Speaker 1: All right, everybody, welcome back to the Shirley You Can't
be Serious podcast. Do you have been waiting all week?
We are finally ready to dive in track my track
for one of the most iconic albums of the eighties,
Slippery When Wet. We need to stop talking now and
start right back where we left off. Let's go again.
Speaker 2: We're back with Johann Sebastian Bach here, not the skid
row guy, but the old composer guy. That's what Dave
Brian is playing right here at the beginning of this album.
Speaker 3: And I love it. I didn't even I told you
I did not have this album.
Speaker 2: The first concert that my band did, I went out
there and played a riff on Takata and feud by
Bach to start off the show, and we got we
got Richie in there with some strong power chords.
Speaker 1: Let's listen to it.
Speaker 2: Okay, keep going, and then we crescendo into this awesome beginning.
Speaker 1: Okay, let it rock. Is a great concert starter. Yeah,
it's an opener, ye sure, so, I mean it's the
one Dave Brian. You know you got the silhouette and
what's going on on stage? Are they there?
Speaker 3: Yeah?
Speaker 1: Oh, you get the music. Oh, the piano players there. Oh,
are those guys putting guitars on? You know it's the
beginning of a concert song, right, and then the whos
of Let It Rock is a great kickoff song.
Speaker 3: Yeah.
Speaker 1: Did you know that that intro, that piano intro has
a name? Okay, intro before Let It rockgates kicked off.
It's called pink Flamingos. Okay, that's that's just what Dave
Brian calls.
Speaker 3: Do you know what?
Speaker 2: I know why they call it that. I did not
know that it had a name, But I can tell
you why.
Speaker 3: They call it pink flamingos. Okay.
Speaker 2: Why because no, because when they went to Vancouver, they
put them up in this flat that was a part
of it was like pink stucco flat where all of
these people had saved their whole lives to buy an
apartment in this flat and they stick them in this
tiny little two bedroom right in the middle of this
pink stucco flat, and out in the front they had
pink flamingos.
Speaker 4: Is that right?
Speaker 1: Yeah? Wow? Nobs huh nobs? Okay.
Speaker 3: I could have made that up, but I didn't.
Speaker 1: Oh man, So this song to me, like we said,
it's a great kickoff song, great concert opener. Yeah, this
is similar in tone in feel, not as gossibly, but
similar purpose as lay your Hands on Me. Yeah, it's good. Hey,
everybody time for concert. Let's go.
Speaker 3: Yeah, let's get everybody riled up.
Speaker 1: Let's get them jazzed up up and getting ready to pop.
Speaker 3: Yeah.
Speaker 1: Yea love it. Very fun, enjoyable song. So I saw
him on the New Jersey tour, so lay your Hands
on Me was the first song they played. But in
the concert he would say, ladies and gentlemen, master the keyboards,
David Bryant, and he would he played pink flamingos and
that led into Let It Rock. Nice.
Speaker 2: It is not one of the top songs for me
on the album, but definitely not a skipper it is.
Speaker 3: It's great.
Speaker 1: It gets you pumped up and ready for more. The
lyrics mentioned Captain Kidd. That was the code name for
John Bonjob. Okay, the King of Swing is the code
name for Richie Sambor.
Speaker 3: Break on Through to the Other Side or doors reference
of course.
Speaker 1: Yep, it's got to be right all right for let
It Rock, Let's get into you.
Speaker 2: Give love a bad name, bad name.
Speaker 1: Listen, there are three massively iconic songs on this album.
This is the first of those three. This song was
released July twenty third of eighty six, almost a month
before the album was released first single.
Speaker 3: This is the first single.
Speaker 2: Before the song came out, they were opening for thirty
eight Special.
Speaker 3: Does that blow your mind?
Speaker 1: Oh my god? They were still an opening band at
this point. It's crazy. It's crazy.
Speaker 3: It is crazy.
Speaker 2: And so the video comes out not too long after this.
I mean there's still it's still not there's still just
a band.
Speaker 3: That's opening for another band.
Speaker 1: Right.
Speaker 2: The director of the video is a guy who had
directed Motley Crue videos, which, of course they were pissed
about because they're like, what yeah, because they hate effing
bon Jovi, right, crew hates bon Jovi.
Speaker 3: Right.
Speaker 2: But when they came in to shoot the video, it
is this arena in Los Angeles. They had to paint
over the floor and paint bon Jovi on the floor
because they were not the.
Speaker 1: Main attract I remember when this song flipped like I
was an eighth grader and all of a sudden, the
biggest thing since Slice spread was this band called bon Jovi. Yeah,
and thirty eight Special. I didn't even know really who
they were. You know, Okay, I'm gonna blow your mind?
