Speaker 1: Hi, this is Chris Weber's cousin.
Speaker 2: That's Sloan and you're listening to the Shirley You Can't
Be Serious Podcast.
Speaker 3: Hello everybody, and welcome back to the Shirley you Can't
Be Serious Podcast. Guys, it's early April twenty twenty four.
In early April twenty nineteen, my best buddy and I
got together, sat on his back porch and decided what
we were going to do for our new conceived idea
for a podcast five years ago this month, boys and girls.
And that means that if we were WHAM, we would
be just about to break up.
Speaker 1: That's right. They were kind of a bright shining star.
Speaker 3: There was a plan. They brought the plan to Fruition
and said we're done.
Speaker 1: That's it.
Speaker 3: But boys and girls, we have no intention of being done.
I will stay with Jason until the end of time.
Speaker 1: Oh d you you could drag me to Helen back
just as long as we are together.
Speaker 3: Just wake me up before you go down. All right,
boys and girls, we are here to talk about Wham. Now.
We have already covered George Michael in some detail. We
actually covered him our very first season August of twenty twenty.
We re released that last year, July of twenty twenty three,
because it was the thirty fifth anniversary of Faith. So
if you want to check out a little more history
on George Michael, go back and check that episode out.
I listened to it.
Speaker 1: I listened to it today too.
Speaker 3: We're like, oh, hey, I didn't remember that, and so
this was very helpful. But it's a great episode. Go
back and check it out. We compared Faith to in
Excess's Kick Right, And today we are covering Wham's Make
It Big to Tears for Fears Songs from the Big Chair.
Speaker 1: I got my yellow fingerless gloves on. I got my
Choose Live shirt on. I got my Nutter shorts on.
Speaker 3: I love it when you wear your Nutter shirt.
Speaker 1: I got the Boom Boom in my Heart's Let's do this.
Speaker 3: Yeah, So we are going to talk about the second
re least from Wham to give a little bit of
history before we get into it. These are a couple
of guys who almost weren't anything. Yeah, but for and
O Ridgely there would be no George.
Speaker 1: Michael, that's an absolute fact.
Speaker 3: But for George Michael, there would be no Wham and
butt for Wham, there would be no, George Michael again.
Speaker 1: Hey, I'll tell you what. If the teacher had not said,
will somebody look after the new boy and Andrew ridgely
being the only person who raised his hand in their
sixth grade class.
Speaker 3: Twelve year old boys, there would be no wham twelve
year old kids and a little awkward oreos something Vilenobo's
something something Greek. It's all Greek to me, it is
all Greek. But yeah, he showed up new kid at
school and the teacher said, who would like to volunteer
to mentor youngos? And Andrew originally raised his hand. They
became fast friends, and George was the shy guy, Andrew
was the confident, good looking kid, and George looked up
to him. And George was raised in a Greek family
two generations earlier. His great grandfather was a shepherd. I
mean that's shepherding the sheep in Greece is what his
grandfather was doing. And so his dad worked hard to
establish himself in England in the UK and established a
restaurant and expected him to work in the restaurant. But George,
he had a desire to do something more. And his
dad said, why would anybody want to listen to you.
You can't even sing.
Speaker 1: That is the one thing I still cannot buy on this.
I just can't believe it.
Speaker 3: So when Andrew originally says I want to drop out
of school and we need to form a band, George said, no,
I don't think I can do it. And Andrew said, yes,
you can. You can do this.
Speaker 1: You're forming a band.
Speaker 3: And he's like, my dad really doesn't think I can
do this. And he goes, he's wrong, you can do this.
Let's do it. And so that's exactly what they did
to eighteen nineteen year old kids. Drop out of school,
they get welfare, and they start writing songs. They had
started with a group called the Executives, which had Andrew's
brother in it, but they didn't amount to much. That
left Andrew and George to form Wham.
Speaker 1: I kind of heard the rest of the story on that.
Yeah tell me So, I've read about half of Andrew
Ridgeley's biography yesterday while I was waiting for my car
that can be fixed. So Andrew was in a band
with his brother and some kind of older guys and
they needed a permanent drummer, and so Andrew's like, George
has a set of drums. I've seen it.
Speaker 3: He called him yog, Yeah, yog.
Speaker 1: The funny story there is that when George was telling
him how to pronounce his name, he's saying, it's kind
of like yogurt yor eos, right, yogurt, and so he
just started calling him yog from that. But Uh, so
George had a set of drums. Andrew knew that because
when he went over to George's house for the first time,
he banged on his drums and George was like, don't
do that.
Speaker 3: Uh did you play my drums? Uh no, I don't
know what you're.
Speaker 1: Talking about drums. But they had very strict guidelines of
when he could hit the drums in his house and
when he could not. And Andrew just was banging away.
