44,920 --> 00:21:46,960 be back with more. So stick around and we will 283 00:21:47,039 --> 00:21:47,559 be right back. 284 00:21:48,200 --> 00:21:51,480 Speaker 6: Hudson River Radio, Your dog likes us. 285 00:21:52,680 --> 00:21:55,839 Speaker 1: This concludes the first part of this cassette. Please turn 286 00:21:55,839 --> 00:21:58,279 the cassette over and begin again on side too. 287 00:22:03,599 --> 00:22:06,680 Speaker 7: This is Hudson River Radio dot Com. 288 00:22:06,319 --> 00:22:07,839 Speaker 3: A Ray. 289 00:22:11,680 --> 00:22:15,839 Speaker 1: And welcome back Tonight. We're talking about musical first and John, 290 00:22:15,920 --> 00:22:16,759 we are up to you. 291 00:22:17,880 --> 00:22:21,880 Speaker 6: Okay, this was an interesting topic. I actually struggled a 292 00:22:21,880 --> 00:22:25,440 little bit with this one, but I can thank my 293 00:22:25,960 --> 00:22:30,240 activities over the weekend for inspiring me to choose Ray Charles. 294 00:22:30,279 --> 00:22:30,640 Speaker 3: Tonight. 295 00:22:31,680 --> 00:22:34,440 Speaker 6: I was helping haul some furniture out of a New 296 00:22:34,519 --> 00:22:38,640 York City apartments and was gifted a photograph of the 297 00:22:38,720 --> 00:22:43,640 late great Ray Charles, which inspired tonight's selection. So, first, 298 00:22:44,279 --> 00:22:47,519 did I pick a song with first in the title? 299 00:22:47,599 --> 00:22:49,319 Did a band with first in the name? 300 00:22:49,519 --> 00:22:49,680 Speaker 7: No? 301 00:22:49,720 --> 00:22:55,799 Speaker 6: I did not. I picked Ray charles first recording actually, okay, 302 00:22:56,480 --> 00:22:59,920 and that first recording was a little piece of music 303 00:23:00,119 --> 00:23:05,079 called Confession Blues. It was recorded in Seattle in early 304 00:23:05,200 --> 00:23:09,920 nineteen forty nine with his band the Maxon Trio and 305 00:23:10,000 --> 00:23:13,960 released on the Downbeat label, which later became Swingtime Records. 306 00:23:14,599 --> 00:23:17,119 It was so it was a fairly decent success at 307 00:23:17,119 --> 00:23:19,519 the time. It peaked at number two on the Billboards 308 00:23:19,759 --> 00:23:23,920 R and B charts. So without further ado, Let's play 309 00:23:24,039 --> 00:23:25,880 Confession Blues, then we'll talk about it. 310 00:23:26,480 --> 00:23:34,039 Speaker 3: I want to tell you, oh, me boy was watching Love. 311 00:23:39,400 --> 00:23:45,519 I want to cheer you, h I A boy was 312 00:23:45,559 --> 00:23:46,440 watching Love. 313 00:23:51,519 --> 00:23:55,400 Speaker 11: And how the good then I loved. 314 00:23:56,000 --> 00:23:58,319 Speaker 3: Bogged me up? They having his odd dream of. 315 00:24:03,160 --> 00:24:08,599 Speaker 13: She called me five sweet and mellow, but that didn't 316 00:24:08,640 --> 00:24:17,799 mean a thing. She called me five sweet and meadow, 317 00:24:19,960 --> 00:24:28,119 but that didn't mean anything because I knew when she 318 00:24:28,359 --> 00:24:43,640 was beloved that meant a watch breathe with her diamond ring. 319 00:25:12,480 --> 00:25:13,799 Speaker 3: I didn't mind. 320 00:25:13,599 --> 00:25:15,400 Speaker 5: My baby's watch. 321 00:25:16,640 --> 00:25:25,200 Speaker 13: If she'd only believed fair with me. I didn't mind 322 00:25:25,319 --> 00:25:35,920 my behavior's watch if she played fair with me. She 323 00:25:36,319 --> 00:25:41,200 took advantage of my goodness and made a bit of 324 00:25:41,240 --> 00:25:42,720 a food out of me. 325 00:25:43,839 --> 00:25:46,680 Speaker 1: They may go ahead, go ahead. 326 00:25:48,319 --> 00:25:53,799 Speaker 6: Hey, that was Confession Blues by the late great Ray Charles, 327 00:25:56,000 --> 00:25:57,200 you know, typical Ray Charles. 328 00:25:57,200 --> 00:25:57,720 Speaker 1: It was very good. 329 00:25:57,920 --> 00:26:00,599 Speaker 6: He was nineteen when he recorded that, Ladies. 330 00:26:00,400 --> 00:26:01,519 Speaker 1: And gentlemen amazing. 331 00:26:02,160 --> 00:26:05,640 Speaker 6: So when you hear that, I mean, granted, it's nineteen 332 00:26:05,680 --> 00:26:07,960 forty nine, so the recording is it's it's, you know, 333 00:26:08,279 --> 00:26:11,440 not the best, but in terms of the quality, but 334 00:26:11,559 --> 00:26:13,119 you can just hear the. 335 00:26:12,960 --> 00:26:16,079 Speaker 1: Old soul in his voice. Yeah, and it was in Seattle. 336 00:26:16,160 --> 00:26:17,400 You can't even hear the rain. 337 00:26:19,079 --> 00:26:22,839 Speaker 6: Exactly exactly. 338 00:26:22,920 --> 00:26:23,519 Speaker 5: It was nine. 339 00:26:23,519 --> 00:26:28,240 Speaker 6: He was actually born in Albany, Georgia, and he moved 340 00:26:28,319 --> 00:26:32,079 up to the northwest to because he felt he could 341 00:26:32,279 --> 00:26:34,759 make it better in that area. A little piece here. 342 00:26:35,319 --> 00:26:37,279 I did some reading about some of the gigs he's 343 00:26:37,319 --> 00:26:39,720 done over the years, and in those early years when 344 00:26:39,799 --> 00:26:42,279 he would go to places in the South, he was 345 00:26:42,279 --> 00:26:44,440 actually required to stay in segregated housing. 346 00:26:44,680 --> 00:26:44,920 Speaker 3: Yep. 347 00:26:45,559 --> 00:26:48,640 Speaker 1: So and you mentioned he you know, the song was 348 00:26:48,680 --> 00:26:51,279 on the R and B charts. R and B was 349 00:26:51,319 --> 00:26:55,960 a term that replaced race music. Yes, it was black 350 00:26:56,079 --> 00:26:59,000 artist because it was a separate list. 351 00:26:59,119 --> 00:27:01,200 Speaker 6: And in case any one wants to know, yes, he 352 00:27:01,240 --> 00:27:05,839 could read music braille. He lost his site roughly around 353 00:27:05,880 --> 00:27:09,119 the age of four or five. We think it was 354 00:27:09,160 --> 00:27:13,279 from glaucoma. To glaucoma for everybody out there, is very 355 00:27:13,319 --> 00:27:19,240 treatable in today's modern world if gotten early enough, and 356 00:27:19,519 --> 00:27:22,640 you can lead a full life with normal vision. But 357 00:27:22,759 --> 00:27:25,039 if you don't take care of it and don't catch 358 00:27:25,039 --> 00:27:27,960 it in time, it can cause significant damage to your eyesight, 359 00:27:28,319 --> 00:27:31,039 which is what they believe happened to Ray Charles so 360 00:27:31,039 --> 00:27:32,880 it's a build up of pressure in the eye, destroys 361 00:27:32,880 --> 00:27:37,839 the retinas and so on. So that was my selection 362 00:27:37,920 --> 00:27:40,759 as the first recording. But it just began the great 363 00:27:40,839 --> 00:27:45,079 career of what a phenomenal R and B star, crossover musician, 364 00:27:46,160 --> 00:27:49,920 unbelievable talent who had to be segregated in housing in 365 00:27:49,960 --> 00:27:51,000 those early years. 