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Speaker 1: Hudson River Radio dot Com.

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Speaker 2: I got back Againner run the maga, got yeah, call

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it gome back? G that with the egg, John Top,

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How does sasa?

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Speaker 3: Jonathan Leaesberry juice?

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Speaker 4: Hey, this is Tom chapin Hellole, just preaching in Rock

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and Roll History Show. You're listening right now. Hey, everybody,

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welcome back to the Rock and Roll History Show on

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Hudson River Radio. I'm Brian Horowitz tonight. Through circumstances that

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we're out of my control. I've been awake for about

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thirty ish hours at this point, give or take, if

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my manth is correct. So I'm gonna do my best

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to string together words into cohesive thoughts and sentences. But

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I'm gonna get a lot of help from the Crambones tonight,

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and I'm looking forward to what they have to share.

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But as always, before we hop oh you know what

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I should say, we're talking about time as a coincidence,

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so all my hours have added up to something worthwhile.

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We're talking about songs about time. So here we go.

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Let's hop in and introduce the Cranbones who are joining

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us tonight from the Rictor Observatory. His new latter came

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with instructions. It's a step by step guide. Neil Richtor

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is here.

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Speaker 3: I think I need to chime out.

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Speaker 4: We're all gonna need one. It's gonna be tongue twister

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evening tonight. I can tell from paranormally yours she is

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going to tell us the secret to playing a musical instrument. Well,

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stay tuned. Gil Nuklem is here from the silver screen.

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She saw a blonde walk into a bar.

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Speaker 1: It's about time, right, but this blonde.

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Speaker 4: Was so upset and she goes and she tells the

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bartender she can't figure out why she only has two

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sisters and her brother has three Mercedes. Can't suit us.

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Speaker 1: Okay, you just hit on my other favorite show. Oh

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my gosh, mixed the blonde ones with it.

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Speaker 4: All right, good to know, bar, I am good. You're

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just dying to get me in trouble with as many

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demographics as she can, right, yes, all right, we'll see

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where it goes. Hey, everybody, and our official teacher. He

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doesn't know why pirates are called pirates, they just are.

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John Kelly's here.

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Speaker 5: Brian, Hey, everybody, good to be here, Well done, sir.

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Speaker 4: And last but not Lead's the host of Shaving Cream.

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She realized, if you let people shenan once, they'll shenan again.

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Barbaraville is here.

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Speaker 6: All our cram bones are guilty.

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Speaker 4: Of that, repeatedly, repeated, repeatedly.

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Speaker 6: And it's time to start the show.

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Speaker 4: It is, and it's time for me to step aside

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and let you guys take over. And I'm going to

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do my best to stay awake and hear what everybody

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has to say. So this week, Mercedes, you are going

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to lead us off.

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Speaker 7: I am, and I'm super excited about this. The song

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I am going to talk about today is from a

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concept album, if you'll remember what that's about. We did

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a show a while back titled Quadrophenia by the band

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of Who. It was their sixth studio album and released

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as a double album. It was the Who's third rock opera.

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And I wanted to do this song for our show

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on concept albums, but Nel swooped in and took another.

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Speaker 3: Who thwoughted out, We thw it out in my black eyes,

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starting to cure up.

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Speaker 1: No hard feelings, of course.

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Speaker 3: No.

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Speaker 7: Quadraphnia is the only Who album written entirely by Pete Townsend.

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Townsend had the idea of having the main character Jimmy

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have a four way split personality, or is described by

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Townsend schizophrenia times two. He wrote four themes reflecting the

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four members of the Who. These were A Bellboy about

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Keith Richard, I'm sorry Keith Richard was not.

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Speaker 6: In the Who.

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Speaker 4: Here come the emails?

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Speaker 1: Keith Moon, I'm so glad I caught myself? Is it

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me about? John? And Twistle? Helpless?

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Speaker 7: Answer about Roger Daltrey ed love Rain or me is

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Pete Townsend. They initially wanted to record quadriphonically, but they

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really didn't know how to do that. Their engineer, ron

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Nevison said, I don't know what to do. You listened

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to the early Beatles songs when they first came into

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stereo and they didn't know what to do with them.

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Speaker 4: Yeah, very articulated. It's true. Well, if you listen to

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early they treated it like two tracks, so you'd hear

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like instruments on one side and the vocals on another,

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or like split it. They did not, you know, like

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the concept of that stereo field kind of thing hadn't

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taken effect, just so they just split it.

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Speaker 1: Yeah, Yeah, what are you gonna do?

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Speaker 3: Yeah?

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Speaker 7: Roger Daltrey said, his main regret on the album was

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the recording of it. They had recorded it with echo

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on the voice, which can never be removed now, he explained,

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it just makes the vocal sound thin. It was the

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biggest recording mistake we ever made. The echo diminishes the character.

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As far as I'm concerned, it always pissed me off

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from day one. I just effing hated the sound of it.

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He did that to my voice and I will never forgive.

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Speaker 1: Ron for it.

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Speaker 7: Oh So, during an infamous performance on Top of the

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Pops of the song five point fifteen, which is the

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song I picked, Tanton demolished his guitar and The Who

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went on to earn a life band from the BBC

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premise after Tanton gave them two fingers. And I'm assuming

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that was not the devil keyre.

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Speaker 4: Sign.

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Speaker 1: Yes, the rage was most likely genuine.

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Speaker 7: The BBC, enforcing union rules, made the group record a

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new track for their I'm sorry I must be tired too?

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Speaker 8: Was I up?

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Speaker 1: Thirty six hours too?

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Speaker 7: The BBC made the group record a new track for

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their lip SYNCD performance instead of using the chalk from

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the LP. When The Who toured for Quadraphedia in nineteen

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seventy three, Roger Daltrey would often explain the concept between

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songs so listeners could follow along. Townsend wasn't happy about this.

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He thought the explanations weren't necessary and slowed the show down.

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And I have to agree with him. That would have

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really annoyed me. Yes, they're telling a story, but it's

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the music that the people came for.

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Speaker 1: I think.

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Speaker 7: They needed various sound effects, like the train whistle, for example,

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but all the effects were only available in mono, not stereo,

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so they took a mobile mobile Mobile.

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Speaker 4: Rolling Go with rolling.

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Speaker 7: Recording unit to various locations. They went to Waterloo Station

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to get the sound effects from the train platform, but

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the whistle was more difficult because the train engineers were

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only allowed to use them at certain times. The story

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goes that Pete Townsend had his driver bribed the engineer

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so he could blow the whistle. The sound effects became

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a problem when they played live Quadrophenia shows. In nineteen

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seventy three. Pete Townsend had an on stage meltdown at

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the Odeon Theater in Newcastle when the tapes didn't come

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at the proper time. I witnesses recall him punching the

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road manager in charge of the tapes and going on

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a rampage against the equipment. I am unclear whether the

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problem was that the tapes didn't show up on time

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or whether they didn't start at the right time.

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Speaker 3: Gotcha actually saw them the following year, you knew, Yeah,

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in seventy four. This was in New York. No, And

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I read about this later. I wasn't aware of it

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at the time. They did a like a three or

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four night's stand in New York at Bryan's favorite venue.

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Speaker 9: The Mass I was there.

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Speaker 1: I was there, and you were there too.

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Speaker 3: I was there me too. I thought I recognized we've been.

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Speaker 1: To a few concerts together. Not together.

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Speaker 3: Anyway, I read that. I guess Townsend. They decided he

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wanted to do the show's sober. He wasn't going to

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drink or anything else. And so they did the first show,

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and they had the tapes were supposed to come in

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at whatever certain times, and they were supposed to follow it.

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Keith Moone had headphones so he could, you know, hear what,

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you know, and it was just not working. It was

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kind of a disaster apparently. And I think the same

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effect he you know, well, I think he smashed the

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guitar anyway, just out of general principles. But you know,

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they and I didn't see. I know, it wasn't the

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first night. I don't remember which night it was. But

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after they said forget it, you know, you got drunk

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and got stonn or whatever, and they just went with

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it and just play. You know, they said, forget it,

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We're just going to play.

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Speaker 7: You know, I thought you meant forget the sound effects.

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You meant, well, I don't get them drunk.

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Speaker 3: Oh no, he was. He said forget it. I'm getting

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I'm getting smashed. And again I didn't notice that, you know,

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backing tracks one way or another, you know, because you know,

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so they might have just said forget it, We're just

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going to play and screw it. But and again I

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wasn't aware. I was, you know, I was just happy

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to see them and I thought they were fantastic. Yeah,

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and that was, you know, that was the album they

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were supporting on the tour. Of course, they played a

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whole bunch of other things, but it was their tenth

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anniversary tour. That's in yeah, seventy four, from sixty four

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to seventy four, you think now, tenth anniversary that's a

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that's nothing and they're pretty much still going. So yeah, anyway, Yeah,

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but I think it was the tapes that you're talking

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about were supposed to play behind them. I mean that

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you can do that now digitally and there's a.

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Speaker 4: You know, yeah, we talked about that last week. It's

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all about programs and everybody can hear it in their

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ears and yeah, and those systems crashed sometimes too, but nothing.

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Speaker 3: Part then there were they were totally you know, primitive,

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and I don't the fact that they even tried to

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do it is you know, you got to give them

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credit for that, because it's almost impossible.

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Speaker 4: Yeah, that's where innovation comes from. You get you try

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and make.

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Speaker 8: It work.

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Speaker 9: Well.

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Speaker 7: I I I I was questioning it because I read

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it a couple of different places, and the way it

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was it was presented was sort of felt like maybe

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the tapes did not arrive on time.

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Speaker 3: That eliminated that would really, you know, start or stop

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the problem right in the beginning.

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Speaker 7: Why why would you'd be punching the road manager in

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charge of the tapes if it was the tapes not

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playing on the baby was the closest play fair title manager,

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I guess I don't know that's fair. The original Saron,

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let's hear five fifteen from Quadrophenia by the.

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Speaker 10: Who washocka.

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Speaker 11: Shocks the seats of subductives, saying.

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Speaker 10: Pretty girls, damn ray magically born on a quiet.

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Speaker 8: Street corner, free.

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Speaker 10: Frustration to their minds and use holes.

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Speaker 12: Why small water and the generation o Dallas in a.

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Speaker 13: Way in semal.

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Speaker 14: Load inside oside, nowhere's home inside side?

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Speaker 12: Where up.

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Speaker 15: The rain on the road out change out of change, radom.

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Speaker 12: Forest saved.

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Speaker 16: Line that wally sorry day mountain he man drags in.

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Speaker 14: A glittering bowl, craily uprageously in my tight.

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Speaker 10: Heel shoes slightly.

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Speaker 16: Undone no one they're showing sadly ecstatic that they hear.

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Speaker 17: Robes So.

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Speaker 14: Leave me alone inside outside nowhere.

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Speaker 10: Is home inside outside?

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Speaker 14: Where have I been of my brain on the line,

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I'm sad? Change my brain on the change on the chain?

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Speaker 17: Wow, b whoa my brain all the change here? Whoa

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a mad ichang on the change?

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Speaker 16: Why should I care?

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Speaker 13: Why?

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Speaker 17: Shoot?

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Speaker 1: That's how never gets old.

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Speaker 7: Nope, No, I think it's absolutely amazing, And I'd like

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to talk a little bit about the lyrics.

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Speaker 1: And first of all, as I said, I think they're incredible.

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Speaker 7: The storyline of Quadriphedia is that Jimmy is fed up

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with his life, his dead end jobs, and his parents.

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He's a young working class mod and we can get

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to that later, whose girlfriend left him for his best friend.

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He likes drugs, beach fights and romance, and he remembers

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a good time in his life when he went to

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see the Who in Brighton with other mods. So he

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gets on a train, the five point fifteen and sets

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off to recreate that high and that was in air quotes.

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By the way, according to Pete Townton, his Jimmy's train

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journey down to Brighton Sandwich between two city gents is

244
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notable for the rather absurd number of purple hearts he

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consumes in order to while away the time. He goes

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through an entirely pleasant series of ups and downs as

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he thinks about the gaudier side of life as a

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teenager that we see in the news papers like News

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of the World.

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Speaker 1: Five point fifteen was written.

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Speaker 7: In Oxford Street and Carnemie Street while I was killing

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time between appointments.

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Speaker 1: I must try that again.

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Speaker 7: Seemed to work, so purple hearts that Jimmy is taking

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NonStop on the train is a combination of amphetamines and

256
00:17:18,240 --> 00:17:22,480
barbituates dikes. So when Townson is talking about the ups

257
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and downs, he feels that is exactly what he's feeling,

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although the use of literary oxymorons accentuates the two sidedness

259
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of his thinking, like magically bored. The seats are seductive, celibate,

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sitting quiet, stormwater, gravely outrageous, tightly undone, sadly astatic. But

261
00:17:46,200 --> 00:17:49,400
he does keep going back to the refrain inside outside,

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leave me alone inside outside, nowhere is home? Inside outside?

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Speaker 9: Where have I been?

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Speaker 1: Out of my brain?

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Speaker 15: On the five.

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Speaker 7: Fifteen talking about that, he feels that he hasn't belonged anywhere.

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The line from the line the ushers are sniffing out

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to coloning?

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Speaker 1: Is anybody know what that is? Neil? You can't say,

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You can't say.

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Speaker 4: Again, what is your girl sniff to coloning?

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Speaker 7: The ushers are sniffing o to coloning?