But anyway, so they needed a drummer for this band,
and so Andrew's like, well, my friend Yog, he's got
a drum set, let's bring him in. They brought him in.
They're like, nah, nope, not gonna cut it. And so
that's when Andrew's like, screw you, guys, I'm out.
Speaker 3: Serendipitous, very serendipitous.
Speaker 1: Yes, he said that day, we are starting our own band.
Speaker 3: Guess what guys, we're here to talk to you about
a rap group.
Speaker 1: Everybody took a look at me.
Speaker 4: I'm going to I may not have a time, but
I have.
Speaker 5: A good time on Hey.
Speaker 1: We talked about this in our Faith episode Wham Slash.
George Michael has been successful singing rap, gospel, R and B, pop, rock.
Speaker 3: Funk, dance, jazz, everything, no doubt about it. Everything.
Speaker 1: It's incredible.
Speaker 3: But he started as a rapper.
Speaker 5: Well, and why can't you let them know?
Speaker 3: So their original music, big song that they thought was
going to make them they they called Wham Rap. It
was released as a single. It didn't do especially well. Right,
They had signed a contract, a record recording contract with
Innervision at that point. So this is the way that
we can become musicians. This is what we've got to
do to make a record. So they signed with the Innervision,
released Wham Rap. It didn't do very well, and then
they had another song called Young Guns. Now this was
kind of their make it or break it song. This
was the you know, hey, if this doesn't go anywhere,
we're going to have to cut you guys loose. And
what happened was Young Guns started moving its way up
the chart. It got up to forty two, yep, and
it stalled yep. And it was really critical that they
get into the top forty. Yeah, and there it is
just hovering right outside the top forty and not moving
for weeks. And George, I mean, he's depressed. He is
sitting alone in their tiny little apartment thinking maybe I
was wrong about everything, maybe I'm not a musician, maybe
this isn't what is for me. And then serendipity, another
huge serendipitous moment. Top of the Pops. Now, I mean,
for those in America not familiar with the British music scene,
this is like American bandstand, right, This is like Dick
Clark calls you on the phone, right. And so Top
of the Pops calls them they've got a nearly top
forty hit. I don't know how they're on the list,
but they're they're there in England and maybe they're an
easy next door call. But whoever the scheduled group was
for Top of the Pops dropped out and they said
can you perform tomorrow?
Speaker 1: First of all, that band, how do you not move
Heaven and Earth to appear on Top of the Pops.
Speaker 3: I don't know.
Speaker 1: For whatever reason, they didn't, and they called these guys
and they were like, yes.
Speaker 3: We will be there, yep. And so it was George
and Andrew and they had two female singers with them
that they really they took inspiration from Human League and
they were like, we just like the look of two
guys and two girls. It just is a good look.
They literally developed their dance routine in George's parents' back room.
No choreographer was there, there was no setup. It was okay, guys,
how about you do this and I do this, and
we do this together, and that was it. Can you
imagine being a nineteen year old kid about to go
and debut on top of the.
Speaker 1: Pops, maybe the opportunity of a lifetime.
Speaker 3: And once again George is petrified, and Andrew says, let's
go do this. He's confident, he's ready to go, And
George goes out there and plays the part. He gets
up and he dances and goes crazy and it is
literally an overnight success for them.
Speaker 1: They shoot up the charts.
Speaker 3: Yes, and now it's oh, we're stuck in this contract
with Innervision, right. They bring on a new manager who
gets them out of that contract, signs with CBS Records
and they come out with their first album called Fantastic.
Speaker 1: By the way, the night before they played Top of
the Pops, they stayed in this crappy little hotel room
and there was a child's bed and they had to
draw like who gets the child's George shot it.
Speaker 3: Short pizza crust.
Speaker 6: That's right.
Speaker 1: So the night before he performs on Top of the
Pops he sleeps in a miniature bed.
Speaker 3: Yes, he's shaking his hips around like he's trying to
relieve sort of lower back pain, I think. So they
re release Slam Rap and it moves up to number
eight now and they have a couple of other good
hits off of Fantastic, and they're recognized because number one,
they're white guys doing rap, and number two, they're doing
it with a social conscience, Like their songs are about
what it's like in England for the youth those days.
At that point, sixteen to nineteen year olds had the
biggest unemployment rate that they had ever had in UK history,
and so that was part of what they sang about,
among other things. And so they're being recognized for kind
of doing this cutting edge style of music right and
a social commentary and so what does George Michael do. Well,
what we've learned through history, he always does. He says,
I'm tired of being placed in this box. I would
like to put myself in another box. And they come
out with a song called Club Trapacanna.
Speaker 5: Have you seen this video?
Speaker 3: I have seen parts of it. Yes.
Speaker 1: It looks like the greatest time that two twenty year
olds could have.