366 00:27:51,559 --> 00:27:56,079 Speaker 3: And he really predated rock and roll. But the influence 367 00:27:56,119 --> 00:28:00,440 he had on early rock and roll even into the 368 00:28:00,519 --> 00:28:04,519 you know, from the fifties, even into the sixties and beyond, Yeah, 369 00:28:04,880 --> 00:28:06,759 you know it, you know, Oh he was you know, 370 00:28:06,839 --> 00:28:11,240 like without Rachel there'd been no Joe Cocker, you know. Okay, 371 00:28:11,279 --> 00:28:14,000 you know, So just for an example. 372 00:28:13,680 --> 00:28:17,519 Speaker 1: He was also very into the studio side of things, 373 00:28:17,559 --> 00:28:20,319 the technical side of things. Even though he was blind, 374 00:28:20,359 --> 00:28:22,640 he was functioning in the studio and that had a 375 00:28:22,640 --> 00:28:25,839 big influence too on the way things get recorded and 376 00:28:25,839 --> 00:28:27,920 and just the sound of rock and roll later on. 377 00:28:28,480 --> 00:28:30,920 Speaker 6: So yeah, he's one of the interesting things. 378 00:28:31,400 --> 00:28:31,640 Speaker 3: Yeah. 379 00:28:32,240 --> 00:28:34,200 Speaker 6: One thing, one other thing I could say is that 380 00:28:34,240 --> 00:28:38,480 he got some of his education in Florida. In my 381 00:28:38,720 --> 00:28:43,440 profession teaching blind children, he at the time he he 382 00:28:43,519 --> 00:28:45,559 went to school at the Florida School for the deaf 383 00:28:45,599 --> 00:28:48,359 and blind in Saint Augustine from nineteen thirty seven to 384 00:28:48,440 --> 00:28:51,559 nineteen forty five. And while there he learned to play 385 00:28:51,680 --> 00:28:55,599 the piano, the alto, saxophone, and the clarinet, trumpet and organ. 386 00:28:56,000 --> 00:28:56,400 Speaker 1: Wow. 387 00:28:56,799 --> 00:28:59,559 Speaker 6: So while he was going to school in Sant Augustine 388 00:28:59,599 --> 00:29:02,279 at this school for the blind. Of course, back then 389 00:29:02,400 --> 00:29:05,000 that was pretty much your choice. Today it's pretty much 390 00:29:05,039 --> 00:29:08,559 mostly public schools for anyone out there, regardless of abilities. 391 00:29:09,119 --> 00:29:11,279 And but that back in the day, he had a 392 00:29:11,319 --> 00:29:16,200 wonderful education and a wonderful musical education which spiraled him 393 00:29:16,240 --> 00:29:18,799 to great heights. And we lost him in two thousand 394 00:29:18,839 --> 00:29:22,200 and four at the age of I believe seventy three, 395 00:29:22,359 --> 00:29:25,720 so he died rather young. Another interesting fact I could 396 00:29:25,799 --> 00:29:31,160 say about Ray Charles he had twelve children. 397 00:29:32,319 --> 00:29:32,759 Speaker 3: Wow, so. 398 00:29:36,720 --> 00:29:45,160 Speaker 4: Was a it was a big time you will, Yeah. 399 00:29:42,559 --> 00:29:45,079 Speaker 3: And he still had time to make you know, records 400 00:29:45,079 --> 00:29:45,799 and music. 401 00:29:45,880 --> 00:29:47,079 Speaker 2: Yeah, exactly. 402 00:29:48,640 --> 00:29:53,720 Speaker 1: So you'd mentioned Braill sheet music. Can you briefly explain 403 00:29:53,839 --> 00:29:54,519 how that works? 404 00:29:56,279 --> 00:29:56,559 Speaker 2: Yes. 405 00:29:57,519 --> 00:30:00,559 Speaker 6: What's interesting about Brail music is the or genator of 406 00:30:00,640 --> 00:30:04,440 the code. The late Great Louis Braille, hence the name 407 00:30:04,480 --> 00:30:08,519 of the code, was actually a musician in life as well. 408 00:30:08,559 --> 00:30:11,599 In Paris in his life in the early eighteen hundreds, 409 00:30:11,960 --> 00:30:14,440 and that was before our time here on the radio. 410 00:30:14,480 --> 00:30:15,960 Here we talked about how old we are, but I 411 00:30:16,000 --> 00:30:19,880 could say, we don't go that that far. Louis Braill 412 00:30:20,200 --> 00:30:22,839 math was a math teacher and a musician. He played 413 00:30:22,880 --> 00:30:26,680 the organ, and he did not invent Braille music, but 414 00:30:26,720 --> 00:30:30,079 it was invented after the fact, and essentially it uses 415 00:30:30,119 --> 00:30:34,440 the same code for music that Louis Braille used for 416 00:30:34,640 --> 00:30:37,400 literary braille, which is a six dot Braill cell with 417 00:30:38,839 --> 00:30:42,920 two columns of three dots, and basically you would have 418 00:30:42,960 --> 00:30:45,440 to read with one and what Bray Charles did is 419 00:30:45,480 --> 00:30:49,119 he would sometimes literally read with one hand and play 420 00:30:49,119 --> 00:30:51,720 with the other when he was reading the braille of 421 00:30:51,960 --> 00:30:55,680 the braill itself, or he would read and memorize because obvious, 422 00:30:56,759 --> 00:30:59,079 but that's essentially how it works, Brian. It takes that 423 00:30:59,160 --> 00:31:02,559 Braille code that Louis Braille invented and it turns those 424 00:31:02,599 --> 00:31:07,119 six dots into variations, become notes, and become you know, 425 00:31:07,160 --> 00:31:11,440 in different aspects of music itself. What's frustrating in today's 426 00:31:11,480 --> 00:31:16,119 world is Braille music is extremely difficult to find and produce, 427 00:31:17,240 --> 00:31:19,799 and it is a frustration that I've had as someone 428 00:31:19,799 --> 00:31:23,039 who has been teaching Brail for thirty five years, and 429 00:31:23,400 --> 00:31:25,400 it has always been a challenge for me to I 430 00:31:25,440 --> 00:31:28,559 can find it, and I have found it, but it 431 00:31:28,599 --> 00:31:31,279 can be a real challenge to find to find brown 432 00:31:31,359 --> 00:31:33,920 music out there, and to produce it as well. But 433 00:31:34,519 --> 00:31:36,960 that's a little bit of the history of Brail Music's 434 00:31:37,119 --> 00:31:40,519 I hope you all enjoyed what I liked about this song. 435 00:31:42,039 --> 00:31:47,160 It was only nineteen and he sounds so seasoned and older, 436 00:31:47,519 --> 00:31:50,440 and you know, in his delivery of the music itself, 437 00:31:50,799 --> 00:31:52,799 and obviously he really took to it. So what an 438 00:31:52,799 --> 00:31:54,839 amazing musician, What an amazing life. 439 00:31:55,319 --> 00:31:58,680 Speaker 3: Definitely, Well, I've got something to tell you that may 440 00:31:58,799 --> 00:32:04,079 shock and surprise you. Do tell Neil do tel I 441 00:32:04,079 --> 00:32:09,160 I never saw Ray Charles, and no joke, he didn't 442 00:32:09,160 --> 00:32:12,640 see me either, No, no, no, Joe, no, I never. 