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Speaker 4: Are they no idea? Are they those little tester people

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that jump out of it in the department store?

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Speaker 9: Somehow I doubt it.

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Speaker 7: It refers to the Beatles concert at Blackpool in nineteen

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sixty three, in which the teenage girls literally wet themselves,

278
00:18:38,400 --> 00:18:42,440
so the whole theater smelled like urine, and the ushers

279
00:18:42,480 --> 00:18:46,519
had to spree the seeds with O to cologne the smuid.

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Speaker 3: Two.

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Speaker 7: So Mods and Rockers were too. I don't know, Neil,

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do you want to talk about this?

283
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Speaker 3: I'm trying to. I'm not sure if I'm a mod

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or a Rocker.

285
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Speaker 1: I'm sure it's actually does a quition morocker.

286
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Speaker 3: I'm a ma.

287
00:19:06,279 --> 00:19:07,680
Speaker 1: That's what Ringa said.

288
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Speaker 6: Yep, all the Beatles fans get the reference.

289
00:19:10,440 --> 00:19:10,640
Speaker 8: Yeah.

290
00:19:12,480 --> 00:19:15,119
Speaker 7: So the Mods of the Rockers were two British adolescent

291
00:19:15,240 --> 00:19:18,519
subcultures who clashed in the early to mid nineteen sixties.

292
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During this period, riots between mods and rockers broke out

293
00:19:22,079 --> 00:19:25,480
in the seaside resort towns in southern England, causing moral

294
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outrage among the British public. The Rockers were bikers who

295
00:19:29,079 --> 00:19:34,279
wore black leather jackets and other motorcycle related attire, and

296
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the mods rode scooters and dressed in suits and neat clothing.

297
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Speaker 1: And apparently the.

298
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Speaker 7: Rockers were older, like a slightly older, not a whole

299
00:19:47,000 --> 00:19:47,920
generation holder.

300
00:19:48,039 --> 00:19:50,599
Speaker 3: But were they the ones they called teddy boys?

301
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Speaker 1: Teddy boys were.

302
00:19:54,839 --> 00:19:55,839
Speaker 4: Were the mods?

303
00:19:56,519 --> 00:19:58,559
Speaker 1: The mods were the teddy boys or the Rockers were

304
00:19:58,559 --> 00:19:59,160
the teddy.

305
00:19:58,960 --> 00:20:02,839
Speaker 3: Boys, the rockers. Rockers were the teddy boys, yea. In

306
00:20:02,920 --> 00:20:04,440
the seventies we called them greasers.

307
00:20:05,000 --> 00:20:06,200
Speaker 1: Yeah right, maybe the.

308
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Speaker 3: Jackets with the collars turned up like Brando in the

309
00:20:13,599 --> 00:20:14,119
Wild One.

310
00:20:14,440 --> 00:20:14,640
Speaker 1: Yeah.

311
00:20:15,839 --> 00:20:18,519
Speaker 7: So they would make fun of each other and then

312
00:20:18,599 --> 00:20:22,519
they would fight, and the Rockers would laugh at the

313
00:20:22,640 --> 00:20:25,400
mods because they were on vespas and stuff, and they

314
00:20:25,440 --> 00:20:27,960
would say that they look like girls'.

315
00:20:27,720 --> 00:20:31,160
Speaker 1: Hair blow dryers or hair curlers or something like that.

316
00:20:33,319 --> 00:20:37,359
Speaker 7: So anyway, in the end of the story, at the

317
00:20:37,519 --> 00:20:40,599
edge of Quandrifedia, which is left sort of ambiguous, he

318
00:20:40,880 --> 00:20:44,359
destroys his scooter and we leave him on a rock

319
00:20:44,440 --> 00:20:48,359
in the ocean, contemplating his life. Many people feel that

320
00:20:48,480 --> 00:20:50,920
he takes his life, but I don't think so for

321
00:20:51,079 --> 00:20:54,119
what it's worth, and I've read other people that don't

322
00:20:54,160 --> 00:20:54,799
think so either.

323
00:20:54,960 --> 00:20:55,559
Speaker 8: So there.

324
00:20:57,319 --> 00:20:58,880
Speaker 4: The definitive opinion.

325
00:20:59,400 --> 00:21:06,039
Speaker 7: That's right, because I say so, Neil, you got any

326
00:21:06,119 --> 00:21:08,319
input on that. How do you think it ended?

327
00:21:10,759 --> 00:21:12,039
Speaker 1: I don't remember im.

328
00:21:12,599 --> 00:21:14,319
Speaker 3: Yeah, No, it could either be. You know, it's like

329
00:21:16,240 --> 00:21:19,480
Shortener's cat, you know, is it alive or is it dead?

330
00:21:19,599 --> 00:21:22,400
Did he kill himself that he's I don't know. Yeah,

331
00:21:22,519 --> 00:21:24,640
it's up to the it's up to the and it's

332
00:21:24,680 --> 00:21:27,279
all about teenage angst, and that's what rock and roll

333
00:21:27,640 --> 00:21:28,559
is really all about.

334
00:21:28,960 --> 00:21:31,079
Speaker 1: So so that's all we needed to know.

335
00:21:31,200 --> 00:21:32,880
Speaker 7: We didn't what we didn't need to hear him out

336
00:21:32,920 --> 00:21:36,079
about him growing up and getting therapy and marrying a

337
00:21:36,200 --> 00:21:37,400
nice young girl or.

338
00:21:37,519 --> 00:21:38,319
Speaker 1: Guy or whatever.

339
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Speaker 4: That's the sequel.

340
00:21:42,359 --> 00:21:45,519
Speaker 1: That's not rock. That's not that's not rock and roll.

341
00:21:46,799 --> 00:21:47,640
Speaker 3: Senior citizen.

342
00:21:51,039 --> 00:21:55,480
Speaker 4: So so shak Athenia, what yeah, what.

343
00:21:57,599 --> 00:21:58,240
Speaker 1: That's all I got?

344
00:21:58,359 --> 00:22:00,160
Speaker 4: All right, Well that was great, thank you, thank you

345
00:22:00,359 --> 00:22:04,519
very much. Excellent leadoff and Neil, you are up next.

346
00:22:05,480 --> 00:22:08,559
Speaker 3: Okay, Well, you know they say that the nighttime is

347
00:22:08,640 --> 00:22:13,240
the right time and midnight to six, Well that's my

348
00:22:13,480 --> 00:22:17,920
time man, and midnight to six man by the Pretty

349
00:22:17,960 --> 00:22:24,920
Things is my song today now. The Pretty Things they

350
00:22:24,960 --> 00:22:27,319
were an English rock band that were formed in September

351
00:22:27,359 --> 00:22:30,720
of nineteen sixty three. I think they were probably I

352
00:22:30,759 --> 00:22:33,839
don't know, maybe they were mods, maybe they were rockers.

353
00:22:34,880 --> 00:22:38,039
Speaker 9: They should take the quiz only their hairdresser nose for sure.

354
00:22:38,720 --> 00:22:41,440
Speaker 3: But they got their name from a nineteen fifty five

355
00:22:41,519 --> 00:22:45,240
Bo Diddley song called pretty Thing Now. During their initial

356
00:22:45,319 --> 00:22:48,759
run which was sixty three to seventy one. I believe

357
00:22:48,799 --> 00:22:53,880
they released five studio albums, including the first rock opera,

358
00:22:54,359 --> 00:22:57,680
SF Sorrow in nineteen sixty eight. Sorry who fans It

359
00:22:57,799 --> 00:23:02,000
pre dated the Top by just a couple of months,

360
00:23:02,079 --> 00:23:05,000
but it was out first. But I think we'll all

361
00:23:05,039 --> 00:23:10,640
agree that Tommy and previously Quadraffini it did a little

362
00:23:10,640 --> 00:23:16,720
bit better than that. But they released that. They had

363
00:23:16,960 --> 00:23:24,119
four EPs, fifteen UK singles, including two top twenty UK hits. Okay.

364
00:23:24,160 --> 00:23:27,200
The band was formed by vocalist Phil May and he

365
00:23:27,359 --> 00:23:31,039
was the only consistent member throughout their entire career, and

366
00:23:31,240 --> 00:23:34,200
guitarist Dick Taylor, who came and went, you know a

367
00:23:34,279 --> 00:23:37,880
couple of times, but he was there more than not. Otherwise,

368
00:23:37,960 --> 00:23:40,759
the band's personnel changed you know many times, like the

369
00:23:40,880 --> 00:23:46,519
revolving door effect. But before all that, in nineteen sixty two,

370
00:23:46,759 --> 00:23:53,279
before The Pretty Things, Dick Taylor was recruited by Brian Jones,

371
00:23:53,440 --> 00:23:56,720
along with Mick Jagger and Keith Richards to form a

372
00:23:56,759 --> 00:23:59,759
new band called Anyone.

373
00:24:00,039 --> 00:24:03,480
Speaker 6: On the Mockers You or Anyone.

374
00:24:05,599 --> 00:24:06,720
Speaker 3: The Rolling Stones.

375
00:24:07,200 --> 00:24:12,000
Speaker 1: Oh killing me here.

376
00:24:15,240 --> 00:24:17,599
Speaker 3: But now because there were too many guitar players in

377
00:24:17,680 --> 00:24:21,880
the band, then Dick Taylor was asked to switch to bass,

378
00:24:22,640 --> 00:24:25,200
which he did because he had Brian and you had

379
00:24:25,279 --> 00:24:28,759
Keith on guitars, so he switched to bass. But he

380
00:24:29,240 --> 00:24:32,079
would quit the band, quit the Stones about five months

381
00:24:32,160 --> 00:24:35,359
later to go to art school, something he said later

382
00:24:35,640 --> 00:24:39,240
was like winning the lottery and then losing the winning ticket.

383
00:24:40,480 --> 00:24:43,039
But who knew at that point what the future was

384
00:24:43,119 --> 00:24:48,240
gonna hold. But it was then that Phil May approached

385
00:24:48,279 --> 00:24:50,599
Dick Taylor and asked him to join his new band,

386
00:24:50,880 --> 00:24:54,839
Pretty Things, and Taylor was once again playing guitar along

387
00:24:54,880 --> 00:24:58,759
with May singing and playing harmonica. Now, the Pretty Things

388
00:24:58,960 --> 00:25:01,000
never really had a hit here in the US. They

389
00:25:01,119 --> 00:25:04,240
never really you know, made it over here, but they

390
00:25:04,279 --> 00:25:07,960
did have success in their native UK as well as

391
00:25:08,400 --> 00:25:12,319
in Australia, New Zealand, Germany and the Netherlands. Now, their

392
00:25:12,359 --> 00:25:17,119
appearance and behavior were rather provocative, to say the least.

393
00:25:18,000 --> 00:25:20,640
Phil May claimed to have the longest hair at least

394
00:25:20,680 --> 00:25:24,440
for a man in the UK, and their sound was

395
00:25:24,599 --> 00:25:27,920
like a grittier version of the Rolling Stones, so a

396
00:25:28,039 --> 00:25:32,559
little bit of you know, crossover there. The song We're

397
00:25:32,599 --> 00:25:34,960
going to here midnight to six Man was written by

398
00:25:35,039 --> 00:25:37,640
May and Taylor and recorded at an all night session

399
00:25:37,759 --> 00:25:41,880
produced by the legendary Glenn Johns, who by the way,

400
00:25:42,000 --> 00:25:46,319
worked with The Stones as well, along as also the Beatles,

401
00:25:46,400 --> 00:25:50,960
Led Zeppelin and The Who, and the track also featured

402
00:25:51,119 --> 00:25:55,000
session piano player Nicky Hopkins, who also worked extensively with

403
00:25:55,079 --> 00:25:57,759
the Rolling Stones, So there's a lot of parallels going

404
00:25:57,799 --> 00:26:00,960
on here. Obviously The Stones the Lime Light in the

405
00:26:01,000 --> 00:26:05,519
long run now lyrically, the song relates to the band's

406
00:26:05,559 --> 00:26:08,799
time spent in London's nightclubs during the late night hours,

407
00:26:09,079 --> 00:26:12,319
as you would think midnight to six, hence the title

408
00:26:13,119 --> 00:26:18,319
during the swinging mod nineteen sixties, mid nineteen sixties. And

409
00:26:18,440 --> 00:26:21,799
they say that they probably wouldn't even recognize each other

410
00:26:21,960 --> 00:26:27,519
if they actually met during the daytime. All they did

411
00:26:27,720 --> 00:26:31,920
hang out at night. If you get the pitch, it

412
00:26:32,119 --> 00:26:35,599
so and now let's stay out all night with pretty

413
00:26:35,680 --> 00:26:37,119
things midnight to six.

414
00:26:37,279 --> 00:26:39,200
Speaker 15: Mon let me see.

415
00:26:41,640 --> 00:26:42,640
Speaker 10: The people don't know.

416
00:26:45,160 --> 00:26:46,640
Speaker 17: In the day.

417
00:26:50,039 --> 00:27:03,759
Speaker 10: Say look that's my that's short time.

418
00:27:09,440 --> 00:27:16,400
Speaker 14: Midnight and minute said minute six, Then minute said minute.

419
00:27:16,279 --> 00:27:23,839
Speaker 10: Sis, I'll see.

420
00:27:23,680 --> 00:27:28,240
Speaker 17: Through the day. I'll wake her up for me.

421
00:27:30,319 --> 00:27:32,039
Speaker 13: But still down.

