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Speaker 1: Okay, everybody, welcome back to Shirley You Can't Be Serious podcast.

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We are back again. Jason's here, I'm here, our friend

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John Reid is here, and we are talking about an

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innocent man.

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Speaker 2: Track by track, no fluff, no silliness.

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Speaker 1: One story. I got one story that I want to hear.

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Speaker 2: John, tell me how you met your wife.

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Speaker 3: So obviously this is one that's been told a few

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times on our podcast. But so I credit Billy Joel

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with the fact that I met and ultimately married the

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person that I married to. So we were in we

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were in high school together, and we were in the

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same geography class, and I think we also had study

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Haull and lunch together and all that, and we sat

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next to each other, so you know, we would talk

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from time to time, you know, when the teacher said,

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trade your paper with somebody else so they can grade

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yours and you grade theirs. So I knew she was

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smart because she always scored higher on the quizzes than

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I did. But there was another kid in class and

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I that we were arguing at one point about who

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was the bigger Billy Joel fan, and I was trying

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to list off all the songs that I knew, and

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he was listing off the songs that he knew, and

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I just kind of like flippantly said, fine, if you're

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such a big fan, what's the forty third word if

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we didn't start the fire? And he's like, well, it's stupid,

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like nobody knows. You can't like count the words. And

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I'm like, well, fine, then I guess I'm just the

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bigger fan. Well then what is it? Well, I'm not

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going to tell you. So we did that whole thing. Well,

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so the next day, come back to class and this

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girl that's been sitting next to me that I've talked

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to occasionally and you know, we've you know, we're right

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next to each other. She comes back and she like,

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I don't remember. I think she leans over and she

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just goes it's I think it was like Eve or

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the or something like that, and she just kind of

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says it real quietly, and I'm like, so, Hi, there,

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are you doing anything for the rest of your life?

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Would you like to would like to go out sometime?

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Can I buy you something in the cafeteria? And that

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kind of started the whole thing. So we were actually

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talking tonight before it was going to come on to

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do our recording with you guys. We had been watching

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an interview with Billy Joel and we said, you know what,

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whenever he's not around anymore, like, that's going to be tough.

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Because for me, David Bowie was real big growing up

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for my family, So when he passed away, that was

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kind of a big deal. Like that was a hard

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hit when Robin Williams passed away. I always loved Robin Williams.

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He was one of my favorites. That was a hard hit.

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But my wife and I both said, because we in

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the interview Billy Joel's looking a little older now, we said, gosh,

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when he goes like that's going to be painful. Not

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that he's been releasing new music in the last thirty years,

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but when he goes, it's going to be it's gonna

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be a hit for us. And and that was some

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of the music that we played at our reception art

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our wedding was Billy Joel and You're My Home has

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always been a song that we've kind of had as

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one of quote unquote our songs. I blame and credit

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Billy for the fact that I'm married to who I'm

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married to.

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Speaker 1: I'm just imagining young John in class and the future

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missus John Reed whispers in his ear and he channels

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his inner. Orlando Calisi is, Oh, what do we have here?

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Speaker 3: You truly belong here with us among the night.

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Speaker 2: Hey, at least you told her about it, right?

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Speaker 3: Absolutely?

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Speaker 1: Was she an uptown girl?

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Speaker 3: I mean a girl like that wouldn't tell you what

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you should do?

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Speaker 2: All right? So back to my story, the nineteen eighty

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two trip. Oh yeah, that Paul Simon literally drug him on,

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right yeah. Billy Joel's like, listen, man, I don't want

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to go to some resort in the middle of the

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poor country where you're a rich person surrounded by a

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bunch of pissed off poor people. And Paul Simon's not like, no,

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this is a French colony. It's not like that at all.

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It's gonna be awesome. Come with me. So Billy reluctantly

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goes with Paul Simon to Saint Bart's well. After he

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gets there and a day at the pool and he

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gets beat red, sunburned, he wanders inside, he's tired, he's sunburned,

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and sure enough, there's a piano in the bar at

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the resort. He wanders over starts to kind of tickle

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the keys, and the next thing you know, there's a

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crowd of people around him, and he looks on his left,

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Oh my gosh, that's Christy Brinkley. And he looks to

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his right, Holy cow, that's all McPherson. He says. He

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turned to the piano and gave a silent thank you

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to the piano. Thank you, piano, you have been there

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for me my entire life.

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Speaker 3: You need a channel, or maybe you need to pull

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a drop for the audio drop from the movie Amadeus

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when he's trying on the different wigs in the movie Amedeus,

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and he stops and he goes, they're also beautiful. Why

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don't I have three heads?

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Speaker 2: So listen to this. So the rest of the story,

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as he's schmoozing, supermodel Christy Brinkley maybe maybe the most

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beautiful woman in America.

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Speaker 1: At that time, I mean nineteen eighty three, she was

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National Lampoon's Vacation hottie Bumballati Yes.

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Speaker 2: And supermodel Elle McPherson maybe the other hottest girl in America.

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They're there for Sports Illustrated to shoot the swimsuit issue,

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and so he's schmoozing. He's talking them up. Hey, ladies,

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how's it going? Good to see it? And he's newly divorced.

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He feels like a teenager. He's a rock star. He's

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got beautiful women interested in him. He can't wait to

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have meaningful conversations with these ladies, deep deep in meanings.

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Speaker 1: Deep and meaningful conversation.

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Speaker 2: And then he's got this teenager who comes up and

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it starts to bug him, and he said he looked

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at her. She's clearly a model, she's cute as a button.

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And she's like, hey, I sing? Would it be okay

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if I sang for you? And he's like, he gives it,

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They'll go away, kid, you bother it, get lost. Yeah,

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I'm sure you got a great singing voice, but can

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you see who I'm talking to?

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Speaker 4: Right?

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Speaker 2: And she persists. So he's like, hey, Christy, why don't

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you join me in the singing of this whatever song?

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And that little model is like, I sing, I sing,

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and he finally has to be like beat it, kid,

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that kid, Yeah, Whitney Houston. What the heck? Whitney Houston,

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Whitney Houston. Goodness, gracious, what the heck?

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Speaker 4: He says.

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Speaker 2: He kicks himself because he could have been the guy

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who discovered Whitty Houston.

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Speaker 4: Oh wow.

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Speaker 3: You know what, though, I don't think he probably was

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kicking himself too hard.

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Speaker 2: I had three heads made, all right, So let's talk

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overall about an innocent man. This album is released August third,

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nineteen eighty three. Billy jo said he wrote this in

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about eight weeks. He said he was newly divorced, feeling

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like a teenager, and the songs.

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Speaker 1: Just poured out well, and the feeling like a teenager

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took him back to the time when he was a teenager,

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which is why all of these songs borrow so heavily

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from the fifties and sixties. We are talking about Lionel

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Riach moving away from the Motown sound, and we were

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talking about Billy Joel moving into the Motown's sound, moving

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up or moving out. I don't know what it is,

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but there you go.

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Speaker 2: You know, for a super fan like John, he probably

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knew this. But before we dove into this, yeah, I

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didn't even realize this is a concept album. Oh, each

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song is a homage to an artist from the fifties

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and sixties.

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Speaker 3: Yeah, it is so much fun and it's so much

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fun to go if you haven't done this. You gotta

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do this. I actually made leading up to when we

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were gonna be talking about this, I made a playlist

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that had Innocent Man, and then after each song in

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Innocent Man, I dropped in at least one two maybe

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songs by who I thought or who I had been

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able to find that he said he had been influenced by.

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And it was so much fun to just go song

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by song and be like, let's listen to easy Money. Okay,

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now let's pull up a James Brown or Wilson Pickett

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or you know, let's pull up this song. And now

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I'm gonna pull up the one that he says inspired him, like, yeah,

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you can absolutely hear the faintest hint of the little

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like dinging bell sound at the beginning of that song.

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It's in both songs. So much fun to do it

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that way, and it's it's I think it was so

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much fun for him to be able to go back

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to his childhood and relive all this stuff and try

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to channel all these different musicians, because he said in

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interviews that he hates his own voice. He's like, I

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hate my own voice. I always wanted to sing like

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somebody else He's like, this album was kind of my

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chance to really try it out and sing like somebody else.

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And in each of these songs when he's channeling James Brown,

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he's singing like James Brown. He's got the hack in

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the song and the get down. So yeah, I think

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this this must have been such a fun, fun album

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for him.

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Speaker 2: Modern artists, if you're listening to this podcast, please do

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a homage to the eighties and nineties, will buy the album. Absolutely,

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it'd be freaking awesome. Yeah, before we dive in track

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by track, This album was nominated for Album of the

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Year and Best Pop Vocal and it lost both too.

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Speaker 1: Can't Slow Down?

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Speaker 2: Nope, what thriller?

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Speaker 4: Or yeah?

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Speaker 3: Yeah? Well and when those are your two options, I

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just got to respond with They're both so beautiful. I

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wish I had two heads.

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Speaker 4: All right.

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Speaker 2: First song on the album is a song called easy Money.

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Speaker 1: What James Brown?

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Speaker 4: Who?

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Speaker 1: I don't hear any James Brown? And that is what

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are you talking about? Oh my gosh, listen guys for

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this song. For me, this was a new to me song.

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I was not familiar with easy Money. All of the

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Billie Joel songs that are in my history and somehow

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this one escaped me. But I put this in as

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I picked up Caleb from soccer practice and we were

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both just gruve it. I mean, we're just shaking our

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shoulders back and forth and bobbing our head and fighting

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our lip and looking at each other like, yeah, let

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me go. This is awesome. So this was a great

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find for me.

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Speaker 2: Well, this is the song that got the whole album

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started right. So he wrote it for the Rodney danger

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Field Joe Peshi movie Joe Forgo Pesci Easy Money.

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Speaker 4: Money.

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Speaker 2: Yep, and Rodney Dangerfield is going to make an appearance

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here later on just a few songs. But this was

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a movie that I knew was just a little bit

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inappropriate for me at age ten, But that doesn't mean

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I didn't try to watch it.

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Speaker 3: It's a great kickoff to the album. I wouldn't say

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it's my favorite song on the album, but it's such

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a fun way to kick it off and get that

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fifties and sixties style sound. And if you don't hear

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the James Brown in it, then you got to go

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listen to some more James Brown because it's just it's

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such a fun, just high energy song to kick the

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whole thing off with.

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Speaker 2: Somebody asked him if he ever was a big gambler

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like Rodnie Dangerfield's character in the movie, and he said,

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you know what, one time, when I was in high school,

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I bet my life savings on a sure thing horse.

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So my life savings was about sixty bucks. The horse lost.

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Said he cured him for the rest of his life,

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never gambled.

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Speaker 3: Again, I think, he said in an interview, I want

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to say it was on Howard Stern's show. He said

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that this one was kind of inspired by his experiences

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working in piano bars, and he said that he'd a

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lot of times he'd see wealthy people come in flashing

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their money around, and you know, he just was kind

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of frustrated with the arrogance and the entitlement of these

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wealthy people that would come in and just throw cash

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around all the time. And so this is kind of

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his response to that.

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Speaker 2: All right, Moving on to the second track on the album,

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third single, that's called an Innocent Man.

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Speaker 5: Some people stay far away from.

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Speaker 2: The door if there's a chance of the little man.

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Speaker 6: May voice in the hole outside and hold that it

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just passes by.

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Speaker 2: This is a powerful song. I enjoy this one. It's

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not my favorite on the album, but he really vocally,

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he's really getting after it.

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Speaker 1: This is my favorite song on the album is one

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hundred much. This one is an homage to Benny King,

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both solo and when he was with the Drifters. To me,

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especially the beginning sounds, it's very Dock of the Bay

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by Otis Redding. But when he kicks into that chorus, dude,

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I'm like, yeah, this is definitely my number one of

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the albums. Yeah.

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Speaker 3: If you want to pull a couple other songs that

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really really kind of you can tell influence this one.

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Benny King's stand by Me, the Drifters save the Last

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Dance for Me. It's got a little hint of maybe

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a little bit of Righteous Brothers in it. It kind

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of calls back a little bit too Until the Night,

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one of his other previous songs. It's got some similar

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sounds to that. But he has said that this song

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was inspired by his own setbacks, like all the stuff

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that he dealt with early on, and that you really

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can you really can make a change.

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Speaker 6: I'm only willing to hear you cry because I am

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an innocent.

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Speaker 2: Hi.

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Speaker 3: This is probably my second favorite on the album, but Yeah,

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just I absolutely love this song, and from what I recall,

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this is one of the first ones to get played

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pretty regularly on MTV. The video and that I'm sure

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also helped boost his reputation and get him in front

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of people, I mean, people who didn't already know who

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he was. Get him in on MTV. Was just broadening

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his audience.