Speaker 3: I can't imagine. Like I saw some of the guy
the celebrities that would stay there. I saw like Billy
d Williams with Grace Jones, and I'm just like, if
you had the means to go to this place, this
is where you would go all the time.
Speaker 1: So this was shot. This video was shot at Ibitha
in Spain, which is like this resort town.
Speaker 3: It's like Miami.
Speaker 1: Really Yeah, sun drenched babes, drinks, pools, everything you think
would be a great weekend. It looks awesome.
Speaker 3: Yeah. Then the press starts making fun of them, or
if you're from England, starts taking the piss out of them, right,
And so they're like, why are you guys making fun
of us? We're nineteen year old kids, we're twenty year
old kids. How can you do this to us, And
so I got to say this at this point looking back,
I mean, especially with Wake Me Up right, there is
a taint on that song. As much as anybody loves
that song, they might call it a guilty pleasure bug right.
Speaker 1: It's an embarrassment to say you really like that song, bog.
Speaker 3: But you know what I am here. I mean I
literally had the same thought before we as we moved
away from Tears for Fears and Songs from the Big Chair,
and I'm thinking, Wow, this is a deep, awesome album
and we're moving on to wayam, bubblegum and lollipops right,
make your teeth hurt. I am here to advocate for
the songwriting and the incredible talent that went behind this
album that most considered to be sweet, bubblegum popcorn crap.
Speaker 1: I'm spiking the football with you. This is a great
album of the eighties. These are great songs. I don't
care what you say. They are infectious, catchy, wonderful pop songs.
Speaker 3: Yep. So I think that brings us to song number one,
right out of the gate. Thank you whoever decided the
song order of this album. This song came from a
mistake on a note from Andrew Ridge Ridgeley to his mom,
wake me up before you go go?
Speaker 5: Wake me up?
Speaker 4: Fine, fine, See this is a fantastic pop song.
Speaker 3: Yeah, so tell us the story about the mistaken note.
Speaker 1: Okay, So during fantastic they still weren't making any money
because of that terrible record deal you talked about. So
they're still living at their parents' house. Andrew originally was there.
He had to get up for some pr thing. He
left a note for his mom taped to his door
that said, wake me up up before you go. And
then he realized, oh shoot, I made a mistake. I
put up up in there twice, and so as a
joke to his mom, he finished it saying go go.
So the note said wake me up up before you
go go. George saw the note, thought it was funny,
took that, ran with it and created this wonderful number
one pop smash in nineteen eighty four degree.
Speaker 5: Sized out of My Way.
Speaker 3: This sound sound, Jason, you make the sunshine brighter than
Doris Day.
Speaker 1: Doris Day we talked about in our five Minutes of
fire yeap. So the interesting thing about this song, this
song was never demoed. George Michael had this song in
his head and communicated it to the musicians and they
just pieced it together from his brain directly to the album.
That's amazing.
Speaker 3: It is fantastic. He has such an incredible voice and
in such an incredible ability with music that he can
convey the right notes so that anybody who knows what
they're doing with an instrument should be able to do
what he's doing.
Speaker 1: It's an amazing ability that he has. The talent as
a musician is incredible. Okay, At the beginning of the
song they say the word jitterbug a couple of times. Yes,
jitterbug is a dance craze from the nineteen thirties. Yes,
do you know how to do the jitterbug?
Speaker 3: I do not. I don't either.
Speaker 1: But he wanted to make a very energetic pop record
that was like from the fifties or sixties.
Speaker 3: This is an upbeat pop song at the time that
punk rock was in its heyday. I mean, if we
think about the British music scene, punk rock was making
a big splash and what they did in reaction to
that was to go, hey, we're gonna do something that's
a throwback to fifties style music. Mentioning dance styles from
the thirties, right and Doris Day and Sunshine and lollipops.
Speaker 1: I watched some reaction videos to people watching this for
the first time, and they were smiling and laughing and
toe tapping. It's an infectious It's just fun. This song
was released in May of nineteen eighty four, hits number
one November of nineteen eighty four. We say that one
more time. Let me get ready for this number one hit.
I'm gonna say that a few more times on this album. Okay, yes,
real quick trivia question for you. What song blocked Purple
Rain from becoming a number one hit.
Speaker 3: I'm gonna go with wake Me Up before You Go Go.
Speaker 1: Yeah, before you Go Go.
Speaker 3: I know that. When we talked about that, I laughed
and shook my head at that. I would like to
apologize public apology. This song has lasting power. People are
still listening to it today.
Speaker 1: I played it for my daughter last night.
Speaker 3: She do every word.
Speaker 1: She's fifteen. Okay, here's the other thing. D If I
told you, let's make a list of ten songs that
are the most Eighties. I'm not saying the best the
most eighties songs. If you put this song on there.
I got no problem with it.