Speaker 3: You ready for this? Yes, You Give.
Speaker 1: Love a Bad Name was written by Richard Sambora, John
bon Jovi, Desmond Child. As we said in Richie's mother's basement,
they wrote this song a couple hours. This was the
first song that they wrote. So have you ever heard
the song if you were a woman and I was
a man by Bonnie Tyler?
Speaker 3: I have because you sent it to me.
Speaker 2: Yeah, And I like to give myself credit that when
you send it to me, You're like, what does the
song sound like? And I listened and I was like,
I don't know. And I had to actually like mute
at mid chorus. I was like, I'm muting mid chorus
and I'm like, dude.
Speaker 3: You give love a bad name?
Speaker 1: Okay, listen. This song was a song that Desmond Child
had written for Bonnie Tyler. That is a dead ringer
for you to give Love a Bad Name. But he
was mad because that song did not get the kind
of attention that he thought of Garner. So when they
were writing You Give a Bad Name, he borrowed from
that song and said, you know what, you had some
guitars and had some good looking dudes up there singing this,
it might have a better has to be a hit,
and so he incorporated that they wrote the lyrics to it,
and John and Richie really didn't know that, and here
we go.
Speaker 2: You give love a bad name, massive hit. You blew
my mind when you send me that song. Yes, okay,
thank you. Here's a song that came out March of
last year.
Speaker 1: Okay, it's all the.
Speaker 2: Kings Hanta Queen's on the Throne a pop soundings.
Speaker 1: Max, Yes, you do this already.
Speaker 2: I did sang it.
Speaker 3: I was hoping to blow your mind. So you know
who a co writer on the song was.
Speaker 2: Yeah, you know what if you if you're feeling thirsty,
go to the.
Speaker 1: Well and you know, the well keeps producing because that
was a hit. I asked my daughter, I'm like, you
know this song. She's like, oh, yeah, it's on the
radio all the time.
Speaker 2: Yeah, of course it is, because it's got that hooky
hooky hookie.
Speaker 3: It really is.
Speaker 1: That song is called Kings and Queens by Ava Max. Okay,
I want to talk about the video for a second.
So seventy eight hundred degrees fahrenheit, John talks about how embarrassing.
Those videos were they're a bunch of little movies, these
little vignettes where one of them he was roughing up
a guy for screwing them over for money. You screwed
us out of money or whatever. And then, like I said,
Linda Hamilton chasing them around, stocking them whatever. And so
Wayne Eisham, who's the guy who did videos for Motley Crue,
as you said, He's like, you know what one of
these guys do best, Well, they got they got a
million dollar smile, and they're energetic and fun on stage.
So let's show what they can do on stage. And
so they did this concert, this little thing, and they
filmed it at the Olympic Auditorium in Los Angeles, like
you said, and they just put them on stage and said,
we'll bring some people in, brings them on Jovi fans
and rock it out.
Speaker 2: You'll give the hottest ones the same T shirts that
the girl wore at when we shot the album cover man.
That is by far the most memorable part of the
video for me even today, but definitely as a what
ten eleven year old kid, I was like, I.
Speaker 3: Want to be a rock star.
Speaker 1: Hot girls with rip shirts say slippery and what right?
Speaker 3: So did you know that they initially intended this to
be for lover Boy?
Speaker 1: Okay? I heard this?
Speaker 3: Yeah, why didn't Why I didn't.
Speaker 2: Go to Loverboy because they decided it was better for them,
because they said, you know what, this sounds like a
pretty good hit.
Speaker 3: Yeah, I think we'll hang on to this one.
Speaker 1: Yeah.
Speaker 3: Wow. Yeah.
Speaker 2: He he liked what Brian Adams had done with Tina Turner,
and so he had this kind of idea in his
head that I'm gonna write some of these songs to
all write it.
Speaker 3: We'll get a big name to sing it. I'll sing
a duet with them, and that'll be how I make
my name.
Speaker 1: They didn't need it.
Speaker 3: No.
Speaker 1: This song hit number one November twenty ninth of eighty six,
spent twenty four weeks on the chart. In two thousand
and this song became a number one hit in Poland
when Polish singer.
Speaker 3: Na, We're not gonna work anymore here anymore?
Speaker 5: For sure?
Speaker 1: The Mendarian Mandarina.
Speaker 3: Okay, Mandarina, Mandarina.
Speaker 1: It's Mandarina, Okay, Okay, is it just the one name?
Speaker 5: Is it?
