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Speaker 1: All right, everybody, welcome back to the Shirly You Can't

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Be Serious podcast. Today we're going to continue our study

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of the summer of nineteen eighty four. We are working

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our way track by track today through the Footloose album.

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My name is Jason Colvin, and let's hear it from

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my boy d Graves.

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Speaker 2: My boy, my boy. Okay, yeah, listen, man, I realize

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this is almost paradise, but I'm not holding out for

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a hero here. Okay. I'm free. I'm footloose and fancy free.

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Speaker 1: All Right, We're gonna go track by track today through

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one of the biggest selling albums in nineteen eighty four.

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Speaker 2: Okay, So I just want to talk real quick about

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nineteen eighty four and leading up to the summer of

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nineteen eighty four.

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Speaker 1: Okay.

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Speaker 2: This album came out in January of that year. The

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movie came out in February of that year. A couple

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months later, Breaking comes out, And I was a breakdancing

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fool in second grade. I had my own sheet of cardboard.

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I'd go dance in the streets, literally dancing the streets

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doing the dolphin and the centipede and the wave, and

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had my own move called the electric shock where I

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laid down and shook like I was electrocuted. It was

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a big crowd pleaser for the little second grader.

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Speaker 1: You know you're serious when you have your own sheet

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of cardboard.

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Speaker 2: Yeah, well you got to do your heads. When I

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went to watch this movie, I was in love. I'm like,

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this is so up my alley. I wasn't super big

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into the kind of I'm free dance that he was

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doing in the warehouse. That was a little too ballet

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and gymnastics for me. But some of those guys, the

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dances that they were doing were rock on cool a breakdancing.

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Speaker 1: You know the last scene where they're dancing at the prom.

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They actually went I think we talked about this in

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our previous episode. They went to LA clubs, found guys

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that were really cool dancers, pulled him out, put him

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in a corny tuxedo and said you're a high school

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kid now break dance.

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Speaker 2: Loved it and it was a big craze back then.

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I mean like parachute pays and bandanas and all that

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good stuff. I had my a boombox. My break dancing

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name was Doctor Fresh. I still use that, like when

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I've got it. When kids are like Dad, when you

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want your name to be on the xbox and like

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doctor Fresh, cool mood.

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Speaker 1: Right, okay, go awesome.

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Speaker 2: All right, So we got to jump into this album

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because there's so many awesome songs, so many awesome artists

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that we've got to talk about. But before we do that,

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let's just talk about the name of the song, which

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is the name of the movie, of course.

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Speaker 1: Yeah, okay, okay.

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Speaker 2: So Footloose was, as we mentioned in our last episode,

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written by Dean Pitchford. Right, yeah, this was his first

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screenplay and he had no idea what to call it.

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He had, like you mentioned, he had called it cheeked

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to cheek, but that was not really anything he ever

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intended to call it. And so he had a bunch

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of names that he liked, but he was like, I'm

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just gonna write down everything I can, and so he would.

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He'd fill the pages with potential names of the movies.

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Footloose came up on day two. Wow, And so he has,

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you know, these pages and pages of names. He looks

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over them all and picks out four that are his favorites.

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But at that point, Footloose was what he wanted to

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call the movie. But he takes it and he puts

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Footloose by Dean Pitchford, and then he takes three other

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names and he takes those names to the producers and

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he puts Footloose at the bottom of the stack. Okay.

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And this is all deliberate, right yeah. And so they're

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looking at it and they're like, hmm, okay, first name,

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second name, okay, all right, third name Okay, gets to

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Footloose by Dean Pitchford, and they say, we love it.

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And he was so excited because that was it. And

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there's something about the word. I mean, it doesn't mean anything.

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Speaker 1: But it's still well it comes from footloos in fancy

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free right now, tell me exactly where did Elmore City

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prompt falling the title options.

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Speaker 2: I don't think that was sang it. I think he

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just was excited about all of those o's.

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Speaker 1: It looks great, it does.

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Speaker 2: It looks jumps out at you. It leaps off the

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billboard or the album or whatever. So he had the

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name of the movie before there was ever a movie

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and before there was ever a song.

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Speaker 1: And it's actually interesting he's creating a movie around the

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idea of great songs. Yeah, if you don't have great songs.

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You don't have a movie?

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Speaker 2: Should we jump in now?

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Speaker 1: Well, the one thing I wanted to cover before we

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get into track by track. Yeah, Footloose was one of

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the only five albums of nineteen eighty four to hit

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number one. So you had Thriller, you had Footloose yep,

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you had Huey Lewis's Sports yep. You had Bruce Bringsteen's

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Born in the USA. And then you had Purple Rain,

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of course.

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Speaker 2: Which we're going to be covered next week.

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Speaker 1: Come back next week as we go track by track

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through Purple Rain.

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Speaker 2: And everybody knows how iconic Purple Rain is. But keep

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in mind this album held the number one spot for

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ten weeks in that year of those big hitters.

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Speaker 1: If you were to tell me that this was one

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of the best soundtracks of the nineteen eighties or maybe ever,

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I wouldn't argue with you.

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Speaker 2: No song after song after song, this is an incredible album.

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Speaker 1: It's pop gold, all right, We're ready to dive in.

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Speaker 2: Yeah, let's dive in.

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Speaker 1: Dive in in. First track, kick off your son issues.

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This is Footloos, Dude, that is a slamming hit right

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out of the gates.

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Speaker 2: Okay, so the first drum beat. I gotta say this

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totally reminds me of Hey, Mickey, you'r's the fine.

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Speaker 1: Yeah, okay, I can see that.

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Speaker 2: And it was I mean that came out eighty two,

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that was right, I mean it was big on the

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charts right around the time that this song was getting written,

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which let's talk about that.

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Speaker 1: Yeah, yeah, that's really interesting.

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Speaker 2: Okay. So we know that this song is by Dean Pitchford, right,

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we know that he's this is the key ingredient to

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the movie that he's written that he's you know, this

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is my this is my first venture into screenwriting, and

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it almost didn't happen. Right, So Kenny Logins is big

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at this point. He's done Caddyshack. But in January January twentieth,

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nineteen eighty three, Kenny Logins is at a concert in Provo, Utah,

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and the lights get dimmed so that he can come

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out on the stage and he doesn't see where he's going,

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and he steps off the stage onto the floor and

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breaks ribs. He rescheduled the concert, but he's in the

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hospital and he's about to leave the US and go

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to Asia, and Dean Pitchford's like freaking out it's like,

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what am I going to do? And so the guys

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are like, you should fly to him in Tahoe and

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you guys write the songs over there. He's like great,

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And he wakes up the morning he's supposed to fly

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out and he's run one hundred and one degree temperature.

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He's got strip throat, and he's like, there's no way

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he's going to let me in his room with his

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wife and his kids and his injured body when I've

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got this strep throat. I mean, the guy's about to

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go perform concerts in China.

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Speaker 1: This is you know, what do? He just lives? I

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feeling fine.

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Speaker 2: That's hard.

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Speaker 1: We should mention that he had previously worked with Kenny

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Loggins and Steve Perry when he wrote that song Don't

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Fight It Yep, which was kind of a modest hit

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number seventeen.

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Speaker 2: Yeah that's good. No, that's a great song. So let's

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talk real quick. We don't get to do a full

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history I think on Kenny Loggins in any other episode,

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so I'm going to do a quick brief one, right, Okay,

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So Kenny learned to play guitar by stealing his brother

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Dan Danny's song stealing his guitar. While he was the

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way at work, he'd go practice his guitar and that's

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how he learned to play. Decided that he would become

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a songwriter when he saw his two brothers writing songs

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and ultimately ended up doing pretty well. Wrote for Barbar

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Streisan and A Star Is Born, which is how he met.

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Speaker 1: The producer of Caddy Shack, Peter John Peter, and that's

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how he got involved with Caddy Shack, And that's how

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he came up with the hit I'm all Right, which

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got him started down the road of movie making magic.

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Speaker 2: Yes, but before he got there, he had been a

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good songwriter for a lot of other folks. So the

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first song that he wrote was a song called House

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at Pooh Corner. Okay, back then, songwriters would get together

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that hang out. He hung out with some guys from

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the Nitty Gritty Dirt Band who weren't really even very

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big at that point either, and they liked his song.

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They had a record deal. They're gonna it looks like

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this thing is gonna happen. He's like, super excited. Song

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I wrote when I was seventeen is going to become

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my first recorded song until they get a call and like,

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the Disney lawyers are not gonna let this happen. It's

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like ah, And so he goes out on a date

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that night with his girlfriend and she's like, what's wrong.

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And she's like, man, I thought my first big song

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was gonna get recorded, but it's got Winnie the Pooh

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and I guess like somebody said something about copyright and

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Disney and I don't know, I don't I guess it's

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not gonna happen. And she's like, oh, well, let me

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give daddy a call. Her dad was this CEO of

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the Walt Disney company the green lighted the song.