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Speaker 2: He said when it was recording this that he had

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a feeling this would be the last time he'd be

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able to hit that really high note, but he nails

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it on this song.

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Speaker 3: Well, you know, you can only hit the high notes

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when you play for Christy Lee.

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Speaker 2: Yes, the song reached number ten on the Hot one

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hundred third single number one on the Adult Contemporary chart.

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Speaker 3: Yeah, it was. It was a lot of fun. Like

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some of the some of the connections to like who

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inspired these songs, I until I started digging into a

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couple of them, Like some of them are obvious, but

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then a couple I was like, how did I not

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know that? Yeah, as we get a little bit further

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on into the album, like there's one song in particular

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that there's there's an artist from the fifties and sixties

295
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that I absolutely love and I was like, of course

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he sounds like him. How did I not make that connection?

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Speaker 1: It was?

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Speaker 3: It was driving me nuts. As soon as I was

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reading up some stuff on it, I was like, all right,

300
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well now I feel dumb.

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Speaker 2: Okay, you gotta tell us that story we.

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Speaker 1: Want to get there. Yeah, yeah, okay. So I asked Caleb.

303
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Caleb is a Billy Joel fan, okay, And so he

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came in because we have stuff in here that he

305
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needed to go to sleep, and so I'm like, oh, hey, dude,

306
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what's your favorite Billy Joel song. He's like, okay, Piano Man,

307
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Innocent Man, or River of Dreams. Here was no Instant Man,

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no River. I don't know, dad.

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Speaker 2: I'm like, that's okay, you got you got one songs

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on this album.

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Speaker 1: That we're talking about, So I'm gonna go with that.

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Speaker 2: So Caleb's favorite on this album at least is Innocent

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Man as well. Okay, great, all right. Third song on

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the album. That song is Cold the Longest.

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Speaker 5: Time, Woo.

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Speaker 7: For the longest Time, whoa the longest You said good

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Bye to me too?

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Speaker 5: Nine.

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Speaker 2: So this is a du op of do Ops Baby.

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Speaker 1: This one is an homage to Frankie Lyman of the teenagers.

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If you don't know that name Why Do Fools Fall

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in Love?

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Speaker 3: If you play the beginning of the Longest Time, even

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just like the first ten seconds, and then play the

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00:16:00,320 --> 00:16:03,039
first ten seconds of Why Do Fools Fall in Love,

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You'll be sitting there going, well, good Lord. Of course

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they're of course they're influenced by it.

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Speaker 2: So he talks about how he was method singing on this, right,

329
00:16:19,480 --> 00:16:22,360
mm hmm, so he would pretend to be sort of

330
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these characters. He does all the vocals, all the backing vocals,

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he does all the snapping.

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Speaker 6: That happens goes on. That's where you found when you

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put jars around me hang this time.

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Speaker 2: The only thing instrument wise on this is there's a

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bass and somebody hitting a snare with the brushes.

336
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Speaker 1: I don't even know if that's right. I don't know

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if there's a real bass or if it's just a

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bass somebody humming the bass notes, and it could be

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Billy Joel humming the bass notes. I mean, he's supposed

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to just have the lead part and have a vocal

341
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group come help him. By Phil Ramone the producers like,

342
00:17:05,200 --> 00:17:07,119
let's just have you do all of the parts and

343
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you can definitely hear his varying voices throughout. Yeah, for sure.

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Speaker 3: Yeah, this is a great one if you've got family

345
00:17:13,319 --> 00:17:15,400
and you want to sing this all together. It hits

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00:17:15,440 --> 00:17:18,359
all the different people's ranges, like my kids, my wife

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will be in the car this song comes on. I

348
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let the rest of them take the high notes, and

349
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I'm usually the person sitting in the sitting in the

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driver's seat, or sitting somewhere else in the car going,

351
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oh the Longest I'm just picking up that part. Typically

352
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the other fun one about this one, and I think

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I've mentioned this a couple of times. There was a

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I think it's called Extraordinary. There was a series that

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was on CNN Plus in twenty twenty two and the

356
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interviewer was his name was, I think for Reid Zakaria,

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and he did an interview with Billy Joel as part

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of his Extraordinary People series. But there's a really cool

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part in there. They reference both this song for the

360
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Longest Time and Uptown Girl, And it's awesome because you

361
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watch Billy Joel in the interview is sitting at the

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piano and he's explaining how he believes some of his

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best songs have a very classical music bass to them,

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and he's and he just like, matter of fact, he says, well,

365
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like Uptown Girl. Uptown Girl has a has a Mozart

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bass to it. And I'm sitting there like wait, what yeah,

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And you see him in the video. He's like, let

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me play it for you. He starts to play just

369
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the just a very simple melody of Uptown Girl, and

370
00:18:31,799 --> 00:18:34,519
it sounds exactly like something Mozart would have written. And

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he's like, yeah, and we'll just we'll add this other

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little part over here, and he starts playing the whole

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thing on the piano, and I'm sitting there going, holy crap,

374
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Uptown Girl is Mozart. And then he plays he does

375
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this and he's like yeah, for the longest time, same thing,

376
00:18:46,400 --> 00:18:48,359
and he starts playing it and it sounds I think

377
00:18:48,359 --> 00:18:50,319
that one is maybe a little bit more of a

378
00:18:50,119 --> 00:18:52,440
of a Heiden, maybe a little bit of a Mozart.

379
00:18:52,480 --> 00:18:55,119
But he always talks about how he's so influenced by

380
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classical composers and and Beethoven is always his favorite. But

381
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there is so much when you if you take out

382
00:19:02,079 --> 00:19:05,519
the rest of the audio and just listen to him,

383
00:19:05,680 --> 00:19:08,160
you know, play the simple little melody on the piano

384
00:19:08,200 --> 00:19:11,400
of this it completely sounds like something Moltzart would have written.

385
00:19:11,559 --> 00:19:14,240
Speaker 2: Beethoven gets a writing credit here in just a minute.

386
00:19:14,400 --> 00:19:16,279
Speaker 1: Yeah, yeah, incredible.

387
00:19:16,920 --> 00:19:19,079
Speaker 2: I love the song. This song was released March of

388
00:19:19,119 --> 00:19:22,279
nineteen eighty four, reached number fourteen on the Hot one hundred,

389
00:19:22,359 --> 00:19:25,039
number one in the Adult Contemporary And this was one

390
00:19:25,039 --> 00:19:26,880
of the songs on the album that I wore out

391
00:19:27,079 --> 00:19:27,720
all the time.

392
00:19:27,960 --> 00:19:28,799
Speaker 1: Yeah, love it.

393
00:19:29,480 --> 00:19:31,160
Speaker 3: This is actually my favorite song on the album.

394
00:19:31,240 --> 00:19:32,839
Speaker 2: Man, we still haven't got to my favorite song.

395
00:19:32,839 --> 00:19:34,440
Speaker 1: How about that? We got three different ones?

396
00:19:34,720 --> 00:19:35,079
Speaker 4: All right?

397
00:19:35,160 --> 00:19:36,680
Speaker 2: Moving on to the next song on the album. This

398
00:19:36,720 --> 00:19:38,880
song is called this Night.

399
00:19:41,880 --> 00:19:58,680
Speaker 6: Lassage was ready f man, we prum sweet.

400
00:19:55,680 --> 00:19:57,960
Speaker 4: So Dan it was.

401
00:20:00,400 --> 00:20:00,799
Speaker 7: Dance.

402
00:20:02,400 --> 00:20:04,559
Speaker 2: I started breaking my promise.

403
00:20:04,839 --> 00:20:12,319
Speaker 1: Say, okay, Jason, I'm gonna play this for you back

404
00:20:12,359 --> 00:20:13,880
to back. I'm gonna try to play this for you

405
00:20:13,920 --> 00:20:15,640
back to back so that hopefully you can hear it.

406
00:20:18,400 --> 00:20:18,759
Speaker 5: Nice.

407
00:20:19,799 --> 00:20:32,160
Speaker 1: It's a way nice.

408
00:20:44,400 --> 00:20:58,039
Speaker 5: It is a long time away, yes night.

409
00:20:58,279 --> 00:21:05,440
Speaker 3: And last for me, there was a kid at my

410
00:21:05,519 --> 00:21:07,039
daughter plays piano, and we were at one of our

411
00:21:07,039 --> 00:21:09,480
piano recitals and there was a kid that was gonna

412
00:21:09,480 --> 00:21:13,400
play piano Sonata number eight. And of course when the

413
00:21:13,400 --> 00:21:15,839
whole thing is over. I turned to my family and

414
00:21:15,880 --> 00:21:17,720
I said, you know what, any kid that plays Billy

415
00:21:17,759 --> 00:21:20,079
Joel at the piano recitals?

416
00:21:21,200 --> 00:21:24,480
Speaker 1: So John, I was talking to Jason over the week

417
00:21:24,519 --> 00:21:27,119
and I'm like, are you familiar with this Beethoven song?

418
00:21:27,200 --> 00:21:29,519
Because my dad used to play this on the piano

419
00:21:29,759 --> 00:21:33,079
all the time. Loved this Beethoven song. And when I

420
00:21:33,119 --> 00:21:35,079
listened to this night, this was another one of those

421
00:21:35,160 --> 00:21:38,839
undiscovered gems for me. When he hits the chorus at

422
00:21:38,960 --> 00:21:42,680
about fifty eight seconds into the song, I'm like, I

423
00:21:42,799 --> 00:21:45,200
know this tune. I know that, and I'm like, oh

424
00:21:45,200 --> 00:21:48,200
my gosh, this is Beethoven. And sure enough I looked

425
00:21:48,200 --> 00:21:51,599
it up. Not only does he homage to Beethoven along

426
00:21:51,640 --> 00:21:55,000
with the d wopping, but he also gives him writing credit.

427
00:21:55,079 --> 00:21:58,599
He gives him writing credit. No other band member, like

428
00:21:58,680 --> 00:22:01,599
his drummer Billy Joels, had to sue him to get

429
00:22:01,640 --> 00:22:03,759
some royalties for some of the stuff that he's done.

430
00:22:04,119 --> 00:22:07,160
Nobody else gets credited on this album except Billy Joel

431
00:22:07,319 --> 00:22:10,119
and l v B seven.

432
00:22:11,759 --> 00:22:14,599
Speaker 3: And my discovery of this was backwards, Like I was

433
00:22:14,680 --> 00:22:17,839
listening to some Beethoven music at one point and I

434
00:22:17,880 --> 00:22:19,920
was like, Wow, he covered Billy Joel, that's really cool.

435
00:22:21,079 --> 00:22:24,000
Now he do that, that's awesome. It's a whole time

436
00:22:24,000 --> 00:22:27,599
travel thing. Well, and Billy Joel. He has said before

437
00:22:27,599 --> 00:22:31,759
Beethoven is probably his favorite classical composer because he looks

438
00:22:31,799 --> 00:22:34,200
at some of the others like he's made a comparison.

439
00:22:34,200 --> 00:22:36,839
He's like, yeah, Mozart, it's kind of like Mozart showed

440
00:22:36,880 --> 00:22:40,319
up fully formed, like everything is is perfect and every

441
00:22:40,400 --> 00:22:44,000
note is in its right place, and Mozart, you know,

442
00:22:44,119 --> 00:22:46,599
basically like if you've seen the movie Amedais, I think

443
00:22:47,240 --> 00:22:50,240
Saliary makes a comment at one point and he's like,

444
00:22:50,680 --> 00:22:53,160
it's as if he's just dictating the music. It's like

445
00:22:53,160 --> 00:22:56,599
there's no scribbles, there's no you know, nothing is scratched off.

446
00:22:56,599 --> 00:22:59,279
It's just perfect as it's getting written down on the paper.

447
00:22:59,640 --> 00:23:02,440
And Bill Joel said that he actually owned a piece

448
00:23:02,640 --> 00:23:06,039
of an actual piece of Beethoven's music and that you

449
00:23:06,079 --> 00:23:08,119
take a look at it and there's whole sections that

450
00:23:08,160 --> 00:23:11,400
are just scratched off, like he got almost as if

451
00:23:11,440 --> 00:23:14,599
he got angry with the terrible parts he had written

452
00:23:14,759 --> 00:23:16,400
and just scratched him off. And he's like, that's why

453
00:23:16,400 --> 00:23:19,200
I love Beethoven. He said to me, Beethoven is the

454
00:23:19,240 --> 00:23:24,240
most human of composers because he's angry, he's got passion,

455
00:23:24,279 --> 00:23:27,920
he's got frustration. He's like to me, I can relate

456
00:23:27,960 --> 00:23:30,279
to him so much more than I can now that

457
00:23:30,359 --> 00:23:33,079
I don't love Mozart, but I can relate to him

458
00:23:33,079 --> 00:23:34,799
because he's just like me. You know.