443 00:32:12,759 --> 00:32:16,000 I never never got to see him perform. But a 444 00:32:16,200 --> 00:32:18,480 very old friend of mine that I've known pretty much, 445 00:32:18,599 --> 00:32:23,880 we've known each other all our lives. He's a drummer 446 00:32:23,920 --> 00:32:26,720 and he had moved out to the West Coast back 447 00:32:26,759 --> 00:32:31,680 in the seventies and all yep, and worked his way 448 00:32:31,759 --> 00:32:34,759 up and through all this. But he actually he played 449 00:32:34,759 --> 00:32:37,200 with Ray Charles on you know, he went on tours, 450 00:32:37,200 --> 00:32:41,079 would go well, and I think he played at you know, 451 00:32:41,119 --> 00:32:43,920 at Philharmonic Hall here in New York with him, and 452 00:32:44,119 --> 00:32:46,119 I was, I was like, I was so proud of him. 453 00:32:46,119 --> 00:32:50,039 That was that. That's awesome. And so yeah, that's my 454 00:32:50,119 --> 00:32:54,119 connection to Ray Charles as my friend played with him 455 00:32:55,000 --> 00:32:57,960 a lot, you know, in the early nineties, you know, like. 456 00:32:58,000 --> 00:33:00,960 Speaker 6: Sure, sure, Well the other thing, yeah, the only thing 457 00:33:01,000 --> 00:33:03,000 that I mean, there's so much I could say about 458 00:33:03,039 --> 00:33:04,559 Ray Charles. I mean we'd be here all night, so 459 00:33:04,799 --> 00:33:07,240 I can't say everything, but I will say this is 460 00:33:07,799 --> 00:33:11,119 I read somewhere that Billy Joel found Ray Charles more 461 00:33:11,160 --> 00:33:16,440 influential to the music to music than Elvis Presley. So 462 00:33:17,079 --> 00:33:18,920 that's very interesting. An interesting thing. 463 00:33:18,960 --> 00:33:21,920 Speaker 3: Well, like I was saying, he predated rock and roll. 464 00:33:22,039 --> 00:33:25,319 I mean, he was making records in nineteen forty nine. 465 00:33:25,519 --> 00:33:29,240 You know, all the originators Pressley included didn't come along 466 00:33:29,359 --> 00:33:30,880 till like the mid fifties, you know. 467 00:33:31,799 --> 00:33:34,759 Speaker 6: Yeah, yeah, but nineteen years old, and that was his 468 00:33:34,799 --> 00:33:37,519 first piece, and what an old soul he was. 469 00:33:37,640 --> 00:33:42,319 Speaker 1: God bless, I hope you'll enjoyed excellent, all right, Barbara 470 00:33:42,440 --> 00:33:42,880 you're up. 471 00:33:43,880 --> 00:33:44,200 Speaker 3: Okay. 472 00:33:44,240 --> 00:33:49,079 Speaker 7: Well, I actually for the theme of today's show, I 473 00:33:49,119 --> 00:33:52,400 had a song that has the word first in the title, 474 00:33:53,599 --> 00:33:55,839 and the title of the song is called First. I 475 00:33:55,880 --> 00:33:59,279 look at the purse and it's by the Contours. And 476 00:33:59,359 --> 00:34:02,000 I'm inviting Yelled to chime in, because initially he picked 477 00:34:02,039 --> 00:34:04,119 the same song and was gracious enough to pick a 478 00:34:04,160 --> 00:34:07,839 different song. I know who already researched it, so chime 479 00:34:07,880 --> 00:34:12,719 in whenever. So the Contours formed in nineteen fifty nine 480 00:34:12,960 --> 00:34:18,159 in Detroit by founding members Joe Billingsley and Billy Gordon. 481 00:34:18,880 --> 00:34:24,239 And while researching this band, I found that they have 482 00:34:24,480 --> 00:34:29,079 had so many lineup changes during the years it almost 483 00:34:29,400 --> 00:34:33,440 made my head spin. So I'm not gonna go into 484 00:34:33,480 --> 00:34:36,119 detail about that because we'll be here for a while 485 00:34:36,159 --> 00:34:38,880 if I do, and I don't want to be any 486 00:34:38,920 --> 00:34:42,800 more confused than I already am. So initially the group 487 00:34:43,199 --> 00:34:46,320 was called the Blenders with these founding members, but then 488 00:34:46,559 --> 00:34:50,239 all the other members of the original lineup came aboard, 489 00:34:50,320 --> 00:34:54,199 and then they changed their name to the Contours. In 490 00:34:54,320 --> 00:34:59,559 nineteen sixty, they auditioned for Barry Gordy's Motown Records, but 491 00:34:59,639 --> 00:35:04,039 We're turned down. They then turned to band member and 492 00:35:04,119 --> 00:35:09,719 bass singer Herbert Johnson, whose cousin was Jackie Wilson, who 493 00:35:09,920 --> 00:35:13,519 was an associate of Gordy's, and Wilson got them a 494 00:35:13,559 --> 00:35:18,079 second audition with Gordy, and during the second audition they 495 00:35:18,119 --> 00:35:22,599 sang the exact same songs the exact same way as before, 496 00:35:23,559 --> 00:35:25,760 and this time they were signed to a seven year contract. 497 00:35:27,519 --> 00:35:30,760 Speaker 1: I like that it's not what you know too. 498 00:35:31,199 --> 00:35:31,400 Speaker 5: Yeah. 499 00:35:32,559 --> 00:35:35,639 Speaker 7: Yes, I'm experiencing that personally now. 500 00:35:37,000 --> 00:35:37,239 Speaker 5: Yeah. 501 00:35:37,400 --> 00:35:39,000 Speaker 1: Yeah. 502 00:35:39,199 --> 00:35:43,159 Speaker 7: Their first single was called Whole Lot of Women. It 503 00:35:43,360 --> 00:35:46,719 was released in January of sixty one and it fell 504 00:35:46,800 --> 00:35:50,960 to chart, as did their second single, called The Stretch. 505 00:35:52,159 --> 00:35:55,679 In nineteen sixty two, they recorded do You Love Me, 506 00:35:56,280 --> 00:36:00,360 which was originally meant for the Temptations but given to 507 00:36:00,400 --> 00:36:04,320 the Contours after Basically they had to really really rehearse 508 00:36:04,360 --> 00:36:08,280 it well and prove themselves this time. The song reached 509 00:36:08,360 --> 00:36:11,039 number one on the Billboard's R and B chart and 510 00:36:11,119 --> 00:36:13,960 number three on the Hot one hundred and by the 511 00:36:13,960 --> 00:36:17,440 mid nineteen sixties they were receiving some radio play, and 512 00:36:17,480 --> 00:36:20,880 in nineteen sixty six they recorded First I Look at 513 00:36:20,880 --> 00:36:24,519 the Purse, and it was written by Smokey Robinson and 514 00:36:24,519 --> 00:36:27,920 Bobby Rogers, who had written the temptations first hit single, 515 00:36:27,960 --> 00:36:30,360 The Way You Do The Things You Do. So why 516 00:36:30,360 --> 00:36:33,519 don't we pause here and listen to a song I 517 00:36:33,559 --> 00:36:35,679 love some that I didn't know I was gonna love 518 00:36:35,679 --> 00:36:38,840 it till I heard it, and then I love it. 519 00:36:39,119 --> 00:36:41,480 So let's listen to first. I look at the purse. 520 00:36:42,920 --> 00:37:00,719 Speaker 5: First. 