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Speaker 1: Wow this history, Wow, how about that?

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Speaker 3: Yeah?

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Speaker 2: It ends up on the Nitty Gritty Dirt Bands album

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Uncle Charlie and His Dog Teddy, which was the album

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that had Mister bo Jangles and of course House at

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Through Corner. And suddenly he's meeting all kinds of people,

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including this guy who used to play for Buffalo Springsfield

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named Jim Messina. Okay, so loggins and gets together with Messina.

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Messina has been around for a year or two longer,

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so he knows the ropes and he's going to produce

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Kenny's first album, but they sound so good together and

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Messina does so much work on it. They call the

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album Kenny loggins with Jim Messina sitting in Clive Davis,

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who we've mentioned before Aerosmith episode and a couple of others.

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He listens to this and he says, listen, you guys

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are too good to do this. Only once he goes,

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I want to sign you to a six year many

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songs as you'll give me deal, and I really think

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and they're both like hesitant, especially Messina who is wanting

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to do different stuff. He's like, just sleep on it. Well,

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he slept on it. They did it, and they produced

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gobs of good hits through the seventies, but ultimately, as

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with many young artists, they started hating each other to

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the point that they're doing a live recording, you know,

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they're doing their kind of setup, and Kenny gets so

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mad he chunks his microphone into the stands, no audience

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members there, but chunks into the stands, walks out. Jim

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comes over to him. He says, listen, I've been through

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this before, and I want to end this before we

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hate each other. And it was the best thing he

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could have said, because they ended it then remained friends ultimately,

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both of them obviously super successful guys. But that's what

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leads into the soundtrack with Caddyshack, and that's what leads

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into the soundtrack with Footloose.

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Speaker 1: Okay, so the song Footloose is the biggest and only

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number one hit for Kenny Loggins. So when he hooks

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up with Kenny Loggins, you know, strep throat, broken rib,

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He's got to get this in before he flies to Asia.

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They knock out a few things. He wants to be

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able to go back to them and say, Okay, we're

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on it, We've got it, and they did. They had

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the gist of it. They finished it up later with

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the whole Milo and Ooie Murray.

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Speaker 2: Dean Pitchford's mom's name.

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Speaker 1: Is that right?

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Speaker 2: Yeah? They threw that in Kenny Loggins like the way

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that Milo sounded, and so that's how we got Jack

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get back. We've got that list of names.

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Speaker 1: Because it's pretty cool. Yeah, there's one part in the

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song that I want to talk about. I don't know

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what to call it, but they it rises in like tension.

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Speaker 4: Okay, I'll play it right here.

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Speaker 2: So that beetles all over the place. Think you think

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about the end of Ferris Bueller's Day Off when he's

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singing twists and shout. That's that that same exact build

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up the scale and everybody's the tensions rising. That's straight

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on beetles love it.

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Speaker 1: And then you get this great yell I'm turning it loose,

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and then right back into the chorus. It's super good

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love this one. This one was released January eleventh, nineteen

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eighty four, reached number one March thirty first, nineteen eighty four,

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spent three weeks at number one, and this is definitely

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one of the songs that helped knock Thriller out of its.

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Speaker 2: Number one spot for ever.

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Speaker 1: We need to talk about the video real quick.

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Speaker 2: Okay, okay.

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Speaker 1: The video pulls straight out of the middle of the

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movie and it's the Rage.

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Speaker 2: Dance, right, and it's the same it's just the same

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thing that Purple Rain did, right. I mean, it's all kinds.

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It's like a extended preview of the movie.

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Speaker 1: Yeah, and it gives you a taste. So hey, this

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movie's coming out and this looks like a lot of fun.

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Speaker 2: Right.

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Speaker 1: Here's the weird thing. Flulus has played three times in

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the movie okay, the opening credits, yes, where we have

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the feet. All it is is the feet moving around,

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by the way, the gold sneakers, that's Kenny Loggins's feet, right, Okay.

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They play it in the middle when they're at the

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country bar at the Country Bar, Okay. Then they play

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it at the end for the prom and let's dance

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at the party, and that whole thing is awesome. The

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problem is they don't play it during the rage dance.

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Speaker 2: Scene right right, right right. What you saw in the

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video on MTV was not what you were seeing whenever

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the song was playing there. So it's a complete yeah.

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Speaker 1: As a kid, I was like, wait, wait a minute,

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this wrong song. They got the wrong reel up top

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or something's messed up the wrong song. But they do

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save it for the end and it works out awesome.

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Ye all right. So we want to point out this

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soundtrack contained six Billboard top forty hits. Yes, okay, three

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reached the top ten. Yes to reach number one. Yes,

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this is one of those.

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Speaker 2: This is one of those. Next song, let's hear it for.

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Speaker 5: The boy babe, she don't talk, squeak, he ain't that

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much to save, but.

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Speaker 2: Looks anyway, So this is the other number one song.

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Speaker 3: Yes.

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Speaker 1: This was released February fourteenth, nineteen eighty four, reached number

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one May twenty sixth, nineteen eighty four.

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Speaker 2: So this song again was written by Dean Pitchford along

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with Tom Snow, who had written a slew of big hits,

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Tell Me She Laid on Me, She's so shy by

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the Pointer Sisters, She's so shy, Keep Going, Getting Ready

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for Love by Bonnie Ray, Love, Sneaking Up on You

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by Leo Sayer, and Don't Know But I Love You?

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Speaker 1: Oh and your Rudstad.

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Speaker 2: Yeah, little Aaron Neville. So they work together to write

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the song, and then of course Denise Williams is the

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one that sang the.

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Speaker 6: Song every time he pulls me.

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Speaker 1: Here's what I know about Denise Williams. She was a

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gospel singer, she's a soul singer. So she was the

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backup singer for Stevie Wonder on the song Wonderlove Yep.

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Also sang back up for ROBERTA. Flax nineteen seventy five

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album I Feel.

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Speaker 2: Like Making Love?

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Speaker 1: Do you like making.

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Speaker 2: That one? I think that was a different version.

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Speaker 1: That's a vacuums Okay, So the Day I Die Baby Okay.

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One of the things I forgot to mention to you,

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Denise Williams was actually sang on a song that is

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kind of close to your in my Heart. You may

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recognize her from this song right here.

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Speaker 2: What would we Do?

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Speaker 1: What would we Do?

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Speaker 2: Yes? So Family Ties, it's awesome.

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Speaker 1: Yeah, Denise Williams sang that song with Johnny Mathis. It's

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the theme song for Family Ties. The backup singers for

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Denise Williams on this song are a guy named George

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Merrill and a woman named Shannon Rubicin, and they had

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one giant hit in the late eighties called Waiting for a Start.

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Speaker 3: Yeah.

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Speaker 2: So Dean Pitchford and Tom Snow for the scene that

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Let's hear it for the boy comes up, they had

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written a song but it was called Somebody's Eyes and

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when herb Ross heard it, he was like, this is

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not the right song for this scene.

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Speaker 1: We're going to talk about that song here in just

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a minute.

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Speaker 2: Yes, it's still in the soundtrack, but it's not. It

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was not the song that was supposed to be in

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that scene. And so they said, okay, well, let's get

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back together, let's try to write something, and they came

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up with the line first, let's hear it for the boy.

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They write this upbeat song around that title, and that's

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how we get this song.

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Speaker 1: It's amazing. That's why this song and Somebody's Eyes the

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drum beat is exactly the same because every time they

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did the dance montage at the end of the day

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with Kevin Bacon and Chris Penn, it was set to

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Somebody's Eyes. But when they realized that that tone didn't fit,

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they just swapped him out. And this was the last

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song added to the album. And in fact, they were like, crap,

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we need to write another song really quick because we're

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ready to go. We need to plug and play here.

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And so it was like pressure, pressure, pressure, Ray Parker

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Junior's Ghostbusters type of.

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Speaker 2: Thing, right and or or some sugar on me right,

347
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or we need another song he looks like a Lady,

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or a hundred other songs. But that's awesome that I

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didn't realize that they had been using one song and

350
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had to change it out, but they kept the beat

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the same. That's brilliant. My mind is blown, great.

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Speaker 1: Awesome, awesome, How about this let me blow your mind

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some more. Okay, we talked earlier in our previous episodes

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about how Madonna auditioned for this role. Yeah, okay, she

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didn't get it. Which man, that's right before she blew up.

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I mean, if she's in this movie as Ariel, could

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you see her singing this song?

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Speaker 2: Sure?