459
00:23:34,920 --> 00:23:38,640
Speaker 2: This song lyrically is about el McPherson and his relationship

460
00:23:38,640 --> 00:23:41,920
with her. She was nineteen when they were dating at

461
00:23:41,920 --> 00:23:42,519
the time.

462
00:23:42,640 --> 00:23:45,000
Speaker 1: He would have been thirty four.

463
00:23:47,519 --> 00:23:50,079
Speaker 2: So here's the idea, right, Elmi Feerston is like, Okay,

464
00:23:50,200 --> 00:23:52,440
I like you, let's keep it light, let's not get

465
00:23:52,440 --> 00:23:57,079
too serious, and he's like, right, right, sounds good. And

466
00:23:57,119 --> 00:23:59,880
what happens He falls madly in love with her, right,

467
00:24:00,759 --> 00:24:02,759
and he's like, as soon as he gets around her,

468
00:24:02,799 --> 00:24:05,119
all those rules go out the window. So that's what

469
00:24:05,359 --> 00:24:08,839
lyrically this song is about. This was actually the seventh single.

470
00:24:09,000 --> 00:24:11,759
This album had seven singles out of ten songs.

471
00:24:12,000 --> 00:24:14,839
Speaker 1: This album is almost got a batting average, almost as

472
00:24:14,880 --> 00:24:17,720
good as can't put down. It's in crowd, right, so

473
00:24:18,039 --> 00:24:22,079
she says, let's just have fun. Let's just have some fun,

474
00:24:22,119 --> 00:24:26,039
no reason to get serious. Yeah, and he gets too serious,

475
00:24:26,279 --> 00:24:29,440
so she breaks up with him, and his rebound girlfriend

476
00:24:29,759 --> 00:24:31,000
is Christy Brinkley.

477
00:24:32,000 --> 00:24:34,440
Speaker 3: My story is, it's a good gig if you can

478
00:24:34,480 --> 00:24:34,720
get it.

479
00:24:34,799 --> 00:24:37,079
Speaker 2: You know, Oh my gosh, I've got a story. There's

480
00:24:37,079 --> 00:24:38,839
a blow your socks off. We're gonna get to it

481
00:24:38,839 --> 00:24:39,799
here in a couple of songs.

482
00:24:39,880 --> 00:24:42,960
Speaker 1: Okay, So interestingly, this one, as much as I like it,

483
00:24:43,000 --> 00:24:45,519
this just in the US only got released as the

484
00:24:45,559 --> 00:24:48,000
B side of Leave a Tender Moment Alone.

485
00:24:48,079 --> 00:24:51,119
Speaker 2: Yep, Crazy reach number seventy eight on the Hot one hundred.

486
00:24:51,200 --> 00:24:53,480
Speaker 3: This is such a great song between the Beethoven music

487
00:24:53,559 --> 00:24:56,000
and it just I mean some of the lyrics too,

488
00:24:56,359 --> 00:24:58,880
is just there are some some of my favorite Billy

489
00:24:58,960 --> 00:25:01,359
Joel lines are here. And so we dance, though it

490
00:25:01,400 --> 00:25:03,799
was only a slow dance. I started breaking my promises

491
00:25:03,839 --> 00:25:06,079
right there. And then. He will talk about how he's

492
00:25:06,119 --> 00:25:08,440
much more interested in the music than he is the lyrics.

493
00:25:08,440 --> 00:25:12,039
But in terms of being a songwriter, there's there's very

494
00:25:12,039 --> 00:25:14,839
few times I don't think he doesn't knock it out

495
00:25:14,839 --> 00:25:15,240
of the park.

496
00:25:15,359 --> 00:25:18,519
Speaker 1: He is one of my favorite lyricists of all times.

497
00:25:18,559 --> 00:25:22,079
He absolutely such a picture. I mean, you know, all

498
00:25:22,119 --> 00:25:25,119
of the people at the piano bar. You know, the

499
00:25:25,200 --> 00:25:28,559
guys who are breaking their back, polishing their tires on

500
00:25:28,720 --> 00:25:32,480
moving out, you know, all like he has these images

501
00:25:32,559 --> 00:25:34,799
of these folks and he conveys it in such a

502
00:25:34,839 --> 00:25:38,119
perfect way through his lyrics. Definitely one of my favorites.

503
00:25:38,279 --> 00:25:40,720
Speaker 2: The image that he always portrays for me that stands

504
00:25:40,759 --> 00:25:42,759
out is the microphone that smells like a beer.

505
00:25:43,000 --> 00:25:43,359
Speaker 1: There you go.

506
00:25:43,640 --> 00:25:45,720
Speaker 2: Every time he describes I'm like, yep, I'm with you?

507
00:25:45,920 --> 00:25:46,400
Speaker 1: Makes sense?

508
00:25:46,559 --> 00:25:48,519
Speaker 2: Yeah, okay, can we get to my favorite song?

509
00:25:48,759 --> 00:25:49,240
Speaker 1: Oh?

510
00:25:49,319 --> 00:25:52,599
Speaker 2: So here we are? All right, let's get to my

511
00:25:52,880 --> 00:25:55,680
favorite song on the album. It's the first single release.

512
00:25:56,240 --> 00:26:00,759
This song is called tell Her About It. I don't

513
00:26:00,920 --> 00:26:03,319
want to see you at a good thing? Snip away

514
00:26:04,079 --> 00:26:04,519
you know what?

515
00:26:04,599 --> 00:26:08,680
Speaker 5: Don't like watch about it? Mate? Same mistakes that mate.

516
00:26:09,240 --> 00:26:12,440
Speaker 7: She's an realize gal and she's always damp with you.

517
00:26:14,240 --> 00:26:18,480
Speaker 1: So this song is obviously an homage to the Blues Brothers.

518
00:26:18,759 --> 00:26:22,680
The Blues Brothers when they when those orange blast in

519
00:26:22,799 --> 00:26:26,440
at the beginning. I am definitely thinking Jacob Elwood Blue

520
00:26:26,519 --> 00:26:27,720
to baby.

521
00:26:27,720 --> 00:26:29,640
Speaker 2: How can you not tap your toes when you're listening

522
00:26:29,640 --> 00:26:30,039
to this song?

523
00:26:30,400 --> 00:26:30,599
Speaker 1: Great?

524
00:26:31,079 --> 00:26:35,920
Speaker 2: It's it's such a snappy, upbeat, feel good toe tapper,

525
00:26:36,240 --> 00:26:37,359
I crank it up every time.

526
00:26:37,519 --> 00:26:37,799
Speaker 1: Yeah.

527
00:26:37,839 --> 00:26:41,759
Speaker 2: So this one actually is an homage to the Supremes

528
00:26:41,920 --> 00:26:45,160
and the Temptations right there in the heart of motown.

529
00:26:45,200 --> 00:26:45,640
Speaker 1: Baby.

530
00:26:45,720 --> 00:26:45,960
Speaker 3: Yeah.

531
00:26:46,240 --> 00:26:49,559
Speaker 2: He talked about about every time the Supremes sang a song,

532
00:26:49,640 --> 00:26:51,519
they were always giving some sort of advice.

533
00:26:51,839 --> 00:26:53,599
Speaker 1: Yeah, that's right. That's a good point.

534
00:26:54,400 --> 00:26:56,960
Speaker 2: They're always giving advice. And so he's like, I want

535
00:26:56,960 --> 00:26:58,799
to be Diana Ross.

536
00:26:58,720 --> 00:27:00,519
Speaker 3: To play this if you, if you to create like

537
00:27:00,519 --> 00:27:02,480
a I don't know, like a Dear Abby playlist, play

538
00:27:02,519 --> 00:27:04,400
this one back to back with you Can't hurry Love.

539
00:27:11,079 --> 00:27:15,599
Speaker 1: She said, yeah, yeah, yeah, exactly.

540
00:27:16,079 --> 00:27:19,559
Speaker 3: Lyrically and stylistically, the two are the two are just

541
00:27:19,720 --> 00:27:20,720
they're they're like cousins.

542
00:27:20,880 --> 00:27:22,000
Speaker 2: Spot on for sure.

543
00:27:22,400 --> 00:27:32,519
Speaker 7: No tell the foul, tell everything, give every reason to

544
00:27:32,759 --> 00:27:33,920
accept chum.

545
00:27:37,319 --> 00:27:39,960
Speaker 2: This was released July seventeenth, nineteen eighty three. This is

546
00:27:39,960 --> 00:27:43,880
the least single. It reached number one in September of

547
00:27:43,960 --> 00:27:52,319
nineteen eighty three. Knocking Out Maniac by Michael Simbelo Flash Chance. Yeah, okay,

548
00:27:52,519 --> 00:27:53,960
can we talk about the video for a second.

549
00:27:54,079 --> 00:27:55,640
Speaker 1: Let's talk about the video, okay.

550
00:27:55,920 --> 00:27:59,440
Speaker 2: So it's a old school style. They've got an guy

551
00:27:59,480 --> 00:28:02,079
looks just like at Sullivan and he's like, all right,

552
00:28:02,240 --> 00:28:07,079
ladies and gentlemen, mister William Joel. Billy Joel's like, listen,

553
00:28:07,079 --> 00:28:09,599
I'm not photogenic. I know, I'm not a great looking guy.

554
00:28:09,880 --> 00:28:12,119
He goes, So, when I did the videos, I was

555
00:28:12,200 --> 00:28:15,640
just pretended like I was Elvis. I didn't look like Elvis,

556
00:28:15,880 --> 00:28:18,960
but I pretended like I was Elvis, and that came

557
00:28:19,000 --> 00:28:22,039
off reasonably well. And then at the end of the video,

558
00:28:22,720 --> 00:28:26,799
you have, of course, mister Rodney Dangerfield repaying the favor

559
00:28:26,960 --> 00:28:29,519
of Billy Joel writing the song easy Money for his movie,

560
00:28:29,680 --> 00:28:32,519
and he's in the video, and the Ed Sullivan guy's like,

561
00:28:32,759 --> 00:28:39,680
and now the talented, the amazing Fonzie the Bear whatever,

562
00:28:41,319 --> 00:28:43,440
no respect for Rodney danger film.

563
00:28:43,880 --> 00:28:44,720
Speaker 1: That's hysterical.

564
00:28:44,759 --> 00:28:46,200
Speaker 2: All right, So I got a great story for you

565
00:28:46,279 --> 00:28:48,559
on the video for tell her about it.

566
00:28:48,640 --> 00:28:48,839
Speaker 4: Yeah.

567
00:28:48,880 --> 00:28:51,359
Speaker 2: So he was directed by a guy named Jay Dubitt,

568
00:28:51,359 --> 00:28:54,119
and Jay when he set off, he never intended to

569
00:28:54,119 --> 00:28:56,599
do music videos. They're asking him about it. How did

570
00:28:56,640 --> 00:28:58,960
you get involved in music videos? You don't even really

571
00:28:58,960 --> 00:29:01,079
have a film background. He's like, I don't like music.

572
00:29:01,119 --> 00:29:03,319
Why would anybody call me? I don't even like music.

573
00:29:03,359 --> 00:29:05,839
I'd never listened to the radio. Not a music guy. Well,

574
00:29:05,839 --> 00:29:07,759
listen to this. This is how he got involved. He

575
00:29:07,799 --> 00:29:11,240
needed money, and so he started doing the crazy Eddie

576
00:29:11,279 --> 00:29:14,680
electronics commercials in New York City. Crazy and He's greatest

577
00:29:14,680 --> 00:29:17,039
TV and video sale ever. Get anything and everything in.

578
00:29:17,000 --> 00:29:19,359
Speaker 3: TV and video. Crazy and He's greatest TV and video

579
00:29:19,400 --> 00:29:19,799
sale ever.

580
00:29:19,880 --> 00:29:21,759
Speaker 5: It's gonna be insane.

581
00:29:22,119 --> 00:29:24,359
Speaker 2: So he gets a call out of the blue from

582
00:29:24,440 --> 00:29:29,519
John Lennon. John Lennon sees these commercials and asked him,

583
00:29:29,599 --> 00:29:32,599
will you do my music video for Double Fantasy? And

584
00:29:32,799 --> 00:29:36,400
that's how he gets involved in making music videos. John

585
00:29:36,480 --> 00:29:37,839
Lennon calls him out of the.