521 00:36:57,960 --> 00:37:05,000 Speaker 9: Some fellas look at the nose if Some fellas look 522 00:37:05,039 --> 00:37:06,760 at the side. 523 00:37:07,079 --> 00:37:11,280 Speaker 10: Some fellas look at the hole. I don't care if 524 00:37:11,320 --> 00:37:12,440 the highs are wid. 525 00:37:13,239 --> 00:37:14,519 Speaker 11: I don't care if. 526 00:37:14,360 --> 00:37:15,519 Speaker 1: The nos in song. 527 00:37:16,320 --> 00:37:20,400 Speaker 14: I don't care if she's underfed. I don't care if 528 00:37:20,440 --> 00:37:26,599 the CoA I don't know. Go first time, look at 529 00:37:26,599 --> 00:37:27,079 the purse. 530 00:37:34,519 --> 00:37:36,840 Speaker 11: Some fellas look at the small lay wet. 531 00:37:37,559 --> 00:37:39,280 Speaker 10: Some fellas look at the legs. 532 00:37:39,440 --> 00:37:39,920 Speaker 11: That's all. 533 00:37:40,599 --> 00:37:42,679 Speaker 10: Some fellas look at the style of man. 534 00:37:43,599 --> 00:37:44,840 Speaker 3: Some fellas got. 535 00:37:44,760 --> 00:37:46,000 Speaker 5: The waisted it's home. 536 00:37:46,719 --> 00:37:48,800 Speaker 2: I don't care you please don't me. 537 00:37:49,760 --> 00:37:50,519 Speaker 10: I don't care. 538 00:37:50,840 --> 00:37:51,960 Speaker 2: The legs out big. 539 00:37:52,760 --> 00:37:56,679 Speaker 15: I don't care the high it's a wig wide waistside. 540 00:37:57,079 --> 00:38:03,159 Looking at the waistside, because first time look at. 541 00:38:03,000 --> 00:38:13,639 Speaker 16: The first A woman give me at first day with 542 00:38:13,880 --> 00:38:18,559 your sister has honey, But that no mean the thing 543 00:38:18,760 --> 00:38:20,599 a me is she ain't. 544 00:38:20,480 --> 00:38:23,639 Speaker 2: That no money, because it's the first fun. 545 00:38:25,920 --> 00:38:45,000 Speaker 11: That's that's it. God. 546 00:38:47,119 --> 00:38:51,039 Speaker 12: Some do the way they're wrong, the way they swing 547 00:38:51,199 --> 00:38:56,239 and swear. Some do like the way they talk, the 548 00:38:56,800 --> 00:38:58,199 things they say. 549 00:38:59,000 --> 00:38:59,920 Speaker 2: But I don't care. 550 00:39:00,480 --> 00:39:01,280 Speaker 6: What was like A. 551 00:39:07,480 --> 00:39:15,840 Speaker 12: Look at the bills, quitzow, look at the purse. 552 00:39:25,159 --> 00:39:29,159 Speaker 15: Us can't be sweets, but I won't miss some money. 553 00:39:34,320 --> 00:39:36,079 Speaker 5: I just love that. 554 00:39:37,239 --> 00:39:41,440 Speaker 7: We don't care how she looks. We care of her 555 00:39:41,480 --> 00:39:45,639 purse is flat. If it's flat, it's not where it's at. 556 00:39:48,280 --> 00:39:52,440 So first I look at the purse. Reach number fifty 557 00:39:52,480 --> 00:39:54,599 seven on the Billboard Hot one hundred and peaked at 558 00:39:54,639 --> 00:39:58,440 number twelve on Billboard's Hot R and B Singles. The 559 00:39:58,519 --> 00:40:01,119 song was covered by the J Guy Band and is 560 00:40:01,199 --> 00:40:04,239 the opening track on their nineteen seventy two album Live 561 00:40:04,320 --> 00:40:07,360 Full House, and a side to track on their self 562 00:40:07,440 --> 00:40:11,599 titled nineteen seventy album. The Contours did not achieve the 563 00:40:11,920 --> 00:40:14,800 success they had with Do You Love Me, even though 564 00:40:14,840 --> 00:40:19,159 they continue to receive some airplay, but they were generally 565 00:40:19,239 --> 00:40:23,280 considered secondary to motown's major male vocal groups, The Miracles, 566 00:40:23,320 --> 00:40:27,280 The Foe Tops, and The Temptations. In nineteen sixty seven, 567 00:40:27,920 --> 00:40:32,800 the Contour's seven year Motown contract expired and they disbanded. 568 00:40:33,599 --> 00:40:36,519 The individual members did continue to team up here and 569 00:40:36,599 --> 00:40:39,400 there and perform in the early nineteen seventies into the 570 00:40:39,519 --> 00:40:42,920 nineteen eighties, and in nineteen eighty seven, their single Do 571 00:40:43,039 --> 00:40:45,360 You Love Me was featured in the film Dirty Dancing 572 00:40:45,480 --> 00:40:48,440 and had a resurgence in popularity, landing at number eleven 573 00:40:48,519 --> 00:40:51,800 on the Billboard Top forty the following year. This triggered 574 00:40:51,880 --> 00:40:56,199 a Dirty Dancing concert tour and the recording of two 575 00:40:56,480 --> 00:41:00,679 more albums. The band underwent even more like up changes 576 00:41:00,760 --> 00:41:03,400 into the two thousands, and in two thousand and four, 577 00:41:03,519 --> 00:41:07,320 band member Sylvester Potts teamed up with members of a 578 00:41:07,639 --> 00:41:13,280 local Detroit group named Upscale and began performing together under 579 00:41:13,320 --> 00:41:17,519 the name The Contours. Billingsley found out and sued, and 580 00:41:17,679 --> 00:41:21,800 Potts countersued, and they ended up settling out of court, 581 00:41:22,280 --> 00:41:25,719 as the name The Contours was jointly owned by both 582 00:41:25,760 --> 00:41:30,440 Billingsley and Potts, and also by their manager. However, it 583 00:41:30,639 --> 00:41:33,920 was ruled that their respective bands be identified as either 584 00:41:34,440 --> 00:41:39,760 The Contours with Joe Billingsley or The Contours Featuring Sylvester Potts. 585 00:41:40,920 --> 00:41:44,760 Both bands continued further lineup changes, and in twenty fifteen 586 00:41:45,639 --> 00:41:52,280 Potts Contours featuring Sylvester Potts disbanded. Billingsley then jumped on 587 00:41:52,440 --> 00:41:56,400 that reclaimed the name the Contours for himself, and two 588 00:41:56,480 --> 00:42:00,000 years later Potts passed away and the Contours were inducted 589 00:42:00,199 --> 00:42:01,760 into the R and B Hall of Fame in twenty 590 00:42:01,840 --> 00:42:05,119 fifteen and into the Michigan Rock and Roll Legends Hall 591 00:42:05,159 --> 00:42:06,639 of Fame in twenty sixteen. 592 00:42:08,320 --> 00:42:10,480 Speaker 6: Nice, nice, very cool. 593 00:42:10,719 --> 00:42:11,599 Speaker 5: Yeah, I like that. 594 00:42:12,239 --> 00:42:14,679 Speaker 6: There was a lot of I don't know that was 595 00:42:14,840 --> 00:42:16,599 that was good gils. Everybody had a lot of good 596 00:42:16,639 --> 00:42:17,440 choice tonight so far. 597 00:42:17,679 --> 00:42:20,719 Speaker 3: Yeah. Yeah. I came to that song through the Jay 598 00:42:20,800 --> 00:42:24,400 Guiles band, as you mentioned, when I got their first album, 599 00:42:25,079 --> 00:42:27,440 and it fit right into their style, you know, and 600 00:42:29,079 --> 00:42:33,199 Peter Wolf just killed it on vocals. And then I 601 00:42:33,280 --> 00:42:37,079 went back and you know, discovered the original. 