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Speaker 1: Hello, Shirley fans.

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Speaker 2: For the last three years, Jason and I have been

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bringing you the stories behind all of your favorite movies

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from the eighties. But today we begin a new series.

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Speaker 3: In twenty sixteen, the Duffer Brothers introduced the world to

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Stranger Things. This show not only changed the way we

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all watch television, but surprisingly also truly impacted the music

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we listened to, from Africa to Running Up that Hill.

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Stranger Things has brought back songs of our past and

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introduced them to a whole new generation.

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Speaker 2: So the Surely you Can't Be Serious Podcasts begins a

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new series bringing you the stories behind the songs of

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Stranger Things. Hello everybody, and welcome back to the Shirley

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you Can't Be Serious Podcast. I am James D.

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Speaker 1: Graves.

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Speaker 2: I am here with my good buddy Jason Colvin, and

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we are here to talk some Stranger Things music.

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Speaker 3: Episode three of season one. I've got one question for you,

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d Yeah, is that new bra.

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Speaker 1: Was last episode?

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Speaker 2: Oh?

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Speaker 1: Sorry? Last episode?

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Speaker 3: Hey, it jumps in right where we left off last

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episode with Steve and Nancy.

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Speaker 1: And Barb and Barb, poor Barb man.

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Speaker 2: These shows I love going back to revisit these episodes.

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And preparation for these things. This is such a well

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made show. It is, and I know we're here to

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talk about the songs, but man, the production is so

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good I feel like we need to talk about it

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a little bit.

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Speaker 3: Basically, Barb is stuck in the upside down. Yes, she

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was on the diving board at the party, having a

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crappy time dropping blood in the water. Yeah, all of

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a sudden boom, She's in the upside down. While Steve

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and Nancy are making out yep, Eleven down in the basement.

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Mike's taking care of her, Yeah, pumping snacks tour, taking

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care of her, and their buddy Will is still lost.

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Everybody's looking for Will.

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Speaker 2: And in this episode we discover through flashbacks that Eleven

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has more powers than we really knew about right two,

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that she is not willing to kill cats, but is

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willing to kill orderlies who are trying to throw her

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in the closet. They deserved it, and that she's punished

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for not killing the cats, so that we know that

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there's something fishy going on here. I can't not talk

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about this, right. I realized that we're here to talk

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about the song, but I just have to say that

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So the sheriff goes to investigate at the research facility

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and he's very suspect, like he's like, can you show

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us the video of the night the kid disappeared? And

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when they leave, he's like, did you see any ring

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in that video? He called it off for the storm, right,

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So they start investigating at the library. He's had a

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little little thing with the library and that was kind

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of funny. And when they're doing their research, it comes

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across this page where doctor Brenner played by Matthew Modine.

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He shows up as implicated in some nefarious stuff, including

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and this is the first first article that he sees

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the mk ultra experiments. I did some looking on this.

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This is a real thing. I am sure that a

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lot of our Shirley fans know about this, but this

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this was my first. This was my first to dive

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into this stuff. It is crazy. I mean this is

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I mean literally, like we talked about LSD in our

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first episode in nineteen fifty three, when Korean prisoners of

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war came back to the United States and were like

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toting the communist party line, They're like, holy cow, these

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guys have been brainwashed, and so what they decided to

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do was make their own brainwashing investigation. And with these

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completely front organizations that appeared to be educational or treatment

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oriented or whatever, they would give people LSD and other mescaline,

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other drugs, other weird sort of experimentations on them. I

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mean frequently. It was like Nazi war camp crap all

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through the CIA for like twenty years, and they spent

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twenty million dollars on it. It's insane. My mind was blown.

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My mind was blown.

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Speaker 3: When you called me and said, hey, this do you

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know about this? All this stuff?

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Speaker 2: I was like, who smokes like it's Manchurian candidate style stuff?

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Is manasering except real life, right right? And they gave

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one of their own guys. They gave like a US

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weapons biochemist LSD without him knowing about it, and he

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jumped out of a freaking window a week later, like dead.

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Speaker 3: Don't do drugs, kids, don't don't don't do it. Don't

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take drugs from the CIA. Boys and girls. Hey, I've

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got another mind blowing thing for you, something we talked

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about during our Top Gun episode. Yes, okay, Matthew Modine,

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the guy who plays doctor Brenner, Yes, who played Loud

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and Swain in Vision Quest, Yes, which I showed my daughter.

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She was like, no way, that guy is old and

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he's playing a young guy. And you know, yes, Matthew

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Modine was the second choice to play Maverick in Top Gun.

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Speaker 1: Nice.

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Speaker 3: I'm cruse got it, but their backup plan was Matthew MODI.

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Speaker 2: I don't know if I'll find a way to throw

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this in later, So I'll throw it in now. We're

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going to talk about David Bowie and by gosh, eighties

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he started acting in addition to his other endeavors, and

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he in a movie called The Hunger directed by Tony Scott,

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director of Pop Gun.

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Speaker 3: Yes, that's true.

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Speaker 1: Terrible movie by.

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Speaker 2: The way, horrible, not well received.

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Speaker 3: It's a vampire movie.

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Speaker 1: So I'm like, awesome.

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Speaker 3: I like ready for like Friday Night or Lost Boys.

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Yea boring, my gosh boy.

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Speaker 4: Yeah.

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Speaker 1: Yeah.

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Speaker 2: To finish up the episode, yeah, Elle is taking the

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boys to find him, and we cannot forget that. Joyce

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has the lights up and is convinced that Will is

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communicating with her through the lights, and then we see

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some you know more pushing through the paper stuff. Thankfully,

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it's Christmas time and she's able to go out and

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buy a whole lot of lights, and then we have

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the discovery of what appears to be Will's body at

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the end of this episode. Sorry spoiler alert, sorry for

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not telling you.

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Speaker 3: Hey, I do want to give a quick shout out

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to my good buddy Tristan Martin, who deserves some credit

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and I haven't given him any credit yet. My kids

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actually were the final straw in making me sit down

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and actually watch Stranger Things. So I'm late to the party.

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I joined at season four, but I went back and

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started season one, got caught up. But Tristan Martin's been

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begging me for years to watch this and he was.

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Speaker 1: Like, what about me?

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Speaker 3: What about when I was begging you to watch it?

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So Tristan, thank you. You are one of the major

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reasons why I watched the show as well.

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Speaker 1: So fantastic.

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Speaker 2: It's been a great show, so well done. And I

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mentioned last last episode that was the ET episode, like

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it was very similar to the ET stuff. This one

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was totally close Encounters of the third kind, right right.

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Everybody thinks Joyce is losing it. She's thinks she's communicating

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with Will from beyond through lights. I mean, she's obviously nuts.

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So just turns out she's Richard Dreyfus, and she's right.

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It did mean something.

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Speaker 3: You're exactly right, this means something.

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Speaker 1: I love watching these.

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Speaker 3: With my kids because I see, like the thing that's

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kind of bending through the walls. I'm like, that's Nightmare

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on Elm Street right there.

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Speaker 1: Yep.

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Speaker 3: It's like me commentating to my kids. They don't want

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to hear it, but.

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Speaker 1: This is from Ghostbusters.

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Speaker 3: Yeah, all right, d So it's football season, and so

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Tom Brady's forty five years old. He's out there getting

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it done. Yeah, he's basically our age. Yeah, and you know,

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one of the secrets for his success in the NFL.

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Every time he goes out onto the field, before he

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goes out of the field, he feels his balls. He

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squeezes him, he caresses them. He was actually involved in

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a scandal revolving around the pressure of his balls.

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Speaker 2: Well, if your balls are under pressure, maybe it's because

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you got too much jungle going on down there, which

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brings us to our sponsor for the day, manscaped dot com.

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Speaker 3: That's right, let's talk serious for just a second. Okay,

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serious twenty serious, twenty. Let's talk serious twenty right. Okay,

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your wife, your girlfriend. They want you to be clean

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and trim and looking good. They don't want a nasty jungle.

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Speaker 1: Right.

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Speaker 3: Manscape has these great products like the lawnmower that's there

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to make you look good.

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Speaker 2: Right, guys, if you go to the barber every couple

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of weeks and you take care of all other hair

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on your body every year or so, you're doing it wrong.

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Speaker 3: That's right. Nobody wants to be with a caveman, right,

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take care of yourself.

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Speaker 2: Go to Maandscape dot com. Be sure and use our

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promo code which is serious twenty and you'll get twenty

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percent off of your order. And they have fantastic products

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for you to use. I like the kits where you

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can get like a whole bunch of stuff all in

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one package.

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Speaker 3: Don't be a caveman.

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Speaker 1: Whack it, wack it.

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Speaker 2: Okay, we're ready to dive into the music. Let's dive

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into the music. We've been blathering on for long enough now.

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Speaker 3: Okay, d So we're diving in right off the bat.

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Forty seconds into this episode. Forty seconds, forty seconds, we

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basically jump right in with Steve and Nancy who are

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under the sheets.

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Speaker 2: Well, speaking of jump like I had, I was listening

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for the song because I knew it came right on.

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You're sitting me watching me listen for the song, and

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it turns out the first thing that you hear in

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the episode is barb goh, I jump clean out of

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my seat.

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Speaker 1: And you died laughing. Yeah, that was funny, but yes.

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Speaker 2: About forty seconds after that, we see Steve and Nancy

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getting down, getting with it.

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Speaker 1: Things about to happen.

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Speaker 3: He's checking out her new bra.

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Speaker 2: Her new bra, and then the BRA's gone, and all

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sorts of stuff's happening.

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Speaker 3: But you dive right in with one of the eighties

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great power ballads, a song called Waiting for a Girl

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Like You by Foreigner, And this is the perfect song

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to have in this spot because it's not only a

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huge song of the huge song of the eighties, it

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is a power ballad that when you mix a romantic

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scene in with a terrifying scene, it takes all of

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those cool synthesizers that they're doing and makes them much

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more eerie. It is a chuck the position, if you will,

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of Beauty and Horror.

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Speaker 1: Back and back.

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Speaker 3: Let's talk about that song for just a second. Then

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we'll talk about Foreigner for a second. Okay, So the

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song reached number two, and only number two. It actually

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has the distinct honor of being number two for ten weeks.

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Speaker 1: Ten weeks.

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Speaker 3: That's like some kind of record.

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Speaker 1: It is a record.

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Speaker 2: Actually is the longest that any song has been at

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number two and not made it to it's number one.

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Speaker 1: Yeah, I think who did I tell you that? The

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other one was Missus Elliott. Yes.

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Speaker 3: So Foreigner releases this song October of nineteen eighty one.

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By January of nineteen eighty two, it reaches number two,

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but it's blocked for nine weeks by a song called

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Physical by Olivia Newton John.

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Speaker 2: Well, I like to listen in the Olivia Newton John's

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body talk.

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Speaker 3: That song was eighties iconic. You said nine weeks though,

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and this was on the chart for ten weeks. Well,

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then you have a song by Hall of Oates called

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I Can't Go for that.

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Speaker 2: Two icons of the eighties keeping another icon of the

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eighties out of the number one spot.

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Speaker 3: So it leapfrogged, it went to number one, blocked it again,

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and then that last week Jay Giles band Centerfold takes

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the number one spot and Foreigner drops to number three.

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It just missed its window.

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Speaker 2: And this song comes off of their fourth album, appropriately

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titled four. Right, it would have been a good comparison

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for us on Toto's four, which is what we did

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whenever we had our first episode and we talked about Africa.

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Speaker 1: That's right.

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Speaker 2: But we still have it out there to compare to

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somebody else. I'm not sure who that is yet, but

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it is an icon album. And I asked my brother,

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I'm like, how did this get by me? You know, like, hey,

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older brother that introduced me to all of the eighties bands.

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Did you ever own the four tape or anything? He

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was like, no, I always wanted it, but it was

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like something else always came up that I picked it

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over that one. So before we get into four itself,

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let's talk about how they how the band came to

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be all right, sure, okay, So Mick Jones is the man,

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like he is the founder of the band, so throwback

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to him. He was a guy who started playing music

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very early, got a ukulele, yeah, and loved it and

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played it all the time and decided to become a guitarist.

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The first band that he got involved with was a

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band called Nero and the Gladiators.

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Speaker 3: I know, flashback to our Gladiator episode.

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Speaker 2: I knew you were going to do that. So he

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plays with them, and their gimmick was Nero was in

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a toga and the gladiators were in gladiator gear up

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on stage.

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Speaker 4: Right.

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Speaker 2: Right, He ends up a secession musician in France. He

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wrote songs for Johnny Holliday, who was considered the Elvis

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of France.