586
00:29:37,799 --> 00:29:39,960
Speaker 1: Freaking blue, No, who is this real?

587
00:29:40,920 --> 00:29:43,000
Speaker 2: So he ends up doing listen to this? He does

588
00:29:43,440 --> 00:29:45,839
Private Eyes by Hello Notes. Uh huh, he does. I

589
00:29:45,880 --> 00:29:48,400
can't go for that. Yeh you make my dreams come true?

590
00:29:48,440 --> 00:29:51,079
And then of course tell her about it an uptown.

591
00:29:50,880 --> 00:29:54,279
Speaker 1: Girl, so tell her about it. Also had a co director.

592
00:29:54,400 --> 00:29:56,160
Would you like to guess who the co director was?

593
00:29:56,400 --> 00:30:01,720
Speaker 2: Christy Brigley close it was John's Oh yeah, so the

594
00:30:01,799 --> 00:30:04,319
guy whose wife.

595
00:30:04,319 --> 00:30:09,039
Speaker 1: Billy Joel stole directed this video with the guy who

596
00:30:09,079 --> 00:30:13,680
hates music. I don't what I know how about that

597
00:30:13,680 --> 00:30:14,240
that's crazy.

598
00:30:14,359 --> 00:30:16,160
Speaker 3: Well, there's a few times during his life that he

599
00:30:16,400 --> 00:30:18,079
had a bit of a falling out with some folks,

600
00:30:18,240 --> 00:30:21,839
and thankfully it sounds like they've reconciled. Like said Liberty

601
00:30:21,880 --> 00:30:24,640
de Vito, his drummer, like they had a long falling

602
00:30:24,680 --> 00:30:27,079
out for a while. And one of the saxophonists that

603
00:30:27,119 --> 00:30:29,000
he worked with, they had a falling out for a while.

604
00:30:29,039 --> 00:30:31,279
But it kind of seems like that's a running theme

605
00:30:31,480 --> 00:30:34,720
of Billy Joel's career is all right, so we get

606
00:30:34,759 --> 00:30:36,319
angry at each other, we fight for a bit, and

607
00:30:36,359 --> 00:30:38,559
I don't know, maybe twenty years later, Okay.

608
00:30:38,119 --> 00:30:40,839
Speaker 2: Yea, even Christy Brinkley they're divorced and they're still tight,

609
00:30:40,920 --> 00:30:41,079
you know.

610
00:30:41,240 --> 00:30:43,880
Speaker 3: Yeah. One of the other I love his band name

611
00:30:44,119 --> 00:30:48,359
in the music video is BJ in the Affordables.

612
00:30:49,279 --> 00:30:51,240
Speaker 1: This is crazy. It's a lot of fun, a whole

613
00:30:51,279 --> 00:30:52,480
lot of fun. Thanks me back.

614
00:30:52,559 --> 00:30:55,359
Speaker 3: This song has not been performed live since nineteen eighty seven.

615
00:30:55,599 --> 00:30:58,359
Speaker 2: Yeah, this blows me away. How in the world is

616
00:30:58,400 --> 00:31:01,440
a number one song not played live? I mean, I

617
00:31:01,440 --> 00:31:02,000
don't get it.

618
00:31:02,079 --> 00:31:05,720
Speaker 3: So according to Billy Joel's from what I've heard is

619
00:31:05,759 --> 00:31:08,440
that there's a couple of different reasons partly he feels

620
00:31:08,440 --> 00:31:12,039
like he can't hit the falsetto notes anymore, which okay,

621
00:31:12,240 --> 00:31:13,599
I get that, But then the other part of it

622
00:31:13,640 --> 00:31:15,799
too is he kind of commented, like when the song

623
00:31:15,839 --> 00:31:17,720
was released on the album, he thought great fit and

624
00:31:17,720 --> 00:31:20,160
like it sounds great on the album. The video, I

625
00:31:20,240 --> 00:31:22,200
don't know that he was as happy with the video

626
00:31:22,279 --> 00:31:25,000
and how it all came off, you know, seeing himself

627
00:31:25,119 --> 00:31:27,039
perform this on a video, I don't think he was

628
00:31:27,119 --> 00:31:29,160
quite as happy with that. And he would perform it

629
00:31:29,240 --> 00:31:32,559
on stage when obviously when these albums came out, when

630
00:31:32,599 --> 00:31:35,440
they were doing the tours for Innocent Man and The Bridge,

631
00:31:35,480 --> 00:31:37,599
he just felt like it didn't work on stage. He's like,

632
00:31:37,680 --> 00:31:40,440
live on stage, this song doesn't work as well. It's

633
00:31:40,519 --> 00:31:43,240
meant to be within the context of an album. That's

634
00:31:43,279 --> 00:31:44,920
how you should listen to it. I'm not doing this

635
00:31:44,920 --> 00:31:47,160
one anymore. So he stopped it. After nineteen eighty seven,

636
00:31:47,160 --> 00:31:48,559
he stopped performing this one live.

637
00:31:48,680 --> 00:31:50,799
Speaker 2: You know, I did hear him talked about his songs.

638
00:31:50,960 --> 00:31:53,319
He said, my songs are like children. Some of them

639
00:31:53,359 --> 00:31:56,240
grow up and their doctors and their lawyers and their teachers,

640
00:31:56,279 --> 00:31:58,599
and some of them are just kind of bums. This

641
00:31:58,680 --> 00:32:01,200
might be in that category, or he just doesn't hold

642
00:32:01,240 --> 00:32:03,079
it as high as he does other songs, you know.

643
00:32:03,400 --> 00:32:05,839
Speaker 3: And some are Captain Jack that he demotes to private.

644
00:32:05,920 --> 00:32:08,599
Speaker 2: All right, hit stop on your take, dick, take it out,

645
00:32:08,759 --> 00:32:12,359
flip it over for side two, and we started off

646
00:32:12,519 --> 00:32:14,440
with one of the biggest songs on the album. This

647
00:32:14,519 --> 00:32:23,960
song is called Uptown Girl.

648
00:32:33,960 --> 00:32:36,680
Speaker 1: Okay for that first drum beat coming out, I mean

649
00:32:36,720 --> 00:32:38,799
it's like the beginning of Thriller. I mean, you know

650
00:32:38,880 --> 00:32:41,039
this song is going to be great as soon as

651
00:32:41,079 --> 00:32:43,200
you hear those first three beats.

652
00:32:43,440 --> 00:32:46,279
Speaker 2: Yeah, it's it's fantastic. What a great song this is.

653
00:32:46,480 --> 00:32:48,079
Speaker 3: Yeah, this is one of the other ones that he

654
00:32:48,319 --> 00:32:50,839
if you listen to that interview with him, he plays

655
00:32:50,880 --> 00:32:54,079
it as a kind of a classical Mozart bass and

656
00:32:54,079 --> 00:32:55,480
then he just kind of builds on it from there

657
00:32:55,480 --> 00:32:58,400
and you're like, good lord, that's so amazing that you

658
00:32:58,799 --> 00:33:01,400
strip away everything else, rip away the lyrics, trip away

659
00:33:01,440 --> 00:33:03,519
the vocal, strip away the all the other pieces, and

660
00:33:03,559 --> 00:33:07,000
it sounds so much like a Mozart song, but its

661
00:33:07,000 --> 00:33:10,119
homage to the Four Seasons, you know, And he wanted

662
00:33:10,119 --> 00:33:13,319
to do this as kind of a recording of you know,

663
00:33:13,359 --> 00:33:15,720
Frankie Valley in the Four Seasons in the sixties. And

664
00:33:16,000 --> 00:33:18,119
if you want to pair this with another song, which

665
00:33:18,480 --> 00:33:20,200
they kind of you know, they start off and they

666
00:33:20,240 --> 00:33:22,799
sound really similar. Is play this next to Big Girls

667
00:33:22,839 --> 00:33:23,319
Don't Cry?

668
00:33:23,480 --> 00:33:23,680
Speaker 4: Yeah?

669
00:33:23,720 --> 00:33:25,839
Speaker 1: I was thinking walk like a Man to me. Yeah,

670
00:33:26,119 --> 00:33:27,519
I got a lot of walk like a Man out

671
00:33:27,559 --> 00:33:31,400
of this one. But still, Frankie Valley, this is a

672
00:33:31,440 --> 00:33:42,559
great one. I got to say. Back in the mid eighties, though,

673
00:33:42,759 --> 00:33:46,160
I got overwhelmed by this one. It was on so much,

674
00:33:46,279 --> 00:33:49,279
the video was on so much that I was like, Okay,

675
00:33:49,400 --> 00:33:51,799
you've killed it for me. Guys, you've overdone it. Now

676
00:33:51,839 --> 00:33:54,200
I've grown to love it again. It's been long enough.

677
00:33:54,319 --> 00:33:57,119
I still enjoy it. But they beat me over the

678
00:33:57,200 --> 00:33:57,880
head with it.

679
00:33:58,119 --> 00:34:01,519
Speaker 2: So this song is written a bit out Elle McPherson

680
00:34:01,720 --> 00:34:06,319
and Christy Briekley the Uptown Girls. It was plural. He

681
00:34:06,519 --> 00:34:09,400
started off writing it about el McPherson and then.

682
00:34:09,360 --> 00:34:11,119
Speaker 1: Switched gears when she broke up with it.

683
00:34:11,480 --> 00:34:15,239
Speaker 2: When they broke up and uh and Christy entered the picture.

684
00:34:15,280 --> 00:34:17,920
And of course Christy's in the video, so she's clearly

685
00:34:18,239 --> 00:34:19,079
the Uptown Girl.

686
00:34:19,159 --> 00:34:19,400
Speaker 4: Now.

687
00:34:19,559 --> 00:34:22,320
Speaker 2: So the video is you know, a car mechanic, Billy

688
00:34:22,400 --> 00:34:24,639
Joel running around with his buddy mechanics.

689
00:34:24,719 --> 00:34:25,599
Speaker 1: It's very grease.

690
00:34:25,840 --> 00:34:26,559
Speaker 2: It's very great.

691
00:34:26,639 --> 00:34:27,519
Speaker 4: It is very grease.

692
00:34:27,719 --> 00:34:30,840
Speaker 2: Here's the funny part is that the choreographer for the

693
00:34:30,880 --> 00:34:34,760
beat It video was working with Billy Joel and Christy Breekley,

694
00:34:35,039 --> 00:34:38,119
neither of whom can dance at all. Oh yeah, and

695
00:34:38,159 --> 00:34:41,079
he's like, all right, guys, listen, just one to kick, one,

696
00:34:41,159 --> 00:34:44,320
two kick, and they can barely do it, right.

697
00:34:44,559 --> 00:34:46,480
Speaker 1: I kind of remember this guy talking. Now that you

698
00:34:46,519 --> 00:34:49,320
say this, you're bringing back a memory from literally thirty

699
00:34:49,400 --> 00:34:52,239
years ago. I can remember seeing that guy going, man,

700
00:34:52,280 --> 00:34:54,880
I don't even understand how this guy walks without falling over.

701
00:34:58,360 --> 00:35:02,679
Speaker 2: Yes, and she's no better, right right. So they talked

702
00:35:02,719 --> 00:35:05,480
about how they shot this video in New York City.

703
00:35:05,599 --> 00:35:07,079
It was like the hottest day of the year. It's

704
00:35:07,119 --> 00:35:09,559
like one hundred and ten degrees. Christy Brinkley was in

705
00:35:10,000 --> 00:35:12,440
high heels. She said it was so hot. Every time

706
00:35:12,480 --> 00:35:15,559
she took a step, her heels sank in the asphalt.

707
00:35:16,599 --> 00:35:19,360
And Billy Joels said, across the street, there's like five

708
00:35:19,480 --> 00:35:23,039
hundred people watching them. Philly video and Christy Brinkley's dancing

709
00:35:23,079 --> 00:35:25,719
and they're running around, and he said, about every ten minutes,

710
00:35:25,760 --> 00:35:38,119
some mooke would yell show us your no oh no,

711
00:35:38,719 --> 00:35:42,719
So there you go, New York City, some mooke, some mooke. Okay,

712
00:35:42,719 --> 00:35:45,639
I've got something for you on this, okay. And I

713
00:35:45,679 --> 00:35:50,320
don't know the whole story, okay, But apparently Princess Diana

714
00:35:50,599 --> 00:35:55,400
in nineteen eighty five wanted to surprise Prince Charles by

715
00:35:55,480 --> 00:35:59,840
appearing on stage of the Royal Ballet and she danced

716
00:36:00,079 --> 00:36:03,679
a choreographed dance to uptown girl. Oh my, this is

717
00:36:03,719 --> 00:36:07,000
Princess Diana. Yeah, there's no video of this. Apparently he

718
00:36:07,039 --> 00:36:09,320
didn't like it, okay, but she was doing it to

719
00:36:09,400 --> 00:36:12,440
impress him or you know, tantalize him or something.