602 00:42:37,159 --> 00:42:37,280 Speaker 7: You know. 603 00:42:37,519 --> 00:42:43,159 Speaker 3: But it's such a cool song, and like it's very funny. 604 00:42:44,119 --> 00:42:46,719 Speaker 7: It was hilarious. I was listening to the song and 605 00:42:46,840 --> 00:42:50,760 I was laughing because you know, when they're singing about 606 00:42:50,880 --> 00:42:52,800 how you know, they don't care if her nose is 607 00:42:52,840 --> 00:42:57,079 long or she's got a big you know whatever or smallness. 608 00:42:58,519 --> 00:43:01,760 And then when they started singing a out if she's 609 00:43:01,840 --> 00:43:05,400 got a skinny purse. It's it's a deal breaker. I 610 00:43:05,440 --> 00:43:06,480 think that's hilarious. 611 00:43:08,039 --> 00:43:11,320 Speaker 1: No, it's it's it's I'm in the age bracket where 612 00:43:12,159 --> 00:43:15,800 I was the dirty dancing group. That's how I came 613 00:43:15,840 --> 00:43:17,840 across the contours and then worked too. 614 00:43:20,960 --> 00:43:23,719 Speaker 3: Yeah, it wouldn't. I don't know if it's exactly you know, 615 00:43:23,760 --> 00:43:25,960 what do you call politically correct at this point? But 616 00:43:26,079 --> 00:43:29,519 it's still a very it's still a funny. It's still 617 00:43:29,559 --> 00:43:29,920 a funny. 618 00:43:30,320 --> 00:43:33,519 Speaker 1: Everything on credit cards, So you know that's true. 619 00:43:35,280 --> 00:43:39,039 Speaker 7: I was thinking that when I wrote that up, because nowadays, 620 00:43:40,519 --> 00:43:45,239 you know, you just carry plastic or or you tap 621 00:43:45,280 --> 00:43:46,880 your phone and you don't really need. 622 00:43:46,760 --> 00:43:47,320 Speaker 1: A lot of cash. 623 00:43:47,400 --> 00:43:49,360 Speaker 3: But if you can say, you know, I don't care 624 00:43:49,400 --> 00:43:51,719 if she's got herself a rash. All I want is 625 00:43:51,800 --> 00:43:55,079 her pretty green cash, how can you beat that? 626 00:43:57,480 --> 00:43:58,679 Speaker 7: Yeah, that's why I would. 627 00:43:58,880 --> 00:44:02,159 Speaker 1: But I was the through the whole thing. It was 628 00:44:02,519 --> 00:44:06,320 so great. Definitely. All right, good one, Thank you, Barbara. 629 00:44:06,960 --> 00:44:09,400 We're gonna take our last break, and we have one 630 00:44:09,480 --> 00:44:11,679 more to go, which I believe you will be quite 631 00:44:11,880 --> 00:44:13,960 entertained with, so stick around. 632 00:44:14,000 --> 00:44:14,760 Speaker 3: We'll be right back. 633 00:44:15,440 --> 00:44:17,199 Speaker 1: Hudson River Radio dot Com. 634 00:44:24,159 --> 00:44:27,559 Speaker 2: Hudson Riverradio dot com. 635 00:44:29,199 --> 00:44:29,559 Speaker 3: All right. 636 00:44:29,800 --> 00:44:32,119 Speaker 1: So I wanted to go a little bit different, as 637 00:44:32,199 --> 00:44:37,920 I often do, So I went with the earliest time 638 00:44:38,320 --> 00:44:42,360 that I could find where a curse word got recorded 639 00:44:42,440 --> 00:44:45,239 into a rock and roll song and made it all 640 00:44:45,360 --> 00:44:50,119 the way through to radio airplay with nobody catching it. Wow, 641 00:44:50,719 --> 00:44:54,039 not that okay, all right? I have a feeling real's 642 00:44:54,079 --> 00:44:56,719 going to figure this out before. Are we going to 643 00:44:56,800 --> 00:44:57,400 hear the word? 644 00:44:57,639 --> 00:44:57,800 Speaker 5: Oh? 645 00:44:57,920 --> 00:45:01,679 Speaker 1: We are, So I will say everything we do with 646 00:45:01,760 --> 00:45:04,880 Hudson River Radio is family friendly. This song has been 647 00:45:04,920 --> 00:45:08,639 played on the radio literally millions of times. It has 648 00:45:08,880 --> 00:45:13,599 millions more streams. Everybody's heard this song. It is very popular, 649 00:45:14,199 --> 00:45:17,599 but very very few people know about this. Once you 650 00:45:17,719 --> 00:45:20,480 hear it, you can't unhear it. But I'm gonna go 651 00:45:20,559 --> 00:45:22,559 with the approach that it's been played so many times. 652 00:45:22,639 --> 00:45:25,440 We're just gonna skate it through today, all right. So 653 00:45:25,800 --> 00:45:27,599 I mean, if it really if you really think it's 654 00:45:27,599 --> 00:45:30,480 gonna bother you, go ahead and skip ahead, but listen 655 00:45:30,599 --> 00:45:34,320 first and then make your decision. We are talking about 656 00:45:34,320 --> 00:45:38,800 the song Louie Louie, all right. It is the benchmark 657 00:45:39,079 --> 00:45:44,000 of misinterpreted lyrics in the rock and roll world. We're 658 00:45:44,039 --> 00:45:47,239 gonna be talking about the most popular version by the Kingsman. 659 00:45:47,400 --> 00:45:49,320 We will get to that in a little bit. Their 660 00:45:49,440 --> 00:45:52,559 version was a cover. It was originally written in nineteen 661 00:45:52,639 --> 00:45:56,199 fifty five by Richard Barry, no relation to Chuck, no 662 00:45:56,360 --> 00:46:01,280 relation to Marvin. It was written in the style, Well, good, 663 00:46:01,519 --> 00:46:07,760 you caught that. It was written in the style in Barry. Yeah. 664 00:46:08,320 --> 00:46:10,679 It was written in the style of a Jamaican ballad. 665 00:46:11,760 --> 00:46:14,320 It was a simple song about a sailor returning home 666 00:46:14,440 --> 00:46:19,440 to his better half. Very straightforward song, easy to understand 667 00:46:19,559 --> 00:46:20,199 kind of lyrics. 668 00:46:20,840 --> 00:46:21,199 Speaker 11: It was. 669 00:46:22,760 --> 00:46:25,079 Speaker 1: Like, one example, a fine little girl, she wait for me, 670 00:46:25,360 --> 00:46:28,000 me catch the ship across the sea. So you know 671 00:46:29,079 --> 00:46:31,440 Jamaican English, if you want to call it that, I 672 00:46:31,599 --> 00:46:33,800 sail the ship all alone. I never think I make 673 00:46:33,880 --> 00:46:37,880 it home. Richard Berry's version was quite easy to understand 674 00:46:37,920 --> 00:46:41,199 as far as lyrics go. It is a three chord 675 00:46:41,320 --> 00:46:44,480 song that is very easy to play. It's easy to 676 00:46:44,559 --> 00:46:47,599 transpose depend for a singer who needs to make it 677 00:46:47,679 --> 00:46:50,440 higher or lower. It's the kind of song that if 678 00:46:50,440 --> 00:46:52,440 you cannot play Louie Louie, then you should not be 679 00:46:52,519 --> 00:46:55,440 playing whatever instrument you are trying to play. It's that 680 00:46:55,679 --> 00:46:58,639 kind of song. As harsh as it is. That's the 681 00:46:58,679 --> 00:47:02,320 way it is. So so many bands did covers of it. 682 00:47:02,440 --> 00:47:04,159 They were doing it live. It was kind of an 683 00:47:04,239 --> 00:47:06,960 underground hit. It didn't become a smash hit until the 684 00:47:07,079 --> 00:47:13,079 Kingsmen did it. The Kingsmen were from Portland, Oregon. Their 685 00:47:13,199 --> 00:47:16,880 version came out in nineteen sixty three. They paid about 686 00:47:17,000 --> 00:47:19,639 thirty between thirty six and fifty bucks depending on who 687 00:47:19,679 --> 00:47:22,480 you talked to, for a quick studio session, and they 688 00:47:22,599 --> 00:47:24,800 recorded it in one take, even though they didn't know 689 00:47:24,880 --> 00:47:26,719 they were going to record it in one take. And 690 00:47:26,800 --> 00:47:28,559 we will get to that in a second as well. 691 00:47:29,280 --> 00:47:32,639 So the singer Jack Ellie, was a piano prodigy at 692 00:47:32,679 --> 00:47:36,039 a young age. He started playing guitar after seeing Elvis Presley. 