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Speaker 1: I was talking to our buddy James Buckley and we

360
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were going back and forth about the eighties possibility of

361
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Tom Cruise and Madonna being in these roles and then

362
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maybe Madonna singing a song like this. It's that fun

363
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alternate universe we like. I like how this movie or

364
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this song is about. This guy is a total schlub,

365
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but I love him anyway. He can't dance, he can't sing,

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he's poor, but I still like him. Yeah, okay, I

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got one more thing. Please you ready for this?

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Speaker 2: Okay?

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Speaker 1: In the video, Denise Williams is singing with a little boy.

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Speaker 2: He was in the corner.

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Speaker 1: He had a dunce cap on. She removes the dunce

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cap and she's like, oh, you come with me and

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let's hear it for my baby, right yeah, And he

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is in a tux. This a little kid.

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Speaker 2: Was he five or six or seven something like that.

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Speaker 1: He's dancing around. He's got a top hat, on that

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little boy. His name is Aaron Lore. He grows up

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to Mary Idna Menzel.

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Speaker 2: Oh wow from Wicked and Glee and she sing let

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it Go Yeah and Frozen and Frozen.

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Speaker 3: Yes.

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Speaker 2: Wow, that's crazy. Now that's some deep cuts right there.

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Speaker 1: How about that that you're not gonna hear anywhere else?

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Speaker 2: Wow? Nice job?

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Speaker 1: Yes, or, as John Devilta calls.

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Speaker 2: Her, the wickedly talented one and only a death She

387
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said that when she went to see this movie, had

388
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that scene. Had she been picking the scenes that her

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song would appear in, she would have picked the scene

390
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because it's so perfect and it is. It is spot

391
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on the best song to put with that montage scene

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of Chris Pandlern how to Dance.

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Speaker 1: Eighties were great for music montages.

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Speaker 2: Yes, straight out of rock Okay, track number three almost paradise.

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Speaker 1: About that dream belong to other Men?

396
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Speaker 3: Because each time I got clue the beatings.

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Speaker 2: Okay, so why don't we get the lead singer for

398
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lover Boy and the lead singer for Heart together and

399
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see how they sound? Holy crap, their voices blend so

400
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amazingly well.

401
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Speaker 1: There. Really, that was a home run of getting those

402
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two singers at that time in the eighties Mike Reno

403
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Lover Boy. That was the peak of their powers.

404
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Speaker 2: Oh absolutely, And this was kind of the beginning of

405
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his sound track career as well. I mean he also

406
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had a I mean talk about going along with Kenny Loggins.

407
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He had Heaven in Your Eyes from Top Gun Gunyah.

408
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He had Chasing the Angels on Iron Eagle two. He

409
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had when There's a Night from Dream a Little Dream.

410
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I mean, he was rocking up the charts for all

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of the eighties.

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Speaker 1: This is right before Heart's revitalization.

413
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Speaker 2: Oh yeah. I mean they were kind of rock stations

414
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came along and we were hearing all kinds of heart

415
00:22:13,039 --> 00:22:13,720
on class Girl.

416
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Speaker 1: You've got seventies Heart like Barracuda and Magic Man and

417
00:22:17,279 --> 00:22:19,960
all that, and then you've got eighties Heart, which is

418
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these Dreams and Never and Alone and all those songs.

419
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This was the bridge between those two. Absolutely, and Wilson

420
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may have the greatest female rock voice of all time.

421
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Speaker 2: She is phenomenal. She's absolutely phenomenal. So this one Dean

422
00:22:31,839 --> 00:22:35,920
Pitchford wrote with Eric Carmon, who is another icon in

423
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the songwriting world, wrote a song on Dirty Dance Dancing

424
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right that the flip of this movie right.

425
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Speaker 1: In your eyes. Yeah, the song was written in one day,

426
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in one twelve hour sitting. So they went to visit

427
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herb Ross in his studio. They had a piano setup

428
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in his office and when they showed up, they said, well,

429
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we've got a song. We think it might be good

430
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for the love theme. Right, So they sat down and

431
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Eric Carmon sang the male part. She's sang the female

432
00:23:00,079 --> 00:23:02,440
apart the Ann Wilson part, And when they were done,

433
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herb Ross took a deep breath and he said, I

434
00:23:05,039 --> 00:23:13,079
think you've written a classic. In nineteen eighty four, this

435
00:23:13,240 --> 00:23:15,480
was the song that got couples to the middle of

436
00:23:15,519 --> 00:23:17,880
the skate floor skating backwards.

437
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Speaker 2: With your girlfriend. Yeah, I can't skate backwards. I would

438
00:23:20,559 --> 00:23:22,519
just dance in a circle at the gymnasium.

439
00:23:23,880 --> 00:23:25,920
Speaker 1: One of the interesting things I thought is they were

440
00:23:25,960 --> 00:23:30,119
working with the idea of religion and freedom and sort

441
00:23:30,160 --> 00:23:33,319
of the wrestling of the two that's in the story Footloose, right,

442
00:23:33,799 --> 00:23:36,720
and so they thought about making a song about salvation

443
00:23:37,160 --> 00:23:39,680
or redemption. You know, they're kind of working with these

444
00:23:39,680 --> 00:23:43,319
spiritual words, and that's how they landed on almost paradise.

445
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Were knocking on Heaven's Door.

446
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Speaker 2: Love It Okay.

447
00:23:45,880 --> 00:23:48,079
Speaker 1: This song was released May of nineteen eighty four reached

448
00:23:48,160 --> 00:23:52,079
number seven. This is the third top ten hit, third

449
00:23:52,119 --> 00:23:54,359
of three. By the way, when they were filming the movie,

450
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the song that they had originally intended to plug in

451
00:23:57,400 --> 00:24:00,839
where Almost Paradise was was the Foreigners song I've been

452
00:24:00,880 --> 00:24:02,200
Waiting for a Girl like You. Oh.

453
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Speaker 2: I love that song. I love that song. But the

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song's the right thing.

455
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Speaker 1: Yeah, yeah, absolutely so.

456
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Speaker 2: Pitcher says he remembers there sitting there with Carmen and

457
00:24:12,000 --> 00:24:14,799
tossing out lines and coming up with I thought that

458
00:24:14,920 --> 00:24:18,680
dreams belong to other men, because each time I get close,

459
00:24:18,759 --> 00:24:21,240
they'd fall apart again. And he was like, that's great.

460
00:24:21,359 --> 00:24:23,480
I was really really good. And he's sitting there and

461
00:24:23,519 --> 00:24:26,720
he says, oh, how about this. I feared my heart

462
00:24:26,759 --> 00:24:30,519
would beat in secrecy. And Carmen jumps up from the keyboard,

463
00:24:30,960 --> 00:24:37,640
runs over, hugs him and says, that's great. That's one

464
00:24:37,680 --> 00:24:40,680
of the most brilliant lines I've ever heard. And he says,

465
00:24:40,759 --> 00:24:42,839
We've got a lot to do more. We've got to

466
00:24:42,880 --> 00:24:45,079
do a lot more of this writing. And it was

467
00:24:45,119 --> 00:24:48,880
that line. I feared my heart would beat in secrecy.

468
00:24:48,960 --> 00:24:50,759
That was sort of the thing that joined them at

469
00:24:50,799 --> 00:24:51,480
the hip after that.

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Speaker 1: Point, all right, do you we done with almost Paradise?

471
00:24:54,319 --> 00:24:56,279
Speaker 2: Well, couples move back.

472
00:24:58,680 --> 00:25:00,000
Speaker 1: All right, do you ready for the next song?

473
00:25:00,119 --> 00:25:01,160
Speaker 2: I've been holding out for it?

474
00:25:14,480 --> 00:25:15,480
Speaker 1: No serious, I have.

475
00:25:15,599 --> 00:25:18,000
Speaker 2: This is my favorite song. I mean, your entire album.

476
00:25:18,079 --> 00:25:22,279
Speaker 1: Let's play, all right, this song is breaking awesome.

477
00:25:22,319 --> 00:25:24,119
Speaker 2: Okay, listen to the bild. Listen to the bild, Listen

478
00:25:24,160 --> 00:25:28,200
to the build. Listen to the harmonies coming in, build harmony,

479
00:25:28,200 --> 00:25:31,799
Bill harmony, and then the drums. Oh my gosh, now

480
00:25:31,920 --> 00:25:33,960
this song. I remember talking to you and you were like,

481
00:25:33,960 --> 00:25:35,640
I don't know how many of these songs hold up,

482
00:25:35,680 --> 00:25:37,680
you know, hold up for I'm like holding out for

483
00:25:37,759 --> 00:25:40,079
a hero. If you turn this on in my house,

484
00:25:40,440 --> 00:25:43,720
every member of my household from nine years old up

485
00:25:43,759 --> 00:25:47,000
to me at forty five will be on the floor

486
00:25:47,160 --> 00:25:50,680
singing and dancing along with the song and losing our minds.