422
00:27:34,319 --> 00:27:38,960
Speaker 17: They would get out of the pool to to amaca

423
00:27:39,119 --> 00:27:40,920
to them see.

424
00:27:40,799 --> 00:27:44,640
Speaker 12: You get taking some sound ready?

425
00:27:44,759 --> 00:27:48,640
Speaker 10: Was so God, tell us some more, tell us a

426
00:27:48,880 --> 00:28:21,480
long see, take it some sound.

427
00:28:22,200 --> 00:28:23,039
Speaker 12: Then it will go.

428
00:28:24,039 --> 00:28:27,359
Speaker 10: Tell me some mom, tell it some mom.

429
00:28:35,960 --> 00:28:36,079
Speaker 12: SI.

430
00:28:42,519 --> 00:28:44,279
Speaker 3: Yeah. I don't know if they're mods or rockers, but

431
00:28:44,440 --> 00:28:48,240
that song, in my book, really does rock. Yeah, I

432
00:28:48,319 --> 00:28:53,119
think it kicks proverbial. But now. When the single was

433
00:28:53,160 --> 00:28:55,759
released in the UK in late nineteen sixty five, the

434
00:28:55,880 --> 00:28:58,599
band and their management but you know, they had a

435
00:28:58,680 --> 00:29:02,799
major hit on their hands. But Midnight to six Man

436
00:29:02,960 --> 00:29:05,920
was generally considered to be a chart failure in the UK,

437
00:29:06,599 --> 00:29:09,839
where it did reach number twenty six on the NME chart,

438
00:29:10,920 --> 00:29:16,640
but only hit number forty six on the record retailer charts. However,

439
00:29:17,400 --> 00:29:21,400
Midnight to six Man was a success on pirate radio station,

440
00:29:21,599 --> 00:29:24,000
something we talked about a couple episodes back here on

441
00:29:24,079 --> 00:29:27,559
the Rock and Roll History Show, particularly Radio London, were

442
00:29:27,599 --> 00:29:32,200
it peaked at number twelve on their FAB forty chart. Now,

443
00:29:32,240 --> 00:29:35,519
the single did receive mostly positive reviews in the press.

444
00:29:35,680 --> 00:29:39,039
Most critics liked the lyrics, but they didn't like it

445
00:29:39,119 --> 00:29:43,519
because they said it had a lack of melody and

446
00:29:43,759 --> 00:29:48,160
in retrospect, though Midnight to six Man has been recognized

447
00:29:48,200 --> 00:29:53,440
as one of the Pretty Thing's best songs, now after

448
00:29:53,519 --> 00:29:56,039
The Pretty Things, haven't you.

449
00:29:56,200 --> 00:29:57,079
Speaker 1: Even slept either?

450
00:29:57,319 --> 00:29:59,119
Speaker 4: All of us? Oh man, it's okay.

451
00:30:00,039 --> 00:30:03,079
Speaker 3: Well. After their initial run from sixty three to seventy one,

452
00:30:03,480 --> 00:30:07,400
the band reformed later in seventy one and continued through

453
00:30:07,519 --> 00:30:12,480
nineteen seventy six, and then reformed again in nineteen seventy nine,

454
00:30:13,599 --> 00:30:17,240
and while they stayed together then until pil May passed

455
00:30:17,240 --> 00:30:20,599
away in twenty twenty, pretty much ending the band for good.

456
00:30:21,680 --> 00:30:24,200
But as of last year, Dick Taylor is still playing

457
00:30:24,319 --> 00:30:26,839
lead guitar with a band at the ripe old age

458
00:30:26,920 --> 00:30:31,359
of eighty two years old. Wow Wow, the clashes. Joe

459
00:30:31,440 --> 00:30:34,839
Strummer referenced Midnight to six Man in his nineteen seventy

460
00:30:34,880 --> 00:30:38,640
eight song White Man in Hammersmith Palais with a nod

461
00:30:38,759 --> 00:30:42,599
to Phil May, and in two thousand and one, Midnight

462
00:30:42,680 --> 00:30:45,519
to six Man was included on the Nuggets two Original

463
00:30:45,640 --> 00:30:49,880
Artifacts from the British Empire and Beyond nineteen sixty four

464
00:30:50,039 --> 00:30:53,440
to nineteen sixty nine box set, which is the perfect

465
00:30:53,480 --> 00:30:56,599
companion to the Nuggets Volume one box set that features

466
00:30:56,640 --> 00:31:01,880
American garage bands from that same era. And yes, finally

467
00:31:03,319 --> 00:31:06,079
I did get to see The Pretty Things perform live,

468
00:31:06,240 --> 00:31:08,960
and that was at Little Stephen's Underground Garage Festival in

469
00:31:09,039 --> 00:31:12,680
two thousand and four in New York City on Randall's Island.

470
00:31:13,640 --> 00:31:16,440
Speaker 9: Nice, nice, excellent, nice.

471
00:31:17,000 --> 00:31:17,960
Speaker 3: But there's my time.

472
00:31:18,920 --> 00:31:19,599
Speaker 4: That's a good one.

473
00:31:20,160 --> 00:31:23,920
Speaker 5: Well you you always have the coolest stories, a good time.

474
00:31:25,039 --> 00:31:30,119
Speaker 3: It was a good time for a topic of enough

475
00:31:30,200 --> 00:31:30,640
time time.

476
00:31:30,960 --> 00:31:33,839
Speaker 4: Yeah, I have to admit I wasn't familiar. This is

477
00:31:33,880 --> 00:31:36,240
a new one to me, so it's good I learned

478
00:31:36,319 --> 00:31:36,920
something tonight.

479
00:31:37,440 --> 00:31:40,000
Speaker 3: They they in their other material too, that has They

480
00:31:40,039 --> 00:31:42,599
do have a very stoneesy type sound.

481
00:31:42,839 --> 00:31:46,720
Speaker 4: Yeah. The music side is is, you know, a little rough,

482
00:31:46,880 --> 00:31:48,920
which is cool, and then the vocals are smoother.

483
00:31:49,359 --> 00:31:51,720
Speaker 3: So yeah, I don't think it was you know, one

484
00:31:51,839 --> 00:31:53,400
trying to copy it, just it was just the.

485
00:31:54,759 --> 00:31:58,599
Speaker 4: Yeah, yeah, very cool. All right, thank you, Neil. We're

486
00:31:58,599 --> 00:32:00,519
going to take a real quick break and be back

487
00:32:00,559 --> 00:32:05,039
with more right after this. Hudson River Radio, Your dog

488
00:32:05,240 --> 00:32:05,519
likes us.

489
00:32:05,720 --> 00:32:07,920
Speaker 1: This concludes the first part of this cassette.

490
00:32:08,279 --> 00:32:11,319
Speaker 4: Please turn the cassette over and begin again on side.

491
00:32:11,119 --> 00:32:18,920
Speaker 6: To this is Hudson River Radio dot Com.

492
00:32:19,200 --> 00:32:27,079
Speaker 4: Ay, and welcome back to the Rock and Roll History Show.

493
00:32:27,279 --> 00:32:29,240
And John you got time?

494
00:32:30,119 --> 00:32:33,480
Speaker 5: Yes, I do have some time here, folks. I don't know,

495
00:32:33,680 --> 00:32:36,200
uh if I can, Uh, it's hard to follow people

496
00:32:36,319 --> 00:32:40,400
like Mercedes and and Neil. It's they are masters of music,

497
00:32:40,480 --> 00:32:44,160
the two of them, and uh, you know they they

498
00:32:44,480 --> 00:32:48,440
they not only know a lot about the topic, but

499
00:32:48,559 --> 00:32:51,400
they they've lived it in their lives. And so I

500
00:32:51,480 --> 00:32:56,599
appreciate that my song tonight was ain't wasting note more,

501
00:32:57,279 --> 00:33:00,160
I'm sure you all have heard of that. If you've les,

502
00:33:00,160 --> 00:33:01,720
you've been living unless you lived under a rock in

503
00:33:01,759 --> 00:33:05,400
the nineteen seventies a song by the American rock band

504
00:33:05,440 --> 00:33:08,480
The Alman Brothers. It was the lead single from their

505
00:33:08,559 --> 00:33:12,440
third studio album called Eat a Peach, which was released

506
00:33:12,480 --> 00:33:18,519
in April nineteen seventy two, released on Capricorn Records, The

507
00:33:18,640 --> 00:33:24,079
song itself, largely concerned written by Greg Alman, largely concerns

508
00:33:24,480 --> 00:33:28,000
the death of his brother, Dwayne Almon or Howard. Dwayne

509
00:33:28,000 --> 00:33:31,359
Alman was killed in a motorcycle crash in October of

510
00:33:31,480 --> 00:33:35,599
nineteen seventy one, specifically October twenty ninth, and that's the

511
00:33:35,599 --> 00:33:38,079
reason why I point that out. He was killed in

512
00:33:38,160 --> 00:33:41,880
October twenty ninth, nineteen seventy one. The song itself was recorded,

513
00:33:42,319 --> 00:33:45,240
or actually the album itself was recorded in Miami, Florida,

514
00:33:45,359 --> 00:33:49,720
in December nineteen seventy one and released in April nineteen

515
00:33:49,799 --> 00:33:54,559
seventy two. So it's the album and the song itself

516
00:33:55,119 --> 00:33:58,960
deals a lot with this particular incident, which makes me

517
00:33:59,079 --> 00:34:03,240
wonder what would that album have been had he not

518
00:34:03,640 --> 00:34:07,799
had they not lost, you know, one of the Almond

519
00:34:07,839 --> 00:34:13,800
brothers themselves, he was basically, he was killed midway through

520
00:34:14,119 --> 00:34:16,159
the production. At the time of his death, they had

521
00:34:16,199 --> 00:34:18,760
started the recording of the album. He was killed in

522
00:34:18,840 --> 00:34:24,079
a motorcycle crash, and then they continued to record afterwards.

523
00:34:24,719 --> 00:34:28,519
The song itself and the album itself concerns soldiers, a

524
00:34:28,639 --> 00:34:31,679
lot of themes to it, time of course being one

525
00:34:31,719 --> 00:34:35,559
of them, our time on this earth, this sudden, untimeliness

526
00:34:35,599 --> 00:34:40,119
of his brother, of the Almond, of Dwayne Almond's passing.

527
00:34:40,760 --> 00:34:45,800
It also concerns issues like the Vietnam War, people soldiers

528
00:34:45,840 --> 00:34:49,239
returning home, and things of that nature. So the song

529
00:34:49,320 --> 00:34:51,159
itself has a lot and the album has a lot

530
00:34:51,199 --> 00:34:55,000
of tragedy built into it, and I think in a

531
00:34:55,079 --> 00:34:59,239
kind of a sad way, it kind of enhances the album.

532
00:34:59,320 --> 00:35:02,800
And it enhanced is the music of the Almand brothers themselves,

533
00:35:03,280 --> 00:35:05,000
who I mean, I don't want to get into a

534
00:35:05,079 --> 00:35:07,280
lot of history here, but they you know, they had

535
00:35:07,320 --> 00:35:09,880
a lot of tragic history as a band, given all

536
00:35:09,920 --> 00:35:13,800
the substance abuse and you know, hospitalizations and whatnot of

537
00:35:13,880 --> 00:35:15,679
a lot of people, you know, a lot of the

538
00:35:15,760 --> 00:35:19,079
band members. So Brian, without further ado, let us out

539
00:35:19,119 --> 00:35:23,320
before I ask you to play the song. While the

540
00:35:23,400 --> 00:35:25,920
song is playing, I want you to think a little

541
00:35:25,920 --> 00:35:29,800
bit about an interesting little anecdote about the Almond Brothers. Uh,

542
00:35:30,320 --> 00:35:38,000
the album before the before Ida Peach was at Fillmore East,

543
00:35:38,639 --> 00:35:42,159
And anybody who was alive in the nineteen seventies knows

544
00:35:42,199 --> 00:35:47,639
what film what the Fillmore East was. And Neil, you're

545
00:35:47,639 --> 00:35:48,159
shaking your.

546
00:35:48,119 --> 00:35:53,480
Speaker 3: Head, no clue, of course I'm kidding. Of course, yes,

547
00:35:53,800 --> 00:35:57,599
I saw the Alma Brothers at Philmore East, not when

548
00:35:57,639 --> 00:36:00,280
they recorded that, but you know, not that particular album,

549
00:36:00,320 --> 00:36:01,960
but I did see them there right before the.

550
00:36:02,599 --> 00:36:05,920
Speaker 5: Well I uh, well, the song is playing, I want

551
00:36:05,960 --> 00:36:09,360
you all to think about what is the Fillmore East

552
00:36:09,480 --> 00:36:13,880
today and what did it become? So let's think about that,

553
00:36:13,960 --> 00:36:15,480
and Brian, let's play the song.

554
00:36:22,679 --> 00:36:24,880
Speaker 15: Last Sun and Morning the Sunshine.

555
00:36:31,000 --> 00:36:34,039
Speaker 8: Seeing the same with the help of.

556
00:36:35,000 --> 00:36:36,840
Speaker 18: Two friends, I'm.

557
00:36:38,920 --> 00:36:42,960
Speaker 12: Still have two strongs. They have way the black.

558
00:36:47,639 --> 00:36:50,840
Speaker 10: Soundles fall the game.

559
00:36:52,480 --> 00:37:04,159
Speaker 18: Fast thing, stop ball this selling ware ah you crying.