Speaker 1: Sure?
Speaker 3: Okay?
Speaker 1: It's like Madonna. Mandarina Okay, number one hit nineteen eighty six,
amazing iconic eighties song, freaking love It, but still not
the biggest song on the album. All Right, this brees
is the song number three, the biggest song on the
album and maybe the biggest song of the eighties. Wow,
my haw back, what maybe the biggest song of the
eighties Living on a prayer. The song is amazingly good.
My grandmother knows this song and my daughter knows this song. Yeah.
There are iconic songs and then there are songs like this.
Speaker 2: So not only do you have stellar music coming in,
not only do you have stellar vocal chorus going on
with all of the singers in the band, but you
have a song that is the working man's song in
the same vein as Bob Seeger or Bruce Springsteen or
Billy Joel. When he starts talking about Tommy and Gina,
you have a picture of those two people.
Speaker 3: In your head.
Speaker 1: He paints the movie for you and it is perfect.
It's awesome. It's awesome. Let's talk about Tommy and Gina
for a second.
Speaker 2: Okay, Yes, when they were write this song with Desmond Child.
Speaker 1: Desmond Child is his professional name. His real name is
John Charles Barrett.
Speaker 3: Yep.
Speaker 1: Okay, so he's born and raised Johnny. Yeah, okay. His
girlfriend at the time.
Speaker 3: Yes.
Speaker 1: Her nickname at the diner she's saying at was Gina.
Speaker 3: She worked as a waitress.
Speaker 1: She she was a singing waitress. Oh okay, she was
a singing waitress.
Speaker 3: Yes, she was.
Speaker 2: They called her Gina because she looked like an actress
that was famous in the sixties whose name was Jeanne.
Speaker 3: Was kind of a bombshell.
Speaker 1: Yeah. So the working names were Johnny and Gina. They
liked how it was that alliteration there, but John bon
Jovi says, I can't. I can't see that the people
think I'm talking about me.
Speaker 3: I don't want to do that.
Speaker 1: I can't. It can't be Johnny, right, So they changed
it to Tommy and Gina.
Speaker 2: So do you know who the girlfriend was, No, Gina? Yeah, Gina,
So the girlfriend of Desmond Child, Yes, who, as we
said at the time, was working in a diner. Yes,
and people call her Gina.
Speaker 3: Yes.
Speaker 2: Her real name was Maria Vadal okay. And she's also
a singer songwriter, and she also had a huge hit
in nineteen eighty four called body Rock, What and If
You happen to remember. There was also a movie which
this song featured predominantly in.
Speaker 3: Called body Rock.
Speaker 1: That was a breakdancing movie starring Lorenzo Lamas, and it
was a megaflop.
Speaker 3: As a breakdancer myself, I was.
Speaker 2: Excited about beat Street, and I was excited about breaking
and breaking to electric boogloo.
Speaker 1: But Body Rock was so bad it didn't even it
didn't even make the horizon.
Speaker 2: So Maria Vidal is Gina, and yes she went on
to become a famous singer on righting herself.
Speaker 1: Wow, that is awesome. That is awesome. Tommy and Gina
actually make a reappearance in the song ninety nine in
the Shade on New Jersey. Oh okay, and in a
song It's My Life. It's My Life, which is on
the Crush album which reinvigorated Bonjovi's career. Oh yeah, huge,
that's one of my kid's favorites. It's a great song.
It's a great song.
Speaker 2: Now I'll say this, living on a prayer and you
give love a bad name and wan a dead or alife.
We're all on the very first mixed CD that I
made for my two oldest children, back when CDs were
still a thing. Right, So my seventeen year old and
my fifteen year old can tell you, Hey, we had
a CD that had Living on a Prayer and this
is a conversation. I can remember walking into my probably
at the time four year old son was talking to
my six year old daughter and he's and he says,
it's living on the prairie. And she's like, what hell,
it's living on the prayer. And he goes, it's living
on the prayer and he listens, he goes, it does
sound like, he goes, and then she goes, Wait a minute, No,
you're right, that doesn't make any sense. Can't be living
on a prayer. It has to be living on the prairie.
Speaker 1: Okay, let's talk about the talk box.
Speaker 3: For a second. Wow Wow Okay, yep, whoa wow wow wow?
Speaker 2: Yeah, sorry the wow. Ritchie Sandbor is famous for the
talk box. You and I had an argument about.
Speaker 1: Three months ago. I can't remember. Oh what podcast was that?
I can't even remember now I know what it was.