487
00:25:51,039 --> 00:25:55,119
It is so good.

488
00:25:56,200 --> 00:26:00,960
Speaker 3: I'm holding on the night He's got.

489
00:26:03,640 --> 00:26:07,200
Speaker 1: This song's amazing. It's on the tight roll to being

490
00:26:07,319 --> 00:26:10,039
over the top. It's wonderful and it plays so well

491
00:26:10,039 --> 00:26:12,759
in the movie. Yes, it's during the tractor scene right

492
00:26:13,119 --> 00:26:16,640
where they're playing chicken with the tractors and ran his

493
00:26:16,839 --> 00:26:25,000
shoelaces caught. He can't get his foot loose, but I

494
00:26:25,079 --> 00:26:28,279
love it. This song was written by Jim Steinman and

495
00:26:28,359 --> 00:26:29,279
being Patrick.

496
00:26:29,160 --> 00:26:32,599
Speaker 2: Right, who we've talked about before in the def Lefford episode. Yes,

497
00:26:32,880 --> 00:26:35,400
Jim Steinman was the guy that they hired when Mutt

498
00:26:35,440 --> 00:26:38,160
Lang couldn't do it, and he was the one that there.

499
00:26:38,279 --> 00:26:40,640
He was like, all right, that sounds good, and they're like, wait,

500
00:26:40,680 --> 00:26:43,119
we haven't even warmed up yet. He had done Bad

501
00:26:43,119 --> 00:26:45,799
out of Hell, which we talked about back then, and

502
00:26:46,119 --> 00:26:48,400
he had done a lot of stuff with Bonnie Tyler.

503
00:26:48,720 --> 00:26:50,920
Speaker 1: All right, everybody, I just want to formally invite you

504
00:26:51,000 --> 00:26:53,119
to come over and listen to our side project, the

505
00:26:53,160 --> 00:26:55,720
podcast Full of Kryptonite with mister John Reid from the

506
00:26:55,720 --> 00:26:58,200
thirty Sething Movie podcast, and of course you and me

507
00:26:58,200 --> 00:26:59,240
meanwhile at the Hull of.

508
00:26:59,319 --> 00:27:00,960
Speaker 2: Justice, we are the super Friends.

509
00:27:01,200 --> 00:27:03,880
Speaker 1: That's right. We cover the TV show Superman and Lois.

510
00:27:03,880 --> 00:27:06,039
We go over every episode. We have a great time,

511
00:27:06,079 --> 00:27:08,599
and John knows so much about Superman. It's amazing.

512
00:27:08,720 --> 00:27:10,799
Speaker 2: If you love Superman, or even if you don't and

513
00:27:10,839 --> 00:27:12,720
you just want to learn more, come check it out

514
00:27:12,720 --> 00:27:14,920
and if you haven't watched Superman and Lois yet, you

515
00:27:15,039 --> 00:27:17,119
need to right now crawl out of your fortress of

516
00:27:17,160 --> 00:27:20,079
solitude and turn the TV on podcast full of crips

517
00:27:20,119 --> 00:27:22,240
a back faster than the speed of Night. I mean

518
00:27:22,279 --> 00:27:25,680
that's huge, absolutely. I mean she was an icon of

519
00:27:25,680 --> 00:27:28,839
the eighties as well. Who I love I love her.

520
00:27:28,960 --> 00:27:30,000
Speaker 1: Her voice is killer.

521
00:27:30,160 --> 00:27:30,440
Speaker 2: Yeah.

522
00:27:30,480 --> 00:27:32,599
Speaker 1: Okay, here's something you may not know. When they brought

523
00:27:32,640 --> 00:27:34,680
in Jim Steinman and they were writing the song, he

524
00:27:34,759 --> 00:27:36,519
started saying, Hey, I got something to show you. On

525
00:27:36,559 --> 00:27:40,400
the keyboard, he's pounding it out right and he literally

526
00:27:40,759 --> 00:27:43,920
was playing so hard that his fingers started to bleed.

527
00:27:44,240 --> 00:27:44,720
Speaker 2: Oh wow.

528
00:27:45,039 --> 00:27:47,720
Speaker 1: And so he's just Dean Pitcher say, he's just pounding

529
00:27:47,720 --> 00:27:50,359
the crap out of the keyboard and there's blood all

530
00:27:50,359 --> 00:27:54,039
over the keyboard. And Dean Pictuer's like, this guy's freaking awesome.

531
00:28:04,359 --> 00:28:06,160
Speaker 2: Yeah, that's I mean, I can see it. I mean

532
00:28:06,200 --> 00:28:09,160
with this song is so intense, it's like the galloping

533
00:28:09,200 --> 00:28:12,039
of a horse. Right. It's it's the White Night writing

534
00:28:12,119 --> 00:28:15,119
up to say the day. It's the Superman too good.

535
00:28:15,240 --> 00:28:15,920
Speaker 7: It's good good.

536
00:28:15,960 --> 00:28:19,519
Speaker 2: This song is well. The lyrics are awesome, the music

537
00:28:19,599 --> 00:28:21,960
is awesome, and it lasts. I mean, you put this

538
00:28:22,039 --> 00:28:24,119
song out right now, Well, I don't listen.

539
00:28:24,279 --> 00:28:25,880
Speaker 1: They showed her the movie because they wanted her to

540
00:28:25,920 --> 00:28:28,319
sing it with a sense of urgency, and I think

541
00:28:28,319 --> 00:28:29,079
that comes across.

542
00:28:29,119 --> 00:28:43,920
Speaker 2: Oh yeah, totally. The immediacy of the song is perfect

543
00:28:44,079 --> 00:28:44,799
in everything.

544
00:28:45,039 --> 00:28:47,319
Speaker 1: Okay, I've got to play you something. This blew me

545
00:28:47,359 --> 00:28:50,400
away in the same way that we talked about during

546
00:28:50,400 --> 00:28:54,640
our bon Jovie episode when Desmond Child had written parts

547
00:28:54,680 --> 00:28:56,880
of Living on a Prayer, but he plucked him from

548
00:28:56,920 --> 00:29:00,640
other songs that he had done previously. So Jim Steinman

549
00:29:00,720 --> 00:29:03,880
had a solo album called Bad for Good and there's

550
00:29:03,880 --> 00:29:07,160
a song on there called Stark Raving Love Ready for this? Yes,

551
00:29:07,279 --> 00:29:11,359
all right, here's the beginning.

552
00:29:28,319 --> 00:29:33,599
Speaker 2: Okay, Well, identical, identical, identical until you get to the voice.

553
00:29:33,519 --> 00:29:35,240
Speaker 1: Until you get meet loafing. You can take a right

554
00:29:35,279 --> 00:29:35,920
turn right there.

555
00:29:36,079 --> 00:29:39,200
Speaker 2: Oh my gosh. Wow. Yeah, that's funning. And that came

556
00:29:39,200 --> 00:29:42,039
out in eighty one, so just I mean, they're recording

557
00:29:42,079 --> 00:29:44,799
the songs to this in eighty three, so that was

558
00:29:44,880 --> 00:29:47,240
just two years before that he had put that out.

559
00:29:47,400 --> 00:29:49,559
Speaker 1: Yeah, but we talked about how you know, you think

560
00:29:49,599 --> 00:29:51,759
you've got a good idea and maybe it doesn't hit

561
00:29:51,799 --> 00:29:54,720
for whatever reason, and you think, I don't care. This

562
00:29:54,839 --> 00:29:58,319
is still good, like this is better than it received,

563
00:29:58,480 --> 00:30:00,759
And so he pulls it out again. It often says,

564
00:30:01,440 --> 00:30:03,000
I'm gonna try this again with Bonnie Tyler.

565
00:30:03,119 --> 00:30:05,880
Speaker 2: Yeah, and they tried the song again only four years

566
00:30:05,920 --> 00:30:08,119
later in the movie Short Circuit Too.

567
00:30:08,519 --> 00:30:11,279
Speaker 1: No, right, everybody remember that, right, I mean, the.

568
00:30:11,440 --> 00:30:16,839
Speaker 2: Movie is so bad that Steve Gutenberg wouldn't even do it.

569
00:30:16,839 --> 00:30:18,839
Speaker 1: It was also in Shrek two.

570
00:30:19,599 --> 00:30:21,599
Speaker 2: Yeah, that's right now. That one actually was pretty good.

571
00:30:21,640 --> 00:30:23,720
I liked that they had a different singer. It was

572
00:30:23,759 --> 00:30:27,400
Jennifer Sonders, but you know, having kids in the early

573
00:30:27,440 --> 00:30:30,359
two thousands, I was very familiar with that, and yeah,

574
00:30:30,400 --> 00:30:31,480
she did a good job with that one.