560
00:37:05,480 --> 00:37:07,559
Speaker 12: They're around, healthy, long days.

561
00:37:08,079 --> 00:37:09,239
Speaker 19: Looking like as die.

562
00:37:10,719 --> 00:37:14,800
Speaker 14: Just step yourself outside, look mbout stars about.

563
00:37:15,760 --> 00:37:19,880
Speaker 18: All downtown demons to find somebody's nerves.

564
00:37:20,199 --> 00:37:23,400
Speaker 15: I mean when it waste the town a.

565
00:37:24,960 --> 00:37:28,079
Speaker 17: Shambles for rain.

566
00:37:29,480 --> 00:37:30,519
Speaker 15: Much faster today.

567
00:37:37,159 --> 00:37:44,760
Speaker 14: You only know gipsy to tell you where's.

568
00:37:42,320 --> 00:37:44,880
Speaker 13: The chain of the father stairs and.

569
00:37:45,039 --> 00:37:45,719
Speaker 12: See it back.

570
00:37:47,559 --> 00:37:49,239
Speaker 4: But look at side yourself.

571
00:37:50,000 --> 00:37:53,920
Speaker 18: If you don't see what you want, maybe sometimes then

572
00:37:54,079 --> 00:37:56,159
you don't leave.

573
00:37:56,360 --> 00:37:59,159
Speaker 12: A man of won just away.

574
00:38:36,039 --> 00:38:41,599
Speaker 18: Sa man we after many years ago, and all the

575
00:38:41,719 --> 00:38:44,079
wall reads down up even.

576
00:38:43,920 --> 00:38:45,039
Speaker 15: Us along.

577
00:38:46,519 --> 00:38:49,360
Speaker 8: N she'll if he's a.

578
00:38:49,400 --> 00:38:55,000
Speaker 20: Wavy chair sell you mean for them say turn again

579
00:38:55,480 --> 00:39:01,840
to care staff Wen waste some time over the alb balad.

580
00:39:04,679 --> 00:39:06,239
Speaker 10: Running out the subwagon.

581
00:39:07,719 --> 00:39:09,119
Speaker 4: Don't forget the poll.

582
00:39:38,320 --> 00:39:42,480
Speaker 5: A couple of interesting points about the band itself. That

583
00:39:42,639 --> 00:39:45,079
particular song was on There Eat a Peach album, which was,

584
00:39:45,159 --> 00:39:49,280
as we stated earlier, released in April nineteen seventy two.

585
00:39:50,440 --> 00:39:54,639
The album before that, Actually We'll Eat a Peach, was

586
00:39:54,719 --> 00:39:57,039
an interesting album because it was a mix of live

587
00:39:57,159 --> 00:39:59,960
and studio recordings, so that kind of had a uni

588
00:40:00,320 --> 00:40:02,159
vibe to it, I think, which I thought was I

589
00:40:02,239 --> 00:40:06,519
found interesting previous album before that at Fillmore East, however,

590
00:40:06,559 --> 00:40:10,960
which was released in nineteen seventy one. Talk to you know.

591
00:40:11,320 --> 00:40:14,920
There's a little interesting tidbit about the Fillmore East And

592
00:40:15,480 --> 00:40:17,679
for those of you who didn't google during the song

593
00:40:18,480 --> 00:40:23,239
the what is the Fillmore East today in New York City,

594
00:40:23,480 --> 00:40:27,480
specifically Manhattan today? It is an apple bank on the

595
00:40:27,559 --> 00:40:32,800
main floor and with apartments above it. So kind of

596
00:40:32,840 --> 00:40:38,639
a sad said end to a classic classic venue. I

597
00:40:38,760 --> 00:40:40,599
wish I could have seen something there, but I was

598
00:40:40,599 --> 00:40:42,639
a little young at the time. So I hope you

599
00:40:42,719 --> 00:40:46,840
all enjoyed. Are my little selection from the Allman Brothers.

600
00:40:46,920 --> 00:40:50,119
Ain't wasting no time, No, Ain't wasting time no more.

601
00:40:51,320 --> 00:40:53,719
Speaker 4: You could go to the bank, start singing, see what happens.

602
00:40:57,639 --> 00:41:00,679
Speaker 9: I would do that, you all know, know you would.

603
00:41:01,920 --> 00:41:04,519
Speaker 5: I wouldn't be surprised if it's been if it hasn't

604
00:41:04,519 --> 00:41:04,920
been tried.

605
00:41:05,079 --> 00:41:07,079
Speaker 3: I think I think there is like a plaque or

606
00:41:07,159 --> 00:41:07,639
something or so.

607
00:41:09,880 --> 00:41:10,400
Speaker 1: That's good.

608
00:41:10,760 --> 00:41:13,719
Speaker 5: There is there is a Yeah, there is some sort

609
00:41:13,719 --> 00:41:17,199
of a plaque there that commemorates what was there at

610
00:41:17,239 --> 00:41:19,400
the time. I do think it's a sign. Pardon the

611
00:41:19,480 --> 00:41:22,079
pun here, but it's a sign of the times that

612
00:41:22,639 --> 00:41:30,239
the such a classic venue has become a bank. And

613
00:41:30,880 --> 00:41:35,079
uh you know which which this sign of the times,

614
00:41:35,159 --> 00:41:38,159
I guess. But the the Almand Brothers are an interesting band,

615
00:41:38,199 --> 00:41:40,519
as I said, because there have been so much tragedy

616
00:41:41,280 --> 00:41:45,960
and it has so much impact on their music. You know,

617
00:41:46,079 --> 00:41:49,400
I wonder what kind of music they would write, you know,

618
00:41:49,639 --> 00:41:52,599
had Dwayne Almond not been killed in that crash.

619
00:41:52,760 --> 00:41:55,559
Speaker 3: Yeah, they did change that. The whole vibe of the

620
00:41:55,599 --> 00:41:59,679
band changed, in my opinion. After that that the sound

621
00:41:59,800 --> 00:42:04,519
and vibe, I guess Dicky Betts took over the guitar

622
00:42:04,679 --> 00:42:09,519
parts and they it went more towards like a country sound,

623
00:42:09,639 --> 00:42:13,280
you know, more what southern rock would then become, or

624
00:42:13,440 --> 00:42:16,239
what was called southern rock would become. What they were

625
00:42:16,280 --> 00:42:20,039
doing live. It was there was like jazz improvisation. It

626
00:42:20,159 --> 00:42:23,360
was like it was it was you couldn't really categorize it.

627
00:42:23,800 --> 00:42:26,000
Speaker 5: And then one thing I'll say, Neil about when interested

628
00:42:26,000 --> 00:42:30,559
and thinking about the recording of the song was Greg

629
00:42:30,599 --> 00:42:35,679
Alman in an interview, actually recalled Bets practicing the slide

630
00:42:35,719 --> 00:42:38,400
part of the song on the airplane down to Miami.

631
00:42:38,679 --> 00:42:41,280
So I'm just trying to just picture these guys flying

632
00:42:41,360 --> 00:42:44,079
down to Miami to record, and he's just sitting there

633
00:42:44,079 --> 00:42:46,440
at a seat on the plane, just you know.

634
00:42:47,639 --> 00:42:49,920
Speaker 3: I hope it was the first class and not coach

635
00:42:49,960 --> 00:42:53,239
because guy next to him would be so pissed. Somebody's

636
00:42:53,280 --> 00:42:56,039
eye out trying to take a sip.

637
00:42:55,840 --> 00:43:03,079
Speaker 4: Of his martini. And yeah, so it was what was

638
00:43:03,079 --> 00:43:05,239
it eight nine years ago? They were doing the Greg

639
00:43:05,280 --> 00:43:09,559
Olman the biography film and filming on the train tracks

640
00:43:09,599 --> 00:43:13,679
for that authorization, and a train came because people mistakenly

641
00:43:13,840 --> 00:43:15,639
think that they can hear a train coming, and you

642
00:43:15,719 --> 00:43:18,400
cannot hear believe it or not, You cannot hear a

643
00:43:18,440 --> 00:43:21,159
train coming until it's on top of you. And some

644
00:43:21,280 --> 00:43:22,239
of the crew got killed.

645
00:43:22,960 --> 00:43:26,800
Speaker 5: Oh oh my gosh, I'm telling you they are cursed.

646
00:43:27,159 --> 00:43:29,159
Speaker 4: Yeah, there was a there was a whole thing with

647
00:43:29,280 --> 00:43:32,079
that because you know, they were not allowed to be

648
00:43:32,159 --> 00:43:34,119
on the tracks. They didn't get permission. They were trying

649
00:43:34,159 --> 00:43:36,960
to do a guerrilla style, get the equipment on, have

650
00:43:37,079 --> 00:43:39,719
somebody listening, and that didn't go very well.

651
00:43:40,760 --> 00:43:42,719
Speaker 5: Neil, how was the what was the film?

652
00:43:42,760 --> 00:43:43,280
Speaker 8: Alice like?

653
00:43:44,320 --> 00:43:47,280
Speaker 3: Well, it was really an old like theater just you know,

654
00:43:47,320 --> 00:43:50,000
a regularly, like almost like a vaudeville theater. You know,

655
00:43:50,119 --> 00:43:54,800
it was I forget when exactly it was built, but

656
00:43:54,920 --> 00:43:57,320
it was. It was not built for concerts originally, you know,

657
00:43:57,440 --> 00:44:04,800
it was stage productions and stuff. They had three you know,

658
00:44:05,079 --> 00:44:07,440
the orchestra like a mezzanine in the middle, and then

659
00:44:07,679 --> 00:44:10,239
the balcony went up. Most of the time I spent

660
00:44:10,320 --> 00:44:12,760
in the balcony because you know, I couldn't afford the

661
00:44:12,840 --> 00:44:15,960
five dollars seats or five fifty. Once in a while

662
00:44:16,000 --> 00:44:18,280
I did, but I was in the three fifty seats

663
00:44:18,360 --> 00:44:23,679
up in the top as a fifteen and sixteen year old.

664
00:44:23,800 --> 00:44:26,639
And actually I think the first time I went there

665
00:44:26,800 --> 00:44:30,480
was fourteen, which is kind of I still can't believe that,

666
00:44:30,840 --> 00:44:37,880
you know, but what were my parents thinking? But yeah, no,

667
00:44:37,960 --> 00:44:41,320
it was old. It was a beautiful you know, had

668
00:44:41,480 --> 00:44:46,000
ornate stuff. You know, there's still the Capital in Portchester

669
00:44:46,159 --> 00:44:47,880
is still like that. If you've been to the Capitol

670
00:44:47,880 --> 00:44:52,119
in Portchester. Yeah, New York very similar, very similar to that.

671
00:44:52,440 --> 00:44:56,559
That would or even the Beacon Theater, which is still

672
00:44:56,599 --> 00:45:03,440
in existence in Manhattan somewhere seventy ninth Street, Okay, but yeah,

673
00:45:03,519 --> 00:45:06,400
and the Academy of music slash Palladium used to look

674
00:45:06,519 --> 00:45:09,960
like that. But much like the Filmore turning into a bank,

675
00:45:11,159 --> 00:45:15,039
the Palladium turned into a PC Richards appliance store or

676
00:45:15,119 --> 00:45:22,480
something like that. Apartments for NYU students. Yeah, on fourteenth Street. Strategic,

677
00:45:23,639 --> 00:45:26,039
you know, but you know, you know the memories and

678
00:45:26,159 --> 00:45:28,840
you know of what was recorded. You know at all

679
00:45:28,880 --> 00:45:32,159
those places, you know still lives, so it's still there.

680
00:45:32,880 --> 00:45:34,840
But the Filmore was like magic. There was it was

681
00:45:36,000 --> 00:45:38,159
you know, having been to all those different places, there

682
00:45:38,239 --> 00:45:41,639
was nothing like the vibe in that place. Even for

683
00:45:41,760 --> 00:45:46,280
a barely teenage kid like myself, you could feel it.

684
00:45:46,360 --> 00:45:49,480
It was like something about it. It was like like

685
00:45:49,559 --> 00:45:52,119
a safe It was safe haven for all the people

686
00:45:52,159 --> 00:45:54,039
that wanted to, you know, just dig the music and

687
00:45:54,440 --> 00:45:56,920
do their thing, and a time where it wasn't always

688
00:45:57,000 --> 00:46:00,679
cool to walk around looking like, you know, like a hit, okay,

689
00:46:02,440 --> 00:46:05,559
So it was it was like a very communal vibe.

690
00:46:05,599 --> 00:46:09,320
It was very you know, people were together and uh

691
00:46:09,559 --> 00:46:12,400
and I think it I think it inspired the musicians too,

692
00:46:12,480 --> 00:46:14,400
that they felt that too. And I think they were

693
00:46:14,480 --> 00:46:18,800
treated with respect by the staff, by you know, Bill Graham,

694
00:46:18,840 --> 00:46:21,239
who could be hot or cold, he could be the

695
00:46:21,320 --> 00:46:23,719
nicest guy in the world. And he could, you know,

696
00:46:23,920 --> 00:46:26,119
throw you down a flight of stairs the next minute,

697
00:46:26,159 --> 00:46:29,280
you know, if you if you ticked him off, but

698
00:46:30,639 --> 00:46:32,719
because he was a no nonsense guy, he was you know,

699
00:46:33,000 --> 00:46:36,239
but but he kept it together. And I say both

700
00:46:36,320 --> 00:46:38,960
on this on the East Coast and the West so.