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Speaker 3: Right, I thought that I'm like the freaking French Elvis.

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Speaker 2: Right, the French Elvis. And there's a song I want

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to butcher the pronunciation here. We need Melissa Mingle over

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here to help us pronounce this. But talk to Cassier.

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I'm guessing is the name of the song.

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Speaker 3: Hey we wee?

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Speaker 1: Yeah, you know who played guitar, No, Jimmy.

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Speaker 3: Pay Jimmy Page. Jimmy Page played guitar on the French

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Elvis's song written by Mick Jones. Hey wait now the

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French ol We got the French Elvis. Yeah, and remember

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when we talked about the Minneapolis Wham. Yeah, it was

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amber one hit Wonder, right. So guys, hey, guys, if

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you want to check out our one Hit Wonder episode,

283
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to be sure and go to our Patreonpatreon dot com

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Backslash Shirly podcast, and you can hear all about the

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Minneapolis Wham. That's right, that's right. You talked about that

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on the Jets episode.

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Speaker 2: So he's doing pretty well, like he's making money as

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a musician. He ends up making friends with the Beatles.

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He ends up in this band called Spooky Tooth that

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does a okay.

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Speaker 1: For a while.

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Speaker 2: So Luke Ematico gives him this LP from Black Sheep.

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Lugarmatico's band and Mick Jones' band is in New York

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at the time.

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Speaker 3: Right, So just a quick thing on Spooky Tooth.

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Speaker 1: Spooky Tooth.

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Speaker 3: Yeah, the original singer for Spooky Tooth was a guy

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named Gary Wright. If you've seen Wayne's World, you've heard

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this guy seeing Gary Wright seeings dream Weaver. Okay, so

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here you go. I've got some stuff on Black Sheep.

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Black Sheep was a band in the early seventies. They

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were actually the first band signed by Chrysalis. Yeah, I

303
00:14:44,759 --> 00:14:48,559
was going to tell you this, Okay, So if you'll remember,

304
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we talked about Chrysalis a lot during the Huey Lewis

305
00:14:51,000 --> 00:14:54,759
in the News episode. Right, Huey Lewis made the album

306
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Sports but Chrysalis was kind of falling on bad times.

307
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They were calling and no one was answering in New

308
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York and in London, and they were not going to

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turn their album over to a company going out of business, right.

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Speaker 2: They would sleep with the originals underneath their.

311
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Speaker 3: Pillow flashback to our hear listen in his sports episode

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Black Sheep is acquiring some success. They actually become the

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opening band for Kiss and in the seventies band that's

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a huge deal.

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Speaker 1: Absolutely.

316
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Speaker 3: So they have this they're traveling and they have this

317
00:15:24,080 --> 00:15:28,159
accident where their equipment truck crashes and destroys all their equipment.

318
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Speaker 2: Yes, it's the New York State Thoroughfare covered in ice.

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All of their band equipment is destroyed. And band equipment

320
00:15:34,320 --> 00:15:36,559
is expensive. It is, It is very expensive.

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Speaker 3: And Gene Simmons and Paul Stanley are like, sorry, fellas,

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sucks to be you, good luck, see you later.

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Speaker 2: So Mick Jones also at this around this same time,

324
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his band is falling apart as well, falls apart there

325
00:15:49,639 --> 00:15:52,240
while he's in New York and he's got no money,

326
00:15:52,240 --> 00:15:54,559
so he's stuck in New York. Oh wow, So he's

327
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working as this session musician and producer A little bit

328
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in New York. But he he's got all these songs

329
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that are coming into his head and he's like, man,

330
00:16:03,799 --> 00:16:06,000
maybe I just should start my own band instead of

331
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just being the guitarist for somebody else's band, I'll start

332
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my own band. So he gets together with Ian McDonald

333
00:16:10,679 --> 00:16:13,399
who is from King Crimson, and they decide to form

334
00:16:13,600 --> 00:16:16,559
a band together, form the band trigger right, yes, And

335
00:16:16,600 --> 00:16:19,799
so they're picking other guy's up, Al Greenwood, some other

336
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folks to be a part of the band, but they

337
00:16:22,080 --> 00:16:24,960
still haven't found a singer. And suddenly he remembers this guy,

338
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Lou Grammatico, that had given him this Black Sheep LP

339
00:16:28,799 --> 00:16:31,559
and he's like, hey, let's give that guy a call. Well,

340
00:16:31,600 --> 00:16:34,759
when Black Sheep's equipment truck wrecked and all of their

341
00:16:34,799 --> 00:16:37,840
equipment broke, he had to find another job. You know

342
00:16:37,879 --> 00:16:39,840
what lu Grammatico was doing when he got a call

343
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for mc jones. No, he was a janitor for a

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public service building. He was cleaning toilets and mopping floors.

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You know we've talked about in our Journey episode. When

346
00:16:51,919 --> 00:16:54,600
Steve Perry got the call, he had gone home and

347
00:16:55,080 --> 00:16:57,399
was working at his stepdad's turkey ranch.

348
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Speaker 3: He was done with music.

349
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Speaker 2: He's done with music. Whenever Brian Johnson got the call

350
00:17:03,120 --> 00:17:07,160
for ac DC, he was putting carmon shields in right.

351
00:17:07,240 --> 00:17:10,599
He was working as a mechanic, basically occasionally singing at

352
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a club here and there, and you know, doing a

353
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Hoover vacuum commercial every once in a while.

354
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Speaker 1: Now Lugermatico gets this.

355
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Speaker 2: Call, they fly him up to New York. Within the

356
00:17:19,960 --> 00:17:22,079
first two lines of him singing, they're like, this is

357
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our guy. But Lugermatico doesn't sound as cool as another name,

358
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and so he changes his name to lou Graham lu

359
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Graham and the band has to change their name from

360
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Trigger to Foreigner and they start working on their first album.

361
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So their first album is an incredible success. And it's

362
00:17:51,559 --> 00:17:54,160
funny because I heard Al Greenwood talking about this. He's like,

363
00:17:54,200 --> 00:17:56,480
I was so excited we were listening to these songs,

364
00:17:56,519 --> 00:17:59,359
were blown away at how good they were. So when

365
00:17:59,359 --> 00:18:02,039
the finally gets done, I take it, I have it

366
00:18:02,039 --> 00:18:04,079
at my party and play it for all of my

367
00:18:04,200 --> 00:18:06,839
friends and it gets done and they're like, that was terrible.

368
00:18:07,799 --> 00:18:09,960
Like number one, get new.

369
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Speaker 3: Friends, get differends?

370
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Speaker 1: What right? And number two how wrong? Could they be?

371
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Speaker 3: They were so wrong.

372
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Speaker 1: Not only were they rude, they were out of touch

373
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with what good music was.

374
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Speaker 3: Because that first album blew ups up the man in Me,

375
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which is great, except this was a studio band, like

376
00:18:34,240 --> 00:18:37,039
Mick Jones had put this together and his whole purpose

377
00:18:37,160 --> 00:18:40,119
was to do a record, not to go out and tour.

378
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Speaker 1: But when this.

379
00:18:40,799 --> 00:18:43,400
Speaker 2: Album does as well as it does, they have to

380
00:18:43,440 --> 00:18:45,759
go tour to support the album. Well, the problem is

381
00:18:45,799 --> 00:18:48,759
they've never played live on stage before. It took a

382
00:18:48,759 --> 00:18:50,519
little bit for them to get up to steam, but

383
00:18:50,640 --> 00:18:53,559
after a while they perfected their stage act and they

384
00:18:53,640 --> 00:18:57,039
hit another couple of albums. Mick Jones kind of seemed

385
00:18:57,079 --> 00:19:00,000
to be a task master, a bit of a heart

386
00:19:00,119 --> 00:19:03,039
as if you will. He's third yeah yeah, and he

387
00:19:03,279 --> 00:19:05,960
ends up firing the bass player because he feels like

388
00:19:06,000 --> 00:19:08,039
he's not jelling. Well, I mean, we're talking about a

389
00:19:08,079 --> 00:19:11,359
band where they're having all kinds of success. He fainted.

390
00:19:11,480 --> 00:19:15,799
The bass player fainted. But they keep going and their

391
00:19:15,839 --> 00:19:19,200
third album didn't do as well, and so they decided

392
00:19:19,240 --> 00:19:22,480
to slim down the band from a sextet to a foursome.

393
00:19:22,880 --> 00:19:25,680
They got rid of Ian McDonald, who was one of

394
00:19:25,720 --> 00:19:26,720
the remorators.

395
00:19:26,920 --> 00:19:30,279
Speaker 3: Yeah, so we're talking about classics here. Okay, So the

396
00:19:30,319 --> 00:19:32,680
first three albums, yeah, listen to this feels like the

397
00:19:32,720 --> 00:19:38,400
first time Cold as Eyes, Hot Blooded, Double Vision, Dirty

398
00:19:38,400 --> 00:19:41,799
White Boy, Head Games, those first three album I mean

399
00:19:41,799 --> 00:19:44,319
you're talking about rock and roll royalty, right.

400
00:19:44,200 --> 00:19:47,480
Speaker 2: The monster hits. They were breaking records with how well

401
00:19:47,559 --> 00:19:48,559
their songs were doing.

402
00:19:48,680 --> 00:19:52,480
Speaker 3: Their first eight singles cracked Billboard Top twenty.

403
00:19:53,119 --> 00:19:55,160
Speaker 1: Nobody had done that since the Beatles, that's right.

404
00:19:55,200 --> 00:19:57,559
Speaker 3: So in nineteen eighty one, they go to record their

405
00:19:57,599 --> 00:19:58,680
fourth album, which they.

406
00:19:58,519 --> 00:19:59,960
Speaker 1: Call four Created.

407
00:20:00,279 --> 00:20:01,480
Speaker 3: You know who their producer is?

408
00:20:01,720 --> 00:20:03,720
Speaker 2: I do, And I also know how they got their

409
00:20:03,799 --> 00:20:06,920
original record deal. They signed with Atlantic. Do you remember

410
00:20:06,960 --> 00:20:09,200
who the A and R guy for Atlantic is. It's

411
00:20:09,240 --> 00:20:12,480
a guy we talked about in our White Snake episode

412
00:20:12,519 --> 00:20:14,839
and a guy that we talked about in our Aerosmith episode,

413
00:20:14,920 --> 00:20:18,079
John Kladner. John Klaudner. If you don't know who he is,

414
00:20:18,119 --> 00:20:20,720
go back and check those episodes out. But just to

415
00:20:20,839 --> 00:20:23,519
throw you a picture in the Dude looks like a

416
00:20:23,559 --> 00:20:26,160
Lady video, he's the guy dressed up in the wedding

417
00:20:26,400 --> 00:20:27,960
dress with his easy top beard.

418
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Speaker 1: Right.

419
00:20:29,000 --> 00:20:32,119
Speaker 2: He is the one of the most successful an R

420
00:20:32,160 --> 00:20:35,880
guys of all time, and he recognized Foreigner for a

421
00:20:36,079 --> 00:20:39,359
possibility to be a record breaking band, and he was

422
00:20:39,559 --> 00:20:42,039
absolutely right. And so yes, by the time we get

423
00:20:42,039 --> 00:20:43,880
to four, they're like, who do we get to produce this?

424
00:20:44,039 --> 00:20:47,119
We are looking for some singles, We're looking for something

425
00:20:47,119 --> 00:20:50,640
that's going to be chart topping hits. Who do we get, well, who,

426
00:20:50,680 --> 00:20:51,400
of course.

427
00:20:51,160 --> 00:20:51,599
Speaker 1: Do you get?

428
00:20:51,839 --> 00:20:55,440
Speaker 3: You call Mutt Langa, Mutt Lang, Baby, Mutt Lang, the

429
00:20:55,480 --> 00:20:58,759
guy who did Back in Black, who did ultimately he

430
00:20:58,799 --> 00:21:01,839
did Pyromania, but he did Hi and Dry with def Leppert.

431
00:21:01,880 --> 00:21:04,359
The guy is a hit maker and he's great at

432
00:21:04,400 --> 00:21:07,440
polishing stuff, make it radio friendly, making it hits. Yeah,

433
00:21:07,480 --> 00:21:09,720
and boy did he knock it out of the park

434
00:21:09,759 --> 00:21:12,640
with this album. So I think it's interesting the difference

435
00:21:12,640 --> 00:21:15,960
in philosophy between Lou Graham and Mick Jones. Yeah, okay,

436
00:21:16,240 --> 00:21:19,440
And actually Mick Jones goes on to produce an album

437
00:21:19,519 --> 00:21:22,839
where the same philosophy is rearing its ugly head in

438
00:21:22,880 --> 00:21:23,519
the mid eighties.