575
00:30:31,599 --> 00:30:33,799
Speaker 1: This yeah, it was good, very good. This song was

576
00:30:33,839 --> 00:30:36,799
released April thirteenth, nineteen eighty four. This only reached number

577
00:30:36,839 --> 00:30:38,759
thirty four in the US. Are you kidding me?

578
00:30:39,000 --> 00:30:43,680
Speaker 2: That's nuts? Okay, that is nuts. I am just spiking

579
00:30:43,720 --> 00:30:47,480
the football, as you say, best song, shorter Footloe's best

580
00:30:47,559 --> 00:30:48,279
song in a while.

581
00:30:48,400 --> 00:30:50,880
Speaker 1: Okay, all right, hey, I've got deep cuts for you.

582
00:30:50,920 --> 00:30:52,039
Speaker 2: Okay, okay, all right.

583
00:30:52,079 --> 00:30:54,440
Speaker 1: There's a cover version of this song that was made

584
00:30:54,440 --> 00:30:57,039
for the TV series Cover Up in nineteen eighty four.

585
00:30:57,200 --> 00:31:00,839
It was sung by Miss e g Daily played Dottie

586
00:31:00,880 --> 00:31:04,119
in Pee Wee's Big Adventure. Oh okay, okay, we done

587
00:31:04,119 --> 00:31:06,480
with this one. Yep, all right, everyone, that's it for

588
00:31:06,640 --> 00:31:08,960
holding Now for a hero, Hit stop on your tape player,

589
00:31:09,400 --> 00:31:12,400
kick it out, flip it over, first song on side two,

590
00:31:12,799 --> 00:31:26,160
dancing in the sheets.

591
00:31:27,359 --> 00:31:29,640
Speaker 2: Okay. So it's interesting that, I mean, you've said this

592
00:31:30,039 --> 00:31:32,759
on almost every episode that we've had. It's musical, but

593
00:31:32,920 --> 00:31:36,200
I can remember hitting stop on my tape player and

594
00:31:36,240 --> 00:31:39,880
flipping it over to hear this song. And I love dancing,

595
00:31:40,039 --> 00:31:43,599
doing my break dancing to this song right here, which

596
00:31:43,680 --> 00:31:47,759
is why it's the perfect song for the prohibited dancing

597
00:31:47,799 --> 00:31:50,480
that's going on at the local drive in. That's the

598
00:31:50,519 --> 00:31:54,279
scene from the movie where Ariel puts the tape in

599
00:31:54,920 --> 00:31:58,519
and everybody starts dancing along while they're playing video games

600
00:31:58,599 --> 00:32:02,559
or eating French fries or whatever. Her to this incredibly

601
00:32:02,599 --> 00:32:03,039
good song.

602
00:32:03,119 --> 00:32:05,160
Speaker 1: Yeah, she pulls out the boom box in the movie,

603
00:32:05,480 --> 00:32:08,559
hits play under tape player on the boom box, and

604
00:32:08,640 --> 00:32:10,839
the whole place, including the girls in the bathroom or

605
00:32:10,920 --> 00:32:13,279
jamming out to this song. And it's a little bit naughty.

606
00:32:13,319 --> 00:32:17,279
You've got the dancing in the sheets that implies not

607
00:32:17,359 --> 00:32:24,599
just dancing's going on. This is exactly what song about

608
00:32:24,680 --> 00:32:27,759
forlornication and that and that scene is great because John

609
00:32:27,839 --> 00:32:31,200
Litko's character, Reverend Shawn Moore, shows up and he hits

610
00:32:31,240 --> 00:32:34,279
stop on the tape player. He doesn't say anything. She's

611
00:32:34,400 --> 00:32:37,480
just odd and shocked. Oh my dad is here. I'm

612
00:32:37,480 --> 00:32:39,559
gonna be a big trouble. And he says, your mom

613
00:32:39,599 --> 00:32:42,200
thought you'd run out of money, so here's some cash

614
00:32:42,279 --> 00:32:44,039
for you. And it's almost like.

615
00:32:45,799 --> 00:32:49,000
Speaker 2: It's more. It is moret doesn't yell at her, he

616
00:32:49,039 --> 00:32:53,359
doesn't say any condemnation of her, but you see it

617
00:32:53,400 --> 00:32:54,240
in his face.

618
00:32:54,359 --> 00:32:59,160
Speaker 1: Yeah, it's a heart ranging scene. Yeah, it's always dance.

619
00:33:03,720 --> 00:33:04,079
Speaker 2: All right.

620
00:33:04,119 --> 00:33:06,640
Speaker 1: Here's what I know about Shalamar. Okay, I've got I've

621
00:33:06,640 --> 00:33:09,359
got a little bit some just very few facts on Shalamar.

622
00:33:09,559 --> 00:33:11,119
Speaker 2: Well, there aren't very many facts that I have.

623
00:33:11,599 --> 00:33:13,799
Speaker 1: Here's the one thing that I found interesting about Shalamar.

624
00:33:13,799 --> 00:33:16,799
All right, Jody Wattley used to be in Shallamar.

625
00:33:17,039 --> 00:33:17,240
Speaker 2: Right.

626
00:33:17,480 --> 00:33:19,559
Speaker 1: She had a bunch of big hits in the late eighties,

627
00:33:19,599 --> 00:33:23,039
including looking for a New Love and Don't You Want Me?

628
00:33:23,119 --> 00:33:24,839
And some kind of lover. I mean, she was a big,

629
00:33:24,960 --> 00:33:28,200
big player, but she left Shalamar right before they recorded

630
00:33:28,200 --> 00:33:32,079
the song. Do you know who Shalamar's number one fan was, no,

631
00:33:32,440 --> 00:33:36,200
the thriller himself, mister Michael Jackson. Wow, he was a

632
00:33:36,200 --> 00:33:37,240
big fan of Shallamar.

633
00:33:37,559 --> 00:33:42,839
Speaker 2: Well, okay, so the producer Dean Pitchford, you know, wrote

634
00:33:42,839 --> 00:33:47,359
the song with Bill Wolfer. Bill Wolfer is the guy

635
00:33:47,440 --> 00:33:51,279
who played the keyboard and synthesizer on Billy Jean.

636
00:33:52,119 --> 00:33:53,839
Speaker 1: Yeah, there's some connection there.

637
00:33:54,000 --> 00:33:59,240
Speaker 2: Yeah. So Shalamar was one of those executive creations, not

638
00:33:59,319 --> 00:34:01,960
quite a boy but in that kind of same vein.

639
00:34:02,200 --> 00:34:06,119
There was a concert promoter named Dick Griffy, and he

640
00:34:06,200 --> 00:34:09,360
decided to put together some studio musicians who are really good.

641
00:34:10,000 --> 00:34:12,400
And then he got together with a guy named Don

642
00:34:12,440 --> 00:34:16,079
Cornelius who had created Soul Train, and they had some

643
00:34:16,159 --> 00:34:19,239
good dancers. And you put these dancers who were really

644
00:34:19,239 --> 00:34:21,920
good with these musicians who are really good, and that's

645
00:34:21,920 --> 00:34:22,840
how you get Shallamar.

646
00:34:23,119 --> 00:34:26,800
Speaker 1: Yeah, it's dangerously close to Millie Vanilli, although these guys

647
00:34:26,800 --> 00:34:30,960
do seeing their own stuff. One of the guys I

648
00:34:30,960 --> 00:34:32,960
mentioned that Michael Jackson was a big fan of Shalamar.

649
00:34:33,599 --> 00:34:35,639
One of the original members of Shalamar. His name is

650
00:34:35,679 --> 00:34:38,199
Jeffrey Daniel. They got to be on the British Top

651
00:34:38,199 --> 00:34:40,760
of the Pop show and that's when Michael Jackson saw him, thought, man,

652
00:34:40,800 --> 00:34:43,360
this guy's awesome. I need to get him as my choreographer.

653
00:34:43,440 --> 00:34:46,880
And that's how he got the job as the choreographer

654
00:34:46,880 --> 00:34:56,519
for Michael Jackson's Bad video. Oh wow, all right, let's

655
00:34:56,559 --> 00:34:59,719
move on to the next song, the second by Kenny Loggins.

656
00:35:00,000 --> 00:35:03,000
It's a song called I'm Free. Heaven Helped the Man.

657
00:35:03,199 --> 00:35:03,960
Speaker 2: It's good beginning.

658
00:35:05,800 --> 00:35:08,639
Speaker 1: Dude, I'm spiking the football on this one. You're saying,

659
00:35:08,679 --> 00:35:11,719
this is my favorite song on the entire album.

660
00:35:11,800 --> 00:35:14,039
Speaker 2: Oh wow, that's solid, bro, And.