701
00:46:41,039 --> 00:46:45,320
Speaker 4: Excellent. Thank you John, excellent, and Gail, we are up

702
00:46:45,360 --> 00:46:45,519
to you.

703
00:46:46,639 --> 00:46:52,800
Speaker 21: Okay, Well, Gail's song, I was I was going to say,

704
00:46:52,920 --> 00:46:57,679
it's a short little song and it's kind of a

705
00:46:57,800 --> 00:47:01,920
hard The other songs are a hard.

706
00:47:01,840 --> 00:47:05,320
Speaker 9: Act for this to follow. It was kind of a

707
00:47:05,440 --> 00:47:09,199
low hanging fruit in the category. But it's so much

708
00:47:09,360 --> 00:47:14,280
fun and you can't possibly not smile when you hear

709
00:47:14,440 --> 00:47:19,360
the first few notes of this song. It's called the TimewARP,

710
00:47:20,639 --> 00:47:25,519
and it's featured in the nineteen seventy three rock musical

711
00:47:25,840 --> 00:47:31,119
The Rocky Horror Show and it's nineteen seventy five film adaptation,

712
00:47:31,760 --> 00:47:36,559
The Rocky Horror Picture Show, and the twenty sixteen TV

713
00:47:36,760 --> 00:47:42,159
production The Rocky Horror Picture Show. Let's do the TimewARP Again? Boys.

714
00:47:42,239 --> 00:47:43,079
Speaker 4: That a long title.

715
00:47:44,400 --> 00:47:48,559
Speaker 9: The song title, as many of us know, comes from

716
00:47:48,719 --> 00:47:52,639
a dance performed during the chorus of the song now

717
00:47:52,840 --> 00:47:58,159
this also reminds me of a friend's daughter's wedding reception

718
00:47:58,440 --> 00:48:02,480
fifteen years ago. This sock Ober and it was at

719
00:48:02,519 --> 00:48:07,400
an old mansion in Salem, Massachusetts that for all the

720
00:48:07,480 --> 00:48:11,519
world looked like the interior of Colin Wood. And to

721
00:48:11,719 --> 00:48:16,840
have this song played at the wedding reception for people

722
00:48:16,960 --> 00:48:21,559
to dance to was just sensory overload. It was amazing.

723
00:48:22,800 --> 00:48:27,599
The dance itself became one of the major audience participation

724
00:48:27,800 --> 00:48:33,199
activities during screenings of the film and live performances of

725
00:48:33,360 --> 00:48:38,119
the original nineteen seventy three stage production, The Rocky Horror Show.

726
00:48:39,079 --> 00:48:43,760
The song itself is both an example of a parody

727
00:48:43,920 --> 00:48:48,480
of the dance song genre, which with much of its

728
00:48:48,639 --> 00:48:54,039
lyrics consisting of instructions on how to do the dance.

729
00:48:55,440 --> 00:48:59,159
Let's hear the song, and then I will give you

730
00:48:59,360 --> 00:49:04,320
some detail, ells about the people in it, the person

731
00:49:04,360 --> 00:49:07,920
who wrote it, and a little bit chart and coot.

732
00:49:08,320 --> 00:49:18,079
Speaker 22: It's a stounding time is fleeting, madness takes its tall.

733
00:49:19,320 --> 00:49:23,840
Speaker 4: But listen closely, not for very much longer.

734
00:49:25,960 --> 00:49:45,199
Speaker 22: I've got to keep control, doc.

735
00:49:57,800 --> 00:49:59,480
Speaker 17: It's just a jump to the left.

736
00:50:04,000 --> 00:50:34,960
Speaker 23: It's a dreamy, my fantasy freely so you can't see no,

737
00:50:35,639 --> 00:50:40,800
not at all in another dim because boy are sticking

738
00:50:41,000 --> 00:50:44,360
to show well secluded.

739
00:50:45,840 --> 00:50:49,360
Speaker 9: I see you all with a bit of mind.

740
00:50:50,840 --> 00:50:53,000
Speaker 1: You're into the times.

741
00:50:52,519 --> 00:50:57,480
Speaker 22: Clear and nothing can never be say.

742
00:50:58,800 --> 00:51:00,599
Speaker 9: It's startle since said.

743
00:51:00,440 --> 00:51:03,400
Speaker 10: Shure like you're under the day shut.

744
00:51:05,280 --> 00:51:15,960
Speaker 17: That's well.

745
00:51:16,000 --> 00:51:17,480
Speaker 15: I was walking down the street.

746
00:51:17,320 --> 00:51:21,239
Speaker 18: Didn't have anything thinking big in the way.

747
00:51:21,480 --> 00:51:24,239
Speaker 15: He shouldn't bear. We did back sur fross. He had

748
00:51:24,280 --> 00:51:31,239
a big gas right demos as step jump never.

749
00:51:42,400 --> 00:51:49,360
Speaker 10: It's just a jump to the nest. Put your hands

750
00:51:49,400 --> 00:51:50,000
on your hips.

751
00:52:14,000 --> 00:52:15,880
Speaker 9: I love that song classic.

752
00:52:16,519 --> 00:52:18,639
Speaker 8: It is awesome.

753
00:52:19,280 --> 00:52:24,960
Speaker 9: It rocks. It's so energetic. It's how can how can

754
00:52:25,000 --> 00:52:31,559
you be in a bad mood when you hear that song? Okay, So,

755
00:52:32,760 --> 00:52:34,840
by the way, the song is in the key of

756
00:52:35,000 --> 00:52:37,079
a major. If anybody cares.

757
00:52:38,760 --> 00:52:40,119
Speaker 6: Why should I care?

758
00:52:42,039 --> 00:52:45,199
Speaker 9: It was the fifth song in the original stage show,

759
00:52:46,360 --> 00:52:50,519
and the order was changed for the film and it

760
00:52:50,840 --> 00:52:56,800
became the fourth song in the film.

761
00:53:00,800 --> 00:53:01,440
Speaker 4: It was.

762
00:53:04,039 --> 00:53:14,519
Speaker 9: Written by Richard O'Brien and he played Richard O'Brian played

763
00:53:14,800 --> 00:53:19,119
riff Raff in the film. And he's still alive. He's

764
00:53:19,320 --> 00:53:22,519
like eighty two or something like that.

765
00:53:23,000 --> 00:53:25,119
Speaker 6: And I've seen other films that he's done and he's

766
00:53:25,199 --> 00:53:26,119
brilliant and everyone.

767
00:53:26,559 --> 00:53:29,880
Speaker 9: Yeah, I've heard. I did not know that one of

768
00:53:30,360 --> 00:53:38,400
the things he was in Elvirus Haunted Hills in two

769
00:53:38,480 --> 00:53:41,400
thousand and one. I did not know he was in

770
00:53:41,519 --> 00:53:48,800
that film. But uh, just incredible writing. He wrote the

771
00:53:49,119 --> 00:53:58,400
entire musical and ugh, just absolutely incredible. Most of them

772
00:53:58,559 --> 00:54:03,920
were in the original stage show and that went into

773
00:54:04,519 --> 00:54:12,320
the film as well. And let's see, let's talk about

774
00:54:12,639 --> 00:54:17,079
the participants, the performers in this a little bit. Richard

775
00:54:17,119 --> 00:54:22,280
O'Brien was born Richard Timothy Smith in twenty fifth of

776
00:54:22,440 --> 00:54:26,880
March nineteen forty two. He's a British New Zealand actor, writer,

777
00:54:27,159 --> 00:54:33,280
musician and television prevent presenter. Born in Cheltenham, Gloucestershire, he

778
00:54:33,519 --> 00:54:36,800
emigrated with his family to Taronga, New Zealand at the

779
00:54:36,880 --> 00:54:40,679
age of ten. He launched his acting career using his

780
00:54:40,880 --> 00:54:44,119
mother's maiden name O'Brien, as there was already an actor

781
00:54:44,239 --> 00:54:49,280
named Richard Smith, it sounds like a pretty common name.

782
00:54:50,159 --> 00:54:54,880
He wrote the stage show which turned into developed into

783
00:54:55,159 --> 00:55:00,840
the film the screenplay, as I mentioned, appeared on screen

784
00:55:00,920 --> 00:55:03,800
as riff Raff, and of course the film became an

785
00:55:03,880 --> 00:55:09,480
international success and has received a large cult following, of

786
00:55:10,079 --> 00:55:16,039
which I am one because it's just awesome. Other works

787
00:55:16,119 --> 00:55:19,599
he did. He also provides the voice of Lawrence Fletcher

788
00:55:19,800 --> 00:55:24,880
in the Disney Channel animated series Phineas and Ferb, as

789
00:55:24,960 --> 00:55:29,920
well as two Phineas and Ferb films. Some of his

790
00:55:30,079 --> 00:55:34,280
other acting credits include Flash Gordon of nineteen eighty, Robin

791
00:55:34,360 --> 00:55:39,719
of Sherwood nineteen eighty five, Spice World nineteen ninety seven,

792
00:55:41,000 --> 00:55:45,639
Ever After nineteen ninety eight, Dungeons and Dragons two thousand,

793
00:55:45,800 --> 00:55:51,320
and the aforementioned el Virus Haunted Hills. Now Patricia Quinn

794
00:55:51,440 --> 00:55:55,679
who also sang on this she's known for her role

795
00:55:55,960 --> 00:55:59,599
as Magenta. She was born the twenty eighth of May

796
00:55:59,719 --> 00:56:03,119
nineteen teen forty four and she is a Northern Irish

797
00:56:03,800 --> 00:56:08,360
actress and singer. She's best known for her role as Magenta,

798
00:56:09,519 --> 00:56:13,719
and in the film's opening title sequence, the movements of

799
00:56:13,800 --> 00:56:17,079
her disembodied lips are synchronized with the lyrics of the

800
00:56:17,159 --> 00:56:22,119
title song, which is science fiction double feature. I never

801
00:56:22,360 --> 00:56:25,960
realized until I did the research for this that the

802
00:56:26,119 --> 00:56:32,000
singing voice in that song is Richard O'Brien, who who

803
00:56:32,280 --> 00:56:38,599
wrote and appeared in it. Now Patricia Quinn also appeared

804
00:56:38,840 --> 00:56:44,639
in such works as the Hammer House of Horror episode

805
00:56:44,760 --> 00:56:49,239
Witching Time as Lucinda Jessop in nineteen eighty one. I

806
00:56:49,360 --> 00:56:52,159
did not realize. She was also in Monty Python's The

807
00:56:52,239 --> 00:56:56,800
Meaning of Life in nineteen eighty three and the nineteen

808
00:56:56,960 --> 00:57:01,519
eighty seven Doctor Who Serial Rag and Fire Barbara. Have

809
00:57:01,639 --> 00:57:03,239
you ever heard of that?

810
00:57:03,559 --> 00:57:03,960
Speaker 1: I don't.

811
00:57:05,039 --> 00:57:11,079
Speaker 9: Yeah, well, I'm not familiar with it. Now she's the

812
00:57:12,000 --> 00:57:14,719
resident Doctor Who may even here are.

813
00:57:16,519 --> 00:57:17,199
Speaker 6: Yes yes?

814
00:57:17,880 --> 00:57:17,920
Speaker 3: So.

815
00:57:19,199 --> 00:57:22,239
Speaker 9: Her latest film credit is Rob Zombies The Lords of

816
00:57:22,320 --> 00:57:28,320
Salem from twenty twelve. Now next we go to Little Nell,

817
00:57:28,480 --> 00:57:34,000
whose given name is Laura Elizabeth Campbell. She was born

818
00:57:34,119 --> 00:57:38,400
May twenty fourth, nineteen fifty three, and her stage name

819
00:57:38,639 --> 00:57:43,079
is Little Nell. She's an Australian actress, singer and former

820
00:57:43,239 --> 00:57:46,440
club owner. She used to own a couple of clubs

821
00:57:46,559 --> 00:57:54,119
and restaurants in New York City. Oddly she came in.

822
00:57:54,760 --> 00:58:01,239
She came to America at some point, and her role

823
00:58:01,480 --> 00:58:06,280
in Rocky Horror was Columbia. She decided to use the

824
00:58:06,400 --> 00:58:10,039
name Little Nell as a stage name when she arrived

825
00:58:10,360 --> 00:58:14,440
in actually in Britain in the nineteen seventies with her family.

826
00:58:14,639 --> 00:58:18,920
She sold clothes at Kensington Market. Her stall was next

827
00:58:18,960 --> 00:58:24,119
to Freddie Mercury's Oh My gosh, can you even imagine?

828
00:58:24,280 --> 00:58:25,360
Speaker 6: I wish I could have seen that?

829
00:58:25,639 --> 00:58:29,679
Speaker 9: Oh Lord Wow. She also worked as a busker and

830
00:58:29,800 --> 00:58:33,440
a soda jerk in a cafe, where her tap dancing

831
00:58:33,639 --> 00:58:36,960
is often noted as the reason why she was cast

832
00:58:37,119 --> 00:58:41,559
in Columbia in the original production of The Rocky Horror

833
00:58:41,639 --> 00:58:48,480
Show following an impromptu audition. She also starred as Nurse

834
00:58:48,599 --> 00:58:52,679
Anselong in the Rocky Horn nineteen eighty one sequel called

835
00:58:52,800 --> 00:58:57,280
Shock Treatment, and after the Rocky Horror Picture Show, she

836
00:58:57,559 --> 00:59:01,719
signed a recording contract with A and M Records. Not

837
00:59:01,920 --> 00:59:09,159
too shabby, huh. Charles Gray who was born Donald Marshall

838
00:59:09,239 --> 00:59:13,679
Gray twenty ninth of August nineteen twenty eight and unfortunately

839
00:59:13,800 --> 00:59:17,960
he passed in the year two thousand. She was born

840
00:59:18,119 --> 00:59:22,800
in Bournemouth, Hampshire. He was an English actor and voice artist,

841
00:59:22,920 --> 00:59:27,760
appearing in around one hundred and forty films and TV series.