Speaker 2: It was Guns N' Roses because there's one song I
can't remember with the song is now there's one song
on Appetite for Destruction that slash uses a talk box,
and I said, talk box. You'd like this because you
love von Jovi and I said talkbox. Probably most famous
example is Peter Frampton on Frampton Comes Alive and you go, no,
you said.
Speaker 1: I said, Richie Sambora Living on a Prayer, And I said,
it's okay. You can be wrong. Yes, yeah, it's your opinion.
It's just that your opinion is wrong.
Speaker 3: That's right.
Speaker 1: Still, at least it's in the top two most famous
talk box usage in a song. When you go back
and listen to Living on a Prayer, the talk box
is kind of the spine of the song. It gives
it that chunky sound in the middle.
Speaker 2: Yeah, And for those who are not familiar, Basically, there's
there's a tube that goes up to the guitarist's mouth
and they are able to make voice sounds that translate
through the guitar, so that the guitar is creating the music,
but the sound is rounded by the voice.
Speaker 1: Of the guitarist, which is why they call it a
talk box. Okay, let's talk about this. This song has
one of the greatest key changes in rock and roll history.
Jon bon Jovi has talked about how when they asked
him what his biggest regret in his entire career is
he says the key change in prayer, huh why because
it freak and harder to hit those notes right, and
especially as you get older well, and that was the
reason that he didn't That was one of the reasons.
Speaker 3: He didn't like the song.
Speaker 2: The end of the song is he's hitting the top
of his range having to sing it with the other
guys who are having to hit the top of their range.
So he was against this song being on the album.
And Richie Sambora said, this is a number one hit
and thank goodness for the Pizza Parlor Jury.
Speaker 1: Really one of the most iconic songs of the eighties.
Speaker 3: Right.
Speaker 1: In fact, according to VH one the Greatest Songs of
the eighties, this is VH one. This is not Jason Golvin.
This is VH one, Okay, the number one greatest song
of the nineteen eighties, Living on a Prayer, Wow, Number two,
Poor Some Sugar on Me, number three, Hungry Like. So
it sounds like we need to cover Duran Duran in
Season three, number four, Billy Jean, number five, when duve'scry
so listen. This song was released on Halloween nineteen eighty six.
It reached number one February fourteenth of nineteen eighty seven,
was number one for four straight weeks, which is the
longest of any song in nineteen eighty seven.
Speaker 3: You Give Love a Bad Name had been there for
one week.
Speaker 1: One week. Yep, yep. Let's talk about the video for
just a second. Okay, the video takes place. They're like
in soundcheck and they're they're warming up and it's all
in black and white, and they're singing living on a
prayer and they're run around having a great time, and
they're practicing with these ropes that make them fly right,
and they kind of bring them up over the crowd,
and when it hits that important part of the song,
it switches the color and then there's a live crowd,
but it's like they're flying out over the crowd, and
it is awesome. The key change is incredible.
Speaker 2: So this one also got pumped back up again whenever
Blake Lewis performed it on the two thousand and seven
season of American Idol. But I think my favorite outside
use of this song was on the Money episode of
the Office, where Dwight played it on the recorder. All right,
we can't say enough have we done with? I hate
to be but we got to move on.
Speaker 1: It's one of the best songs in the eighties, maybe
maybe the best, maybe the best, and maybe my favorite.
Speaker 3: It's it's very good.
Speaker 1: Let's talk about the next song, song called Social Disease.
Speaker 2: This is a different feel, It says a different field
than the songs that we've heard up until this point.
And I think this is another song I think they
considered have an Aerosmith.
Speaker 3: Performed this song.
Speaker 2: Asmith wanted the song and I can totally hear Aerosmith
doing this song absolutely. The horns, yeah, you know, yeah,
And that was the thing about Bruce Fairbairn. He was
a trumpet player, like he was not. He was a
horn player, he was not a guitarist, and so he
kind of just let them be them. But he also
brought the horns in. I mean, how many hard rock
songs have horns in them? Not many unless you're bon
Jovie or Aerosmith.
Speaker 1: Yeah, for sure, this definitely has an Aerosmith field, even
the little talking parts, like at the end when he's
like nothing a shot, can't care. I could totally hear
Steven Tyler doing that.
Speaker 2: Yeah, you know which makes sense because Bruce Fairburn is
the one who went on to produce Permanent Vacation and
Get a Grip and Get a Grip.
Speaker 3: Yeah, I mean he did a ton of songs.
Speaker 1: Desimond Child wrote due looks like a Lady. Oh yeah,
that's right, and Angel wait a minute, and what it takes.
Speaker 3: That's right, dude, looks like a lady.