661
00:35:13,920 --> 00:35:16,239
Speaker 1: I love all the songs, but this one just has

662
00:35:16,320 --> 00:35:19,719
that energy and that great chorus and the children chorus

663
00:35:19,719 --> 00:35:20,760
singing I'm Free.

664
00:35:21,079 --> 00:35:31,920
Speaker 7: Yeah, I love it.

665
00:35:42,639 --> 00:35:45,239
Speaker 2: And it'd be interesting. You know, you've pointed out last

666
00:35:45,280 --> 00:35:48,679
episode that in Purple Rain you don't go more than

667
00:35:48,880 --> 00:35:51,360
ten minutes without a song coming in. It'd be interesting

668
00:35:51,400 --> 00:35:53,960
to check that out as far as Footloot skips. Yeah,

669
00:35:54,000 --> 00:35:57,599
because you've got a couple of different montage scenes of

670
00:35:57,679 --> 00:36:00,239
things happening, and there's always music behind it, and we

671
00:36:00,360 --> 00:36:02,960
know the song was built on the soundtrack, so it'd

672
00:36:03,000 --> 00:36:05,960
be interesting to see how long you go in the

673
00:36:06,000 --> 00:36:08,400
movie without here in music. I bet it's not very long.

674
00:36:08,400 --> 00:36:10,599
Speaker 1: I bet it's kind of the same thing. Yeah, yeah,

675
00:36:10,840 --> 00:36:13,800
And this song is actually used as that swell of

676
00:36:13,840 --> 00:36:17,280
emotion when when Wren wins the argument at the town council.

677
00:36:17,360 --> 00:36:20,480
So anyway, yes, this song was released February fourteenth, nineteen

678
00:36:20,519 --> 00:36:22,760
eighty four. Yeah, Reach number twenty two.

679
00:36:23,800 --> 00:36:26,480
Speaker 2: I mean another hit, Yeah, another hit, And this one's

680
00:36:27,000 --> 00:36:31,079
this one is seems to kind of encapsulate what's going

681
00:36:31,159 --> 00:36:35,719
on with the movie, like the fact that you're the

682
00:36:36,079 --> 00:36:39,800
character is beaten down by this kind of ridiculous restrictive

683
00:36:39,840 --> 00:36:43,239
idea and he breaks free, right, He conquers it. He

684
00:36:43,280 --> 00:36:46,480
conquers his fear, which leads him to conquer the opposition

685
00:36:46,920 --> 00:36:49,360
and they get their wish and finally I'm free.

686
00:36:49,440 --> 00:36:51,239
Speaker 1: Let's talk about the music video this one for just

687
00:36:51,280 --> 00:36:53,599
a second, okay. And so this one's about Kenny Logins

688
00:36:53,599 --> 00:36:55,519
breaking out of prison and then he meets a gang,

689
00:36:55,639 --> 00:36:57,400
like a street gang, and he has a picture of

690
00:36:57,440 --> 00:36:59,760
his girlfriend. He's looking for his girlfriend, his girlfriend in

691
00:36:59,800 --> 00:37:01,280
the Virginia Madison.

692
00:37:01,519 --> 00:37:05,360
Speaker 2: Wow, yeah, wow.

693
00:37:04,599 --> 00:37:07,280
Speaker 1: She looks great. You know, she's young major babe in

694
00:37:07,360 --> 00:37:07,840
the eighties.

695
00:37:08,239 --> 00:37:10,280
Speaker 2: What movie was she in that we talked about.

696
00:37:10,679 --> 00:37:12,880
Speaker 1: She was in Highlander two.

697
00:37:13,119 --> 00:37:13,719
Speaker 2: Highlander too.

698
00:37:13,800 --> 00:37:14,639
Speaker 1: That Islander two.

699
00:37:14,840 --> 00:37:16,400
Speaker 2: You said that was the best part of the movie.

700
00:37:16,480 --> 00:37:17,440
That's it, Virginia Madden.

701
00:37:17,559 --> 00:37:18,519
Speaker 1: That's it. That's it.

702
00:37:18,760 --> 00:37:21,159
Speaker 2: So here's an interesting thing like this. Okay, so this

703
00:37:21,239 --> 00:37:24,360
movie came out in eighty four. Yes, Dean Pitchford in

704
00:37:24,440 --> 00:37:27,000
eighty six or so is going to speak at this

705
00:37:27,079 --> 00:37:30,159
film festival. He gets picked up at the airport by

706
00:37:30,239 --> 00:37:33,079
this kid who obviously, you know, he's trying to work

707
00:37:33,119 --> 00:37:35,960
in the industry. So he's done his research and talking

708
00:37:35,960 --> 00:37:38,800
to him about Footloose, and he's like, you know, and

709
00:37:38,840 --> 00:37:42,199
I love how it's kind of autobiographical. And Dean Pitcher's like,

710
00:37:43,239 --> 00:37:45,119
what do you mean. He goes, well, like, you know,

711
00:37:45,159 --> 00:37:47,719
you were from Honolulu and then you know you had

712
00:37:47,719 --> 00:37:51,880
to move out to Kansas City, Missouri. And Dean Pictuer's like, wow,

713
00:37:52,039 --> 00:37:55,199
it was kind of autobiographical. I didn't even realize, oh

714
00:37:55,280 --> 00:37:57,559
that's you moved from you know, I mean, imagine the

715
00:37:57,599 --> 00:38:03,760
difference between Honolulu and Kansas City, Missouri. Back in the sixties.

716
00:38:04,039 --> 00:38:08,360
Speaker 1: Awesome. All right, Moving on song number seven on the album.

717
00:38:08,400 --> 00:38:10,400
This song is called Somebody's Eyes.

718
00:38:10,599 --> 00:38:13,440
Speaker 2: Okay, wait, before you push play, let's listen to the

719
00:38:13,480 --> 00:38:17,440
first beat of the song, the first measure of the song. Okay,

720
00:38:17,639 --> 00:38:20,239
thinking about let's hear it for the boy and the

721
00:38:20,239 --> 00:38:44,400
fact that it's the exact same beat, and go there

722
00:38:44,440 --> 00:38:49,039
it is. That's it, that's it. That's crazy. I believe

723
00:38:49,079 --> 00:38:51,920
I never realized that before. Identical beat.

724
00:38:51,960 --> 00:38:55,159
Speaker 1: But the songs are so different, they have totally different tone.

725
00:38:55,400 --> 00:38:57,920
Speaker 2: Oh yeah, this is This is a sad song. This

726
00:38:58,000 --> 00:39:00,239
is not this is not what you want for the

727
00:39:00,280 --> 00:39:03,000
guys learning how to dance. This is you know, she's

728
00:39:03,320 --> 00:39:05,920
depressed and she's wandering the streets and.

729
00:39:05,880 --> 00:39:24,000
Speaker 3: Such mega somebody size somebody size.

730
00:39:28,719 --> 00:39:32,199
Speaker 1: In. This is a song about Ariel can't get away

731
00:39:32,320 --> 00:39:35,599
because everybody's got their eyes on her. She can't break

732
00:39:35,639 --> 00:39:39,079
free because somebody is always watching her. This is not

733
00:39:39,800 --> 00:39:42,079
let's hear it for the boy and learn how to dance? Right,

734
00:39:42,639 --> 00:39:43,719
But this is a great song.

735
00:39:44,000 --> 00:39:46,480
Speaker 2: Oh yeah, fantastic song. I remember calling you whenever we

736
00:39:46,519 --> 00:39:49,480
first started listening to this album again and saying, I

737
00:39:49,519 --> 00:39:52,639
think this song would have been a mega hit had

738
00:39:52,679 --> 00:39:56,239
it not been surrounded by so many super ultra awesome

739
00:39:56,320 --> 00:39:58,840
mega hits. Right, Like, this is a really good song,

740
00:39:58,880 --> 00:40:01,679
but it's just it's kind of drowned out by being

741
00:40:01,719 --> 00:40:04,119
surrounded by so many good songs. Yeah.

742
00:40:04,280 --> 00:40:07,559
Speaker 1: This was also released in nineteen eighty four. It reached

743
00:40:07,639 --> 00:40:10,840
number sixteen on the Adult Contemporary chart. It's not bad, Yeah,

744
00:40:11,000 --> 00:40:14,960
a very respectable position. And this was used to pace

745
00:40:15,079 --> 00:40:15,719
the dance songs.

746
00:40:15,760 --> 00:40:18,639
Speaker 2: Like we said before, Yeah, this is a This is

747
00:40:18,679 --> 00:40:20,960
a song that I could see parents listening to more

748
00:40:21,000 --> 00:40:23,199
than the kids. Yeah, this was a skipper for me

749
00:40:23,239 --> 00:40:24,480
when I was playing the tape for sure.

750
00:40:24,519 --> 00:40:25,960
Speaker 1: Though my mom loved this song.