720
00:36:12,639 --> 00:36:13,000
Speaker 1: Huh.

721
00:36:13,559 --> 00:36:18,239
Speaker 2: And it's actually portrayed in the Netflix series The Crown

722
00:36:18,440 --> 00:36:21,199
in the episode Avalanche. And you can actually watch this.

723
00:36:21,639 --> 00:36:24,280
Speaker 3: Yeah have you seen it, John, Yeah, Yeah, we watched

724
00:36:24,320 --> 00:36:27,199
The Crown. Yeah, it's and it's it's such a funny

725
00:36:27,199 --> 00:36:30,159
story because it's Prince Charles, I think is so much well, now,

726
00:36:30,239 --> 00:36:33,000
King Charles, I think it probably would have just thrown

727
00:36:33,079 --> 00:36:35,559
him off that he's like, well, excuse me, I'm trying

728
00:36:35,559 --> 00:36:38,440
to enjoy an evening at the Ballet and I don't

729
00:36:38,599 --> 00:36:40,440
don't know why you're bringing in rock and roll. I

730
00:36:40,679 --> 00:36:42,760
feel like that that would have been his response to it.

731
00:36:42,800 --> 00:36:45,599
And she's probably thinking, you know, she's young and she's

732
00:36:45,639 --> 00:36:47,559
full of life, and she's like, I'm gonna do this,

733
00:36:47,639 --> 00:36:50,239
and maybe this will make my husband happy and maybe we'll,

734
00:36:50,480 --> 00:36:52,800
you know, maybe this will kind of help our relationship

735
00:36:52,840 --> 00:36:55,320
a bit. And I can just picture him knowing a

736
00:36:55,320 --> 00:36:57,880
little bit of what I do about his personality just

737
00:36:57,960 --> 00:37:00,599
over the years, reading different things and and you know,

738
00:37:00,639 --> 00:37:03,760
seeing videos and documentaries with him, and I'm thinking he

739
00:37:03,800 --> 00:37:05,400
probably was just looking at that going, I guess the

740
00:37:05,400 --> 00:37:08,760
evening's over now, the ballet is done, and uh, all right,

741
00:37:08,760 --> 00:37:09,599
it's time to go home now.

742
00:37:10,039 --> 00:37:12,519
Speaker 1: Oh my god, dude, flighten up a bit.

743
00:37:12,679 --> 00:37:16,639
Speaker 2: Love this song, Love the video. This is definitely deep

744
00:37:16,679 --> 00:37:17,719
deep eighties for me.

745
00:37:17,960 --> 00:37:21,280
Speaker 3: This is perfect karaoke material too. Yeah, like this is

746
00:37:21,519 --> 00:37:23,480
the high notes are tough to hit. But when I

747
00:37:23,519 --> 00:37:25,280
was teaching at one of our middle schools, and I

748
00:37:25,400 --> 00:37:27,360
was still a teacher in the building, we would have

749
00:37:27,440 --> 00:37:30,320
these nights a couple of nights a year, and we

750
00:37:30,360 --> 00:37:31,960
would have all kinds of games for the kids. They

751
00:37:31,960 --> 00:37:34,400
could come in after school and we'd have games for

752
00:37:34,440 --> 00:37:39,039
the kids and like obstacle courses and pizza and music

753
00:37:39,079 --> 00:37:41,000
and all kinds of other stuff. And one of the

754
00:37:41,079 --> 00:37:43,320
stations we always had in one of the rooms, one

755
00:37:43,320 --> 00:37:46,679
of the classrooms, was we had a karaoke machine. And

756
00:37:47,079 --> 00:37:49,280
this karaoke actually I think it was a PlayStation we

757
00:37:49,320 --> 00:37:52,079
had set up and it had the SingStar game where

758
00:37:52,079 --> 00:37:54,760
you could sing karaoke, and Uptown Girl was on the

759
00:37:54,840 --> 00:37:57,280
SingStar eighties version of it. And I don't know how

760
00:37:57,280 --> 00:38:00,280
this ever enticed any kids to come to this thing.

761
00:38:00,400 --> 00:38:02,760
The day before, like at the end of the school day,

762
00:38:02,800 --> 00:38:04,320
we would have a big assembly with all the kids

763
00:38:04,360 --> 00:38:06,599
in there. And actually I think it was Pat Cannagallo,

764
00:38:06,639 --> 00:38:09,039
who's on the thirty something podcast with me. I think

765
00:38:09,079 --> 00:38:11,360
we might have sang Uptown Girl. And as we were

766
00:38:11,400 --> 00:38:13,599
singing Uptown Girl, and nobody ever needs to hear me

767
00:38:13,679 --> 00:38:16,079
sing Uptown Girl, But as we were singing Uptown Girl

768
00:38:16,159 --> 00:38:18,760
in front of a gymnasium full of what would have

769
00:38:18,840 --> 00:38:22,159
been like six hundred middle school kids, we had cranked

770
00:38:22,159 --> 00:38:24,119
the volume up so high, and I think we were

771
00:38:24,119 --> 00:38:26,800
singing it so loud we blew out the speakers in

772
00:38:26,840 --> 00:38:30,960
the gym. Oh and so the gym teachers were mad

773
00:38:30,960 --> 00:38:34,079
at us, the facilities folks were mad at us, and

774
00:38:34,119 --> 00:38:36,840
we're like, okay, that's if you guys want to If

775
00:38:36,840 --> 00:38:38,920
you guys want to sing it, come back tonight. We'll

776
00:38:38,920 --> 00:38:42,960
do some more singing. But sorry, sorry, we didn't do that.

777
00:38:43,039 --> 00:38:47,079
Sip your waitress, but Uptown Girl, great karaoke song.

778
00:38:47,199 --> 00:38:48,920
Speaker 1: Yeah, this one you talked about how it did in

779
00:38:48,960 --> 00:38:52,800
the US. This is his only number one hit in

780
00:38:52,880 --> 00:38:57,920
the UK, only one, and it knocked off a song

781
00:38:58,079 --> 00:39:01,079
from an album that you were a big fan of. Also,

782
00:39:01,119 --> 00:39:03,639
a UK band knocked it out for the number one

783
00:39:03,639 --> 00:39:06,039
position November nineteen eighty three. So like, I guess what

784
00:39:06,079 --> 00:39:09,159
that is? How about how do you like the Wolf? No?

785
00:39:09,280 --> 00:39:11,559
It is kar Machamelion by the Culture Plot.

786
00:39:13,440 --> 00:39:15,480
Speaker 2: All right, next song on the album. This song is

787
00:39:15,519 --> 00:39:17,199
called Careless Talk.

788
00:39:18,119 --> 00:39:22,280
Speaker 5: Oh oh.

789
00:39:25,639 --> 00:39:34,360
Speaker 7: Oh yeah yeah, yah yeah yeah ya.

790
00:39:34,679 --> 00:39:35,639
Speaker 5: Man, let's talk him.

791
00:39:36,119 --> 00:39:37,880
Speaker 2: That's what you heard about me.

792
00:39:38,599 --> 00:39:45,079
Speaker 1: Let's do them, okay, boys. This one is an homage

793
00:39:45,119 --> 00:39:49,880
to the King of Soul himself, mister Sam Cook. And

794
00:39:50,400 --> 00:39:52,679
I don't know which song you guys think of when

795
00:39:52,719 --> 00:39:54,480
you think of Sam Cook, but for me, it's Twisted

796
00:39:54,559 --> 00:39:56,840
the Night Away and I could definitely hear it on

797
00:39:56,880 --> 00:39:57,320
this song.

798
00:39:57,480 --> 00:39:59,360
Speaker 3: Yeah, this one, I think the one I and this

799
00:39:59,400 --> 00:40:01,039
is the one I was talking about earlier that I

800
00:40:01,599 --> 00:40:02,639
love Sam Cook.

801
00:40:10,039 --> 00:40:13,800
Speaker 5: Letting me tell you about the place somewhere up.

802
00:40:15,199 --> 00:40:17,800
Speaker 3: Like some of my when you go back to like

803
00:40:17,840 --> 00:40:22,079
the nineteen fifties and sixties, nineteen fifties in particular Sam Cook,

804
00:40:22,239 --> 00:40:24,800
Nat King Cole, I love those. In fact, I got

805
00:40:24,880 --> 00:40:27,880
picked on in high school because I was like some

806
00:40:27,960 --> 00:40:29,480
of my friends on the football team. They're like, so, like,

807
00:40:29,519 --> 00:40:31,480
would you guys get for Christmas? Like we're coming back

808
00:40:31,519 --> 00:40:33,079
and we're in the weight room after Christmas breaking, like,

809
00:40:33,079 --> 00:40:35,480
would you get for Christmas? I was like, guys, I

810
00:40:35,519 --> 00:40:40,039
got a four disc set of Nat King Cole's greatest hits.

811
00:40:40,840 --> 00:40:43,400
Speaker 1: They're like, John was so cool? Can we hang out

812
00:40:43,400 --> 00:40:45,079
with you every day?

813
00:40:45,199 --> 00:40:47,480
Speaker 3: They're like, Nat King what it was like? Uh? Is

814
00:40:47,519 --> 00:40:51,360
that a rapper? No lessen to all you kids out there.

815
00:40:51,400 --> 00:40:54,199
Maybe don't mention that in the locker room places where

816
00:40:54,199 --> 00:40:55,960
it's okay to mention that. Maybe not the locker room.

817
00:40:55,960 --> 00:40:59,280
But I love Sam Cook like he is on regular

818
00:40:59,360 --> 00:41:01,880
rotation for me. Now I had the songs I think

819
00:41:01,920 --> 00:41:03,840
about with that one actually the one that I paired

820
00:41:03,840 --> 00:41:05,760
with this one on my playlist was I did the

821
00:41:05,800 --> 00:41:07,639
song you send Me? But yeah, this is the one

822
00:41:07,679 --> 00:41:09,599
I was. I was mentioned earlier that I was just

823
00:41:09,920 --> 00:41:12,119
I was shocked. I was like, why did I not

824
00:41:12,480 --> 00:41:15,320
figure out? Of course he sounds like Sam Cook. I

825
00:41:15,360 --> 00:41:17,639
love Sam Cook. I listened to Sam Cook all the time.

826
00:41:17,840 --> 00:41:20,920
How did I not connect careless talk with Sam Cook?

827
00:41:20,920 --> 00:41:23,079
And it just it blew my mind when I realized,

828
00:41:23,199 --> 00:41:25,840
you are so dumb? Why don't you like pay attention sometimes?

829
00:41:26,880 --> 00:41:29,159
Speaker 1: I went down the rabbit hole of Sam Cook in

830
00:41:29,239 --> 00:41:33,760
the research for this one, and boy, interesting death he

831
00:41:33,880 --> 00:41:35,639
had at thirty three years old. I'm not going to

832
00:41:35,679 --> 00:41:37,519
go into that story because we don't have a time

833
00:41:37,599 --> 00:41:40,679
for that. But wow, that's that's a strange set of

834
00:41:40,679 --> 00:41:45,519
circumstances there. Okay, I'm teasing you with it. Someday we'll

835
00:41:45,519 --> 00:41:47,920
talk about Sam Cook's death, but it's not gonna be today.

836
00:41:48,159 --> 00:41:50,440
Speaker 2: Okay, this is the weakest song on the whole album

837
00:41:50,440 --> 00:41:52,960
for me. Okay, this is my least favorite song. It's

838
00:41:53,000 --> 00:41:54,639
just kind of there. It's not a bad song, it's

839
00:41:54,679 --> 00:41:57,239
just kind of there, you know, it's not Skipper, just

840
00:41:57,320 --> 00:41:58,719
kind of waiting for the next one.

841
00:41:58,880 --> 00:42:00,719
Speaker 1: All right, we done with the one. Are you ready

842
00:42:00,760 --> 00:42:01,360
for the next one?

843
00:42:01,480 --> 00:42:01,800
Speaker 2: Yes?

844
00:42:01,880 --> 00:42:06,360
Speaker 1: All right? Then the next one is song number eight, Christy.

845
00:42:06,039 --> 00:42:25,440
Speaker 4: Leet So if you don't.

846
00:42:25,239 --> 00:42:28,920
Speaker 1: Hear Jerry Lee Lewis or Little Richard on this one,

847
00:42:29,199 --> 00:42:31,239
you are missing the boat, my friend.