693 00:47:36,800 --> 00:47:39,559 He and drummer Lynn Easton put together a band with 694 00:47:39,880 --> 00:47:43,599 Mike Mitchell on guitar Bob Norby on bass. They stole 695 00:47:43,679 --> 00:47:46,760 the name the Kingsman from another group that had disbanded. 696 00:47:46,920 --> 00:47:49,639 They just liked the name, so they took it. They 697 00:47:49,719 --> 00:47:52,400 wound up becoming the house band at a popular club, 698 00:47:53,239 --> 00:47:56,079 and they decided to do their own version of Louie Louie, 699 00:47:56,159 --> 00:47:59,639 as many other groups had been doing. With good reason. 700 00:48:00,280 --> 00:48:02,159 It always got people up on the dance floor. It 701 00:48:02,239 --> 00:48:04,599 was easily recognizable. Like I said, it was very easy. 702 00:48:04,719 --> 00:48:06,599 People could sing along even though they didn't know what 703 00:48:06,679 --> 00:48:09,800 the lyrics were. They could chant and jump up and down, 704 00:48:09,840 --> 00:48:12,599 all that good kind of stuff. So the night before 705 00:48:12,719 --> 00:48:15,280 they recorded it, they wound up doing a ninety minute 706 00:48:15,320 --> 00:48:19,599 straight version all the way through, which would drive me insane. 707 00:48:19,840 --> 00:48:22,800 Ninety minutes of the same three chords over and over 708 00:48:22,880 --> 00:48:25,280 and over again. But that's how well it worked at 709 00:48:25,320 --> 00:48:26,960 getting people up onto the dance floor. 710 00:48:27,400 --> 00:48:29,840 Speaker 3: I draw the line at an hour in fifteen. 711 00:48:29,599 --> 00:48:31,840 Speaker 1: I would say that's more. If you don't get the 712 00:48:31,960 --> 00:48:37,199 point after seventy five minutes, that's on you. I would 713 00:48:37,239 --> 00:48:40,719 agree with you there. So the next day they were 714 00:48:40,760 --> 00:48:43,119 in the studio to record it. This was April fifth, 715 00:48:43,239 --> 00:48:45,599 nineteen sixty three, at Northwestern Inc. 716 00:48:45,840 --> 00:48:46,239 Speaker 3: Studio. 717 00:48:46,920 --> 00:48:50,079 Speaker 1: They had one hour, and that hour includes bringing in 718 00:48:50,159 --> 00:48:53,280 all your stuff to load in, set up, record, pack up, 719 00:48:53,360 --> 00:48:56,280 and load out, so there is no time to waste 720 00:48:56,599 --> 00:48:59,960 when you were renting studio time. Jack Ellie sounds like 721 00:49:00,079 --> 00:49:02,599 like he is yelling and screaming in the Kingsman's version, 722 00:49:02,719 --> 00:49:07,119 because he is yelling and screaming. The story goes that 723 00:49:07,559 --> 00:49:10,400 he had just gotten embraces, and the recording engineer just 724 00:49:10,480 --> 00:49:13,280 bought a very fancy, very expensive microphone and did not 725 00:49:13,440 --> 00:49:17,159 want Jack spitting all over his new fancy expensive microphone, 726 00:49:17,400 --> 00:49:20,000 so he put it high up where he could not 727 00:49:20,400 --> 00:49:23,760 spit onto this microphone. So Jack was actually singing up 728 00:49:23,800 --> 00:49:26,639 into the air, up into this mic that was suspended 729 00:49:26,760 --> 00:49:31,599 over his head. Part of yeah, part of the result, 730 00:49:31,719 --> 00:49:34,280 you know, it gave the vibe of having everybody in 731 00:49:34,360 --> 00:49:36,440 the room kind of like a jam session feel, which 732 00:49:36,519 --> 00:49:39,519 was part of the intent was that everybody was altogether, 733 00:49:39,519 --> 00:49:42,639 because that's the kind of song it is. But one 734 00:49:42,679 --> 00:49:45,280 of the other results is that you can't understand the 735 00:49:45,440 --> 00:49:48,519 lyrics because Jack is yelling trying to be heard over 736 00:49:49,199 --> 00:49:52,760 the music, and of course people are just stupid, so 737 00:49:53,320 --> 00:49:56,119 if they can't understand it, some people just assume it 738 00:49:56,280 --> 00:49:59,039 was obscene, because why else could you not understand it. 739 00:50:00,239 --> 00:50:04,280 Actually made complaints to the FBI about obscene music, and 740 00:50:04,400 --> 00:50:09,440 the FBI did actually launch an investigation into the song. 741 00:50:10,039 --> 00:50:12,480 I'm gonna guess they didn't work very hard at this 742 00:50:12,639 --> 00:50:18,960 investigation because nobody at the FBI bothered to ask Jack 743 00:50:19,039 --> 00:50:21,400 Ellie what he was singing, and nobody at the FBI 744 00:50:21,599 --> 00:50:24,639 bothered to ask Richard Berry what he wrote. He was 745 00:50:24,679 --> 00:50:28,920 still around the guy who wrote the song. Nobody asked, 746 00:50:28,960 --> 00:50:34,039 So I think the FBI handled it appropriately. It's okay, yes, ma'am, 747 00:50:34,199 --> 00:50:34,679 no problem. 748 00:50:35,159 --> 00:50:38,840 Speaker 3: Some thing's never change. I guess yeah, I'm. 749 00:50:38,719 --> 00:50:44,679 Speaker 1: Not touching that tonight. So Jack Ellie wound up leaving 750 00:50:44,719 --> 00:50:47,400 the band shortly after they recorded Louis. Louis, the drummer. 