Speaker 1: Of course, was about fince Neil Finceneil at all crosses.
I like this song. I like this song a lot.
Richard san Bora actually said it's one of his album highlights.
It kind of gets relegated to the back row when
you talk about slabrew and what it's hard not to well,
and especially it lies between living on a prayer and
wanted dead or alive.
Speaker 3: It's tough spout to be in.
Speaker 1: It's the fast forward spot on your tape, probably, but
it's still a good song's fun song.
Speaker 2: Yeah, it's not quite a skipper, but probably when I
was eleven, twelve, thirteen years old, I'm skipping that song.
Speaker 1: Once you got past the sex sounds at the beginning
of it, that was all a little uncomfortable.
Speaker 3: Yes, is that it?
Speaker 1: You mean that's it? Yeah? Still a fun song. But yeah,
it's definitely not one of the three pillars, right, Okay,
one of the things on Social Disease you guys gonna
talk about. I've talked about how before my parents scrutinized
my music pretty well. Right, So my dad got a
hold of this tape and my dad was a very
on the surface, you know, sort of looked over my music.
H You're like, all right, let's take a look at this.
And okay, let's see here. Let it rock. Okay, you
give love a bad name? All right, fine, living on
a prayer? I like that one. Social disease he queued
in on that, and social disease, what is that?
Speaker 3: I don't even like this, So let's do it. Listen it.
Sure you can't hide when the infection starts.
Speaker 1: Because love is a social disease.
Speaker 3: Weorth talking about.
Speaker 2: Oh wait, she could run the bullet train on thirty
eight double ds.
Speaker 1: Now you know for sure, you know the cure to
make a blind man.
Speaker 2: See, that's solid writing right there, getting I'm pretty sure
they wrote that at the number five Orange.
Speaker 1: Okay, this is one of the moments we've been waiting for.
Speaker 3: This is my favorite song on the album.
Speaker 1: This song is called One and Dead Our Life.
Speaker 3: It's so amazing.
Speaker 2: You've got an acoustic twelve string guitar, this western sounding
beginning to it, with these mystical keyboard instruments going on
in the background.
Speaker 3: You get the when the bass comes.
Speaker 2: In and it's that kind of hard you know, and
are you see the bad guys showing up in the
black hat and it all breaks down.
Speaker 3: And he says it's all the same, only then angel change.
Speaker 1: What great?
Speaker 3: The whole freaking song is a masterpiece.
Speaker 1: It is a masterpiece.
Speaker 3: The lyrics so good.
Speaker 1: Let's talk about it. Some people have misunderstood what a
steel horse is.
Speaker 2: Yeah, so when you watch the video, you're thinking a
steel horse is going to be the jet or the
bus right.
Speaker 1: Right, or a motorcycle or a car right on a
steel horse I ride? Huh yeah, I mean the idea
behind the song. I think you mentioned to it earlier.
It's like being a rock star is sort of like
being an outlaw. You ride into town, you steal the money,
you bag the babes, and you get out of town
before the law man can get you. Pretty similar right right,
the same idea, same feel, but.
Speaker 2: It still wears you out, which is that I think
they really capture in the video.
Speaker 1: Yeah, for sure.
Speaker 2: But and they talk about the bottle, and they talk
about dealing with life on the road. It's not all
glam and glory. A lot of it is tough, not stuff.
Speaker 3: And these guys this is interesting.
Speaker 2: They toured from nineteen eighty three until nineteen ninety That
is seven years on the road. Yeah, that's insane.
Speaker 1: It almost destroyed the band.
Speaker 3: Yes, yes it did.
Speaker 1: We'll talk more about that probably next week. But it
almost killed him. This song is modeled after Turned the
Page by Bob Seeger. John was listening to Bob Seeger
and he thought to himself, that song right there, we
need a song like that. This song really on the road.
Speaker 3: Yeah, I mean that's what Turned the Page is about
life on the road.
Speaker 1: When they hit that guitar solo and mild the song
and it goes into a full scale rocker, it blows
me away.
Speaker 2: There are a great many songs in history that are
great songs, songs that have a good guitar solo. There
are only a few songs in history that have guitar
solos that.
Speaker 1: Are as memorable as the lyrics in the song.
Speaker 2: Like you know every note of the solo and Ritchie
Sampor has three of.
Speaker 3: Those at least on this album. Yeah, on this album.
Speaker 1: It's amazing. This song made it all the way up
to number seven on the Hot one hundred.
Speaker 3: Please tell me you looked at what one through six words?
Speaker 1: Well, I looked at number one, Okay. Number one was
you Keep Me Hanging On by Kim Wild, good song,
not but not near, not wanted dead or Alive. Number seven.