439
00:21:23,559 --> 00:21:25,799
Speaker 2: Okay, you wouldn't be happy to talk about the first

440
00:21:25,920 --> 00:21:27,160
Van Hagar album, would you say?

441
00:21:27,200 --> 00:21:31,640
Speaker 3: Yes? I am my favorite one fifty one fifty. Mick

442
00:21:31,759 --> 00:21:34,119
Jones actually is one of the producers for fifty one

443
00:21:34,160 --> 00:21:34,559
to fifty.

444
00:21:34,720 --> 00:21:37,880
Speaker 2: Guys, if you haven't checked out our van Halen Versus

445
00:21:38,000 --> 00:21:40,759
van Hagar episode, please go check that out. It's one

446
00:21:40,759 --> 00:21:44,759
of our best three episode series. It was so fun

447
00:21:44,799 --> 00:21:48,519
to do and there's so much story in all of

448
00:21:48,559 --> 00:21:49,039
that stuff.

449
00:21:49,079 --> 00:21:51,559
Speaker 1: But yeah, fifty one fifty, I mean.

450
00:21:52,039 --> 00:21:53,759
Speaker 3: Eddie van Halen's like, hey, guys, I want to bring

451
00:21:53,799 --> 00:21:56,920
synthesizers into this rock band and make radio friendly hits.

452
00:21:57,000 --> 00:21:57,200
Speaker 1: Yeah.

453
00:21:57,279 --> 00:21:59,160
Speaker 3: Mick Jones is like, I think that's a great idea.

454
00:21:59,319 --> 00:21:59,920
Speaker 1: I can go with that.

455
00:22:02,240 --> 00:22:05,559
Speaker 2: Okay, So now what's interesting about this song number one?

456
00:22:05,680 --> 00:22:08,759
It was a change for him, right, yes, And it

457
00:22:08,799 --> 00:22:10,599
was a change that some of the band was behind

458
00:22:10,640 --> 00:22:13,160
and some of the band wasn't. A little bit later

459
00:22:13,240 --> 00:22:15,799
on it was eighty five, they come out with another

460
00:22:15,920 --> 00:22:20,519
song that is a power ballad, synthesizer heavy song that

461
00:22:20,880 --> 00:22:24,359
is their only number one hit, beautiful song, but the

462
00:22:24,359 --> 00:22:25,200
song that broke.

463
00:22:25,000 --> 00:22:27,559
Speaker 3: The band, Waiting for a Girl Like You. As you mentioned,

464
00:22:27,680 --> 00:22:29,960
power ballad, I mean, one of the biggest songs of

465
00:22:29,960 --> 00:22:32,440
the eighties. How do you argue with that success? Well,

466
00:22:32,519 --> 00:22:34,480
lou Graham argued with it, right, He's like, we're a

467
00:22:34,559 --> 00:22:37,519
rock band, you know, right, And So in nineteen eighty five,

468
00:22:37,960 --> 00:22:40,880
Mick Jones calls up Lou Graham and says, hey, man,

469
00:22:41,039 --> 00:22:43,519
I've got the bones to a song that I'm working

470
00:22:43,559 --> 00:22:45,720
on and I think it's great. Once, come on over.

471
00:22:45,960 --> 00:22:49,359
So Lou Graham lives about fifteen minutes away, he drives over.

472
00:22:49,759 --> 00:22:51,920
They pound it out, they work on it, they had

473
00:22:52,000 --> 00:22:55,480
it hammered out, and the song is called I Want

474
00:22:55,480 --> 00:22:57,400
to Know What Love is?

475
00:22:58,519 --> 00:23:07,799
Speaker 4: And there's been a hot, aching pain. Don't you fucking

476
00:23:07,960 --> 00:23:28,519
found travel so to change love? I want to know

477
00:23:30,000 --> 00:23:31,680
I wanta shove.

478
00:23:33,359 --> 00:23:35,400
Speaker 2: Dude, Dude, it touches you in a way. I mean,

479
00:23:35,440 --> 00:23:37,599
you did say what you will about what this did

480
00:23:37,599 --> 00:23:40,319
to the band. But man, that song is movie.

481
00:23:40,440 --> 00:23:42,240
Speaker 3: It's epic and it was a.

482
00:23:42,240 --> 00:23:44,720
Speaker 1: Global smash, right Yeah.

483
00:23:44,759 --> 00:23:46,880
Speaker 3: So here's the tough thing about that song. So when

484
00:23:46,960 --> 00:23:49,559
Lou Graham and Mick Johns sit down and they write

485
00:23:49,599 --> 00:23:52,480
the song together, you build it, you polish it, you

486
00:23:52,559 --> 00:23:54,960
massage it, you work on it, you arrange it, you

487
00:23:54,960 --> 00:23:56,759
compose it, you do all these things to it, and

488
00:23:56,799 --> 00:23:58,720
at the end of the day, when you're done with it,

489
00:23:59,000 --> 00:24:01,960
you have to decide what percentage did you do? What

490
00:24:02,000 --> 00:24:04,240
percentage did I do? It? Has to do with money

491
00:24:04,240 --> 00:24:07,039
and royalties and all this other stuff. It is big business, right.

492
00:24:07,200 --> 00:24:09,640
So lou Graham said, there was lots and lots and

493
00:24:09,640 --> 00:24:11,880
lots of times where it was fifty percent him, fifty

494
00:24:11,920 --> 00:24:14,119
percent meet. That's just how it went. And usually if

495
00:24:14,160 --> 00:24:16,440
there was a discrepancy, they'd kind of meet in the

496
00:24:16,440 --> 00:24:18,759
middle and they'd call it good. So after they had

497
00:24:18,799 --> 00:24:21,920
done this, when they sat down at the table, lou

498
00:24:21,960 --> 00:24:24,599
Graham wrote down his number, Mick Jones wrote down his.

499
00:24:24,839 --> 00:24:25,119
Speaker 1: Okay.

500
00:24:25,559 --> 00:24:27,920
Speaker 2: They were saying what they thought their percentage contributed.

501
00:24:28,119 --> 00:24:30,319
Speaker 3: Will you write down what you think what we both did.

502
00:24:30,400 --> 00:24:32,400
I'll write down what I think we both did. So

503
00:24:32,440 --> 00:24:36,480
Lou Graham wrote down sixty five, thirty five, sixty five,

504
00:24:36,599 --> 00:24:40,480
Mick Jones thirty five Lou Graham, okay, And Mick Jones

505
00:24:40,519 --> 00:24:44,400
wrote down ninety five Mick Jones five percent Lou Graham.

506
00:24:44,480 --> 00:24:47,759
And that was super, super insulting to lou Graham. And

507
00:24:47,759 --> 00:24:50,720
he's like, you're basically saying that I did almost nothing

508
00:24:50,759 --> 00:24:53,079
on this song. He's like, man, I gave my heart

509
00:24:53,119 --> 00:24:55,480
and soul. He's like, this all this is is greed.

510
00:24:55,680 --> 00:24:57,400
So in fact, why don't you just keep it all?

511
00:24:57,440 --> 00:24:58,880
Speaker 1: And so bick Jones.

512
00:24:58,680 --> 00:25:01,400
Speaker 3: Said fine, I well, and he did, and he got

513
00:25:01,519 --> 00:25:04,839
all the royalties for that song. And it was a massive,

514
00:25:05,240 --> 00:25:06,119
massive song, no.

515
00:25:15,079 --> 00:25:16,160
Speaker 1: Massive massive song.

516
00:25:16,640 --> 00:25:20,359
Speaker 2: And ultimately Lou Graham was like, I'm not interested in

517
00:25:20,480 --> 00:25:22,240
being the lead singer for Foreigner anymore.

518
00:25:22,480 --> 00:25:25,119
Speaker 3: Screw you, hit you and your greed. You can have

519
00:25:25,160 --> 00:25:27,480
all the royalties. I'm out of here. Yeah, I want

520
00:25:27,480 --> 00:25:29,519
to drop just a couple of nuggets on Lou Graham

521
00:25:29,720 --> 00:25:32,200
before we move on. So in nineteen eighty seven, he

522
00:25:32,240 --> 00:25:33,200
comes out with a song.

523
00:25:33,039 --> 00:25:33,839
Speaker 1: Called Midnight Blue.

524
00:25:36,519 --> 00:25:37,559
Speaker 4: Midnight Blue.

525
00:25:44,160 --> 00:25:47,720
Speaker 3: That song, to me is just an epic radio friendly hit.

526
00:25:47,880 --> 00:25:51,000
I love it. It's great. Also, in nineteen eighty seven, he

527
00:25:51,039 --> 00:25:55,720
gives a song to the Lost Boys soundtrack flashback to

528
00:25:55,759 --> 00:25:58,680
Our Lost Boys Versus Friday Night episode. That song is

529
00:25:58,759 --> 00:26:09,559
called Lost in the Shadow. So and it really sets

530
00:26:09,599 --> 00:26:10,440
the tones. Great song.

531
00:26:10,480 --> 00:26:12,000
Speaker 1: Oh it is a great song. Okay for sure.

532
00:26:12,039 --> 00:26:13,880
Speaker 3: Now then I've got to put the end on the

533
00:26:13,880 --> 00:26:16,519
story of Lou Graham. This is incredible. You're ready for this, sure.

534
00:26:16,880 --> 00:26:19,440
So in nineteen ninety one, he realizes and I've got

535
00:26:19,480 --> 00:26:21,599
a drug problem. So he goes right from a show

536
00:26:21,640 --> 00:26:24,200
at New York City's Madison Square garden. His friend finds

537
00:26:24,279 --> 00:26:26,519
place in Minnesota, so he goes and he spends thirty

538
00:26:26,599 --> 00:26:28,680
days there and he says it's the greatest thirty days

539
00:26:28,680 --> 00:26:30,880
of his life. And it gets him clean, gets him

540
00:26:30,920 --> 00:26:33,400
off drugs, and he really grows spiritually. So he becomes

541
00:26:33,440 --> 00:26:35,680
born again Christian in the mid nineties. And I thought

542
00:26:35,720 --> 00:26:39,240
this was really interesting. He actually sang for the Christian

543
00:26:39,319 --> 00:26:41,880
rock band Petra, which any good Christian boy in the

544
00:26:41,960 --> 00:26:44,640
early eighties listened to Petra for a little bit, right,

545
00:26:44,880 --> 00:26:47,359
So he sings with Petra. But in nineteen ninety seven

546
00:26:47,480 --> 00:26:50,599
he starts to have these headaches, headaches so bad they actually,

547
00:26:50,640 --> 00:26:53,480
he said, they crossed his eyes, like he couldn't uncross

548
00:26:53,519 --> 00:26:55,680
his eyes. And this is the day before they have

549
00:26:55,799 --> 00:26:58,680
this tour with Japan. He's back with Foreigner now yea,

550
00:26:59,000 --> 00:27:01,279
and he goes in. They do a scan on his

551
00:27:01,319 --> 00:27:05,079
brain and they find a non cancerous tumor the size

552
00:27:05,119 --> 00:27:08,279
of a large egg and it has tentacles wrapped around

553
00:27:08,279 --> 00:27:10,519
his pituitary gland and his optic nerve.

554
00:27:10,720 --> 00:27:11,400
Speaker 1: Oh my god.

555
00:27:12,119 --> 00:27:14,680
Speaker 3: He talks to a friend who recommends a surgeon who

556
00:27:14,759 --> 00:27:16,519
is like the best in the world of brain tumors.

557
00:27:17,000 --> 00:27:18,519
So he goes and he sees this guy and the

558
00:27:18,519 --> 00:27:21,559
guy says, it's inoperable. Get your affairs in order, you're

559
00:27:21,599 --> 00:27:22,400
on your way out.

560
00:27:22,559 --> 00:27:22,880
Speaker 1: Wow.

561
00:27:22,960 --> 00:27:26,319
Speaker 3: So he goes home, obviously distraught, and he just happens

562
00:27:26,519 --> 00:27:29,200
to turn on the TV and he's watching twenty twenty

563
00:27:29,319 --> 00:27:32,039
and he sees a special where there's a surgeon who

564
00:27:32,119 --> 00:27:36,039
uses lasers to remove brain tumors that are previously thought

565
00:27:36,079 --> 00:27:37,039
to be inoperable.

566
00:27:39,640 --> 00:27:43,920
Speaker 2: Shouldn't be laughing, this is really I just imagining that

567
00:27:43,960 --> 00:27:45,319
the doctor's name is doctor.