751
00:40:36,519 --> 00:40:38,239
Speaker 2: I like a little better now that I'm older, but

752
00:40:38,760 --> 00:40:40,480
it's still probably it's still.

753
00:40:40,320 --> 00:40:47,599
Speaker 1: Gonna In the musical, this song is sung by Rusty.

754
00:40:47,840 --> 00:40:50,960
Speaker 2: Yeah, it's a different dynamic and they changed the words

755
00:40:51,360 --> 00:40:54,280
a little bit too, And it's more a plot point

756
00:40:54,480 --> 00:40:57,519
in the musical than it is in the movie. Yeah,

757
00:40:57,639 --> 00:41:01,440
good song song sang by Carla bon Off. She's still

758
00:41:01,480 --> 00:41:05,159
doing stuff. She's still touring and doing stuff. She's more like,

759
00:41:05,519 --> 00:41:07,880
I think, has more made more of her career being

760
00:41:07,920 --> 00:41:11,000
a songwriter. She's done a ton of work for other folks.

761
00:41:11,159 --> 00:41:13,360
But she's still performing, doing great stuff.

762
00:41:13,440 --> 00:41:15,360
Speaker 1: Okay, will be ready for the next one.

763
00:41:15,440 --> 00:41:17,800
Speaker 2: We better be all right.

764
00:41:18,360 --> 00:41:21,400
Speaker 1: The next song is called The Girl Gets Around.

765
00:41:29,880 --> 00:41:33,440
Speaker 2: And this is a rocker by the Red Rocker rockiness

766
00:41:33,559 --> 00:41:37,000
rock rock, rockety rock song on the album.

767
00:41:37,159 --> 00:41:39,920
Speaker 1: Yeah, this was my introduction to Sammy Hagar. Oh really,

768
00:41:40,000 --> 00:41:41,719
I didn't know who he was before this song.

769
00:41:41,840 --> 00:41:44,639
Speaker 2: Yeah, well this is and it's perfect. It is again perfect.

770
00:41:44,679 --> 00:41:46,880
This is the second song that you have in the movie,

771
00:41:47,320 --> 00:41:51,039
and it's the point where we're telling you Ariel is

772
00:41:51,360 --> 00:41:55,760
the wild preacher's daughter. Right at first lines of the song, Well,

773
00:41:55,800 --> 00:41:58,079
she'd like you to think she was born yesterday with

774
00:41:58,199 --> 00:42:02,000
their innocent looks and her little ways. When she smiles

775
00:42:02,000 --> 00:42:05,119
at me, she's got angels in her eyes. But I've

776
00:42:05,119 --> 00:42:08,480
seen how she moves, and this girl really cooks. She

777
00:42:08,679 --> 00:42:11,159
taught me some tricks she can't learn and book.

778
00:42:13,800 --> 00:42:16,280
Speaker 1: This is played when she crawls out of the car

779
00:42:16,360 --> 00:42:18,440
and she's standing with her foot on one car and

780
00:42:18,480 --> 00:42:21,079
her foot on her boyfriend's car and they're going full

781
00:42:21,119 --> 00:42:24,360
speed ahead at a semi yes, right, and she's a

782
00:42:24,760 --> 00:42:27,440
psycho on wheels. At this point, I'm like, what is

783
00:42:27,719 --> 00:42:30,000
what is ren doing chasing this girl.

784
00:42:31,199 --> 00:42:34,840
Speaker 2: And then they defy the laws of physics. Somehow the

785
00:42:34,960 --> 00:42:38,440
evil boyfriend manages to pull her entire body in and

786
00:42:38,519 --> 00:42:40,559
a seating position from her ankle.

787
00:42:41,480 --> 00:42:43,400
Speaker 1: He grabs her peaky towel and pulls her in.

788
00:42:48,559 --> 00:42:49,639
Speaker 2: What's song?

789
00:42:51,000 --> 00:42:56,800
Speaker 1: What's great song? Total rocker? I mean, the variety that

790
00:42:56,840 --> 00:42:59,199
we have on this soundtrack is really great. You've got

791
00:42:59,280 --> 00:43:02,639
rock songs, you've got dance songs, you've got ballads, you've

792
00:43:02,639 --> 00:43:03,920
got pop gold.

793
00:43:04,079 --> 00:43:07,159
Speaker 2: You got it all, you really do. There's all kinds

794
00:43:07,159 --> 00:43:10,480
of music to appeal to all kinds of audiences in

795
00:43:10,519 --> 00:43:14,079
this one, and it's all just hook after hook after hook. Now,

796
00:43:14,119 --> 00:43:16,159
this one didn't this one didn't get released.

797
00:43:16,360 --> 00:43:18,960
Speaker 1: This is the only one that did not get released.

798
00:43:18,719 --> 00:43:20,559
Speaker 2: As a single, which is kind of crazy. I mean,

799
00:43:20,599 --> 00:43:23,280
if it had been, it probably would have been in

800
00:43:23,559 --> 00:43:26,159
our sights more than it is. But just the fact

801
00:43:26,159 --> 00:43:28,559
that it didn't get released probably is why we don't

802
00:43:28,599 --> 00:43:29,960
remember it from the album Yep.

803
00:43:30,440 --> 00:43:33,079
Speaker 1: Right after this one, we have I Can't Drive fifty five,

804
00:43:33,280 --> 00:43:35,519
and then another year or so later.

805
00:43:35,519 --> 00:43:39,960
Speaker 2: The band what was that called? Yeah, Yeah, Roth something.

806
00:43:39,800 --> 00:43:43,039
Speaker 1: Other Yeah, And then of course in nineteen eighty five

807
00:43:43,119 --> 00:43:46,400
he joins van Halen flashback to our van Halen van

808
00:43:46,480 --> 00:43:50,000
Hagar episodes. Okay, another great song. I'm not skipping it. No,

809
00:43:50,079 --> 00:43:51,239
in fact, I'm turning it up.

810
00:43:51,400 --> 00:43:53,119
Speaker 2: Yeah, you're crawling out the window.

811
00:43:53,239 --> 00:43:55,480
Speaker 1: I'm crawling out the window and I'm buying my hands

812
00:43:55,559 --> 00:43:59,920
up looking at the semi like all right. Last song

813
00:44:00,000 --> 00:44:04,159
on the album. This song is called never.

814
00:44:13,039 --> 00:44:13,320
Speaker 2: Okay.

815
00:44:13,360 --> 00:44:15,840
Speaker 1: This song was played during the Rage Dance. This is

816
00:44:15,840 --> 00:44:18,760
the rage Dance song the Punch Dance, Punch Dance.

817
00:44:22,440 --> 00:44:25,480
Speaker 2: This is the scene where you had to have four

818
00:44:25,519 --> 00:44:28,800
different body doubles for Kevin Bacon because he's dancing better

819
00:44:28,800 --> 00:44:31,159
than he can dance and doing gymnastics better than you

820
00:44:31,159 --> 00:44:34,679
can do gymnastics, and is physically stronger and better built

821
00:44:34,719 --> 00:44:39,199
than Kevin Bacon actually was. But again, huge memorable scene.

822
00:44:39,239 --> 00:44:43,280
It's been parodied multiple times in different places. The song

823
00:44:43,400 --> 00:44:45,559
is performed by a band called Moving Pictures.

824
00:44:45,760 --> 00:44:45,960
Speaker 3: Yeah.

825
00:44:46,239 --> 00:44:47,199
Speaker 1: They're an Australian band.

826
00:44:47,360 --> 00:44:47,599
Speaker 3: Yeah.

827
00:44:47,719 --> 00:44:50,840
Speaker 2: Apparently they never got paid any money for this.

828
00:44:50,840 --> 00:44:52,039
Speaker 1: This is a really sad story.

829
00:44:52,159 --> 00:44:54,880
Speaker 2: Yeah. The lead singer, Alex Smith said, we were just

830
00:44:54,880 --> 00:44:57,159
the lowest part of the food chain. We got gobbled

831
00:44:57,239 --> 00:45:00,360
up by companies and people that suddenly stopped exist thing,

832
00:45:00,719 --> 00:45:03,599
and when we asked where our money was The things

833
00:45:03,599 --> 00:45:05,719
you get talked into doing anyway. Yeah, we got to

834
00:45:05,760 --> 00:45:07,920
record a sound city and the record plant, but a

835
00:45:07,920 --> 00:45:11,119
couple of bucks would have been nice. Hence we never

836
00:45:11,480 --> 00:45:12,199
play this song.

837
00:45:27,599 --> 00:45:30,719
Speaker 1: They didn't get any money for this, no royalties. Are

838
00:45:30,719 --> 00:45:33,400
you Kidney on an album of this size?