848
00:42:31,400 --> 00:42:33,679
Speaker 2: All right, listen, this is this is what this song

849
00:42:33,800 --> 00:42:36,360
reminds me of. Okay, yeah, have you ever seen whose line?

850
00:42:36,400 --> 00:42:36,599
Speaker 4: Is it?

851
00:42:36,599 --> 00:42:37,000
Speaker 2: Anyway?

852
00:42:37,199 --> 00:42:37,400
Speaker 4: Yes?

853
00:42:37,519 --> 00:42:40,159
Speaker 2: And they get Wayne Brady and they're like, we'll grab

854
00:42:40,239 --> 00:42:43,280
somebody out of the crowd. What's your name, honey, Christy Lee?

855
00:42:43,360 --> 00:42:45,599
All right, you're going to sing the Christy Lee in

856
00:42:45,679 --> 00:42:49,360
the style of Jerry Lee Lewis ready said, go boom.

857
00:42:49,400 --> 00:42:51,320
This sounds like you just made it up on the

858
00:42:51,320 --> 00:42:53,480
spot singing about his girlfriend Christy Lee.

859
00:42:53,679 --> 00:42:54,159
Speaker 1: Maybe he did.

860
00:42:55,440 --> 00:42:57,239
Speaker 2: I know, he said it poured out of him. But

861
00:42:57,639 --> 00:42:59,079
this sounds like an improv song.

862
00:42:59,199 --> 00:43:00,719
Speaker 1: John, what do you think this one is?

863
00:43:00,920 --> 00:43:05,159
Speaker 3: I mean, it's it's absolutely Little Richard, Fats Domino, Jerry

864
00:43:05,239 --> 00:43:07,480
Lee Lewis. In fact, if there's if there's a song

865
00:43:07,519 --> 00:43:09,800
you wanted to pair this one with, I would say

866
00:43:10,000 --> 00:43:12,239
listen to this one. And they almost just sound like

867
00:43:12,280 --> 00:43:15,320
clones of each other. Listen to this one. Next to

868
00:43:15,480 --> 00:43:21,480
Little Richard's long, tall Sally. Maybe he came the music

869
00:43:21,480 --> 00:43:27,920
buddy and a lot of fun. It is almost like

870
00:43:28,039 --> 00:43:30,039
I mean, especially as it starts off, it is almost

871
00:43:30,079 --> 00:43:32,920
like a clone of this song Billy Joel, I want

872
00:43:32,920 --> 00:43:35,400
to say, covered Great Balls of Fire at a at

873
00:43:35,400 --> 00:43:38,559
a concert in eighty one and sounded a lot like

874
00:43:39,119 --> 00:43:41,400
Christy Lee. This is the one where I found the

875
00:43:41,559 --> 00:43:44,239
My Lives album, which is like the remixes and the

876
00:43:44,239 --> 00:43:46,800
demos and the and actually listening to it, both my

877
00:43:46,840 --> 00:43:48,840
wife and I agreed. We think we like the demo,

878
00:43:49,079 --> 00:43:52,280
like the unreleased demo version better than the album version

879
00:43:52,280 --> 00:43:55,440
of Christy Lee. His vocals are clearer and the piano

880
00:43:55,639 --> 00:43:58,000
is much clearer. I mean, this one's fun because it's

881
00:43:58,079 --> 00:44:00,239
it's fun. It's it's you know, a pan I know,

882
00:44:00,360 --> 00:44:02,639
rock song, But I feel like you just hear the

883
00:44:02,679 --> 00:44:05,679
most important parts his voice and the piano you hear

884
00:44:05,800 --> 00:44:08,280
just a little bit cleaner in the demo version of it.

885
00:44:08,320 --> 00:44:09,840
So if you get a chance to go find that one,

886
00:44:09,880 --> 00:44:13,199
definitely listen to that. But it's kind of a fun song,

887
00:44:13,280 --> 00:44:16,920
especially if you like trying to figure out, you know,

888
00:44:17,559 --> 00:44:21,239
lyrics that maybe don't mean what you think they mean,

889
00:44:21,480 --> 00:44:24,760
or maybe when I don't know, when a song called

890
00:44:24,800 --> 00:44:27,599
Lakeshore Drive really isn't about the road that's in Chicago,

891
00:44:27,760 --> 00:44:31,719
maybe it is, or or maybe it's about LSD in

892
00:44:31,760 --> 00:44:35,480
this song. Maybe a saxophone is just a saxophone. It's

893
00:44:35,519 --> 00:44:40,239
probably not, you know, Or when when you're shocked as

894
00:44:40,280 --> 00:44:43,880
a teenager to realize exactly what the song the ZZ

895
00:44:44,000 --> 00:44:46,920
top song I Got the six is about, you know,

896
00:44:47,320 --> 00:44:49,119
it's It's one of those songs. It can be an

897
00:44:49,159 --> 00:44:51,480
eye opening song when you learn what the lyrics are about.

898
00:44:51,639 --> 00:44:55,280
Speaker 1: After the words the ZZ top song, you literally could

899
00:44:55,320 --> 00:44:59,639
have said any yes, any easy top song and it

900
00:44:59,679 --> 00:45:01,719
would have be like, oh, yeah, yeah, that's what that

901
00:45:02,000 --> 00:45:02,760
pearl necklace?

902
00:45:03,119 --> 00:45:06,320
Speaker 2: Right? Okay. I got to tell you about the greatest

903
00:45:06,320 --> 00:45:09,280
twenty four hours in the nineteen eighties. Okay, yeah, we

904
00:45:09,360 --> 00:45:13,000
talked about this on our Lionel Richie episode that Lionel

905
00:45:13,079 --> 00:45:15,679
Richie may have had the greatest twenty four hours in

906
00:45:15,719 --> 00:45:19,400
the nineteen eighties. He hosted the AMAS, won six Awards,

907
00:45:19,440 --> 00:45:23,000
and then afterwards, as a post AMA party, they recorded

908
00:45:23,039 --> 00:45:26,440
We Are the World and fed millions of people from

909
00:45:26,519 --> 00:45:29,079
the proceeds of that song. Yeah, that's a pretty freaking great.

910
00:45:29,119 --> 00:45:32,519
Twenty four hours sure, Okay, Now, then let's pairro it

911
00:45:33,039 --> 00:45:37,599
versus this twenty four hour period. Okay, Billy Joel is

912
00:45:37,719 --> 00:45:40,760
dating El McPherson on and off. Okay, she goes back

913
00:45:40,800 --> 00:45:44,079
to Australia, and now he's got his sight set on

914
00:45:44,360 --> 00:45:47,440
Christy Lee Briekley. She had been seeing a guy he

915
00:45:47,559 --> 00:45:49,960
was killed in an accident and he is there as

916
00:45:50,000 --> 00:45:50,719
a friend and.

917
00:45:50,880 --> 00:45:51,559
Speaker 1: Race card driver.

918
00:45:51,679 --> 00:45:54,159
Speaker 2: Right yeah, yeah, starts to kind of move in for

919
00:45:54,280 --> 00:45:57,599
the kill. He invites her back to his apartment. Christy

920
00:45:57,679 --> 00:46:01,360
Brinkley has agreed to go back to apartment and inside

921
00:46:01,400 --> 00:46:04,440
he's jumping for joy. This is the night, right, this night,

922
00:46:04,639 --> 00:46:07,079
this night, this night, Yes with Christy Lee.

923
00:46:07,199 --> 00:46:07,920
Speaker 1: Yeah.

924
00:46:08,039 --> 00:46:11,480
Speaker 2: They get back to his apartment and when he opens

925
00:46:11,559 --> 00:46:16,840
the door, there's El McPherson with her luggage and she's

926
00:46:16,920 --> 00:46:21,360
crashing at his apartment. Oh, this man had El McPherson

927
00:46:21,639 --> 00:46:25,639
and Christy Brinkley on the hook at the exact same moment.

928
00:46:25,760 --> 00:46:27,840
We share oxygen with this person. But there's a real

929
00:46:27,880 --> 00:46:29,800
person out there who was able to pull this off.

930
00:46:29,920 --> 00:46:33,039
Speaker 1: And let's not forget that Billy Joel looks like Billy

931
00:46:33,119 --> 00:46:37,639
Joels exactly he does not look like Chris Hemsworth. He

932
00:46:37,679 --> 00:46:39,519
looks like Billy Joel.

933
00:46:39,800 --> 00:46:42,239
Speaker 2: He was like, if the guy's back at Hicksville Cove,

934
00:46:42,320 --> 00:46:42,639
see me.

935
00:46:43,239 --> 00:46:45,000
Speaker 1: I tried to. I think I mentioned this. I was

936
00:46:45,039 --> 00:46:47,079
talking to my wife about this. I'm like, I mean,

937
00:46:47,119 --> 00:46:51,280
there's just no way that this makes any sense except

938
00:46:51,280 --> 00:46:52,719
that he's a rock star. And she's like, oh, no,

939
00:46:52,719 --> 00:46:54,880
he's kind of cute. Sometimes I'm like, he doesn't sing

940
00:46:54,880 --> 00:46:56,440
and he doesn't play the piano. What do you think now,

941
00:46:56,719 --> 00:46:59,280
It's like, oh no, he's a toad. I'm like, that's

942
00:46:59,360 --> 00:47:00,480
right exactly.

943
00:47:00,719 --> 00:47:01,880
Speaker 3: I don't know if you guys, I don't know if

944
00:47:01,880 --> 00:47:03,880
you guys know that there was There was actually a

945
00:47:03,920 --> 00:47:07,440
poem that was written a very long time ago, and

946
00:47:08,199 --> 00:47:11,320
it actually prophesied this moment. Are you guys familiar with

947
00:47:11,400 --> 00:47:13,760
Robert Frost the last stanza of one of his most

948
00:47:13,760 --> 00:47:16,280
famous poems. I shall be telling this with a sigh

949
00:47:16,679 --> 00:47:20,639
somewhere Ages and ages. Hence, two blondes diverged in an

950
00:47:20,679 --> 00:47:25,000
apartment and I it didn't matter which one, and that

951
00:47:25,079 --> 00:47:26,079
has made all the difference.

952
00:47:27,800 --> 00:47:28,880
Speaker 4: It is very nice.

953
00:47:29,079 --> 00:47:32,400
Speaker 2: So the rest of the story is Christy Brinkley excused

954
00:47:32,440 --> 00:47:36,079
herself politely left and Elle McPherson was just there to crash.

955
00:47:36,239 --> 00:47:38,960
So I don't think he quote unquote closed the deal

956
00:47:39,039 --> 00:47:41,559
with either of them that night. And he said still,

957
00:47:41,599 --> 00:47:44,519
I couldn't help thinking Frank Sinatra would have somehow made

958
00:47:44,519 --> 00:47:47,199
a threesome of that night and instead swinging a miss.

959
00:47:47,239 --> 00:47:50,000
Swinging a miss the reason he's the chairman.

960
00:47:49,960 --> 00:47:52,559
Speaker 3: Word Frank, Frank does it his way.

961
00:47:52,719 --> 00:47:55,440
Speaker 2: Still, that's a pretty impressive twenty four hour period to

962
00:47:55,440 --> 00:47:57,679
have those women both at your apartment at.

963
00:47:57,559 --> 00:47:58,039
Speaker 3: The same time.

964
00:47:58,159 --> 00:48:01,199
Speaker 1: So you're saying that Christy Brinkley left tender man went alone.

965
00:48:01,519 --> 00:48:04,760
Speaker 2: She left a tender moment alone. Let's move on to that.

966
00:48:04,760 --> 00:48:07,639
Speaker 1: Song, all right, number nine on the album, second to

967
00:48:07,639 --> 00:48:11,320
the last song we have leave a tender moment alone.

968
00:48:12,800 --> 00:48:15,039
Speaker 2: Even the alone.

969
00:48:18,840 --> 00:48:22,960
Speaker 6: Sometimes I gets so afraid I'll say something, so.

970
00:48:27,840 --> 00:48:31,920
Speaker 5: Just to have something to say, know the moment, is it?

971
00:48:35,079 --> 00:48:35,400
Speaker 1: Okay?

972
00:48:35,440 --> 00:48:35,800
Speaker 4: Guys?

973
00:48:36,719 --> 00:48:40,840
Speaker 1: The beautiful blues harp that you hear on this particular.

974
00:48:40,360 --> 00:48:45,760
Speaker 2: Song is by mister Toots Steelman's our man, Toots Steelman.

975
00:48:46,000 --> 00:48:49,079
Speaker 1: That part to me is very rain drops falling on

976
00:48:49,079 --> 00:48:49,440
my head.