751 00:50:47,480 --> 00:50:50,760 Easton wound up taking over the band and pushed him out. 752 00:50:50,960 --> 00:50:53,079 He wanted to become the front man after he saw 753 00:50:53,559 --> 00:50:55,880 the success of what was going on, and it just 754 00:50:55,960 --> 00:50:59,840 turned into a nasty mess going back and forth. Jack 755 00:51:00,159 --> 00:51:03,239 drafted into the army during Vietnam. He wound up struggling 756 00:51:03,639 --> 00:51:06,000 with drugs and alcohol after his discharge, like a lot 757 00:51:06,079 --> 00:51:09,599 of Vietnam vets did. Unfortunately, he was able to get 758 00:51:09,639 --> 00:51:12,960 sober and he was active in a group called Rockers 759 00:51:13,000 --> 00:51:16,280 Against Drugs. He was also a supporter of the proposed 760 00:51:16,360 --> 00:51:19,880 Performance Rights Act, which would ensure that performers who actually 761 00:51:19,960 --> 00:51:22,320 performed on these records would get their share of the 762 00:51:22,440 --> 00:51:25,079 royalties due to them when their songs were played, which 763 00:51:25,159 --> 00:51:27,519 is the way it's supposed to work, but musicians got 764 00:51:27,599 --> 00:51:30,719 ripped off, especially back then, all the time as popular 765 00:51:30,920 --> 00:51:33,719 as their version of Louis Louie is. He made a 766 00:51:33,800 --> 00:51:36,760 grand total of about six thousand dollars on that song, 767 00:51:37,000 --> 00:51:40,840 and that's it. That's it, after those millions of airplays 768 00:51:40,840 --> 00:51:44,599 and all that kind of stuff. Six grand. Unfortunately, he 769 00:51:44,679 --> 00:51:48,760 passed away in twenty fifteen at age seventy one. So 770 00:51:49,119 --> 00:51:51,960 when we listened to the song, there's a guitar solo. 771 00:51:52,159 --> 00:51:54,679 Right after the guitar solo, you'll hear Jack start to 772 00:51:54,719 --> 00:51:56,800 sing a few notes and then he stops, and then 773 00:51:56,840 --> 00:52:00,119 he starts again. When the phrase starts over again. That 774 00:52:00,239 --> 00:52:03,679 was a mistake. He caught himself making the mistake and 775 00:52:03,719 --> 00:52:06,239 he stopped and then he started over again. But people 776 00:52:06,280 --> 00:52:09,320 have heard the song so much that they thought they 777 00:52:09,400 --> 00:52:12,000 think it's on purpose. So even nowadays when you hear 778 00:52:12,079 --> 00:52:12,800 cover bands. 779 00:52:12,599 --> 00:52:13,239 Speaker 3: Do it, they do that. 780 00:52:14,079 --> 00:52:15,679 Speaker 1: You know it was a mistake. They didn't know it 781 00:52:15,760 --> 00:52:16,320 was a mistake. 782 00:52:16,599 --> 00:52:18,360 Speaker 3: They copy the mistake. They copy the. 783 00:52:18,400 --> 00:52:21,719 Speaker 1: Mistake, right, But that's not what we're talking about. What 784 00:52:21,800 --> 00:52:24,960 we're going to talk about now is at the fifty 785 00:52:25,400 --> 00:52:31,079 four second mark, the drummer Lynn Easton drops a drumstick 786 00:52:31,719 --> 00:52:35,320 and then drops an f bomb because he dropped his drumstick. 787 00:52:37,159 --> 00:52:39,320 It just blends into the music, and if you don't 788 00:52:39,400 --> 00:52:42,880 know it's there, it just sails on by fifty four 789 00:52:42,920 --> 00:52:45,360 seconds in. We don't worry. I'll count it down for you, 790 00:52:45,840 --> 00:52:47,159 and then we're going to back it up and I'll 791 00:52:47,199 --> 00:52:48,760 count it down for you, so we'll make sure that 792 00:52:48,880 --> 00:52:52,480 nobody misses it. Once you hear it, you cannot unhear it. 793 00:52:52,559 --> 00:52:54,840 And like I said, if this really may offend you, 794 00:52:54,960 --> 00:52:57,599 feel free to skip ahead a little bit. But we're 795 00:52:57,639 --> 00:53:00,199 going to listen to Louie Louis by the King Man. 796 00:53:00,199 --> 00:53:01,760 I'm going to keep the mics open and I will 797 00:53:01,840 --> 00:53:04,719 count down when it's coming fifty four seconds. So here 798 00:53:04,800 --> 00:53:04,960 we go. 799 00:53:11,840 --> 00:53:59,880 Speaker 17: Oh, here we go, three two one, here yep, alright 800 00:54:00,400 --> 00:54:02,159 back up, Just in case you didn't hear it. 801 00:54:02,280 --> 00:54:04,440 Speaker 1: I'm just gonna back up a couple of seconds. Here 802 00:54:04,519 --> 00:54:14,360 we go again, three two one, got it? 803 00:54:16,320 --> 00:54:16,639 Speaker 5: Got it? 804 00:54:17,400 --> 00:54:19,559 Speaker 1: Third Times of Charm, just for anybody who may have 805 00:54:19,639 --> 00:54:21,199 missed it. And then we're just going to let the 806 00:54:21,280 --> 00:54:24,119 song play out and you can listen for when Jack 807 00:54:24,159 --> 00:54:27,000 comes in by a mistake. So here we go, last time. 808 00:54:27,079 --> 00:54:33,360 I'm just gonna let it play out they go three 809 00:54:33,880 --> 00:54:40,280 two one, but. 810 00:54:40,360 --> 00:54:43,679 Speaker 3: It blends right in. You think he's going out, yeah, 811 00:54:45,960 --> 00:54:48,559 like a regular rock and roll Yeah, you. 812 00:54:48,599 --> 00:55:08,119 Speaker 18: Know, okay, lot, I'm gonna block out. 813 00:56:11,360 --> 00:56:12,119 Speaker 3: Got ten seconds. 814 00:56:22,159 --> 00:56:24,840 Speaker 1: I mentioned that they did it in one take, and 815 00:56:25,519 --> 00:56:27,599 that wasn't the intent. The band didn't know they were 816 00:56:27,679 --> 00:56:29,960 doing that. They thought this was a rehearsal. But because 817 00:56:30,000 --> 00:56:33,440 of the time constraints of paying for time, this was it. 818 00:56:34,360 --> 00:56:37,519 And that's the copy, you know, that's the version they got, 819 00:56:37,639 --> 00:56:38,079 And that was it. 820 00:56:39,239 --> 00:56:44,480 Speaker 3: That's happened more than more than a couple of times too, 821 00:56:44,760 --> 00:56:48,719 not you know, that may be the first, but whether 822 00:56:48,760 --> 00:56:52,159 they were just doing to run through and the band 823 00:56:52,239 --> 00:56:57,199 didn't realize that the tapes were rolling and that ended 824 00:56:57,280 --> 00:56:58,320 up being the keeper. Yeah. 825 00:56:58,800 --> 00:57:01,440 Speaker 1: And they were also a lot of hits which we 826 00:57:01,519 --> 00:57:04,360 could do as a future show where they had extra 827 00:57:04,480 --> 00:57:06,679 time at the end. Oh so why don't we do 828 00:57:07,760 --> 00:57:09,320 cover this? Why don't we do this? Why don't we 829 00:57:09,400 --> 00:57:13,159 try this? And that becomes the hit the tag along, 830 00:57:13,280 --> 00:57:15,000 you know, just because they had the extra time that 831 00:57:15,000 --> 00:57:17,400 they already paid for. So there's a bunch of songs 832 00:57:17,440 --> 00:57:19,760 like that that the accidental hit, you could call it. 833 00:57:20,440 --> 00:57:24,239 That wasn't even intended, so well, there you go, very cool, 834 00:57:24,920 --> 00:57:27,440 right cool. So that was the earliest I could find now. 835 00:57:27,519 --> 00:57:29,639 Of course, you know, if you go back to the twenties, 836 00:57:29,679 --> 00:57:31,880 there was risk a language and all that, but nothing 837 00:57:31,960 --> 00:57:36,760 like that. In the sixties. Then lyrics got a little 838 00:57:36,760 --> 00:57:39,960 bit more profane as you went along intentionally, but those 839 00:57:40,079 --> 00:57:42,559 never got radio airplay like Louis Louis. 