842
00:59:28,639 --> 00:59:31,760
He was actually in a couple of James Bond films.

843
00:59:32,280 --> 00:59:36,519
He was best known as the archvillain Ernest stavro Blofeld

844
00:59:36,639 --> 00:59:40,559
in the James Bond film Diamonds Are Forever and he

845
00:59:40,719 --> 00:59:45,440
was also Dico Henderson in a previous Bond film You

846
00:59:45,599 --> 00:59:49,719
Only Live Twice. He was Sherlock Holmes's brother Mike Croft

847
00:59:49,800 --> 00:59:55,360
Holmes in the Adventures of Sherlock Holmes and the Criminologist

848
00:59:55,639 --> 00:59:59,199
in The Rocky Horror Picture Show, as well as Judge

849
00:59:59,280 --> 01:00:03,920
Oliver Wright in its nineteen eighty one sequel Shock Treatment.

850
01:00:05,599 --> 01:00:12,199
Gray attended Bournemouth School alongside Benny Hill, whose school had

851
01:00:12,280 --> 01:00:16,119
been evacuated to the same buildings during the Second World War.

852
01:00:17,159 --> 01:00:20,480
He unfortunately died of cancer at a London hospital on

853
01:00:20,599 --> 01:00:23,880
the seventh of March two thousand, at the age of

854
01:00:24,079 --> 01:00:29,920
seventy one. Now, just as an aside, this film is

855
01:00:30,199 --> 01:00:34,920
what made me fall deeply, irrevocably in love with Jim Curry,

856
01:00:36,119 --> 01:00:41,119
and three of us among this group have a little

857
01:00:42,280 --> 01:00:45,920
anecdote where each of us met Tim Curry in a

858
01:00:46,000 --> 01:00:48,880
photo op. I'm trying to remember how many years ago

859
01:00:49,159 --> 01:00:49,320
was this.

860
01:00:49,639 --> 01:00:53,000
Speaker 6: I think it was twenty seventeen. Wow, Yeah, I think

861
01:00:53,599 --> 01:00:56,880
Mercedes went to that convention because we heard he'd be

862
01:00:57,000 --> 01:00:57,760
appearing there.

863
01:00:58,119 --> 01:01:02,199
Speaker 9: Yes, yes, yes, I remember being there early, early, early

864
01:01:02,239 --> 01:01:05,679
in the morning and reading it was it was freezing out.

865
01:01:05,920 --> 01:01:09,239
There was a scary guy walking around dressed as a

866
01:01:09,360 --> 01:01:10,039
clown like.

867
01:01:10,119 --> 01:01:11,039
Speaker 1: He was dressed as it.

868
01:01:11,679 --> 01:01:19,719
Speaker 9: Yeah, yes, being terrifying and tom but it was, oh gosh,

869
01:01:20,400 --> 01:01:22,519
just meeting Tim Curry so worth.

870
01:01:22,559 --> 01:01:25,280
Speaker 6: It was worth standing out there in the cold for

871
01:01:25,400 --> 01:01:29,039
three hours, Oh my.

872
01:01:29,159 --> 01:01:34,079
Speaker 9: God, dear gentleman. And of course the you know, the

873
01:01:34,159 --> 01:01:37,039
first thing I do when I meet anybody's hold out

874
01:01:37,079 --> 01:01:39,679
my hand to shake their hand. Well, he took my

875
01:01:39,840 --> 01:01:45,760
hand and he didn't let go, so I can say

876
01:01:46,159 --> 01:01:49,880
to the world I held hands with Tim Curry.

877
01:01:50,480 --> 01:01:52,679
Speaker 6: Yes, and when I saw that, I cried. And then

878
01:01:53,239 --> 01:01:56,559
yet and honestly, when I sat down from my photo

879
01:01:56,599 --> 01:01:59,559
op and the photographer said to me, could you please

880
01:01:59,599 --> 01:02:02,320
move your chair a little closer to Tim Curry.

881
01:02:03,480 --> 01:02:12,639
Speaker 9: I was like, okay, And Mercedes, didn't he admire approach

882
01:02:12,760 --> 01:02:15,559
that you were wearing? If I remember, it was a necklace.

883
01:02:15,760 --> 01:02:20,079
Speaker 7: It was made out of like a red mirrred material

884
01:02:20,360 --> 01:02:25,119
and it was like blood dripping down. Oh okay, yeah,

885
01:02:25,400 --> 01:02:28,400
he said it reminded of an artist that he loved,

886
01:02:28,519 --> 01:02:32,039
which I immediately forgot the name of the artist because

887
01:02:32,039 --> 01:02:33,000
I was like, oh.

888
01:02:34,480 --> 01:02:34,639
Speaker 8: Yeah.

889
01:02:34,679 --> 01:02:36,639
Speaker 6: When he asked me what my name was, I almost

890
01:02:36,840 --> 01:02:37,840
didn't know what to say.

891
01:02:41,519 --> 01:02:42,079
Speaker 8: I know, I.

892
01:02:43,760 --> 01:02:47,360
Speaker 9: Apologized to him. I said, I apologize for having cold hands.

893
01:02:47,400 --> 01:02:51,000
It's really cold outside. And of course he said, ah,

894
01:02:51,199 --> 01:02:55,920
but cold hands, warm heart. Now from anybody else that

895
01:02:56,519 --> 01:02:59,960
would have sounded trite, But God, Tim Curry could say

896
01:03:00,119 --> 01:03:03,159
anything to me and I would just be like, oh,

897
01:03:03,280 --> 01:03:04,719
that's so nice, you know.

898
01:03:04,960 --> 01:03:06,840
Speaker 6: Oh he could have recited the elements to me and

899
01:03:06,880 --> 01:03:07,800
I'd be on cloud now.

900
01:03:07,920 --> 01:03:10,280
Speaker 9: Oh yes, absolutely so.

901
01:03:10,760 --> 01:03:15,320
Speaker 1: Okay, so he's got a fan club here, Yes, absolutely.

902
01:03:15,199 --> 01:03:18,599
Speaker 6: So, I really feel so.

903
01:03:19,440 --> 01:03:25,079
Speaker 9: The original Australian cast recording from nineteen seventy seven peaked

904
01:03:26,039 --> 01:03:31,599
at number eighty five in the Australia Kent Music Report.

905
01:03:33,320 --> 01:03:33,760
Speaker 4: One week.

906
01:03:33,840 --> 01:03:36,800
Speaker 9: It's it was a weekly chart in nineteen seventy seven.

907
01:03:38,960 --> 01:03:46,039
The Rocky Horror Picture Show the movie version recording peaked

908
01:03:46,440 --> 01:03:52,239
at number three in Australia Kent Music Report. It peaked

909
01:03:52,400 --> 01:03:57,480
at number twelve in Canada the RPM Top Singles. In Europe,

910
01:03:57,519 --> 01:04:04,280
it peaked at sixty on the euro Digital Songs Billboard. France,

911
01:04:04,880 --> 01:04:09,280
it peaked at twenty UK Singles Chart, it peaked at thirteen,

912
01:04:10,159 --> 01:04:13,719
and in the US Billboard Hot one hundred, it peaked

913
01:04:14,119 --> 01:04:17,320
at twenty nine. And I love the song. I Love

914
01:04:17,440 --> 01:04:19,079
the movie just.

915
01:04:19,800 --> 01:04:20,760
Speaker 1: Loved Tim Curry.

916
01:04:21,159 --> 01:04:24,039
Speaker 9: Yes, and that's why I chose it.

917
01:04:26,079 --> 01:04:32,239
Speaker 4: I am not surprised at your selection at all. Totally fitting,

918
01:04:32,599 --> 01:04:34,880
but a really good one, So thank you, Gail.

919
01:04:36,159 --> 01:04:42,599
Speaker 9: How can any guy look attractive in heels, women's lingerie

920
01:04:43,480 --> 01:04:47,679
and makeup? I don't know how, but he pulled it off.

921
01:04:49,719 --> 01:04:52,480
Speaker 4: Johns what he does on the weekends.

922
01:04:54,000 --> 01:04:57,639
Speaker 3: I've tried. I've tried, but I can't do the heels.

923
01:05:00,039 --> 01:05:01,800
Speaker 9: I got news for you. I can't do the heels

924
01:05:01,840 --> 01:05:04,440
at my age, either of yep.

925
01:05:05,039 --> 01:05:08,480
Speaker 4: And the makeup's more of a smear. That story for

926
01:05:08,559 --> 01:05:09,119
another night.

927
01:05:09,480 --> 01:05:09,599
Speaker 3: Oh.

928
01:05:09,639 --> 01:05:11,880
Speaker 9: I love makeup. It's like coloring for grown up.

929
01:05:13,079 --> 01:05:16,960
Speaker 4: Okay, I'm going to skirt around that and we're gonna

930
01:05:17,000 --> 01:05:22,239
take another break. We have two more to go, so

931
01:05:22,360 --> 01:05:22,880
stick around.

932
01:05:22,920 --> 01:05:23,719
Speaker 8: We'll be right back.

933
01:05:24,440 --> 01:05:36,280
Speaker 4: Letsondriverradio dot com Hudson Riverradio dot com. Your mom likes us,

934
01:05:36,679 --> 01:05:39,239
and welcome back to the Rock and Roll History Show, Barbara.

935
01:05:39,360 --> 01:05:41,760
We are up to you, all right?

936
01:05:41,960 --> 01:05:46,840
Speaker 6: Okay, Well, my song choice for today's theme is time

937
01:05:46,880 --> 01:05:50,719
Won't let Me Buy the Outsiders. The band was formed

938
01:05:50,840 --> 01:05:55,320
in nineteen fifty eight by founding member and guitarist Slash

939
01:05:55,960 --> 01:06:00,719
saxophonist Tom King at the tender age of fifteen. He

940
01:06:00,920 --> 01:06:05,039
named the band the Starfires and started out as an

941
01:06:05,159 --> 01:06:09,400
R and B combo. King was joined by Mort Madsten

942
01:06:09,599 --> 01:06:13,559
on bass, Al Austin on lead guitar, who was later

943
01:06:13,679 --> 01:06:17,239
replaced by Bill Bruno, Jim Fox on drums, who was

944
01:06:17,320 --> 01:06:21,880
replaced by Ronnie Harkei when Fox left for college. Also

945
01:06:22,039 --> 01:06:26,400
joining them was Sonny Jerachi on lead vocals. The band

946
01:06:26,639 --> 01:06:29,400
had been active in the Cleveland music scene and was

947
01:06:29,559 --> 01:06:35,079
contracted with Pama Records, owned by King's uncle. They recorded

948
01:06:35,280 --> 01:06:40,559
time Won't Let Me in September nineteen sixty five. However,

949
01:06:41,360 --> 01:06:45,159
once Capitol Records heard their recording, they signed the band,

950
01:06:45,360 --> 01:06:49,599
who then underwent a name change from The Starfires to

951
01:06:49,719 --> 01:06:53,960
The Outsiders. Rumor has it they chose the name The

952
01:06:54,039 --> 01:06:56,760
Outsiders because he was kind of on the outs with

953
01:06:56,840 --> 01:07:00,360
his family, because he wasn't on his uncle's label and more.

954
01:07:01,559 --> 01:07:05,360
Capitol Records released the song as a single in January

955
01:07:05,679 --> 01:07:09,639
nineteen sixty six. So let's enjoy it now and we'll

956
01:07:09,679 --> 01:07:11,679
follow with some further discussion afterwards.

957
01:07:20,119 --> 01:07:26,719
Speaker 15: Can adwain thee even though you.

958
01:07:32,800 --> 01:07:33,360
Speaker 4: Can way?

959
01:07:37,519 --> 01:07:38,000
Speaker 17: Do you know?

960
01:07:39,079 --> 01:07:39,400
Speaker 8: Did you.

961
01:07:43,599 --> 01:07:44,239
Speaker 12: Shime off.

962
01:07:56,199 --> 01:07:56,639
Speaker 6: With them?

963
01:08:03,440 --> 01:08:04,599
Speaker 8: Can't here?

964
01:08:04,639 --> 01:08:06,719
Speaker 12: You see I've waited too long?

965
01:08:09,199 --> 01:08:10,039
Speaker 4: To who Love You?

966
01:08:10,800 --> 01:08:13,159
Speaker 21: To who Hold You in My House?

967
01:08:15,360 --> 01:08:16,479
Speaker 10: Say, won't let me?

968
01:08:18,600 --> 01:08:19,680
Speaker 15: John? Let me.

969
01:08:21,760 --> 01:08:22,000
Speaker 8: John?

970
01:08:48,000 --> 01:08:51,199
Speaker 15: I can't wait an.

971
01:08:53,960 --> 01:08:57,560
Speaker 10: Eden here, won maybe too?

972
01:09:01,840 --> 01:09:02,399
Speaker 6: Can you win?

973
01:09:03,840 --> 01:09:07,079
Speaker 9: Never to know?