It didn't crack the top five.
Speaker 3: Doesn't make any sense to me. It just doesn't.
Speaker 1: The producers of Young Guns Too wanted to use this
song for the movie, but John was like, you know what,
the lyrics don't really fit for your movie. I appreciate
that you like the song. Why don't you let me
write something for your movie. Here you go Blaze of Glory,
which a number one hit.
Speaker 3: And amazing, amazing song. For sure. You can talk about
the video about the video.
Speaker 2: So it's very much in the vein of living on
a prayer and you give love a bad name in
that it's them on the road and them on the stage.
But it's the other side of it. Yeah, it's the
worn outside. It's and it's all in black and White,
same guy say why Wayne and Iisham did this video
as well. It captures an almost art house film feel
of life on the road. We talk about those you know,
the Journey has their on the road songs, and Motley
Crue has their on the road songs, and this this
is their the tough life of being on the road.
Speaker 1: Yeah. Curiously enough, one of the towns you see in
the background in this video so Coloma City. Nice. Nobody
cares about it but us.
Speaker 2: But this song did something that wasn't being done at
the time, but afterwards became a really big deal, which
was mixing the acoustic guitar in with the heavy metal sound.
It just you try to think of something before nineteen
eighty six that had them starting off with acoustic guitar.
I can't think of anything. But then you get mister Big,
you get Extreme, you get all of these other bands
afterwards that are like, yeah, let's put the acoustic guitar
back into our hard rock, heavy metal sets.
Speaker 3: That was I believe inspired by this song.
Speaker 1: I know. I saw an interview with David Bryan and
he's the one who actually said, you know what, guys,
if this is going to be our national anthem. This
is going to be our theme song. We really need
to go all the way. So he's the one who's like,
we need the wind at the beginning, and we need that,
you know, the chimes and add that extra element of cowboy.
Speaker 3: They didn't get this.
Speaker 2: They had they loved the song, but they didn't. They
couldn't get it right on the studio, and they worked
at it, and they worked at it, and they worked
at it, and they couldn't get it right. And finally
Bruce said, take great, go to the restaurant down the street,
have a little bit of wine. Said, went to the
restaurant down the street, and they had a little bit
of wine, and they came back and they.
Speaker 3: Nailed it in one table.
Speaker 1: Nice, okay, freaking amazing song. Iconic eighties song, one of
the three titans on this album. Are you done with one?
Dead or Life? I hate to be done with it,
but I think I.
Speaker 4: Am all right.
Speaker 2: Pres stop and your tape player. Kick it out, flip
it over side to side to right. Are you gonna
say it?
Speaker 3: Or am I gonna say it?
Speaker 1: WHOA, We're halfway there. First song on side two, Raise.
Speaker 3: Your hands.
Speaker 2: Great kickoff to the side to man you can't beat this.
This is a rocker, man. This is like the heaviest
rocker on the album. Yeah, I mean it's it's perfect
that they end with the at the end of side one.
You know, they brought it down and put in the
acoustic and they're like, okay, back up, boom yeap.
Speaker 1: John said that raise your Hands is my way of
saying good morning, class. Yeah, this is a great song.
This song. I would compare it to Homebound train off
from New Jersey again, first song on the second side.
Speaker 3: Yeah, yeah, good.
Speaker 1: This song is used in the movie space Balls when
Barf and Loan stargo the diner and you see the
Millennium falcon parked out front. They're playing raise your Hands.
They also play good Enough by van Halen. That's what
the shirt line was, Like, I thought it was van Halen. Okay,
they play van Halen and they play raise.
Speaker 3: Your Hands by Fine joke, all right, perfect, all right.
Speaker 1: So one of the things I like about the end
of this song, and it's just a little bit, but
you kind of get that town roll call right where he's.
Speaker 3: Like, oh right, yeah, ever calling out right yeah.
Speaker 1: New York, Detroit, Phoenix, Sarahville, New Jersey, right, but it's
very easy to slip in.
Speaker 3: That's great.
Speaker 1: Tulsa, Milwaukee, Miami Beach. Raise your Hands, I'll raise the
flag feel defender. Yeah, they got a little bit of
that in there. Yeah, it's some Motley crustyle song. All right,
we're done with raise your hands, Okay. Next song on
the album is a song called Without Love. This is
one of those songs co written by Desmond Child. I
like this song a lot. It's a ballad. It's a
kind of a slow rocker. Get this. This is the
one song that they've never performed live. That's not real
surprising to me. I'm not a fan of this one.