568
00:27:45,079 --> 00:27:54,000
Speaker 1: Evil, and he uses that's okay, I know lou.

569
00:27:53,880 --> 00:27:55,599
Speaker 2: Graham lives, so I can laugh at this point.

570
00:27:55,680 --> 00:27:55,799
Speaker 3: Right.

571
00:27:55,880 --> 00:27:56,240
Speaker 5: That's right.

572
00:27:56,279 --> 00:27:58,759
Speaker 2: That's a terrifying moment for him at that stage.

573
00:27:58,920 --> 00:28:00,720
Speaker 3: I mean, can you imagine you're at your house, You're thinking,

574
00:28:00,799 --> 00:28:03,640
I've got an inoperable brain tuber. I'm going to die,

575
00:28:03,880 --> 00:28:07,799
and I'm happen to see this TV show that mentions this.

576
00:28:08,039 --> 00:28:10,519
Two days later, he was in a surgery for eighteen hours.

577
00:28:10,599 --> 00:28:13,240
They carved it out, and he is alive and well today.

578
00:28:13,519 --> 00:28:13,799
Speaker 1: Yeah.

579
00:28:13,839 --> 00:28:18,079
Speaker 3: In fact, he said he believes that God supernaturally caused

580
00:28:18,160 --> 00:28:19,839
him to be in front of the television at that

581
00:28:19,960 --> 00:28:21,920
exact moment so that he would see that, so this

582
00:28:21,920 --> 00:28:24,480
his life would be spared. He said, Now then, because

583
00:28:24,519 --> 00:28:26,400
of all that, the song, I want to know what

584
00:28:26,440 --> 00:28:30,160
love is. I have special meaning, spiritual meaning.

585
00:28:30,400 --> 00:28:30,960
Speaker 1: Nice.

586
00:28:31,160 --> 00:28:33,759
Speaker 3: There you go. Okay, so switch back to the song

587
00:28:33,799 --> 00:28:34,440
for just a second.

588
00:28:34,480 --> 00:28:35,039
Speaker 1: Day.

589
00:28:35,240 --> 00:28:39,200
Speaker 3: You have that fifteen second ambient music at the very beginning,

590
00:28:39,960 --> 00:28:43,960
that strong, strong keyboard. You know who plays that keyboard?

591
00:28:44,160 --> 00:28:46,119
I do tell us who plays that keyboard.

592
00:28:46,119 --> 00:28:54,240
Speaker 1: It's Thomas Dolby. Tomas, she blinded me with science.

593
00:28:54,599 --> 00:28:58,880
Speaker 3: Thomas Dolby was nineteen years old, fresh off the turnip truck. Yes,

594
00:28:59,039 --> 00:29:01,200
he was recording some music and kind of playing with

595
00:29:01,240 --> 00:29:04,559
some stuff, and he knew that Mutt Lang recorded at

596
00:29:04,559 --> 00:29:07,519
this particular studio, and so he rented some time there

597
00:29:07,640 --> 00:29:09,440
in the hopes that he would bump into mut Lange,

598
00:29:09,519 --> 00:29:11,559
and sure enough he did, and because of that he

599
00:29:11,640 --> 00:29:13,880
ended up playing on the Foreigner record, and because of

600
00:29:13,920 --> 00:29:16,200
that he ended up getting his own record, and it

601
00:29:16,279 --> 00:29:19,279
gave us the one hit wonder. She'd blinded me with science.

602
00:29:19,640 --> 00:29:22,599
Speaker 2: You you mentioned to me that like when he came in,

603
00:29:22,759 --> 00:29:25,079
that Mutt Lang liked his stuff, and so he said

604
00:29:25,079 --> 00:29:28,000
you should sing back up. What a great way to

605
00:29:28,039 --> 00:29:31,279
get a friendship developed? You know what your voice is great.

606
00:29:31,319 --> 00:29:33,960
You should sing backup on this song for a great idea.

607
00:29:34,039 --> 00:29:37,759
He also, by the way, played keyboards on one of

608
00:29:37,759 --> 00:29:40,279
our one hit wonders, the first one hit wonder.

609
00:29:40,039 --> 00:29:42,839
Speaker 3: Video Killed the Radio Star yep. And he also played

610
00:29:42,920 --> 00:29:45,039
keyboards on def Leppard's Pyromedia.

611
00:29:45,279 --> 00:29:45,759
Speaker 1: There you go.

612
00:29:46,000 --> 00:29:50,799
Speaker 3: How about that suns the Muttlane connection there it is? Okay,

613
00:29:50,960 --> 00:29:53,480
So one more thing before we leave foreigner Okay. He

614
00:29:53,680 --> 00:29:57,319
was married to and Dexter Jones, who was a socialite,

615
00:29:57,680 --> 00:30:02,680
but she was the mother of three relatively famous children.

616
00:30:03,440 --> 00:30:06,839
One of them is Mark Ronson. That name any meaning

617
00:30:06,839 --> 00:30:10,200
thing to you? Yes, Mark Ronson did a Bruno's Mars

618
00:30:10,279 --> 00:30:12,279
song Uptown Funk.

619
00:30:12,440 --> 00:30:12,799
Speaker 1: That's it.

620
00:30:13,240 --> 00:30:17,480
Speaker 3: I got it uptown fuck no way. I felt like

621
00:30:17,480 --> 00:30:23,880
we were on Jeopardy there for a second, Lovetown Funky.

622
00:30:24,240 --> 00:30:27,279
Every Bruno Mars song that you possibly can updown for.

623
00:30:28,359 --> 00:30:30,880
Speaker 2: So the best Bruno Mars song was produced by the

624
00:30:30,920 --> 00:30:32,640
step son of Mic Jones.

625
00:30:32,640 --> 00:30:33,960
Speaker 1: How about that DJ for him?

626
00:30:34,200 --> 00:30:34,640
Speaker 3: That's cool?

627
00:30:34,720 --> 00:30:34,960
Speaker 1: Yeah.

628
00:30:35,039 --> 00:30:38,880
Speaker 3: By the way, Mick Jones also executive producer on the

629
00:30:38,920 --> 00:30:42,720
Billy Joel album Stormfront, which had we Didn't Start the Fire?

630
00:30:42,839 --> 00:30:43,960
Speaker 1: Oh nice, good one?

631
00:30:44,039 --> 00:30:45,599
Speaker 3: All right? Are we done with Foreigner.

632
00:30:45,799 --> 00:30:48,480
Speaker 2: Yeah, I think it is time to move on to

633
00:30:48,640 --> 00:30:51,519
our next song in the episode. Okay, next song in

634
00:30:51,640 --> 00:30:56,079
this episode comes in at sixteen twenty two. Joyce has

635
00:30:56,200 --> 00:31:01,200
realized that the lights mean something, okay, really something right,

636
00:31:01,599 --> 00:31:04,359
and so she's gotten out all of her Christmas lights.

637
00:31:04,400 --> 00:31:06,799
She's put them all up everywhere to give a little

638
00:31:06,839 --> 00:31:10,880
tracers for Will to communicate with her from wherever he is,

639
00:31:10,920 --> 00:31:12,680
because at this point we don't know. And then she

640
00:31:12,720 --> 00:31:14,920
runs out of Christmas lights and decides time to go

641
00:31:15,000 --> 00:31:18,480
back to her old job at the general store and

642
00:31:18,519 --> 00:31:21,119
pick up some nuance. And when she walks in, what's

643
00:31:21,160 --> 00:31:24,880
playing over BPA. Well, it's Christmas time. So it's a

644
00:31:24,880 --> 00:31:28,039
song called we Wish You a Merry Christmas. Okay, So

645
00:31:28,119 --> 00:31:31,200
this is a traditional song. This one was arranged by

646
00:31:31,319 --> 00:31:35,680
Joel Laervold and was performed, according to the records that

647
00:31:35,759 --> 00:31:39,240
I have here, was performed by the Joel Evans Quartet.

648
00:31:39,480 --> 00:31:42,119
Now I will say this. I went and tried to

649
00:31:42,160 --> 00:31:44,319
pull that up, and when I listened to it, it

650
00:31:44,400 --> 00:31:48,960
is an instrumental there's no singing. When I watched the episode,

651
00:31:49,200 --> 00:31:51,599
it's a woman singing. There's no question. It's a woman singing.

652
00:31:51,759 --> 00:31:54,759
So I don't know where the disconnect is, but there's

653
00:31:54,759 --> 00:31:57,440
something unusual going on there. But not many people are

654
00:31:57,559 --> 00:32:00,599
unfamiliar with the song, both the music and the words.

655
00:32:00,839 --> 00:32:02,359
But you got something to tell.

656
00:32:02,200 --> 00:32:02,599
Speaker 1: Me about this?

657
00:32:02,720 --> 00:32:04,000
Speaker 3: I've got a little bit on this one.

658
00:32:04,039 --> 00:32:04,480
Speaker 1: Help me ouh.

659
00:32:04,480 --> 00:32:08,039
Speaker 3: Okay, I've got some sort of bland background. And then

660
00:32:08,079 --> 00:32:10,200
I've got a punch you in the face nugget that

661
00:32:10,200 --> 00:32:10,880
I can't wait to tell you.

662
00:32:10,880 --> 00:32:13,279
Speaker 2: Okay, Well, we don't do bland, so just get by that,

663
00:32:13,599 --> 00:32:14,799
move past the bland.

664
00:32:14,839 --> 00:32:15,200
Speaker 1: All right.

665
00:32:15,319 --> 00:32:17,920
Speaker 3: Well here's the deal, okay. So we wish you a

666
00:32:17,960 --> 00:32:22,160
merry Christmas is of unknown origin, okay, but it dates

667
00:32:22,240 --> 00:32:26,079
back to at least the sixteenth century, okay, okay, and

668
00:32:26,160 --> 00:32:30,200
it was sung as a Christmas carol by children going

669
00:32:30,319 --> 00:32:33,039
door to door. They would knock on your door. When

670
00:32:33,039 --> 00:32:35,519
you open the door, they would sing this to you, yes,

671
00:32:35,880 --> 00:32:38,039
in the hopes that you would give them a sweet treat,

672
00:32:38,240 --> 00:32:39,839
like pudding, like figgie pudding.

673
00:32:40,000 --> 00:32:40,359
Speaker 1: Okay.

674
00:32:40,440 --> 00:32:42,759
Speaker 3: And when you think this sounds a little bit odd,

675
00:32:43,400 --> 00:32:45,599
think about what we're gonna do on October the thirty

676
00:32:45,640 --> 00:32:48,720
first this year, right, you know? Yeah, it's the Christmas

677
00:32:48,839 --> 00:32:49,759
version of Halloween.

678
00:32:49,920 --> 00:32:50,200
Speaker 6: Yeah.

679
00:32:50,279 --> 00:32:52,039
Speaker 1: Now, then caroling for twig spars.

680
00:32:53,279 --> 00:32:56,240
Speaker 3: So this guy named Arthur Warrel it actually kind of

681
00:32:56,240 --> 00:33:00,319
gets credit for popularizing and again in nineteen thirty five, Okay,

682
00:33:00,359 --> 00:33:03,119
this guy was a conductor and an organist for the

683
00:33:03,240 --> 00:33:07,720
University of Bristol. He had a performance and where this

684
00:33:07,799 --> 00:33:11,440
song became popular again nineteen thirty five. All right, but

685
00:33:11,480 --> 00:33:14,240
now then this is in England. This becomes popular in

686
00:33:14,279 --> 00:33:18,119
the United States because Ben Crosby records a version of

687
00:33:18,160 --> 00:33:22,480
this on his nineteen sixty three album I Wish You

688
00:33:22,559 --> 00:33:23,559
a Merry Christmas.

689
00:33:23,960 --> 00:33:27,640
Speaker 1: I wish you a married Christmas. I wish you a

690
00:33:27,759 --> 00:33:32,039
merry Christmas. I wish you a merry Christmas and a

691
00:33:32,160 --> 00:33:33,599
happy New Year.

692
00:33:34,480 --> 00:33:38,240
Speaker 3: Okay, now get this, this is the bomb. I'm ready

693
00:33:38,279 --> 00:33:38,880
to drop on you.

694
00:33:39,079 --> 00:33:40,359
Speaker 1: Okay, you my seat.

695
00:33:40,440 --> 00:33:44,799
Speaker 3: Okay, so he recorded for his nineteen sixty three album Okay, Now,

696
00:33:44,839 --> 00:33:46,319
before I get to that nugget, I gotta tell you

697
00:33:46,400 --> 00:33:50,039
one more thing. In nineteen seventy nine, John Denver sang

698
00:33:50,079 --> 00:33:53,799
this with the Muppets. Yeah right, and it's a hilarious

699
00:33:53,880 --> 00:33:57,359
version because they sing the bring us some Piggy Pudding

700
00:33:57,839 --> 00:34:00,559
and Miss Piggy is like, what what are you talking?

