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