977
00:48:49,559 --> 00:48:51,079
Speaker 2: I can see that that.

978
00:48:51,199 --> 00:48:53,440
Speaker 1: I mean, it hits me that way every single time

979
00:48:53,480 --> 00:48:57,440
now This song is an homage to Smokey Robinson, so

980
00:48:57,480 --> 00:48:59,920
I can kind of hear that too, but I'm def

981
00:49:00,280 --> 00:49:02,119
thinking raindrops falling on my head.

982
00:49:02,239 --> 00:49:04,280
Speaker 3: Yeah. I think I paired this one on my playlist

983
00:49:04,320 --> 00:49:06,800
with Being with You I Smokey Robinson. As I was

984
00:49:06,800 --> 00:49:09,880
writing down my list of how I would rank the

985
00:49:09,920 --> 00:49:12,360
songs on this album, it ended up in this almost

986
00:49:12,360 --> 00:49:14,599
started an argument in our house. This one actually ended

987
00:49:14,679 --> 00:49:16,679
up last on the list for me, but I had

988
00:49:16,719 --> 00:49:19,079
to clarify that and say, okay, hold on, now, this

989
00:49:19,159 --> 00:49:22,920
is last on the list for the entire Innocent Man album.

990
00:49:23,039 --> 00:49:25,679
That doesn't mean anything like last on my list for

991
00:49:25,719 --> 00:49:29,000
this album is like still at the top of almost

992
00:49:29,039 --> 00:49:31,440
all Billy Joel songs. You know this, like you were

993
00:49:31,440 --> 00:49:34,760
saying earlier, to have seven of these songs seven out

994
00:49:34,800 --> 00:49:37,039
of ten, you know, reached the heights that they did.

995
00:49:37,199 --> 00:49:39,679
But it's just it's such a beautiful song and the

996
00:49:39,760 --> 00:49:40,840
lyrics are so good.

997
00:49:40,960 --> 00:49:42,840
Speaker 2: I love this one. This reached number twenty seven and

998
00:49:42,840 --> 00:49:45,599
the Hot one hundred, number one on the Adult Contemporary.

999
00:49:45,840 --> 00:49:47,360
Is this a country song?

1000
00:49:47,519 --> 00:49:49,639
Speaker 3: It feels like it a bit. I think there's moments

1001
00:49:49,679 --> 00:49:51,760
where it kind of feels it's got a little little

1002
00:49:51,800 --> 00:49:53,639
tiny bit of a country sound to it.

1003
00:49:53,679 --> 00:49:57,639
Speaker 1: I think, Oh, I mean the song that I'm relating

1004
00:49:57,679 --> 00:50:01,000
it to came from a cowboy movie, so you get yes,

1005
00:50:01,440 --> 00:50:01,800
there you go.

1006
00:50:02,000 --> 00:50:04,639
Speaker 2: This was the fifth single this kind radio play. I

1007
00:50:04,920 --> 00:50:07,360
remember this song very well, being making the rounds.

1008
00:50:07,400 --> 00:50:08,760
Speaker 1: You know, for sure I love it.

1009
00:50:08,800 --> 00:50:11,840
Speaker 3: And what I mean, what person hasn't been in the situation,

1010
00:50:12,119 --> 00:50:13,960
you know, you go with. I want to say, it's

1011
00:50:13,960 --> 00:50:16,400
like the second let me the second stanza in the song,

1012
00:50:16,559 --> 00:50:18,159
I know the moment. Is it right to tell the

1013
00:50:18,199 --> 00:50:21,159
girl a comical line? Keep the conversation light? I guess

1014
00:50:21,199 --> 00:50:23,440
I'm just frightened out of my mind. You know, Like

1015
00:50:23,480 --> 00:50:26,000
we said, this whole album is him going through that

1016
00:50:26,199 --> 00:50:29,159
dating phase, you know, after his divorce and this whole

1017
00:50:29,239 --> 00:50:31,880
dating feeling like a kid again. And I'm like, this

1018
00:50:31,920 --> 00:50:34,119
song kind of takes you back to that whole feeling

1019
00:50:34,119 --> 00:50:35,679
of like, Okay, I don't want to screw this up.

1020
00:50:35,760 --> 00:50:37,039
Just don't want me screw this up. Let me say

1021
00:50:37,039 --> 00:50:39,440
the right thing, let me at the right time. Yeah.

1022
00:50:39,519 --> 00:50:42,719
Speaker 2: Yeah, And even better than saying something to screw it up,

1023
00:50:42,800 --> 00:50:45,360
just don't say anything at all. Leave a tender moment alone.

1024
00:50:45,159 --> 00:50:46,920
Speaker 3: Leave it alone. A lot of really good advice in

1025
00:50:46,960 --> 00:50:51,679
this album. Yeah, tell her about it, but sometimes shut up.

1026
00:50:52,679 --> 00:50:55,760
Speaker 2: That's right, that's good. All right, let's move on to

1027
00:50:55,840 --> 00:50:59,440
the last song on the album. This song is called

1028
00:51:00,039 --> 00:51:00,599
even the Faith.

1029
00:51:06,039 --> 00:51:09,679
Speaker 5: If it seems like Tamplin Loston, Let's remember.

1030
00:51:11,519 --> 00:51:14,960
Speaker 7: If you can feeling Nola Ram missing my younger days.

1031
00:51:17,000 --> 00:51:18,280
Speaker 5: Show. I don't know him much.

1032
00:51:19,679 --> 00:51:21,599
Speaker 2: Okay, so this is a super catchy song. It was

1033
00:51:21,639 --> 00:51:24,079
on the radio all the time. But for me, the

1034
00:51:24,199 --> 00:51:27,719
most interesting thing to talk about here is the music video.

1035
00:51:28,280 --> 00:51:34,400
Richard Pryor, Christy Brinkley again, and Joe Piscopo. Actually, there's

1036
00:51:34,440 --> 00:51:36,719
also another guy I want to mention. His name's Richard

1037
00:51:36,800 --> 00:51:41,280
Schule from the movie Splash. He plays doctor Ross. There's

1038
00:51:41,320 --> 00:51:44,239
the guy who tells Eugene Levy's character why don't you

1039
00:51:44,320 --> 00:51:48,320
run along and find a Unicorn? He plays the judge

1040
00:51:48,679 --> 00:51:51,320
in this video on the album cover, as well the

1041
00:51:51,400 --> 00:51:54,679
single Oh Yeah, run along now Walter and see if

1042
00:51:54,679 --> 00:51:56,440
you can't find a Unicorn?

1043
00:51:57,320 --> 00:51:59,320
Speaker 1: Yeah, just him and Billy Joel, but he's still the

1044
00:51:59,400 --> 00:51:59,960
judge in that one.

1045
00:52:00,400 --> 00:52:03,119
Speaker 2: Nice, but this is great, Like Billy Joel's on trial,

1046
00:52:03,400 --> 00:52:06,639
is he or is he not? Keeping the fake you know, judge,

1047
00:52:07,079 --> 00:52:08,400
they say justice is blind.

1048
00:52:09,079 --> 00:52:10,360
Speaker 3: I shore hope it ain't deaf, but.

1049
00:52:10,400 --> 00:52:12,960
Speaker 2: It's a big coin in the jukebox and starts to

1050
00:52:13,000 --> 00:52:14,880
play this song and sing it for the judge.

1051
00:52:14,960 --> 00:52:17,360
Speaker 3: John Way think this one's very specific. It's an homage

1052
00:52:17,400 --> 00:52:28,440
to a particular song. Betty writes, clean Up Woman. It's

1053
00:52:28,480 --> 00:52:30,760
got a little bit of a British rock sound to it.

1054
00:52:30,920 --> 00:52:33,039
But if you play that song, Betty writes, clean Up Woman,

1055
00:52:33,199 --> 00:52:35,400
I mean the start, the kind of beat you get

1056
00:52:35,440 --> 00:52:37,079
at the start of this one and at the start

1057
00:52:37,119 --> 00:52:39,360
of that song mirror images of each other.

1058
00:52:39,559 --> 00:52:40,440
Speaker 1: Yeah. Yeah.

1059
00:52:40,960 --> 00:52:42,440
Speaker 3: But the other really kind of cool thing about this

1060
00:52:42,519 --> 00:52:44,760
one is I almost like, in my in my mind,

1061
00:52:44,840 --> 00:52:47,480
in my head canon, I treat this one as a

1062
00:52:47,599 --> 00:52:49,880
little bit of kind of a personal prequel to We

1063
00:52:49,960 --> 00:52:52,480
Didn't Start the Fire. You know, let's let's make a

1064
00:52:52,800 --> 00:52:56,800
superhero analogy. You've got your Iron Man, your Thor, your

1065
00:52:56,880 --> 00:52:59,599
Captain America. They're gonna go off and they're gonna handle

1066
00:52:59,679 --> 00:53:01,920
stuff like Thanos, like they're going to handle your your

1067
00:53:02,440 --> 00:53:06,400
galaxy threatening villains. And then you've got Spider Man, and

1068
00:53:06,519 --> 00:53:08,840
spider Man is usually like your street level hero. You've

1069
00:53:08,840 --> 00:53:10,960
got your Spider Man your Daredevil. They're handling stuff on

1070
00:53:11,000 --> 00:53:13,559
the streets, they're not fighting aliens. I see this one

1071
00:53:13,599 --> 00:53:15,760
as keeping the faith is kind of like the very

1072
00:53:15,880 --> 00:53:20,639
personal let me walk you through my childhood, my teenage years.

1073
00:53:20,719 --> 00:53:23,320
Let me kind of give you the timeline of what

1074
00:53:23,440 --> 00:53:25,480
it was like to grow up Billy Joel. Then if

1075
00:53:25,519 --> 00:53:27,599
you take this one and you play we Didn't Start

1076
00:53:27,639 --> 00:53:30,199
the Fire next, it's almost like you're zooming out onto

1077
00:53:30,280 --> 00:53:33,400
like a global layer at that point, and you're saying, like, Okay,

1078
00:53:33,440 --> 00:53:35,079
this is what it like it was like personally to

1079
00:53:35,119 --> 00:53:36,920
be Billy Joel. But here's like what the rest of

1080
00:53:36,960 --> 00:53:39,679
the world was going through while I was also growing

1081
00:53:39,800 --> 00:53:41,960
up and through all these years. So I kind of

1082
00:53:42,000 --> 00:53:43,679
sometimes will treat this one as if it's like a

1083
00:53:43,760 --> 00:53:45,639
prequel to We Didn't Start the Fire.

1084
00:53:45,800 --> 00:53:47,239
Speaker 1: Well, that that's really cool?

1085
00:53:47,400 --> 00:53:48,079
Speaker 4: Agree? I like that?

1086
00:53:48,239 --> 00:53:48,440
Speaker 3: Yeah.

1087
00:53:48,599 --> 00:53:50,800
Speaker 2: By the way, the red herd girl in the back

1088
00:53:50,840 --> 00:53:53,440
of a Chevrolet is a real person. So in the video,

1089
00:53:53,599 --> 00:53:56,000
she's played by Christy Briekley, and her hair is like

1090
00:53:56,159 --> 00:53:59,440
spray painted red. It looks terrible, But this was when

1091
00:53:59,480 --> 00:54:02,480
he first started playing live. He was playing and he

1092
00:54:02,599 --> 00:54:05,719
locked eyes with this beautiful redhead and he started to

1093
00:54:05,760 --> 00:54:08,280
realize the power of rock and roll. Well, they ended

1094
00:54:08,360 --> 00:54:11,519
up dating, and more than dating, he made it with

1095
00:54:11,639 --> 00:54:13,480
that girl in the back of a Chevrolet, And when

1096
00:54:13,519 --> 00:54:15,559
she went to break up with him to go to college,

1097
00:54:15,679 --> 00:54:17,840
he's like, you can't break up with me. We've had sex,

1098
00:54:18,159 --> 00:54:21,360
and she's like, so what. That's when he realized he

1099
00:54:21,760 --> 00:54:25,760
falls super easy for women. Yeah, he just can't help himself.

1100
00:54:25,840 --> 00:54:27,639
When he's with the woman, he falls head out of

1101
00:54:27,639 --> 00:54:29,480
her heels. And that's why a lot of his songs

1102
00:54:29,519 --> 00:54:31,719
are just would be love songs. He loves women.

1103
00:54:31,880 --> 00:54:33,880
Speaker 1: All he can think of is Matthew McConaughey and Days

1104
00:54:33,920 --> 00:54:39,719
to Confused. I love those redheads, Love those red heads. Man.

1105
00:54:40,119 --> 00:54:42,840
Speaker 2: By the way, that girl's name was Patty Lee Beridge.