701
00:34:00,559 --> 00:34:04,880
About you know, they're like figgie pudding, not piggy pudding. Owing,

702
00:34:05,079 --> 00:34:09,920
that's a figgy pudding, now nodding with figs.

703
00:34:10,039 --> 00:34:11,679
Speaker 1: Oh sorry, bacon.

704
00:34:15,079 --> 00:34:19,440
Speaker 3: Anyway, it's really cute. But in nineteen seventy seven, Bing

705
00:34:19,519 --> 00:34:23,159
Crosby had a Christmas special that was broadcast on national television.

706
00:34:23,679 --> 00:34:28,679
He did a duet with David Bowie. Oh nice, okay, nice,

707
00:34:28,719 --> 00:34:31,920
Now wait for this. So they sang together. They sang

708
00:34:31,920 --> 00:34:47,719
a duet. They sang the Little Drummer Boy Cannon and

709
00:34:47,840 --> 00:34:50,400
it was peace on Earth. It was a mashup. Okay,

710
00:34:50,480 --> 00:34:52,840
so you got the young star, you got the old guy.

711
00:34:53,119 --> 00:34:54,440
Speaker 1: Okay. Now.

712
00:34:54,920 --> 00:35:00,320
Speaker 3: They released this Christmas special a month after bing Crosby died. Okay, wow,

713
00:35:00,400 --> 00:35:04,000
all right, I recorded it. But during this Christmas special

714
00:35:04,320 --> 00:35:08,599
they broadcast a video of David Bowie's of a song

715
00:35:09,719 --> 00:35:10,880
called Heroes.

716
00:35:10,800 --> 00:35:12,320
Speaker 1: Get the Heck out of Town.

717
00:35:12,559 --> 00:35:14,800
Speaker 3: Look at that wow? How about that?

718
00:35:15,280 --> 00:35:15,719
Speaker 1: Wow?

719
00:35:15,760 --> 00:35:18,559
Speaker 2: And if, dear listener, if you are not having your

720
00:35:18,599 --> 00:35:20,840
mind blown right now at what Jason has just said,

721
00:35:20,840 --> 00:35:23,599
it's because you don't know what's coming up, stay tuned

722
00:35:23,679 --> 00:35:25,320
to find out why that's a big deal.

723
00:35:25,559 --> 00:35:29,199
Speaker 3: Yeah, wow, boom job, thank you, good job. Nice one,

724
00:35:29,320 --> 00:35:30,079
thank you, thank you.

725
00:35:30,159 --> 00:35:32,480
Speaker 1: All right, We're done with that one. Okay.

726
00:35:32,800 --> 00:35:37,800
Speaker 2: Next song on the episode is very subtle. You might

727
00:35:37,960 --> 00:35:41,320
overlook it because it is that diegetic music that comes

728
00:35:41,320 --> 00:35:44,400
out from the scene. You actually see the source. In

729
00:35:44,400 --> 00:35:48,159
this particular one, little Elle is wandering around the house.

730
00:35:48,199 --> 00:35:51,440
She wanders up to Nancy's room as fascinated by all

731
00:35:51,519 --> 00:35:54,400
of her stuff, and there's this pretty little music box

732
00:35:54,679 --> 00:35:57,159
like all of the girls in the eighties had, and

733
00:35:57,199 --> 00:36:00,000
she opens it up and there's a little ballery in it,

734
00:36:00,119 --> 00:36:03,800
dancing and the song that is playing is Brahms Lullaby.

735
00:36:04,000 --> 00:36:16,760
Speaker 6: Lulab and Goodland the sadness calling Saley to blanket bag

736
00:36:18,159 --> 00:36:21,440
and return out break of.

737
00:36:23,320 --> 00:36:23,440
Speaker 1: So.

738
00:36:23,719 --> 00:36:28,760
Speaker 2: Our original Patreon member and longtime friend and sometime collaborator,

739
00:36:29,280 --> 00:36:33,079
James Buckley noted after listening to our first episode, there

740
00:36:33,119 --> 00:36:35,360
will be more mentions of John Peel and there will

741
00:36:35,360 --> 00:36:39,000
be more mentions of suicide as these episodes go on. Woo,

742
00:36:39,320 --> 00:36:41,480
I bet you weren't expecting it for Broms.

743
00:36:41,880 --> 00:36:43,440
Speaker 1: No, here we go. I don't know.

744
00:36:43,480 --> 00:36:44,920
Speaker 3: I have no idea what you're about to say.

745
00:36:44,960 --> 00:36:49,320
Speaker 2: Okay, So, Johannes Brahms is considered one of the three

746
00:36:49,559 --> 00:36:52,559
bees Bach Beethoven, Brahms.

747
00:36:52,880 --> 00:36:54,000
Speaker 1: That's how I knew who he was.

748
00:36:54,079 --> 00:36:55,599
Speaker 2: When I was a little kid, we had a music

749
00:36:55,639 --> 00:36:58,440
book at our piano that was The Three Bees, and

750
00:36:58,480 --> 00:37:00,559
it had songs from all of those guys in it.

751
00:37:00,719 --> 00:37:04,920
His dad was a musician. He taught little Johannes how

752
00:37:05,000 --> 00:37:07,480
to play music, and he got good enough that he

753
00:37:07,559 --> 00:37:11,679
hired some good music teachers. His music teachers actually said

754
00:37:11,880 --> 00:37:14,760
he could really be a phenomenal player if he would

755
00:37:14,840 --> 00:37:17,800
just stop with the composing all the time and focus

756
00:37:17,920 --> 00:37:18,840
more on playing.

757
00:37:18,920 --> 00:37:20,239
Speaker 1: How's that for a.

758
00:37:20,280 --> 00:37:25,960
Speaker 2: Bad recommendation, right, So he gets another music teacher who

759
00:37:26,000 --> 00:37:28,840
is encouraging to him a little bit more in his composition.

760
00:37:29,000 --> 00:37:32,079
But eventually he becomes a teenager starts to kind of

761
00:37:32,239 --> 00:37:35,119
rebel a little bit. There's rumors that he started playing

762
00:37:35,119 --> 00:37:37,400
in brothels. Well that's what the action is. Just to

763
00:37:37,480 --> 00:37:40,480
imagine this, right, just imagine this, right. This is the

764
00:37:40,559 --> 00:37:43,480
eighteen hundreds, right, But I could just see this like

765
00:37:43,519 --> 00:37:45,920
this is the rock bands that we're talking about. He's

766
00:37:45,960 --> 00:37:49,719
out there playing clubs and he meets this Hungarian guy

767
00:37:50,000 --> 00:37:52,639
who's like a phenomenal He's like the one of the

768
00:37:52,639 --> 00:37:56,480
best violinists around. But He's just like, hey, man, let's

769
00:37:56,519 --> 00:37:58,880
go tour together. And that's what they do. They go

770
00:37:59,000 --> 00:38:03,880
tour together. And this Hungarian named Eddie Ramini go on

771
00:38:03,920 --> 00:38:06,480
a tour together. Okay, and their tour in Germany, right

772
00:38:06,639 --> 00:38:08,159
all over the place, going to all.

773
00:38:08,000 --> 00:38:12,159
Speaker 3: These sold out dates. Yes, you got t shirts and everything. Yeah, groupies,

774
00:38:12,920 --> 00:38:16,199
the roupees all over Okay, keep going.

775
00:38:16,239 --> 00:38:19,800
Speaker 1: This is great. Okay. So I say this his musical taste.

776
00:38:19,840 --> 00:38:22,000
Speaker 2: He was a very structured guy, but then when he

777
00:38:22,079 --> 00:38:25,519
rebelled a little bit, he started investigating new types of music,

778
00:38:25,880 --> 00:38:29,920
and this Hungarian guy inspired him to write songs. Later on,

779
00:38:30,039 --> 00:38:32,119
has changed his style of music a little bit. And

780
00:38:32,199 --> 00:38:35,159
one of the songs that one of the sets of

781
00:38:35,239 --> 00:38:38,320
songs that he wrote are called the Hungarian Dances. Okay,

782
00:38:38,400 --> 00:38:41,360
so he composes all these songs called the Hungarian Dances. Right,

783
00:38:41,679 --> 00:38:43,840
but I'm gonna play this for you. This is Hungarian

784
00:38:43,920 --> 00:38:46,840
Dance number five. I think you're gonna recognize.

785
00:38:46,400 --> 00:39:03,119
Speaker 3: It absolutely mainly because of bugs Bunny exactly. Hi, Oh

786
00:39:03,159 --> 00:39:04,639
my gosh, yes, of course.

787
00:39:05,239 --> 00:39:09,199
Speaker 2: How many of us gen X folks had our classical

788
00:39:09,280 --> 00:39:14,159
musical education come from Looney Tunes? Absolutely right here, yes,

789
00:39:14,239 --> 00:39:15,440
zoom exactly In.

790
00:39:15,320 --> 00:39:17,960
Speaker 3: Fact, I'm gonna throw in this nugget while you're dropping

791
00:39:18,000 --> 00:39:19,280
all this wonderful history on it.

792
00:39:19,400 --> 00:39:19,639
Speaker 1: Yes.

793
00:39:20,159 --> 00:39:24,800
Speaker 3: In the Looney Tunes episode back Alley Oproar, not uproar,

794
00:39:24,960 --> 00:39:28,400
oproar like opera, I got it, Sylvester is out on

795
00:39:28,440 --> 00:39:33,360
the fence post singing keeping Elmer Fudd awake. Yes, and uh,

796
00:39:33,480 --> 00:39:36,159
Elmer Fudd's finally had enough, and Sylvester starts to sing

797
00:39:36,280 --> 00:39:40,480
the lullaby song to Elmer Fudd, go to sleep, Stop,

798
00:39:40,679 --> 00:39:47,239
go to sleep, close your big bloodshot now you stop.

799
00:39:50,039 --> 00:39:52,159
Speaker 1: I've even got a nugget for you on that, my friend.

800
00:39:52,280 --> 00:39:54,960
Speaker 3: Oh my gosh, okay, keep going.

801
00:39:55,039 --> 00:39:57,719
Speaker 2: So when we very first started talking about the songs

802
00:39:57,719 --> 00:40:00,039
in this one, and then you were like, broms Lullabye.

803
00:39:59,679 --> 00:39:59,920
Speaker 3: What is that?

804
00:40:00,039 --> 00:40:01,800
Speaker 1: I don't know that one, I'm like no, no, no,

805
00:40:01,840 --> 00:40:05,400
no no no, I'm like, oh you know it, yes,

806
00:40:05,480 --> 00:40:06,440
so we all know it.

807
00:40:06,480 --> 00:40:08,880
Speaker 3: From those go to sleep, Go to sleep, close your

808
00:40:09,159 --> 00:40:10,400
big blood shut eyes right.

809
00:40:10,519 --> 00:40:11,400
Speaker 1: Yes. Okay.

810
00:40:11,880 --> 00:40:14,920
Speaker 2: So back to Brahms and his world tour or you know,

811
00:40:15,119 --> 00:40:19,679
Germany tour or whatever he's touring, and he meets franz

812
00:40:19,760 --> 00:40:25,000
List franz List franz List, who also has Hungarian rhapsody, right,

813
00:40:25,119 --> 00:40:29,079
which we all know from the bugs Bunny the piano thing, me.

814
00:40:29,079 --> 00:40:31,920
Speaker 1: Play it for you? Yes, absolutely, you got to. Okay,

815
00:40:32,159 --> 00:40:41,920
here we go. Mm hm. He's chasing the mouse around them.

816
00:40:42,039 --> 00:40:44,880
Speaker 3: You got it, Yes, you got it, chasing the mouse

817
00:40:44,920 --> 00:40:46,199
around the piano keyboard.

818
00:40:50,599 --> 00:40:54,159
Speaker 2: So he meets Franz List. Now, Franz List takes one

819
00:40:54,239 --> 00:40:57,440
of like just Matt takes one of Brahms musical pieces,

820
00:40:57,880 --> 00:41:00,800
plays it perfectly from sight, like has never heard it

821
00:41:01,079 --> 00:41:04,960
or seen it before, plays a perfect, amazing talent Fran's List.