Speaker 2: No this and I you know, I want this to
be a great album from begetting to end.
Speaker 1: But this one did not do anything for me at all.
I definitely would be this part of the song. I
like this one. I like this one. A friend of mine,
Mike Harmon, guy I work with, This is his favorite
song on the album. Wow for this one. Yeah, that's
all right, good song, ballad.
Speaker 2: I have a feeling there's a broad strapped involved and
hell this song at some point there's got to be right.
Speaker 1: That lavender purple class that was Yeah.
Speaker 3: Mysteries of the Brock.
Speaker 1: It's a sweet song. Again, these guys, they sing songs
that most people can relate to. They like people like
to listen to rock, and they like to have fun.
They want to hear songs about love and this is
one of those songs. Next song is called I'd Die
for You.
Speaker 3: Okay.
Speaker 1: So when I heard that I'm listening to this album,
I told you.
Speaker 3: I did not have this album when I was a kid.
I liked a lot of the songs off the album,
but I didn't have this album on this kid.
Speaker 2: This song starts playing it and I'm like, I didn't
think Runaway was on this album. It's not Runaway, obviously,
but I was like, whoa, it's similar, is very, very.
Speaker 3: Similar to the beginning of Runaway.
Speaker 1: Here's the funny thing. Okay. When you and I talked
this week prior to.
Speaker 3: Our podcast, Yeah, you.
Speaker 1: Said, is that the song that sounds like Runaway? And
I'm like, crap, that song does sound like Runaway. And
I know these songs. It just never done on me
that this is a clone of Runaway.
Speaker 3: Oh totally.
Speaker 1: So I like it. It's that sort of youthful passion drive,
you know. I'd die you, I'd craft youth, I'd do anything.
Speaker 3: But yeah, it's a clone of Runaway. Yeah, and it's
it's not Runaway.
Speaker 1: Runaways Runaways better. Yeah.
Speaker 3: But it's not bad, right, it's not bad. It's fun.
It's still a good Yeah, it's still a good pumping.
Speaker 2: If I had to pick one word to describe this album,
it would be throbbing, nice, pulsating, robbing, pumping.
Speaker 1: There is some passionate desperation to this. Yeah. And if
you are a person out there and you don't like
the eighty synthesizer, we're in the wrong place because we
love it. Yeah, all right, now, then let's get to
one of the staple makeout songs of nineteen eighty seven.
This song is called Never Say Goodbye. Here's where I
go and awkwardly ask the girl to slow.
Speaker 3: Dance at the school journey.
Speaker 1: What's she saying?
Speaker 4: Say yes?
Speaker 1: They always said yes, but nothing ever came up. It
was just to dance.
Speaker 2: And I never could figure out how those other guys
are like making out midway through the song, Like.
Speaker 1: You know how many mixtapes I put this song on
for how many different girls make out mixtapes? Absolutely, this
is a go to makeout song. I mean this is
a wonderful, lovely power ballad on the album Yeah, you
can see the whole room swaying when.
Speaker 3: They play this for sure? Was this one a single?
Speaker 1: This one was a single? Yeah, Well, here's the deal.
Speaker 3: It was.
Speaker 1: They had a video for it in June of nineteen
eighty seven. It reached number eleven on the Main Street
Rock charts and number twenty one on the UK Singles.
Because it was not released domestically as a commercially available single,
Never Say Goodbye was ineligible to chart on the Hot
one hundred. Nevertheless, it reached number twenty eight on the
Hot one hundred airplay chart. I love this song. It's beautiful.
If you really want to get my favorite version of
this song, yeah, listen to the acoustic live rendition that's
on the B side of I'll Sleep when I'm Dead
song that came out in nineteen ninety three. He has
this sort of monologue at the beginning, He's like for
this girl in the front row with the pen and
paper making requests, and they go right in to Never
Say Goodbye.
Speaker 2: This song is so much high school love life. It
is so much You've got.
Speaker 5: Skimmisol raising Carl, We're the six back hillareless Cool.
Speaker 2: And then We've got Remember at the prom that night,
you and me we had a fight with the band.
They played our favorite song, and I told you in
my arm, so strong.
Speaker 6: End, so closer dance, never let You Go another boomer.
Speaker 3: I love it, I love it.
Speaker 1: It's wonderful. It is a it's a it's a prom song.
You're absolutely right. This is specifically mentioned as a song
selected by the Pizza Parlor jury that would not have
made the album if not for them. Thank you Pizza
Parlor Jerry, whoever you are the kid who said this
song doesn't suck. This one doesn't sing thank you? Okay,
So one little tidbit I wanted to talk to you about.