840 00:57:42,360 --> 00:57:45,719 Speaker 3: Did, No, some of them did. It was a Pink 841 00:57:45,800 --> 00:57:49,239 Floyd song that got through, and it was sold by 842 00:57:49,280 --> 00:57:50,360 the Who that got through. 843 00:57:50,599 --> 00:57:51,360 Speaker 1: Yeah, that's true. 844 00:57:51,480 --> 00:57:55,480 Speaker 3: It's time and it was not Yeah, it was not 845 00:57:55,760 --> 00:57:59,239 veiled or you know in the background. No, it's straight up. 846 00:57:59,480 --> 00:58:01,880 You know. I'm not going to say what well, but 847 00:58:02,400 --> 00:58:08,039 if you know, you know, And somehow I guess the 848 00:58:08,159 --> 00:58:10,920 more popular you are, the more people look the other way. 849 00:58:10,960 --> 00:58:13,800 I suppose, you know, dance like Pink Floyd and the Who, 850 00:58:15,000 --> 00:58:16,039 they could get away with it. 851 00:58:16,199 --> 00:58:18,639 Speaker 8: But the thing is, though, now that I know that 852 00:58:18,800 --> 00:58:22,239 that's there, I've always liked the song. 853 00:58:22,679 --> 00:58:24,679 Speaker 1: I'm Those of you who. 854 00:58:24,639 --> 00:58:27,760 Speaker 8: Know me fairly well know that I'm a very visual person, 855 00:58:28,679 --> 00:58:34,480 so I could just picture this happening totally absolutely. 856 00:58:34,480 --> 00:58:36,920 Speaker 1: You know what, people make mistakes and rehearsals all the time, 857 00:58:37,039 --> 00:58:38,760 and you do that and you move on and you 858 00:58:38,840 --> 00:58:40,760 do it again. But there was no doing it again. 859 00:58:41,639 --> 00:58:45,039 Speaker 3: Having having having dropped a few drumsticks in my time, 860 00:58:45,360 --> 00:58:46,679 I totally understand. 861 00:58:47,880 --> 00:58:51,159 Speaker 8: But did you But did you yell anything when it happened? 862 00:58:51,639 --> 00:58:51,880 Speaker 5: Well? 863 00:58:52,519 --> 00:58:55,719 Speaker 3: Possibly, but there were no microphones, no recordings on. 864 00:58:56,760 --> 00:58:58,519 Speaker 1: You can't prove anything. Well, never know. 865 00:59:00,199 --> 00:59:05,920 Speaker 7: I just googled lyrics the lyrics to the song, and 866 00:59:06,039 --> 00:59:10,199 it's there. It's the lyrics has put it in there 867 00:59:10,440 --> 00:59:11,079 play day. 868 00:59:12,559 --> 00:59:18,119 Speaker 3: Well yeah, now now you can do that, yeah now yeah, yeah, 869 00:59:18,480 --> 00:59:20,920 so but yeah, they didn't. They didn't have the Internet 870 00:59:21,039 --> 00:59:21,639 and all that. 871 00:59:22,079 --> 00:59:25,639 Speaker 1: That's true and fairness, that's not in the original lyrics 872 00:59:26,239 --> 00:59:26,840 sheet either. 873 00:59:27,199 --> 00:59:27,519 Speaker 11: That was. 874 00:59:29,719 --> 00:59:31,400 Speaker 1: It's a it's. 875 00:59:31,280 --> 00:59:35,920 Speaker 7: A it's a source called lyric Find, lyric find one word, 876 00:59:36,039 --> 00:59:39,239 lyric Find. It's the first thing that came up in Google. 877 00:59:39,320 --> 00:59:42,880 Speaker 3: I'm like, there you go. 878 00:59:43,119 --> 00:59:44,639 Speaker 1: Now it's going to be stuck in your head every 879 00:59:44,679 --> 00:59:45,159 time you hear it. 880 00:59:45,320 --> 00:59:49,880 Speaker 4: You will not be able to It's a good it's 881 00:59:49,880 --> 00:59:54,199 a good song to add to the the Sunday service 882 00:59:55,079 --> 00:59:55,639 line up there? 883 00:59:55,679 --> 00:59:56,400 Speaker 6: What do you say, gil? 884 00:59:56,519 --> 00:59:56,679 Speaker 5: Right? 885 01:00:01,079 --> 01:00:06,599 Speaker 8: I think I think the rest of the congregation might object. 886 01:00:06,960 --> 01:00:11,440 I'm not entirely sure. The clergy would object because most 887 01:00:11,559 --> 01:00:14,760 of the clergy that I know have the almost the 888 01:00:14,800 --> 01:00:18,119 same twisted sense of humor that I do, so I'm 889 01:00:18,159 --> 01:00:18,840 not sure. 890 01:00:18,719 --> 01:00:21,880 Speaker 3: What that means. Well, that was the song I walked 891 01:00:21,920 --> 01:00:27,360 down the aisle to. You know, Yeah, no, not really. 892 01:00:29,360 --> 01:00:31,599 Speaker 1: All right, I'm going to take the queue that it 893 01:00:31,639 --> 01:00:35,000 is time to pull the plug because we are so 894 01:00:35,119 --> 01:00:39,920 far off the light. All right, interesting topic, interesting selections. 895 01:00:40,039 --> 01:00:42,440 As always. I like when the topic is just vague 896 01:00:42,519 --> 01:00:44,400 enough where we don't know which direction it's going to go. 897 01:00:44,559 --> 01:00:47,199 Speaker 8: Oh, me too, because then I can pick what I 898 01:00:47,320 --> 01:00:48,840 want and not get stuck. 899 01:00:49,840 --> 01:00:52,719 Speaker 1: There you go, all right, good choice is grand bones. 900 01:00:52,760 --> 01:00:55,239 Thanks for all the effort as always, and thank you 901 01:00:55,400 --> 01:00:57,639 for joining us for the Rock and Roll History Show. 902 01:00:58,079 --> 01:00:59,639 Don't forget to check out all the other shows we 903 01:00:59,719 --> 01:01:02,239 do here, because there is something for everybody. We are 904 01:01:02,320 --> 01:01:05,480 actually off next week. I don't know if we'll be 905 01:01:05,559 --> 01:01:07,519 back in the week after that. We're gonna have to 906 01:01:07,599 --> 01:01:10,360 wait and see. I don't know, we'll find out. 907 01:01:10,480 --> 01:01:14,159 Speaker 8: But you know it sounds ominous, it does. 908 01:01:14,519 --> 01:01:18,039 Speaker 1: It's Yeah, sometimes you're at the mercy of other people's schedules. 909 01:01:18,360 --> 01:01:22,280 Speaker 3: But if the FCC and the FBI. Hear what we 910 01:01:22,400 --> 01:01:24,480 just played. They might come in, and that's true. 911 01:01:24,719 --> 01:01:28,280 Speaker 1: Yeah, they might come in. All right, Well, start pulling 912 01:01:28,320 --> 01:01:30,079 the bail money. We'll see how it goes, all right, 913 01:01:30,599 --> 01:01:32,920 all right, guys, Well, thank you, I have a great 914 01:01:33,000 --> 01:01:35,760 weekend and we'll see you next time. So until then, 915 01:01:35,920 --> 01:01:37,480 peace out, everybody. 916 01:01:39,840 --> 01:01:41,440 Speaker 11: Rock cop bottomed ram. 917 01:01:43,960 --> 01:01:44,880 Speaker 2: Okay, Bye bye. 918 01:01:46,840 --> 01:01:51,400 Speaker 1: Pudsonriver Radio dot Com, a subsidiary of Glacier Entertainment LLC, 919 01:01:51,880 --> 01:01:54,920 potentially successful its multi hundred dollars corporation