822
00:41:05,559 --> 00:41:08,119
A little bit later that day, when he's in his

823
00:41:08,239 --> 00:41:11,519
concert and he's playing his own stuff, Franz lenz List's

824
00:41:11,639 --> 00:41:15,719
own stuff Brahms false asleep, and so Eddie says, I'm

825
00:41:15,760 --> 00:41:18,000
breaking up the band. Oh wow, I'm out.

826
00:41:18,320 --> 00:41:18,679
Speaker 3: Uh huh.

827
00:41:18,760 --> 00:41:20,559
Speaker 2: By the way, just got to throw this in the

828
00:41:20,679 --> 00:41:22,960
Hungarian dances that we listened to just a second ago.

829
00:41:23,840 --> 00:41:25,960
That's in Pigs in a Polka, another one of the

830
00:41:26,039 --> 00:41:29,800
Looney tunes things. Yes, little porky pig looking guys, it's

831
00:41:29,880 --> 00:41:32,519
kind of the three Little Pigs. Yes thing yep, cartoon

832
00:41:32,679 --> 00:41:37,199
education right, absolutely okay. So just after this he meets

833
00:41:37,360 --> 00:41:41,159
another Hungarian violinist. But this guy is arguably the greatest

834
00:41:41,400 --> 00:41:45,920
violinist of the century. Right, his name is Joseph Jaquim. Now,

835
00:41:46,239 --> 00:41:49,119
while he was touring with Eddie, he was like, I

836
00:41:49,320 --> 00:41:52,760
really want to meet Robert Schuman. So he's I mean,

837
00:41:52,920 --> 00:41:56,079
just you can imagine this. This is Jerry Cantrell and

838
00:41:56,599 --> 00:42:01,280
Axel Rose. He sends Robert Schuman music, right, sends him

839
00:42:01,280 --> 00:42:04,480
an envelope of his music. It comes back to him unopened,

840
00:42:04,719 --> 00:42:08,440
no thank you. Well, after meeting Joseph Jacquim, Jakim's like,

841
00:42:08,639 --> 00:42:10,840
I know, Robert, I'll give you a letter of introduction.

842
00:42:11,039 --> 00:42:13,519
He gives him a letter. He shows up to Robert

843
00:42:13,559 --> 00:42:17,639
Schuman's door unannounced, uninvited, just shows up and he's like,

844
00:42:17,760 --> 00:42:19,320
who are you, what do you want? He shows in

845
00:42:19,400 --> 00:42:21,599
a letter by Jacquem and he's like, okay, come in,

846
00:42:21,719 --> 00:42:23,400
and he's like, I just if you just let me

847
00:42:23,480 --> 00:42:25,840
play for you some of my pieces, I indulge me

848
00:42:25,920 --> 00:42:29,679
for just a second. He starts to play and Robert's like, stop, stop, stop, stop,

849
00:42:29,920 --> 00:42:33,039
Clara get in here. Robert Schuman's wife is one of

850
00:42:33,079 --> 00:42:36,480
the greatest pianists of the century as well. He himself

851
00:42:36,800 --> 00:42:40,039
is this fantastic composer, which is why Brahms wanted to

852
00:42:40,079 --> 00:42:43,280
meet him. And so he's like, this is incredible. Listen

853
00:42:43,360 --> 00:42:45,079
to what this kid can do. And so little twenty

854
00:42:45,159 --> 00:42:48,159
year old Broms starts playing the piano again, and both

855
00:42:48,320 --> 00:42:52,440
Clara and Robert Schuman are blown away at how good

856
00:42:52,519 --> 00:42:54,960
he is. And so they start working together. They start

857
00:42:55,039 --> 00:42:58,760
collaborating together, and they start writing some hits.

858
00:42:59,119 --> 00:43:00,480
Speaker 3: Hits, hit, Okay.

859
00:43:00,840 --> 00:43:04,039
Speaker 2: Four months later, Robert Schumann tries to kill himself. What

860
00:43:04,480 --> 00:43:08,559
he has some sort of mental disorder that people, you know,

861
00:43:09,400 --> 00:43:13,159
doctors looking back in history they say it was probably

862
00:43:13,559 --> 00:43:17,880
bipolar mixed with mercury poisoning. You know, I hate it

863
00:43:17,920 --> 00:43:20,199
when that happens, but I mean, he's he's been a

864
00:43:20,239 --> 00:43:23,039
successful composer. He meets this new kid, they start doing

865
00:43:23,119 --> 00:43:25,960
great things together, and then four months later he's trying

866
00:43:26,000 --> 00:43:29,800
to commit suicide. Crazy wow, crazy enough that he commits

867
00:43:29,880 --> 00:43:31,039
himself to an asylum.

868
00:43:31,320 --> 00:43:31,960
Speaker 3: Oh my gosh.

869
00:43:32,440 --> 00:43:38,239
Speaker 2: So Broms is left with Clara and Schumann's eight children. Yeah,

870
00:43:38,719 --> 00:43:41,079
and he kind of is like, I'll take care of

871
00:43:41,159 --> 00:43:44,199
you guys, and he kind of acts as that runs business,

872
00:43:44,320 --> 00:43:46,199
the things that men have to do back in the

873
00:43:46,280 --> 00:43:49,519
eighteen hundreds and she was on her game, right, I mean,

874
00:43:49,639 --> 00:43:52,480
she helps support the family even when Robert was there

875
00:43:52,519 --> 00:43:54,719
with her piano plane because she was so good. But

876
00:43:55,079 --> 00:44:01,199
Clara and Johannes Brahms formed this very deep tonicle. Maybe

877
00:44:01,559 --> 00:44:03,639
at the time it had to be that way, but

878
00:44:03,880 --> 00:44:06,119
I think he had stronger feelings for her.

879
00:44:06,199 --> 00:44:07,119
Speaker 1: Than she had for him.

880
00:44:07,320 --> 00:44:09,679
Speaker 2: But she was married, I mean, the right way to

881
00:44:09,760 --> 00:44:13,480
be right. But they don't indulge. But they're living together.

882
00:44:13,800 --> 00:44:16,280
Her husband is in an asylum. He is taking care

883
00:44:16,320 --> 00:44:18,800
of things, and they have this very deep and meaningful

884
00:44:18,960 --> 00:44:23,559
relationship that is platonic. So what happens then is two

885
00:44:23,679 --> 00:44:27,199
years later, Robert Schuman dies of pneumonia in the asylum.

886
00:44:27,320 --> 00:44:29,800
They say, okay, we'll go on a holiday together. We'll

887
00:44:29,800 --> 00:44:32,639
see how things go, and ultimately it doesn't work out.

888
00:44:32,840 --> 00:44:35,239
She just says I will always love my husband. I

889
00:44:35,320 --> 00:44:38,280
can't love any other man. And they don't end up

890
00:44:38,280 --> 00:44:41,199
getting together, okay, And not too long after that, he's like,

891
00:44:41,320 --> 00:44:43,480
I can't stay here anymore. I need to leave, and

892
00:44:43,639 --> 00:44:46,519
she says after she leaves the train station after dropping

893
00:44:46,599 --> 00:44:49,320
him off, she says, it feels like I'm leaving a funeral,

894
00:44:49,480 --> 00:44:51,679
like it was that much of a devastation, so she

895
00:44:51,800 --> 00:44:54,440
obviously cared deeply for him as well. But I think

896
00:44:54,559 --> 00:45:01,079
they legitimately remained platonical acquaintances with very feelings for each other,

897
00:45:01,400 --> 00:45:04,800
and they remained friends for the remainder of their lives

898
00:45:05,320 --> 00:45:07,760
and neither one of them got married.

899
00:45:07,920 --> 00:45:09,400
Speaker 3: Interesting. Yeah, interesting.

900
00:45:09,559 --> 00:45:12,079
Speaker 2: So they actually made a movie about this, Okay, it

901
00:45:12,239 --> 00:45:16,039
was called Song of Love. Catherine Hepburn played Clara. Oh wow,

902
00:45:16,159 --> 00:45:18,719
And just to give you an idea, Clara was on

903
00:45:18,920 --> 00:45:21,159
the hundred deutsche mark, like her picture was.

904
00:45:21,400 --> 00:45:22,559
Speaker 1: That's how big she was.

905
00:45:22,719 --> 00:45:24,679
Speaker 2: And we're not talking about you know, some lady who

906
00:45:24,719 --> 00:45:26,239
plays piano with the local saloon.

907
00:45:26,519 --> 00:45:27,760
Speaker 1: She was big time.

908
00:45:27,840 --> 00:45:30,800
Speaker 2: She was on the hundred deutsche mark from like nineteen

909
00:45:30,840 --> 00:45:32,920
eighty nine until the euro took over in two thousand

910
00:45:32,960 --> 00:45:33,239
and two.

911
00:45:33,559 --> 00:45:35,360
Speaker 1: Wow, she's big time.

912
00:45:35,480 --> 00:45:36,159
Speaker 3: That is big time.

913
00:45:36,480 --> 00:45:40,280
Speaker 2: And so that brings us to the song Brahms Lullaby.

914
00:45:40,400 --> 00:45:42,519
Well I didn't he didn't call it Brahms lullaby. I mean,

915
00:45:42,599 --> 00:45:43,559
that's ridiculous.

916
00:45:43,639 --> 00:45:43,760
Speaker 4: Right.

917
00:45:44,239 --> 00:45:46,800
Speaker 3: The name of the song is vigen lead, which I

918
00:45:46,960 --> 00:45:49,719
believe is how the Germans would pronounce it right, not

919
00:45:49,840 --> 00:45:56,760
wagen led, not wagen led no, which does mean lullaby

920
00:45:57,000 --> 00:45:57,800
or cradle song.

921
00:45:57,920 --> 00:46:00,760
Speaker 2: This is Opus forty nine, number four. It was first

922
00:46:00,840 --> 00:46:03,599
published in eighteen sixty eight. It is one of his

923
00:46:04,360 --> 00:46:09,079
most popular pieces. You mentioned back Alley Opera, right, that

924
00:46:09,199 --> 00:46:11,920
came out in nineteen forty eight. That involves Sylvester the

925
00:46:12,000 --> 00:46:16,000
cat singing at and two. Elmer Fudd turns out that

926
00:46:16,159 --> 00:46:20,719
in nineteen forty five there was another cat singing the song,

927
00:46:20,880 --> 00:46:25,360
and that cat was Tom from Tom and Jerry. Alright,

928
00:46:25,760 --> 00:46:28,760
that is the first time that we here. Go to sleep,

929
00:46:28,800 --> 00:46:31,480
Go to sleep, close your big, bloodshot eyes. And then

930
00:46:31,519 --> 00:46:34,400
he has another verse, You're a dope and you're a lug,

931
00:46:34,559 --> 00:46:36,760
and I hope you don't wake up, and he at

932
00:46:36,800 --> 00:46:40,480
this point pours knockout drops into Spike the dog's nose

933
00:46:40,519 --> 00:46:42,559
because that's who he's trying to get to go to sleep. Yes,

934
00:46:43,280 --> 00:46:47,760
nineteen forty five. The name of the episode is Quiet

935
00:46:47,840 --> 00:46:51,400
Please to one Real Animated cartoon and is the twenty

936
00:46:51,519 --> 00:46:54,960
second Tom and Jerry short and it won the nineteen

937
00:46:55,079 --> 00:46:59,000
forty five Academy Award for Best Short Subject Cartoons, making

938
00:46:59,079 --> 00:47:02,159
it the third executive win for the Tom and Jerry series.

939
00:47:02,280 --> 00:47:04,920
Speaker 3: And it was produced by Fred Quimby. Now three years

940
00:47:05,000 --> 00:47:08,880
later nineteen forty eight. That's when Sylvester is singing to Elmer,

941
00:47:09,159 --> 00:47:12,400
and that one was directed by Friz Friedling, who did.

942
00:47:12,719 --> 00:47:13,760
Speaker 1: So many others.

943
00:47:13,880 --> 00:47:17,880
Speaker 2: But also in that cartoon is the Hungarian Rhapsody by

944
00:47:18,000 --> 00:47:18,719
Franz List.

945
00:47:18,880 --> 00:47:20,280
Speaker 1: Yes, it all comes back.

946
00:47:20,480 --> 00:47:23,559
Speaker 3: Yes, I love Looney Tunes and I love Tom and Jerry. Yeah, Okay,

947
00:47:23,800 --> 00:47:26,119
there you go, Brams lalla By and blow Me Away

948
00:47:26,280 --> 00:47:29,239
music Box. I did not know any of that, yeah

949
00:47:29,280 --> 00:47:32,159
when we started. Okay, so we're moving on to the

950
00:47:32,239 --> 00:47:33,840
last song in the episode.