On Never Say Goodbye, The original demo has Richie Sambora
on lead vocals. Really, it's kind of interesting if you
go back and listen to the demo, it's it's Richie
and for whatever reason, mainly because they have a superstar
lead singer, they.
Speaker 3: Probably just who's a bit of a take charge.
Speaker 1: There's no doubt he's. But anyway, they went went back
with John on lee vocals for whatever reason.
Speaker 2: Yeah, I don't know that they either one of them
would have been the success that they are without the.
Speaker 1: I think that's very true.
Speaker 3: Yeah, love it, love it.
Speaker 1: Last song on the album a song called Wild in
the Streets. Yeah.
Speaker 2: I wish they would have ended the song or endo
the album with the last song.
Speaker 3: I don't know how many times I've said that.
Speaker 1: I don't I but.
Speaker 2: Yes, I can hear this and I can say, yeah,
this is a close out song. You're closing out the
concert with this song, and you're probably going to come out.
Speaker 3: Later with an encore, right.
Speaker 2: Yeah, But I know that there were better songs that
they had in these recording sessions that didn't make it
unto the album that I think should have been a
or would have been a better choice than this one.
Speaker 1: I'm with you. I I like this song. I do
know this very well. In other words, to it, it
does serve a purpose in concert as a that's the
end of the first listing until we come back for
our encore. Right, this is a have a great night,
see you later, Seattle, right, and we're gonna go turn
off flights to hang out.
Speaker 6: Wo.
Speaker 1: It's good. It's eighties bon Jovi. There probably are better songs.
In fact, there's a song I do want to talk
about after this one that didn't make the album that
probably should have maybe in its place. One of the
things I want to mention this song has a video
that I did not see until two days ago. What
there is a there's a video for Wild in the Streets.
And the cool thing about this video is it's concert
footage and it's you know, John and the guys running
around when they're in their twenties and they look great
and they're having a great time. Jon bon Jovi is
wearing a YouTube the Unforgettable fire shirt in this video.
It's really cool.
Speaker 3: That's awesome.
Speaker 1: I did read some stuff some riders and things that
they thought this was a another number one hit in
the making, like this could have been as big. I'm like,
I don't know, guys. Okay, d One of the songs
I really want to talk about that isn't a part
of Slippery and Wet. It was recorded around the same time.
It was actually a song on the Disorderlies soundtrack The
Fat Boys.
Speaker 3: Never do you remember that one? Yeah?
Speaker 1: Anyway, that song is called Edge of a Broken.
Speaker 4: Heart Lonely Hot.
Speaker 1: No oh, okay, and it's not the it's not the
Vixen song either a Broken Heart. This is the bon
Jovie song Edge of a Broken Heart.
Speaker 2: John has talked about how it didn't quite make the cut,
but fans have kind of grown attached to it, and
he said, you know what, looking back on it, it
was appropriate for that album. And basically I'm sorry, yeah,
not bad yeah, which means that he's probably the one
that said we nope, yeah, you should.
Speaker 1: Take this off.
Speaker 3: Yeah.
Speaker 1: Well, we've come to the end.
Speaker 2: So they've just released a mega hit album, mega hit album,
mega hit, two number one songs, one of which spends
longer in the top position than any other song that year.
They're selling millions of albums, they're touring all over the place.
Speaker 1: What comes next? You'll have to come back next week
when we discuss their follow up album.
Speaker 3: New Jersey. The Yeah, it's.
Speaker 1: Been fun, man, I love talking about this. I think
I'm just going to drive home and listen to this album. Yeah,
good night, everybody. Will see you back here next week
on the Sure They Can't Be Serious Podcast, where we
will discuss New Jersey and which album we think is
the best.
Speaker 2: Don't forget to hit that subscribe button, do it now.
I'm not just saying this, I really mean it. You
got your phone right there, the app is right there.
All you have to do is hit the little button
that says.
Speaker 1: Subscribe and then go tell your friends.
Speaker 3: About this wonderful podcast. You know that's right.
Speaker 1: And if you want to go to the Patreon page
become a Patreon You've got some stuff out there. We'll
send you this really cool cup and you can have
voting rights for what episodes are coming up.
Speaker 3: I've got some cool headphones.
Speaker 2: It all depends on what level you're at, but you
can come in as an executive producer for as little
ass five bucks a month.
Speaker 1: Five bucks a month, it's like a couple of coffee. Yeah,
I can't even get a cup of coffee for that
a Starbucks.
Speaker 3: It's like seping box.
Speaker 1: Thanks everybody, We will see you back here next week.