974
01:09:08,640 --> 01:09:10,119
Speaker 17: You be me?

975
01:09:10,239 --> 01:09:13,039
Speaker 8: To time?

976
01:09:13,119 --> 01:09:28,880
Speaker 15: Won't you go? Let me?

977
01:09:35,920 --> 01:09:36,039
Speaker 17: Now?

978
01:09:40,640 --> 01:09:59,560
Speaker 12: Talking take.

979
01:09:56,800 --> 01:09:57,039
Speaker 11: Time?

980
01:09:57,079 --> 01:09:59,479
Speaker 6: Won't Let Me went on to reach number five on

981
01:09:59,600 --> 01:10:03,079
the Board Hot one hundred in April nineteen sixty six,

982
01:10:03,640 --> 01:10:06,880
and was ranked as the forty second biggest American.

983
01:10:06,520 --> 01:10:07,239
Speaker 1: Hit of that year.

984
01:10:07,720 --> 01:10:10,159
Speaker 6: The song came out during the height of the British invasion,

985
01:10:10,319 --> 01:10:13,159
and lead singer Sonny Geraci has referred to the sound

986
01:10:13,359 --> 01:10:17,920
as mercy beat meets motown. The song was covered in

987
01:10:18,079 --> 01:10:21,279
nineteen ninety four by The Smoothereens and featured as the

988
01:10:21,479 --> 01:10:26,079
ending soundtrack of the film Time Cop Time Cop Right

989
01:10:26,119 --> 01:10:31,720
with our theme tonight perfect never saw it? You don't

990
01:10:31,760 --> 01:10:32,960
watch cop shows at all?

991
01:10:33,439 --> 01:10:36,960
Speaker 4: No, no, not your thing?

992
01:10:37,279 --> 01:10:37,319
Speaker 17: No?

993
01:10:38,279 --> 01:10:42,520
Speaker 6: Okay, fair enough? All right, That's all I got. I

994
01:10:43,119 --> 01:10:46,560
read like a half a dozen articles and this is

995
01:10:46,600 --> 01:10:50,039
basically the main information that I was able to find

996
01:10:50,119 --> 01:10:53,760
on it one. Yeah, they basically had you know this

997
01:10:54,239 --> 01:10:56,239
this one album and that was it.

998
01:10:58,039 --> 01:11:00,880
Speaker 4: Sometimes that's till you need the first time.

999
01:11:01,840 --> 01:11:02,079
Speaker 8: That's it.

1000
01:11:02,680 --> 01:11:04,399
Speaker 4: Yeah, you don't have to worry about.

1001
01:11:04,319 --> 01:11:07,239
Speaker 7: Chasing it against Sometimes they spend a lifetime trying to

1002
01:11:07,319 --> 01:11:09,239
follow it up and can never get it right.

1003
01:11:09,920 --> 01:11:14,119
Speaker 4: Right cool, All right, thank you, Barbara. I got one

1004
01:11:14,199 --> 01:11:17,359
more for you. I think you're all gonna know the song.

1005
01:11:17,800 --> 01:11:20,199
Maybe you don't know the backstory, but we're talking about

1006
01:11:20,239 --> 01:11:23,640
a band that was originally called the Mungo Jerry Blues Band.

1007
01:11:24,680 --> 01:11:28,680
It was formed by Ray Dorset in nineteen seventy. Raymond

1008
01:11:28,840 --> 01:11:32,039
Dorsett was born in England in nineteen forty six. He

1009
01:11:32,239 --> 01:11:35,359
plays guitar sings. He wrote most of the songs for

1010
01:11:35,479 --> 01:11:38,319
the band. Growing up, he dropped out of school and

1011
01:11:38,399 --> 01:11:42,760
became an apprentice hairdresser, and then he studied and passed

1012
01:11:42,840 --> 01:11:47,079
the exams for a City in Guilds qualification to work

1013
01:11:47,159 --> 01:11:51,039
with radio control equipment and mechanical components. A City in

1014
01:11:51,159 --> 01:11:55,960
Guilds is a trade school training program through colleges in

1015
01:11:56,000 --> 01:11:58,760
England like around here, it'd be like our Bose's program

1016
01:11:58,960 --> 01:12:02,920
or like a community college kind of thing. He wound

1017
01:12:03,000 --> 01:12:07,039
up working for Radio Control Specialists, which manufactured equipment for

1018
01:12:07,640 --> 01:12:10,760
films and for moving models, and then he would later

1019
01:12:10,840 --> 01:12:14,159
work for a lab for Timex, the watch company Timex,

1020
01:12:14,760 --> 01:12:17,520
and like many he was always doing music on the side,

1021
01:12:18,239 --> 01:12:21,600
and he was growing sideburns that would make Elvis Presley

1022
01:12:22,119 --> 01:12:29,199
insanely jealous. They're the uberist of sideburns, like super mutton chops.

1023
01:12:29,319 --> 01:12:31,880
If you haven't seen them, you just have to google

1024
01:12:32,359 --> 01:12:37,520
Ray Dorset and there's just no It's like starting with

1025
01:12:37,600 --> 01:12:39,960
Chewbacca and then shaving parts off.

1026
01:12:40,680 --> 01:12:41,239
Speaker 3: That's more.

1027
01:12:42,439 --> 01:12:44,439
Speaker 4: Yeah, I don't know. I don't know how else to

1028
01:12:44,560 --> 01:12:48,760
describe it. I think Mercedes is actively googling, so I

1029
01:12:48,880 --> 01:12:54,199
almost want to see the reaction. Yeah I remember him.

1030
01:12:54,600 --> 01:12:58,319
Yeah yeah, So man, if sidebirds come back like that,

1031
01:12:59,199 --> 01:13:00,520
we're going to run out of shampoo.

1032
01:13:01,279 --> 01:13:03,600
Speaker 3: He has more hair on his sideburns than most men

1033
01:13:03,720 --> 01:13:05,119
have on the top of their heads.

1034
01:13:05,279 --> 01:13:08,359
Speaker 4: Yeah, yeah, I don't know. I wonder if he bumped

1035
01:13:08,399 --> 01:13:14,039
into doorways with that. So in nineteen sixty eight, he

1036
01:13:14,159 --> 01:13:17,119
and two friends formed a band called Good Earth, which

1037
01:13:17,199 --> 01:13:20,479
got them a record contract. Then his friends moved on

1038
01:13:20,760 --> 01:13:24,640
to other projects and he brought in a washboard player

1039
01:13:25,680 --> 01:13:29,119
and the band shifted to an acoustic skiffle style. Basically

1040
01:13:29,199 --> 01:13:33,000
a jug band. Skiffle is like a folk style based

1041
01:13:33,039 --> 01:13:36,399
on American music. That the British kind of adopted and

1042
01:13:36,479 --> 01:13:40,039
made their own, but not your typical knee jerk reaction.

1043
01:13:40,159 --> 01:13:42,159
Well you're gonna quit, okay, I'm going to bring in

1044
01:13:42,239 --> 01:13:45,760
a washboard. That's not generally the backup instrument that.

1045
01:13:45,880 --> 01:13:46,279
Speaker 12: You think of.

1046
01:13:46,479 --> 01:13:48,840
Speaker 3: And this was what nineteen seventy.

1047
01:13:48,640 --> 01:13:52,079
Speaker 4: This was before nineteen seventy, like sixty eight, sixty nine,

1048
01:13:52,479 --> 01:13:54,800
right before this skiffle.

1049
01:13:54,479 --> 01:13:57,239
Speaker 3: Thing it was in like that was pre Beatles, Like

1050
01:13:57,439 --> 01:14:00,800
the Beatles were a skiffle band. H how far back

1051
01:14:01,239 --> 01:14:05,720
you know, it wasn't exactly you know on everybody's you

1052
01:14:05,760 --> 01:14:06,640
know mind or right.

1053
01:14:06,760 --> 01:14:09,199
Speaker 4: It was a little bit retro, a couple of years behind.

1054
01:14:10,800 --> 01:14:13,760
But it worked so because we're talking about it today,

1055
01:14:14,239 --> 01:14:17,319
so you got to give him credit. By nineteen seventy,

1056
01:14:17,399 --> 01:14:20,600
like Neil pointed out, that band had just become Mungo Jerry.

1057
01:14:20,680 --> 01:14:24,279
They shortened the title. Over the years, members have come

1058
01:14:24,359 --> 01:14:26,399
and gone. We could spend an hour talking about that.

1059
01:14:26,600 --> 01:14:29,119
But Ray Dorset has always been the one out front.

1060
01:14:30,079 --> 01:14:32,880
So where did the name Mungo Jerry come from? Well

1061
01:14:32,920 --> 01:14:35,399
it starts with the poet T. S. Eliot, who won

1062
01:14:35,479 --> 01:14:39,199
the Nobel Prize in Literature in nineteen forty eight before that,

1063
01:14:39,359 --> 01:14:42,159
in nineteen thirty nine, he published a collection of poems

1064
01:14:42,920 --> 01:14:48,760
about cats called Old Possum's Book of Practical Cats. One

1065
01:14:48,840 --> 01:14:53,119
poem was titled Mungo Jerry one word and Rumpel Teaser

1066
01:14:53,239 --> 01:14:56,640
one word. And of course this book would also come

1067
01:14:56,720 --> 01:14:59,600
back to Bitis in the Ass as the inspiration for

1068
01:14:59,760 --> 01:15:05,800
the musical cats Cats oh Man, Yes so, Ray and

1069
01:15:05,880 --> 01:15:08,760
the band had enough success to be booked at the

1070
01:15:08,960 --> 01:15:12,840
Hollywood Music Festival in Staffordshire in May of nineteen seventy,

1071
01:15:12,920 --> 01:15:18,439
which was a huge deal because other performers included jose Feliciano,

1072
01:15:18,479 --> 01:15:20,560
who I don't think we've talked about, best known now

1073
01:15:20,640 --> 01:15:24,680
for Felice Navidad, the Christmas song, but a big wig.

1074
01:15:24,760 --> 01:15:26,159
He was a powerhouse guitarist and.

1075
01:15:26,199 --> 01:15:28,399
Speaker 9: Still is also covered like My Fire.

1076
01:15:28,680 --> 01:15:31,680
Speaker 4: He's done a bunch of covers and he puts his

1077
01:15:31,760 --> 01:15:33,119
own style on him and I think he does a

1078
01:15:33,199 --> 01:15:35,840
good job. And he's still out there. He's still playing Wow.

1079
01:15:36,039 --> 01:15:40,520
But also on the bill Ginger Baker's Air Force, Black Sabbath,

1080
01:15:40,920 --> 01:15:45,439
The Grateful Day and traffic. Can you imagine all of that?

1081
01:15:46,560 --> 01:15:51,119
And then a skiffle jug band comes out. Ozzie goes

1082
01:15:51,199 --> 01:15:57,560
off and the watchboard comes on. So their first single,

1083
01:15:57,720 --> 01:15:59,319
which is the one we're going to listen tonight, is

1084
01:15:59,359 --> 01:16:03,680
called in This Summertime. It was released on May twenty second,

1085
01:16:04,079 --> 01:16:07,720
nineteen seventy, the first night of the Hollywood Music Festival.

1086
01:16:07,760 --> 01:16:11,479
It was May twenty third, nineteen seventy, and they were

1087
01:16:11,560 --> 01:16:14,079
so well received that they were asked to perform again

1088
01:16:14,159 --> 01:16:17,199
the second night, May twenty fourth, nineteen seventy.

1089
01:16:17,520 --> 01:16:20,079
Speaker 9: I remember when that song came out, I remember it

1090
01:16:20,279 --> 01:16:20,680
very well.

1091
01:16:21,039 --> 01:16:21,279
Speaker 3: Yep.

1092
01:16:21,600 --> 01:16:24,680
Speaker 4: Their style was just so different and unusual compared to

1093
01:16:24,880 --> 01:16:28,159
what else was going on, especially when Grateful Dead's on

1094
01:16:28,199 --> 01:16:32,399
the stage right before you. The crowd loved it, they

1095
01:16:32,439 --> 01:16:35,319
absolutely loved it, so they timed it perfectly.

1096
01:16:35,800 --> 01:16:36,600
Speaker 9: I love this song.

1097
01:16:36,800 --> 01:16:38,640
Speaker 4: Yeah, me too too, this song.

1098
01:16:38,760 --> 01:16:38,920
Speaker 18: Yes.

1099
01:16:39,199 --> 01:16:42,319
Speaker 4: Within a week in the Summertime had shot to number one,

1100
01:16:42,920 --> 01:16:45,880
and Ray actually had to ask his boss at time X,

1101
01:16:45,920 --> 01:16:48,319
where he was still working, for a day off so

1102
01:16:48,520 --> 01:16:50,800
Mungo Jerry could go do the TV show Top of

1103
01:16:50,840 --> 01:16:52,680
the Pops, which was huge.

1104
01:16:53,319 --> 01:16:56,119
Speaker 6: So that keeps with our theme too, TIMEX time X.

1105
01:16:56,239 --> 01:16:56,880
Speaker 9: Yeah, there you go.

1106
01:16:57,159 --> 01:17:01,319
Speaker 4: Yep. The song was the first to be released as

1107
01:17:01,359 --> 01:17:05,159
a maxi single, meaning that there was the A side

1108
01:17:05,239 --> 01:17:07,960
song and then two different songs on the B side,

1109
01:17:08,479 --> 01:17:11,880
and then MAXI singles would later grow into like remixes

1110
01:17:11,920 --> 01:17:14,720
of the songs or extra tracks on there, rather than

1111
01:17:14,840 --> 01:17:16,880
just your forty five with one song on each side.