951
00:47:33,960 --> 00:47:34,119
Speaker 2: Yea.

952
00:47:34,320 --> 00:47:37,119
Speaker 3: It comes in at forty six minutes and fifty seven seconds.

953
00:47:37,320 --> 00:47:40,000
That song is called Heroes by Peter Gabriel.

954
00:47:45,840 --> 00:47:57,639
Speaker 5: I wish I could swim like Dauphins, like dove fans

955
00:47:57,800 --> 00:47:58,440
can swim.

956
00:48:01,800 --> 00:48:05,639
Speaker 2: Okay, so this song was composed and performed originally, not

957
00:48:05,800 --> 00:48:08,599
by Peter Gabriel. Right before I get there, let's talk

958
00:48:08,599 --> 00:48:12,679
about David Bowie. Yes, okay, without going into the whole history.

959
00:48:12,920 --> 00:48:16,840
He ultimately develops this persona of Zeggy Stardust, right, and

960
00:48:17,000 --> 00:48:20,320
he has this label that he is associated with that

961
00:48:20,800 --> 00:48:22,599
he's really the one that's making all the money for

962
00:48:22,679 --> 00:48:25,000
the label. Right, He's in partnership with the guy who's

963
00:48:25,119 --> 00:48:28,960
his manager, and so he keeps touring, he keeps being

964
00:48:29,159 --> 00:48:32,280
Ziggy Stardust. There's all kinds of money being made. The

965
00:48:32,360 --> 00:48:35,599
only problem is it seems like all of the employees

966
00:48:35,760 --> 00:48:38,559
of the company have like these big spending accounts, and

967
00:48:38,639 --> 00:48:41,199
they've got offices in different parts of the country. And

968
00:48:41,679 --> 00:48:44,119
David Bowie is like, why am I broke right? I'm

969
00:48:44,159 --> 00:48:46,360
doing all the work, I'm making all the money. You

970
00:48:46,440 --> 00:48:49,039
guys are even supporting other acts on the money that

971
00:48:49,119 --> 00:48:52,039
I've made. How is this happening? He finds out that

972
00:48:52,360 --> 00:48:55,159
he is not a partner in the company. He is

973
00:48:55,199 --> 00:48:57,599
an employee of the company. So he's been making a

974
00:48:57,639 --> 00:49:00,559
paycheck like he's got no profit share from the stuff

975
00:49:00,599 --> 00:49:02,639
that he's been involved in. And so at this point

976
00:49:02,760 --> 00:49:06,320
he drops the persona of Ziggy Stardust. He sues his

977
00:49:06,559 --> 00:49:09,280
manager to try to get something back off of all

978
00:49:09,360 --> 00:49:12,400
of this, and he completely changes the way that he

979
00:49:12,599 --> 00:49:16,199
is making music. Oh, by the way, he's also severely

980
00:49:16,360 --> 00:49:19,519
addicted to cocaine at this point. WHOA Like there are

981
00:49:19,639 --> 00:49:23,760
articles about his paranoia and belief in UFOs and all

982
00:49:23,840 --> 00:49:26,079
of these other things that are going on. And I

983
00:49:26,119 --> 00:49:28,239
saw an interview where he like they're doing the interview

984
00:49:28,280 --> 00:49:29,719
in the backseat of the car like they did in

985
00:49:29,760 --> 00:49:32,880
the seventies, you know, and suddenly there's a siren going

986
00:49:32,960 --> 00:49:36,239
and I mean he's he's like completely stand straight up

987
00:49:36,280 --> 00:49:37,360
and he's like, are we gonna pull over?

988
00:49:39,519 --> 00:49:42,119
Speaker 1: I mean, they found real right. I don't know how,

989
00:49:42,199 --> 00:49:45,840
but they found me right.

990
00:49:46,159 --> 00:49:49,840
Speaker 2: And so he decides to completely change the music that

991
00:49:49,960 --> 00:49:52,719
he's making and he moves out to la and he

992
00:49:52,920 --> 00:49:55,679
meets one of the Beatles again. The Beatles come up, yes,

993
00:49:55,760 --> 00:49:59,199
mister John Lennon who can identify with the troubles that

994
00:49:59,280 --> 00:50:02,880
come along with and so they develop a friendship. David

995
00:50:02,920 --> 00:50:05,639
Bowie goes to Philadelphia during one of his tours and

996
00:50:05,880 --> 00:50:09,599
gets involved with these soul musicians, changes his music in

997
00:50:09,679 --> 00:50:12,440
the middle of the tour, has some backup singers come in,

998
00:50:12,800 --> 00:50:15,559
one of whom is Luther Van Dross. Luther Vandross right

999
00:50:15,679 --> 00:50:20,199
a unknown at that point, and then he ultimately goes

1000
00:50:20,239 --> 00:50:23,000
back to New York and John Lennons in New York

1001
00:50:23,039 --> 00:50:25,599
shows up at the studio and they write a song together,

1002
00:50:25,719 --> 00:50:36,639
and they write a song called Fame. You mentioned in

1003
00:50:36,719 --> 00:50:40,719
our first episode that Taya yellow ribbon around the old

1004
00:50:40,760 --> 00:50:43,960
Oak Tree was the number one song in May of

1005
00:50:44,079 --> 00:50:46,639
nineteen seventy three, which is when you were born, right,

1006
00:50:47,000 --> 00:50:49,880
A song that was number one in October of seventy

1007
00:50:49,960 --> 00:50:52,760
five when I was born was fame by David Bowie.

1008
00:50:52,880 --> 00:50:53,440
Speaker 3: That's awesome.

1009
00:50:53,639 --> 00:50:56,519
Speaker 1: Yes, that's awesome. Way, So he does that.

1010
00:50:56,800 --> 00:51:01,119
Speaker 2: He ultimately wins the lawsuit or settles somehow with the company,

1011
00:51:01,239 --> 00:51:04,840
gets lump some but he's still really addicted to drugs.

1012
00:51:05,119 --> 00:51:07,599
But he's still trying to change his style of music,

1013
00:51:07,719 --> 00:51:10,039
and he hooks up with this guy from Roxy Music

1014
00:51:10,360 --> 00:51:13,000
named Brian Eno. We talked a little bit about Brian

1015
00:51:13,199 --> 00:51:17,519
Eno on our YouTube episode Those Amazing Organs that you

1016
00:51:17,719 --> 00:51:21,559
hear at the beginning the Joshua Tree album.

1017
00:51:21,719 --> 00:51:22,880
Speaker 1: That's Brian Eno. Yes.

1018
00:51:23,320 --> 00:51:26,079
Speaker 2: Also at this point, as he's touring and Iggy Pop

1019
00:51:26,119 --> 00:51:28,239
shows up at his door and he's like, Higgy, you

1020
00:51:28,360 --> 00:51:29,000
look like crap.

1021
00:51:29,320 --> 00:51:32,360
Speaker 1: He's like, I'm not doing well. He's bad, addicted to drugs.

1022
00:51:32,559 --> 00:51:35,360
Speaker 2: He's not had a successful music career, and he said,

1023
00:51:35,480 --> 00:51:38,119
David Bowie says, come on tour with me. So Iggy

1024
00:51:38,199 --> 00:51:42,079
Pop starts touring on stage, singing with David Bowie on stage,

1025
00:51:42,400 --> 00:51:45,760
and then David Bowie produces Iggy's next album, which is

1026
00:51:45,800 --> 00:51:49,000
called The Idiot. It brings Iggy Pop back. And then

1027
00:51:49,199 --> 00:51:52,440
David Bowie does this album with Brian Eno called Love

1028
00:51:52,599 --> 00:51:55,519
and it is totally different than anything he's done before,

1029
00:51:55,760 --> 00:51:58,800
and the record company is like, there's no single on

1030
00:51:58,880 --> 00:52:01,000
this album. This is and then he's like, I know,

1031
00:52:01,119 --> 00:52:02,599
I don't want there to be a single. I'm not

1032
00:52:02,679 --> 00:52:05,000
trying to be a pop musician. I'm trying to make

1033
00:52:05,119 --> 00:52:07,639
music that I like. The album still is in the

1034
00:52:07,679 --> 00:52:09,719
top ten, but there's no singles coming off of it.

1035
00:52:10,119 --> 00:52:11,960
And then so the record company is like, okay, well,

1036
00:52:11,960 --> 00:52:14,000
you at least have to tour to support this album,

1037
00:52:14,039 --> 00:52:15,880
and he goes, no, I don't, And so what does

1038
00:52:15,920 --> 00:52:18,719
he do? He tours with Iggy Pop and plays keyboards

1039
00:52:18,760 --> 00:52:21,679
for Iggy Pop while he's doing his tour for The Idiot.

1040
00:52:21,880 --> 00:52:22,159
Speaker 6: Wow.

1041
00:52:22,639 --> 00:52:25,559
Speaker 2: The next album that comes out after that is The

1042
00:52:25,840 --> 00:52:28,880
Is also with Brian Eno, and that brings us to

1043
00:52:29,000 --> 00:52:31,480
the song that we're here to talk about today. The

1044
00:52:32,039 --> 00:52:35,480
song and the album are both called Heroes.

1045
00:52:49,760 --> 00:52:53,480
Speaker 3: So awesome, good job you're dropping bombs man. So David

1046
00:52:53,519 --> 00:52:56,639
Bowie is tired of being famous, right, Yeah, he's tired

1047
00:52:56,639 --> 00:52:58,639
of the fame. Tired of all the trouble, so he

1048
00:52:58,800 --> 00:53:01,840
moves to Berlin. Oh yeah, right, so.

1049
00:53:01,920 --> 00:53:02,559
Speaker 1: I've talked about this.

1050
00:53:02,679 --> 00:53:04,719
Speaker 2: He was like, they were in a chateau that he

1051
00:53:04,800 --> 00:53:07,199
and Iggy were trying to record in a chateau in France,

1052
00:53:07,480 --> 00:53:10,199
but somehow they made some sort of scheduling mistake and

1053
00:53:10,480 --> 00:53:13,079
they were left without a domestic staff or food. So

1054
00:53:13,280 --> 00:53:17,280
no butler, no maide, no cook and no food. So

1055
00:53:17,400 --> 00:53:18,920
they're like, man, we're really messed up.

1056
00:53:19,000 --> 00:53:19,639
Speaker 3: That was starving.

1057
00:53:19,760 --> 00:53:21,800
Speaker 2: How about we go to Berlin and try to clean

1058
00:53:21,880 --> 00:53:24,000
ourselves up off of the drugs. Berlin at this time

1059
00:53:24,159 --> 00:53:26,800
is the heroin capital of Europe, but they decided that

1060
00:53:26,960 --> 00:53:28,079
was the place to go to clean up.

1061
00:53:28,119 --> 00:53:28,760
Speaker 1: So they're in Berlin.

1062
00:53:28,880 --> 00:53:32,119
Speaker 3: So David Bowie rints a cheap apartment above a auto

1063
00:53:32,280 --> 00:53:34,599
repair place, and he's just there to hold up and

1064
00:53:34,719 --> 00:53:37,320
write songs and hang out and not be famous. The

1065
00:53:37,360 --> 00:53:40,320
studio that he starts to record these songs at is

1066
00:53:40,400 --> 00:53:42,679
five hundred yards away from the brilliant Wall. Okay, so

1067
00:53:43,119 --> 00:53:46,119
the first song that he's working on, Brian E now says,

1068
00:53:46,159 --> 00:53:48,679
you know what, I just really like the word heroes.

1069
00:53:48,840 --> 00:53:51,079
This little piece that you've got going right here, it

1070
00:53:51,239 --> 00:53:54,760
just sounds grand and heroic, and so I think maybe

1071
00:53:55,079 --> 00:53:58,320
we could work the title heroes or the words heroes

1072
00:53:58,360 --> 00:53:58,719
into it.

1073
00:54:04,079 --> 00:54:05,000
Speaker 4: Just one day.

1074
00:54:09,559 --> 00:54:12,119
Speaker 3: So David Bowie's like, okay, let me work on the lyrics.

1075
00:54:12,159 --> 00:54:14,079
He said, everybody just get out of the studio and

1076
00:54:14,239 --> 00:54:18,280
leave me alone, and that included producer Tony Visconti. Okay, okay,

1077
00:54:18,440 --> 00:54:21,119
So Tony Visconti is the producer of this album, and

1078
00:54:21,239 --> 00:54:23,960
he says, everybody leave, just leave me alone. Let me

1079
00:54:24,000 --> 00:54:25,559
stay in here and work on the lyrics. And so

1080
00:54:26,000 --> 00:54:28,880
as he's thinking in brainstorming, he looks out the window

1081
00:54:29,000 --> 00:54:31,760
and he sees Tony Visconti, who's married at the time.