1106
00:54:43,320 --> 00:54:46,320
Speaker 3: He's a little bit like doctor Ian Malcolm in Jurassic Park.

1107
00:54:46,400 --> 00:54:50,440
He's he's always looking for the future. Ex missus Joel.

1108
00:54:52,679 --> 00:54:55,760
Speaker 2: All right, well, that completes the album An Innocent Man.

1109
00:54:56,119 --> 00:55:01,519
Speaker 1: Now we have to do Oh my god, final judgment time, Johnny,

1110
00:55:01,559 --> 00:55:03,679
Are you able to do final Judgment with us?

1111
00:55:04,000 --> 00:55:05,519
Speaker 2: Lionel Richie versus Billy Joel?

1112
00:55:05,599 --> 00:55:06,960
Speaker 1: I mean, do we even need to ask?

1113
00:55:08,360 --> 00:55:11,719
Speaker 3: You don't need to ask my final judgment will be

1114
00:55:11,800 --> 00:55:14,920
and nothing against him at all. But my final judgment

1115
00:55:15,079 --> 00:55:16,360
is Lionel.

1116
00:55:16,039 --> 00:55:23,199
Speaker 1: Who okay, d okay. So, as I mentioned, Billy Joel

1117
00:55:23,360 --> 00:55:26,320
was huge part of my childhood growing up. I mean

1118
00:55:26,320 --> 00:55:29,000
I literally have a music book of his downstairs that

1119
00:55:29,159 --> 00:55:35,000
I have learned to play songs of his huge, huge factor. However,

1120
00:55:36,480 --> 00:55:42,039
Can't Slow Down songs are so good and every single

1121
00:55:42,159 --> 00:55:46,079
song is so good on that album. Even though I

1122
00:55:46,519 --> 00:55:49,679
love a lot of the songs on Innocent Man, of

1123
00:55:50,039 --> 00:55:53,679
all of Billy Joel's songs, unlike John here, Innocent Man

1124
00:55:53,880 --> 00:55:56,760
is on the lower side of my favorite Billy Joel songs.

1125
00:55:56,880 --> 00:55:58,760
I like a lot of them, but they're not my

1126
00:55:58,800 --> 00:56:01,760
favorite Billy Joel songs. For the complete catalog, it is

1127
00:56:01,840 --> 00:56:04,679
mister Joel every day, all day, no question about it.

1128
00:56:05,239 --> 00:56:08,440
But album to album, which is what we're talking about here,

1129
00:56:08,760 --> 00:56:10,840
Innocent Man, Can't Slow Down.

1130
00:56:11,679 --> 00:56:13,440
Speaker 4: Can't Slow Down was too.

1131
00:56:13,440 --> 00:56:16,280
Speaker 1: Much of a powerhouse wow, too much of a big

1132
00:56:16,360 --> 00:56:19,599
hitter for me in that time. I'm given the nod

1133
00:56:19,800 --> 00:56:22,039
to Can't Slow Down the mount of Richie, which means

1134
00:56:22,320 --> 00:56:23,800
you gotta be the tiebreaker, my friend.

1135
00:56:24,000 --> 00:56:27,920
Speaker 2: All right, So John voted Innocent Man. You voted Can't

1136
00:56:27,960 --> 00:56:30,719
Slow Down. I loved both. I grew up with both.

1137
00:56:30,800 --> 00:56:33,480
These were both owned by my parents. They spun them

1138
00:56:33,679 --> 00:56:36,000
all the time. It was just something I was around.

1139
00:56:36,159 --> 00:56:40,679
But for me, the songs on An Innocent Man are

1140
00:56:40,719 --> 00:56:43,880
a little more rock and roll and a little less country.

1141
00:56:45,760 --> 00:56:51,320
So I'm going to cast my vote with the wonderful

1142
00:56:51,840 --> 00:56:56,199
seven singles out of ten Billy Joel album An Innocent Man,

1143
00:56:56,599 --> 00:56:59,880
Spike the Football An Innocent Man, although I still love

1144
00:57:00,480 --> 00:57:00,920
cancel it.

1145
00:57:01,360 --> 00:57:04,599
Speaker 1: Yeah, well, I can't falter you, guys. I love the

1146
00:57:04,679 --> 00:57:09,039
Piano Man. But yeah, guys, Shirley fans, tell us what

1147
00:57:09,320 --> 00:57:13,000
you think is Jason Wright? Is John right? Are they right?

1148
00:57:13,119 --> 00:57:15,960
Or am I right? Hit us up on Twitter, Hit

1149
00:57:16,039 --> 00:57:18,800
us up on Facebook. Heck, man, we probably have your

1150
00:57:18,880 --> 00:57:21,760
text at this point, so you know, send us an

1151
00:57:21,800 --> 00:57:23,840
email if you're not on our text list so far,

1152
00:57:24,000 --> 00:57:26,679
and we'll start adding you to the group chat. Guys,

1153
00:57:26,800 --> 00:57:29,559
be sure and hit that follow button, hit that subscribe button,

1154
00:57:29,639 --> 00:57:32,000
and please tell your friends if you could leave a

1155
00:57:32,119 --> 00:57:35,280
rating for us, hopefully a five star rating and a

1156
00:57:35,400 --> 00:57:38,440
review that helps us get in front of other people

1157
00:57:38,480 --> 00:57:42,360
who might enjoy hearing all about the awesome movies and

1158
00:57:42,599 --> 00:57:44,519
music of the eighties.

1159
00:57:44,239 --> 00:57:45,119
Speaker 4: Nineties and beyond.

1160
00:57:45,280 --> 00:57:47,880
Speaker 1: John, thank you so much for coming and joining us

1161
00:57:47,960 --> 00:57:51,039
on this adventure again. I can't wait till we start

1162
00:57:51,119 --> 00:57:54,079
doing podcasts full of Kryptonite again. Tell us what's coming

1163
00:57:54,159 --> 00:57:56,159
up for the thirty something movie podcast.

1164
00:57:56,360 --> 00:57:58,840
Speaker 3: Yeah, yeah, We've got the next few months or so,

1165
00:57:59,000 --> 00:58:01,239
or just there's so much. We're in ninety three right now,

1166
00:58:01,320 --> 00:58:03,480
since it's twenty twenty three at the time of this recording,

1167
00:58:03,760 --> 00:58:08,199
we're in ninety three. We've just got done doing Cliffhanger,

1168
00:58:08,480 --> 00:58:12,239
Groundhog Day. We've got Falling Down and Fugitive in the

1169
00:58:12,280 --> 00:58:15,320
month of March, and then you know, coming up in April,

1170
00:58:15,679 --> 00:58:19,360
Sleepless in Seattle. Gettysburg the one I'm really looking forward to, though,

1171
00:58:19,360 --> 00:58:21,719
I've been waiting for a while to talk about this one.

1172
00:58:21,840 --> 00:58:24,639
Coming in in May, we're doing Demolition Man. I have

1173
00:58:25,159 --> 00:58:29,119
such an unreasonable love of this movie when we started.

1174
00:58:29,159 --> 00:58:31,000
When we started the podcast and I asked our co

1175
00:58:31,119 --> 00:58:34,320
host Pat, I'm like, it's it's twenty fifteen, Pat, what

1176
00:58:34,480 --> 00:58:37,840
movie are you looking forward to? Batman? Pat, We're doing

1177
00:58:37,920 --> 00:58:41,000
that one in four years. I know, like there have

1178
00:58:41,079 --> 00:58:42,599
been moments where I was like, what am I looking

1179
00:58:42,639 --> 00:58:45,280
forward to? As we're doing this show Rocketeer. All right,

1180
00:58:45,360 --> 00:58:47,159
Rocketeers coming in ninety one, So I got a little

1181
00:58:47,159 --> 00:58:48,440
bit of time to wait. What was the next one

1182
00:58:48,480 --> 00:58:50,639
after that? I'm like, demolition Man, all right, that's two

1183
00:58:50,719 --> 00:58:53,599
years away. Well we're there, so that's probably what I'm

1184
00:58:53,639 --> 00:58:56,239
looking forward to is getting a demolition Man in May.

1185
00:58:56,400 --> 00:58:57,840
Speaker 2: John, thanks so much for being with us.

1186
00:58:57,920 --> 00:58:58,079
Speaker 4: Man.

1187
00:58:58,320 --> 00:59:01,079
Speaker 2: We appreciate you, We enjoy you, and you've been a

1188
00:59:01,159 --> 00:59:03,199
mentor for us, So thank you so much.

1189
00:59:04,039 --> 00:59:06,320
Speaker 3: Yeah, and we as as I we might have been

1190
00:59:06,360 --> 00:59:08,599
off Mike when we were talking about it, but you

1191
00:59:08,679 --> 00:59:12,159
guys got many many shout outs in our groundhog Day episode.

1192
00:59:12,239 --> 00:59:16,320
We were basically saying, we're doing a quick flyby of

1193
00:59:16,480 --> 00:59:19,360
groundhog Day, but if you want to hear in depth stuff,

1194
00:59:19,679 --> 00:59:21,519
you got to go over and listen to the Shirley

1195
00:59:21,559 --> 00:59:25,639
Podcast guys. Because that and and I was like, I

1196
00:59:25,679 --> 00:59:28,159
got a really clever idea. I'm going to restart our

1197
00:59:28,239 --> 00:59:30,119
show like three or four times just to kind of

1198
00:59:30,159 --> 00:59:32,360
be funny. And then your show came out and I

1199
00:59:32,440 --> 00:59:34,039
was like, God, bless it, they already did it.

1200
00:59:36,800 --> 00:59:39,440
Speaker 1: Well, thank you man, We appreciate that. What do we

1201
00:59:39,519 --> 00:59:41,239
got coming up next next week?

1202
00:59:41,320 --> 00:59:45,760
Speaker 2: We've got raising Arizona versus the Big Labouski.

1203
00:59:46,159 --> 00:59:47,639
Speaker 4: Oh yay, I'm.

1204
00:59:49,119 --> 00:59:51,400
Speaker 3: That is the only way I can respond to that.

1205
00:59:51,559 --> 00:59:55,960
In in the matrix, when you have the one female character,

1206
00:59:56,079 --> 00:59:58,199
I'm blanking out on what her name was, but right

1207
00:59:58,280 --> 01:00:00,280
before they unplug her, she just looks and go not

1208
01:00:00,480 --> 01:00:04,039
like this, not like this. That's oh that is that

1209
01:00:04,239 --> 01:00:07,079
is cruel. That is just cruel to pit those against

1210
01:00:07,119 --> 01:00:10,320
each other. You know, you've you've got the dude Abides versus.

1211
01:00:10,599 --> 01:00:12,599
What we're trying to say is we felt the institution

1212
01:00:12,760 --> 01:00:15,400
no longer had anything to offer us. I don't know

1213
01:00:15,440 --> 01:00:16,599
how to pick between those two.

1214
01:00:17,039 --> 01:00:20,519
Speaker 2: I know, right big Lebaski is hitting his twenty fifth anniversary.

1215
01:00:20,719 --> 01:00:24,320
I know, come back next week to hear that matchup

1216
01:00:24,719 --> 01:00:26,920
and go over to thirty something and catch their stuff

1217
01:00:27,280 --> 01:00:29,639
and then also join us on podcasts full of Kryptite.

1218
01:00:29,840 --> 01:00:30,039
Speaker 1: Yeah.

1219
01:00:30,119 --> 01:00:32,320
Speaker 3: Absolutely, Yeah, we're looking forward to that one coming back.

1220
01:00:32,559 --> 01:00:35,119
I think it's gonna be a great season of Superman

1221
01:00:35,199 --> 01:00:36,199
and Lows. I'm looking forward to it.

1222
01:00:36,280 --> 01:00:39,599
Speaker 1: I want to go binge watch the last two seasons,

1223
01:00:39,920 --> 01:00:41,599
listen to our podcast, and you'll be done.

1224
01:00:41,679 --> 01:00:42,079
Speaker 4: That's right.

1225
01:00:42,239 --> 01:00:44,079
Speaker 2: We will see you, John, We'll see you down the

1226
01:00:44,159 --> 01:00:45,800
road and everybody else will see you next week.

1227
01:00:47,480 --> 01:00:49,679
Speaker 1: Oh yeah yeah, just him and Billy Joel, but he's

1228
01:00:49,719 --> 01:00:50,760
still the judge in that one.

1229
01:00:51,079 --> 01:00:53,760
Speaker 2: Nice you're a judge, I am.

1230
01:00:54,000 --> 01:00:55,679
Speaker 1: Thank you for reminding me.