839
00:45:33,679 --> 00:45:36,639
Speaker 2: Yeah? Yeah, the guitarist said, we performed it. It was

840
00:45:36,679 --> 00:45:39,079
written by the guys that made the movie, and we

841
00:45:39,119 --> 00:45:41,360
got nothing from it. Someone made a lot of money

842
00:45:41,400 --> 00:45:43,159
out of the song, but it wasn't us.

843
00:45:44,119 --> 00:45:46,519
Speaker 1: That's too bad. Yeah, and I don't blame him for

844
00:45:46,719 --> 00:45:47,599
never playing the song.

845
00:45:47,760 --> 00:45:51,239
Speaker 2: Yeah. No, And I haven't heard other songs by this band,

846
00:45:51,280 --> 00:45:54,480
but he's got a stellar eighties sounds to his voice,

847
00:45:54,559 --> 00:45:57,519
and the beginning of the song is very very eighties

848
00:45:57,559 --> 00:46:01,159
with that synthesizer. It's it's a great song. And I

849
00:46:01,199 --> 00:46:04,199
mean the memorableness of the song obviously comes from the

850
00:46:04,199 --> 00:46:07,199
scene of the movie, but it's still powerful.

851
00:46:07,280 --> 00:46:10,559
Speaker 1: Yeah, it's good. And in fact, there is a Japanese

852
00:46:10,719 --> 00:46:13,800
version of this song recorded by the singer m I. E.

853
00:46:13,880 --> 00:46:15,880
Which apparently she's a pretty big deal. I don't know

854
00:46:15,880 --> 00:46:18,559
who she is, but so Japanese. She's Japanese, which is

855
00:46:18,559 --> 00:46:20,280
probably the reason why I don't know anything about her.

856
00:46:21,039 --> 00:46:23,760
But it was a big success in Japan. It took

857
00:46:23,760 --> 00:46:27,519
the song, changed the lyrics, and made Japanese cool. Okay.

858
00:46:27,559 --> 00:46:30,599
So that finishes up the track list. There's a couple

859
00:46:30,639 --> 00:46:32,519
of songs that we didn't talk about that are actually

860
00:46:32,519 --> 00:46:34,119
in the movie that I think are worth mentioning.

861
00:46:34,159 --> 00:46:35,239
Speaker 2: We should at least mention them.

862
00:46:35,320 --> 00:46:39,320
Speaker 1: Okay. So You've got Hurt So Good by John Cougar Mellencamp.

863
00:46:39,079 --> 00:46:40,920
Speaker 2: Huge, big, big song. Yeah.

864
00:46:41,079 --> 00:46:43,159
Speaker 1: I don't know why that was in the movie not on.

865
00:46:43,079 --> 00:46:45,920
Speaker 2: The soundtrack, probably because it was on his album that

866
00:46:46,000 --> 00:46:48,320
he wanted to sell a lot of probably his album

867
00:46:48,360 --> 00:46:49,440
and not their album. Yep.

868
00:46:49,920 --> 00:46:51,920
Speaker 1: Then you also have I've been Waiting for a Girl

869
00:46:52,000 --> 00:46:54,960
Like You Yeah by Foreigner Right, which we talked about

870
00:46:55,079 --> 00:46:57,760
was originally kind of slotted where the Almost Paradise song

871
00:46:57,800 --> 00:46:58,440
was supposed to go in.

872
00:46:58,559 --> 00:46:59,280
Speaker 2: Uh huh.

873
00:46:59,400 --> 00:47:03,239
Speaker 1: Then you have Bang your Head by Quiet Riot Metal Health. Yes,

874
00:47:03,679 --> 00:47:05,800
they take the tape away from Ren and give him

875
00:47:05,800 --> 00:47:08,920
a flip in the chin telling me better watch his attitude.

876
00:47:09,440 --> 00:47:12,119
That song is not on the soundtrack anywhere. Quiet Riot

877
00:47:12,280 --> 00:47:13,920
was huge in nineteen eighty four.

878
00:47:14,039 --> 00:47:16,079
Speaker 2: Yeah, I can remember having that album, having the LP

879
00:47:16,239 --> 00:47:16,719
on that one.

880
00:47:16,800 --> 00:47:17,840
Speaker 1: Oh nice the LP.

881
00:47:18,079 --> 00:47:21,480
Speaker 2: Yeah, him in a leather stray jacket with the metal

882
00:47:21,719 --> 00:47:23,159
ye doctor Doom face on.

883
00:47:23,280 --> 00:47:25,000
Speaker 1: Okay, I'm gonna throw this at you. This is gonna

884
00:47:25,000 --> 00:47:25,480
blow your mind.

885
00:47:25,480 --> 00:47:26,000
Speaker 2: Okay.

886
00:47:26,559 --> 00:47:29,320
Speaker 1: So I listened to the audio commentary and I felt like,

887
00:47:29,360 --> 00:47:32,239
this is like the evil Stepchild that they locked in

888
00:47:32,239 --> 00:47:34,360
the basement they don't tell anybody about. But there was

889
00:47:34,440 --> 00:47:35,920
a footloose rap song.

890
00:47:36,320 --> 00:47:36,599
Speaker 4: Okay.

891
00:47:36,599 --> 00:47:39,920
Speaker 1: We talked about the diversity on this album. Okay. So

892
00:47:40,360 --> 00:47:44,199
there was a rap that Kevin Bacon actually performs in

893
00:47:44,239 --> 00:47:47,079
the movie, and you can see him do it. Okay,

894
00:47:47,400 --> 00:47:50,119
now you gotta look closely. But it's right after the

895
00:47:50,159 --> 00:47:52,280
town council meeting. So they have the victory at the

896
00:47:52,280 --> 00:47:56,480
town council and the next scene is they're riding motorcycles. Okay, okay,

897
00:47:56,920 --> 00:47:59,360
and you can see if you look closely, Kevin Bacon

898
00:47:59,440 --> 00:48:02,480
is clearly mouthing words. That was where that rap was

899
00:48:02,480 --> 00:48:05,519
gonna be. But the producer in Dean Pitchford watched the

900
00:48:05,599 --> 00:48:08,880
movie and they hated it so much they went to

901
00:48:09,400 --> 00:48:12,199
Herbert Ross. You know, Herbert Ross is a stubborn guy,

902
00:48:12,519 --> 00:48:14,800
and so Herbert Ross is like, what's wrong. He's like, well,

903
00:48:14,840 --> 00:48:16,880
I don't really want to say, and he's like, well,

904
00:48:16,960 --> 00:48:19,639
go ahead, it's fine, and he's like the rap. I

905
00:48:19,679 --> 00:48:21,760
can't handle the rap and he's like, okay, well then

906
00:48:21,760 --> 00:48:24,599
it's out. So Herbert Ross was like, okay, fine. But

907
00:48:24,639 --> 00:48:26,800
if he'd gone in like pounding the fist, like you

908
00:48:26,920 --> 00:48:30,480
gotta take this wrap thing out, it sucks. Herbert rossd like,

909
00:48:30,760 --> 00:48:32,920
no way, I'm not. So they pulled it, so it's out.

910
00:48:33,000 --> 00:48:34,840
I can't find it. I can't see it. I can't

911
00:48:34,880 --> 00:48:36,760
listen to it. But if you watch that part of

912
00:48:36,800 --> 00:48:39,159
the movie, you can see mouthing the words.

913
00:48:39,199 --> 00:48:42,239
Speaker 2: All right, Dear Shirley fans, Now, my interest is pequed.

914
00:48:42,280 --> 00:48:45,559
If anybody out there knows the rap that was supposed

915
00:48:45,599 --> 00:48:48,480
to go in footloose, we got to know what that is.

916
00:48:48,719 --> 00:48:49,440
Speaker 1: Lay it on us.

917
00:48:49,639 --> 00:48:52,800
Speaker 2: Yeah. You can find us on Facebook at Shirley Podcast.

918
00:48:52,840 --> 00:48:55,840
You can find us on Twitter at Shirley Podcast. Come

919
00:48:55,880 --> 00:48:58,239
back next week where we will do part two of

920
00:48:58,280 --> 00:49:03,480
this comparison, looking at possibly the best album of the

921
00:49:03,840 --> 00:49:05,400
entire decade of the eighties.

922
00:49:05,800 --> 00:49:07,599
Speaker 1: If you like the eighties, you've got to come back

923
00:49:07,639 --> 00:49:07,960
next week.

924
00:49:07,960 --> 00:49:09,280
Speaker 2: We're we're talking about it next week.

925
00:49:09,400 --> 00:49:10,880
Speaker 1: Purple Rain, track by track.

926
00:49:11,320 --> 00:49:13,199
Speaker 2: That's a mighty long time, but I'm going to tell

927
00:49:13,239 --> 00:49:15,960
you that this sucks an ound the out