1082
00:54:31,880 --> 00:54:35,159
He's sneaking away with this woman named Antonia Moss, who

1083
00:54:35,280 --> 00:54:39,039
is a backup singer on David Bowie's album. And David

1084
00:54:39,079 --> 00:54:41,360
Boye's looking out and he's like, huh, hey, there's Tony

1085
00:54:41,559 --> 00:54:45,000
and Antonia. Hey they're kissing. Oh, And he's looking and

1086
00:54:45,119 --> 00:54:49,400
it's like there's there're two forbidden fruit lovers stealing a moment.

1087
00:54:50,039 --> 00:54:52,360
And David Bowie's like, I could just really tell that

1088
00:54:52,480 --> 00:54:54,519
he was in love with her. And so this idea

1089
00:54:54,639 --> 00:54:58,960
of forbidden love by the Berlin wall just really inspired him,

1090
00:54:59,079 --> 00:55:02,320
and so he wrote this song about two lovers, one

1091
00:55:02,440 --> 00:55:03,960
on one side of the wall and one on the

1092
00:55:04,039 --> 00:55:05,480
other side of the wall, and they can't ever be

1093
00:55:05,599 --> 00:55:09,079
together and it's just this forbidden love, and that gave

1094
00:55:09,159 --> 00:55:12,280
birth to the song heroes Love It pretty cool now,

1095
00:55:12,400 --> 00:55:14,440
then this is the thing that blows me away. Okay,

1096
00:55:14,639 --> 00:55:18,280
this song about this heroic love. Whatever. David Bowie played

1097
00:55:18,320 --> 00:55:20,760
this song in nineteen eighty five at Live Aid at

1098
00:55:20,800 --> 00:55:23,360
Wembley Arena. We've talked about Live Aid many times. Okay,

1099
00:55:23,719 --> 00:55:26,920
so massive thing. But he played it in nineteen eighty

1100
00:55:27,000 --> 00:55:30,119
seven in Berlin. Okay, this is still before the wall

1101
00:55:30,199 --> 00:55:32,039
came down. This is ten years after he wrote it.

1102
00:55:33,159 --> 00:55:36,840
But they actually were up against the wall. Basically the

1103
00:55:36,920 --> 00:55:40,239
wall was the backdrop for the stage and he got

1104
00:55:40,400 --> 00:55:43,239
word that if we play it loud enough that people

1105
00:55:43,400 --> 00:55:46,840
in East Berlin could hear this, and he's so he's like, well,

1106
00:55:46,880 --> 00:55:49,159
let's do it. You know, this is awesome. He didn't

1107
00:55:49,159 --> 00:55:51,079
know how much or how loud, or you know, what

1108
00:55:51,239 --> 00:55:53,599
will be going on over there, but he said, as

1109
00:55:53,679 --> 00:55:56,599
he's playing this song, he starts to hear people cheer

1110
00:55:56,920 --> 00:56:00,199
and sing from the other side of the Wall said

1111
00:56:00,239 --> 00:56:04,039
it was basically one big concert divided by the Wall,

1112
00:56:04,199 --> 00:56:06,880
and he says it's the most emotional performance he's ever had.

1113
00:56:07,039 --> 00:56:09,039
He can't even talk about it without getting choked up.

1114
00:56:09,719 --> 00:56:12,280
And just the idea that Berliner's where he wrote the

1115
00:56:12,400 --> 00:56:16,360
song about those people and about that divide, says, just

1116
00:56:16,400 --> 00:56:17,480
an amazing experience.

1117
00:56:17,599 --> 00:56:22,159
Speaker 2: Oh my goodness, Wow, how emotional. That's incredible. Pretty cool, Yeah, fantastic.

1118
00:56:22,360 --> 00:56:26,079
Speaker 3: Now then Peter Gabriel, yeah, redoes this in twenty ten.

1119
00:56:26,239 --> 00:56:30,199
Speaker 2: Right, So this song from late seventies. Yes, we're hearing it,

1120
00:56:30,320 --> 00:56:33,360
but we're not hearing the David Bowie version. We're hearing

1121
00:56:33,440 --> 00:56:34,679
the Peter Gabriel version.

1122
00:56:34,760 --> 00:56:37,599
Speaker 1: That's right. So both versions are amazing.

1123
00:56:37,960 --> 00:56:55,320
Speaker 3: Yes, they are both very different, totally different. What s.

1124
00:57:06,000 --> 00:57:08,039
Speaker 1: Like, there's much more.

1125
00:57:08,320 --> 00:57:13,639
Speaker 2: Going on orchestra wise with Peter Gabriel's version. So how

1126
00:57:13,679 --> 00:57:14,960
did we get here? How do we get to Peter

1127
00:57:15,039 --> 00:57:17,159
Gabriel covering David Bewie?

1128
00:57:17,199 --> 00:57:19,400
Speaker 3: Okay, so this is a really cool story. So in

1129
00:57:19,480 --> 00:57:21,880
twenty ten, he comes out with an album called Scratch

1130
00:57:22,039 --> 00:57:25,559
My Back. Okay, all right, and it's an album full

1131
00:57:25,599 --> 00:57:28,039
of covers and he just goes through and he does

1132
00:57:28,159 --> 00:57:30,119
a cover of this artist and this artist and this

1133
00:57:30,280 --> 00:57:33,760
artist with the idea that they will in turn cover

1134
00:57:33,960 --> 00:57:37,159
one of his songs on an album that they would

1135
00:57:37,199 --> 00:57:40,840
in turn call and I'll scratch yours. Okay, right, yeah,

1136
00:57:41,000 --> 00:57:44,079
so this is pretty cool. So just to mention a couple.

1137
00:57:44,360 --> 00:57:47,000
Randy Newman, who you may know from the song I

1138
00:57:47,119 --> 00:57:50,239
Love La, Sure, he does the song Big Time, Lou

1139
00:57:50,360 --> 00:57:53,519
Reed does Salisbury Hill. Brian Eno actually does a song

1140
00:57:53,639 --> 00:57:54,679
called Mother of Violence.

1141
00:57:54,920 --> 00:57:55,239
Speaker 1: Okay.

1142
00:57:55,519 --> 00:57:58,559
Speaker 3: David Bowie, however, declined to cover one of Peter gabriel songs,

1143
00:57:58,599 --> 00:58:01,679
which is kind of not but I thought this was interesting.

1144
00:58:01,800 --> 00:58:05,079
So about that difference. So it's totally different. Peter Gabriel's

1145
00:58:05,159 --> 00:58:07,519
version is completely different. This was his quote. I thought

1146
00:58:07,559 --> 00:58:10,280
this was great. If you're going to reinterpret something, then

1147
00:58:10,400 --> 00:58:13,159
really do something. Nail your colors to the mast and

1148
00:58:13,239 --> 00:58:16,480
say this is different and it isn't everyone's cup of tea.

1149
00:58:16,800 --> 00:58:17,000
Speaker 1: Yeah.

1150
00:58:17,079 --> 00:58:18,639
Speaker 3: When I drove up here, I listened to both of these,

1151
00:58:18,679 --> 00:58:20,519
I'm like, man, this song is awesome. And then I

1152
00:58:20,599 --> 00:58:22,639
turned around, I'm like, well, this song is awesome, but

1153
00:58:22,679 --> 00:58:25,440
they're absolutely different. Yep, but here's the kicker.

1154
00:58:25,480 --> 00:58:26,400
Speaker 1: You ready for this? Yeah?

1155
00:58:26,719 --> 00:58:30,480
Speaker 3: This is my bomb for you. Okay, yeah, all right,

1156
00:58:31,000 --> 00:58:32,440
so one of these days the you and I are

1157
00:58:32,480 --> 00:58:34,760
going to have to cover the album so by Peter Gabriel.

1158
00:58:34,800 --> 00:58:38,079
Speaker 1: Absolutely, I'm a huge album in nineteen eighty six. Huge, Okay.

1159
00:58:38,440 --> 00:58:41,280
Speaker 3: It has Sledgehammer, it has big Time, it has in

1160
00:58:41,360 --> 00:58:44,519
your Eyes. It also has a song on there called

1161
00:58:44,599 --> 00:59:06,360
Don't Give Up, which is a duet. The other singer

1162
00:59:06,480 --> 00:59:10,199
in that duet is Kate Bush Get the heck out

1163
00:59:10,239 --> 00:59:14,039
of Town, who has maybe the biggest song in the

1164
00:59:14,360 --> 00:59:23,679
entire Stranger Things universe running up that Hill make it.

1165
00:59:36,440 --> 00:59:38,119
Speaker 1: Yeah, wow, that's wow.

1166
00:59:38,480 --> 00:59:38,920
Speaker 4: How about that?

1167
00:59:39,159 --> 00:59:39,360
Speaker 1: Yeah?

1168
00:59:39,559 --> 00:59:42,000
Speaker 3: I mean, if this goes well, we'll get to her eventually.

1169
00:59:42,119 --> 00:59:46,000
I know it'd be a while. About forty more episodes.

1170
00:59:47,159 --> 00:59:47,599
That's right.

1171
00:59:48,039 --> 00:59:50,039
Speaker 1: That's awesome, body, great, great out.

1172
00:59:50,079 --> 00:59:50,320
Speaker 6: Thank you.

1173
00:59:50,639 --> 00:59:51,079
Speaker 1: So that's it.

1174
00:59:51,400 --> 00:59:53,440
Speaker 2: So that's all for this episode. Be sure and go

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00:59:53,679 --> 00:59:55,800
check us out on Facebook. Be sure you check us

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00:59:55,800 --> 00:59:58,800
out on Twitter. Be sure and check out our YouTube page.

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00:59:58,840 --> 01:00:00,480
Speaker 3: If you're not there right now, and if you are

1178
01:00:00,760 --> 01:00:03,199
there right now, go check us out on a podcast

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01:00:03,280 --> 01:00:04,760
app and be sure.

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01:00:04,800 --> 01:00:07,519
Speaker 1: If you want to become an executive producer of one of.

1181
01:00:07,519 --> 01:00:10,599
Speaker 2: Our episodes, go to our Patreon page, which is patreon

1182
01:00:11,079 --> 01:00:15,400
dot com slash Shirley Podcast, and you can be an

1183
01:00:15,440 --> 01:00:18,199
executive producer and you get access to all of our

1184
01:00:18,840 --> 01:00:22,000
secret episodes where we cover one hit wonders of the eighties,

1185
01:00:22,039 --> 01:00:24,079
and just some extra things that we'd decide, Hey, we're

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01:00:24,159 --> 01:00:24,639
going to give a.

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01:00:24,639 --> 01:00:25,880
Speaker 1: Gift back to the Patreons.

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01:00:26,119 --> 01:00:28,199
Speaker 3: Absolutely, we've got some great episodes of our on our

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01:00:28,239 --> 01:00:30,320
Patreon page. For as little as five bucks a month,

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01:00:30,360 --> 01:00:33,920
you get all these awesome extra episodes. In fact, during

1191
01:00:34,000 --> 01:00:36,480
our simple Minds episode, we actually talked a little bit

1192
01:00:36,519 --> 01:00:38,800
about David Bowie, so there's a lot of crossover and

1193
01:00:38,880 --> 01:00:40,639
you definitely want to check that out on Patreon.

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01:00:40,840 --> 01:00:41,000
Speaker 1: Yep.

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01:00:41,360 --> 01:00:43,480
Speaker 2: And if you're on Facebook and you want to win

1196
01:00:43,719 --> 01:00:49,400
a pair of socks and not spend any money, actually one, two, three, four, five,

1197
01:00:49,480 --> 01:00:53,079
six pairs of socks all devoted to Stranger Things, be

1198
01:00:53,239 --> 01:00:56,800
sure and like and subscribe on our YouTube channel and

1199
01:00:57,119 --> 01:00:59,480
leave a comment down below that you want some socks,

1200
01:00:59,599 --> 01:01:02,119
and then whatever other favorite part of the episode you had.

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As for everybody else, thank you guys for coming back

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01:01:04,599 --> 01:01:06,760
or visiting us for the first time. We look forward

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01:01:06,840 --> 01:01:09,840
to talking to you again next week and next week,

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01:01:10,119 --> 01:01:11,760
so next week, be.

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01:01:11,880 --> 01:01:14,960
Speaker 3: Sure to come back for a super special song. We

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01:01:15,039 --> 01:01:18,360
will see you guys next week for season one, episode

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01:01:18,519 --> 01:01:19,679
four of Stranger Things.