1112
01:17:17,720 --> 01:17:19,800
A MAXI single looks like a forty five, but it's

1113
01:17:19,800 --> 01:17:21,680
played at thirty three and the third so you can

1114
01:17:21,920 --> 01:17:25,840
fit more on it. And this song in the Summertime

1115
01:17:26,359 --> 01:17:30,800
is still the biggest selling single of all time by

1116
01:17:30,960 --> 01:17:34,279
any British band, over thirty million copies.

1117
01:17:34,680 --> 01:17:36,479
Speaker 9: Oh my, any British and.

1118
01:17:36,720 --> 01:17:40,199
Speaker 4: If I remember correctly, Britain's had like two big bands

1119
01:17:41,800 --> 01:17:46,279
maybe three. That is wild right, and this has I'm

1120
01:17:46,359 --> 01:17:51,520
being obnoxious and nobody's calling yeah, but yes, this is

1121
01:17:51,560 --> 01:17:55,239
still the biggest selling British single, which just blows my mind.

1122
01:17:55,479 --> 01:17:56,199
Speaker 8: It is. Yeah.

1123
01:17:57,600 --> 01:17:59,760
Speaker 4: Race said it took him ten minutes to write, because

1124
01:17:59,800 --> 01:18:04,239
of course it did. I've spent a lifetime coming up

1125
01:18:04,279 --> 01:18:06,760
with nothing, and this guy sits down for ten minutes

1126
01:18:06,840 --> 01:18:10,159
with his used secondhand stratocaster guitar comes up with this.

1127
01:18:11,600 --> 01:18:16,319
It was recorded at Pie Records. The producer was Barry Murray.

1128
01:18:17,319 --> 01:18:20,159
The song was originally less than two minutes long, about

1129
01:18:20,199 --> 01:18:22,840
a minute forty seven and Barry wanted it to be

1130
01:18:22,960 --> 01:18:25,880
longer because remember at the time that three minutes, three

1131
01:18:25,960 --> 01:18:28,560
minutes thirty seconds, that was the golden place where you

1132
01:18:28,640 --> 01:18:30,640
wanted to be to get your song on the record.

1133
01:18:30,680 --> 01:18:33,359
It was long enough to you know, be a full song,

1134
01:18:33,479 --> 01:18:36,840
but not so long, you know, so they could keep moving,

1135
01:18:37,439 --> 01:18:39,600
you know, keep moving along. Nothing would take up too

1136
01:18:39,640 --> 01:18:42,720
much time. So in order to make it longer, Barry

1137
01:18:42,800 --> 01:18:46,720
simply played the exact same song twice in a row

1138
01:18:47,560 --> 01:18:49,680
and just mixed it up a little bit different to

1139
01:18:49,760 --> 01:18:51,880
make it sound a little bit different than the first

1140
01:18:51,920 --> 01:18:54,239
time around. They wanted to put the sound of a

1141
01:18:54,319 --> 01:18:56,960
motorcycle in between the two halves as kind of the

1142
01:18:57,039 --> 01:19:00,359
sound of summer going after your motorcycle ride, but nobody

1143
01:19:00,439 --> 01:19:03,600
there had a motorcycle. One of the engineers had a

1144
01:19:03,800 --> 01:19:07,520
Triumph sports car, so they drove that past the studio

1145
01:19:07,640 --> 01:19:10,199
a few times and recorded that, which is how they

1146
01:19:10,239 --> 01:19:12,359
got the engine sound that you're gonna hear in the middle.

1147
01:19:12,720 --> 01:19:15,760
So they play the song you hear the Triumph sports

1148
01:19:15,800 --> 01:19:19,520
car and they just start the same recording over again

1149
01:19:19,600 --> 01:19:22,279
and play it a second time and faded out at

1150
01:19:22,319 --> 01:19:27,960
about three minutes and thirty seconds. Genius it totally is

1151
01:19:28,960 --> 01:19:33,039
totally is. Ray Dorset does the vocals. He overdubbed all

1152
01:19:33,079 --> 01:19:36,960
the guitar parts, and he does the percussion. Paul King

1153
01:19:37,039 --> 01:19:39,880
plays the banjo and the jug. I gotta get a jug.

1154
01:19:43,479 --> 01:19:44,920
Speaker 3: Was it full or empty at the time?

1155
01:19:45,079 --> 01:19:48,399
Speaker 4: I say it started as one and ended as the other.

1156
01:19:51,079 --> 01:19:53,640
Colin Earl is on the piano, and Mike Cole plays

1157
01:19:53,680 --> 01:19:56,600
the upright bass. So let's listen to in the summertime

1158
01:19:56,680 --> 01:19:58,279
and we'll talk a little bit more afterwards.

1159
01:20:08,760 --> 01:20:11,680
Speaker 19: In the summer time, when the weather is high, you

1160
01:20:11,760 --> 01:20:14,119
can shoot, strive up pain and tell us the sky

1161
01:20:14,479 --> 01:20:16,960
when the weather is right. You young, with you young

1162
01:20:17,000 --> 01:20:22,359
man on your mind, everything to hie, go ahead and

1163
01:20:22,399 --> 01:20:23,640
see what you can find.

1164
01:20:25,840 --> 01:20:28,920
Speaker 10: If but that is rich, take a reveo me, but

1165
01:20:29,079 --> 01:20:31,960
that is what just do about your fis.

1166
01:20:31,520 --> 01:20:34,279
Speaker 19: Be alone with the la your turn nor return of

1167
01:20:34,359 --> 01:20:39,159
twenty five. When the some go start, you can make

1168
01:20:39,199 --> 01:20:44,079
it make it good in the LIPI when ikay phoebe.

1169
01:20:44,159 --> 01:20:46,199
When when I tell you when I mean we love e,

1170
01:20:46,319 --> 01:20:49,359
everybody probably do e his babes mendom weather.

1171
01:20:49,319 --> 01:20:52,000
Speaker 8: Is fine, mean no fishing or goes hailing. Let's see

1172
01:20:54,079 --> 01:20:56,760
we're always high. I think that's what living here. Let's

1173
01:20:56,800 --> 01:20:58,039
have lots of baby.

1174
01:21:00,039 --> 01:21:01,159
Speaker 15: Along with us.

1175
01:21:01,359 --> 01:21:03,199
Speaker 10: Did he did daddy that?

1176
01:21:04,159 --> 01:21:05,119
Speaker 8: Yeah? What have that be?

1177
01:21:06,000 --> 01:21:07,680
Speaker 17: No do.

1178
01:21:11,359 --> 01:21:11,680
Speaker 8: Daddy?

1179
01:21:11,720 --> 01:21:12,560
Speaker 12: Did that die?

1180
01:21:16,119 --> 01:21:16,960
Speaker 8: All right? All right?

1181
01:21:34,000 --> 01:21:35,119
Speaker 10: When the winner's here?

1182
01:21:35,399 --> 01:21:37,840
Speaker 8: Yeah, it stout in time, bring about the way in

1183
01:21:37,920 --> 01:21:39,640
fact did sing the summer time?

1184
01:21:39,720 --> 01:21:42,119
Speaker 19: Man, we'll single game. We ain't go driving on me

1185
01:21:42,239 --> 01:21:47,079
being down And she's written now has been.

1186
01:21:47,000 --> 01:21:48,760
Speaker 8: Your friends, Then we're all going into.

1187
01:21:48,680 --> 01:22:16,720
Speaker 19: Down in the summertime. When the weather is hot, you

1188
01:22:16,800 --> 01:22:18,560
can switch right down then.

1189
01:22:18,479 --> 01:22:19,199
Speaker 10: To the sky.

1190
01:22:19,520 --> 01:22:22,680
Speaker 19: When the weather's right, you're going your government on your

1191
01:22:22,760 --> 01:22:27,920
mind ever drink gab time, go ahead and see what

1192
01:22:28,119 --> 01:22:32,600
you can buy. If but that is richt take a

1193
01:22:32,640 --> 01:22:35,760
grabbing room me. If that is what, can't do what

1194
01:22:35,880 --> 01:22:36,520
your fish.

1195
01:22:36,439 --> 01:22:39,399
Speaker 8: Speed alone the le do a turn and return. It's

1196
01:22:39,439 --> 01:22:43,960
really by when the sun goes down, and you can

1197
01:22:44,039 --> 01:22:45,840
make it make it good, and they by.

1198
01:22:47,920 --> 01:22:50,359
Speaker 19: When I get and when I tell you when I

1199
01:22:50,479 --> 01:22:52,920
mean we love every by you tell me us.

1200
01:22:53,000 --> 01:22:56,439
Speaker 8: And when the weather is by me fishing caldl and

1201
01:22:56,640 --> 01:23:00,159
is the same. We're always high.

1202
01:23:06,039 --> 01:23:06,199
Speaker 15: Us.

1203
01:23:16,560 --> 01:23:18,840
Speaker 4: I would say that's in close running with time warp

1204
01:23:19,239 --> 01:23:24,600
as far as improving your mood, absolutely, yeah, yeah, that's

1205
01:23:24,720 --> 01:23:29,039
very happy, Happy, So Ray Dorset is now seventy nine.

1206
01:23:29,479 --> 01:23:33,239
He has recovered from open heart surgery. He's been managing

1207
01:23:33,399 --> 01:23:36,880
IBS for many years, which he blames on the rock

1208
01:23:36,920 --> 01:23:41,640
and roll lifestyle she also experienced for many years. He

1209
01:23:41,800 --> 01:23:44,439
has dropped the sideburns because they were too much work.

1210
01:23:44,680 --> 01:23:48,479
And I can totally believe that. And the one thing

1211
01:23:48,680 --> 01:23:50,479
he does admit is that he dyes his hair. He

1212
01:23:50,520 --> 01:23:53,079
says it's still his hair, but he dies it to

1213
01:23:53,199 --> 01:23:56,079
keep it dark. And he's still writing and performing mostly

1214
01:23:56,119 --> 01:23:58,039
in the UK. And I would go see him in

1215
01:23:58,119 --> 01:24:01,880
a heartbeat, Yeah, totally. It sounds like it would be

1216
01:24:01,960 --> 01:24:05,720
so much fun. So there you go summertime, in the summertime,

1217
01:24:07,680 --> 01:24:08,960
and uh, that's it.

1218
01:24:09,399 --> 01:24:11,439
Speaker 1: I think I just want him to play that song

1219
01:24:11,560 --> 01:24:12,119
over and over.

1220
01:24:14,079 --> 01:24:20,840
Speaker 3: He played it twice four times, you know.

1221
01:24:21,239 --> 01:24:23,520
Speaker 1: Yeah, I just want to sit and listen to that

1222
01:24:23,640 --> 01:24:24,800
all night in concert.

1223
01:24:26,239 --> 01:24:26,960
Speaker 4: That would be fun.

1224
01:24:27,239 --> 01:24:32,760
Speaker 3: So take take a solo with the Yeah, break down

1225
01:24:32,800 --> 01:24:33,800
the music statu.

1226
01:24:34,199 --> 01:24:36,319
Speaker 1: Little riff here, a little riff there.

1227
01:24:37,399 --> 01:24:38,439
Speaker 3: Crowd goes crazy.

1228
01:24:40,680 --> 01:24:42,840
Speaker 4: You do a time warp medley in there a little bit,

1229
01:24:42,920 --> 01:24:46,000
and then come back to in the summertime. Then you

1230
01:24:46,119 --> 01:24:51,159
got the whole crowd covered outstand. I think it's time

1231
01:24:51,199 --> 01:24:55,039
to go outside and pull the plug and go enjoy

1232
01:24:55,079 --> 01:24:56,000
yourselves for a little while.

1233
01:24:56,039 --> 01:24:56,479
Speaker 22: What do you think?

1234
01:24:57,239 --> 01:24:57,600
Speaker 3: All right?

1235
01:24:57,960 --> 01:24:59,880
Speaker 4: Final comments from the Peanut Gallery.

1236
01:25:00,640 --> 01:25:03,079
Speaker 9: Good choices, everybody, good time.

1237
01:25:03,239 --> 01:25:05,039
Speaker 4: I think so it was a lot that was great.

1238
01:25:05,239 --> 01:25:08,680
Speaker 3: Definitely we had a real good time time.

1239
01:25:10,720 --> 01:25:13,760
Speaker 4: Excellent choice is and excellent work by the Crambones as always,

1240
01:25:13,800 --> 01:25:16,159
So thank you all and thank you all for joining

1241
01:25:16,199 --> 01:25:18,960
us here on the Rock and Roll History Show. I'm

1242
01:25:19,000 --> 01:25:22,239
so tired. I'm cutting the outro and I'm going to

1243
01:25:22,319 --> 01:25:24,800
say we will see you next week. Be careful, be safe,

1244
01:25:24,880 --> 01:25:25,960
and peace out. Everybody.

1245
01:25:26,079 --> 01:25:31,960
Speaker 15: Bye, come a rock cop bottomed crum.

1246
01:25:34,359 --> 01:25:35,279
Speaker 9: Okay, bye bye.

1247
01:25:37,199 --> 01:25:41,800
Speaker 4: Hudson River Radio dot com a subsidiary of Glacier Entertainment LLC,

1248
01:25:42,239 --> 01:25:45,279
potentially successful multi hundred dollars corporation,