Speaker 3: Nobody's gonna argue with it.
Speaker 1: Put Careless Whisper on that list, I got no problem
with it.
Speaker 3: Nope.
Speaker 1: Let's talk about the video for a second.
Speaker 3: Okay.
Speaker 1: This video was directed by our man Andy Moorehan cool.
You've got black lights, you've got a crowd. You've got
to choose live t shirts. You've got the goofy yellow
fingerless gloves and the pink shirts and weird hats, and
they've got they're dancing, they've got horns and they are
having a blast.
Speaker 3: If you watch this video and you're not happier at
the end than you were at the beginning, you need
to go see somebody.
Speaker 1: That's right. That's right, those horns and his boy in
that chorus, I defy you not to smile and tap
your toe.
Speaker 3: It's truly infectious. And shall I shall not scoff again?
Speaker 1: You know, here's the other interesting thing. George Michael had
since turned his back on this song. Of course, he
called it naff and stupid. He would do that with
lots of songs. He did that with Careless Whisper, he
did that with I Want Your Sex. It's like he
as soon as they were out of his brain, he
outgrew them.
Speaker 3: It was a perfectionist type of reaction to much of
what he did, because once it's down and it's permanently placed,
a perfectionist will still pick apart whatever they've done, and
then they have to that is their reason for hating
it later on. But his perfectionism is what made all
of the beautiful music that came.
Speaker 1: It's true, all right, Let's move on to the next
number one single on the album. This song is called
Everything She Wants.
Speaker 3: So listening to the little opening part of this song
beat and the synthesizer, I want you to think about
when you had a cassio keyboard in the mid eighties, right, right,
because everybody did, right and they all had those kind
of pre programmed beats and pre programmed songs. Well, George
Michael had one too. Okay, I don't know if it's
a cassio, but he had a little synthesizer with a
pre programmed beat, and he said that this is the
one song that he had started with the backing track first.
Normally he would write the melody first and then figure
out the rhythm later. This is an AI song. This
is a computer generated beat that he used and then
developed the rest of the song afterwards. And what's great
is you want to talk about some meaningful lyrics. This
isn't hippy dippy love. Oh yeah, this is a guy
who they warned him everything she wants is everything she sees.
But still he falls in love, he gets married, and
sure enough, everything she wants is everything she needs. And
that's all I'm spending all of my money. Oh and
now we're having a baby. How am I supposed to
support a baby? Should I act like I'm happy?
Speaker 1: This is heartbreaking?
Speaker 5: Right?
Speaker 1: Every time I would watch this video on MTV, I'm like,
he doesn't even think he loves her, and he's having
a baby, and his back is going to break if
she asked him to do one more thing.
Speaker 6: It's a.
Speaker 1: Bummer of a deal. And guys married, Oh I don't
love this girl. Oh we're having a baby?
Speaker 3: Great?
Speaker 1: Yeah, just what I needed.
Speaker 3: It's not an uncommon theme. Now, it's not certainly something
that George ever actually went through, but it is it
is certainly an interesting plot line to go with.
Speaker 1: Especially from a twenty one, twenty two year old.
Speaker 3: Yeah, let's think about that, George Michael was born in
nineteen sixty three. That means when he was writing this song,
he was at most twenty years old.
Speaker 1: That's true. That's true. This song was written and produced
by George Michael. He said when he finished this song,
even though it was credited as Wham, he did everything.
That's when he realized, think I can pull this off
by myself.
Speaker 3: Yeah, this is their sophomore album. They had fantastic, They
had this, and then they have one more album that
they are already calling the final album number three. They
already knew that it was over, that this was a
temporary project. This was not something that was supposed to
grow old. And originally said Wham would never be middle aged.
Speaker 1: You know, and originally is incredibly gracious throughout this entire day.
We'll talk about more his role and how that changed
over the years, you know. I mean, he was the leader.
He was the leader that George aspired to. And then
they switched positions and George kept going, yeah, like a rocket. Well,
here's the thing.
Speaker 3: Andrew Ridgely wanted to be a rock star and George
Michael wanted to be a musician, right both at check
check right, absolutely, and so Ridgely was the guy who
was making the tabloids of all of the sexcapades that
he would get involved in, which is exactly.
Speaker 1: What he were.
Speaker 3: Andy, that exactly that's what he wanted. He wanted that
rock star lifestyle. I genuinely don't think he had the
aspiration to do more with his music career. Like I
felt sorry for him initially, I was thinking, you know,
poor guy. He mentors George Michael, he brings him up,
he makes him a memory, you know, talks him into
forming this band, all this stuff, and then George Michael
just kind of leaves him behind. But I mean I
had to look it up. Andrew Ridgeley's net worth is
forty million dollars. He's not suffering.
Speaker 4: Wow.
Speaker 3: And after this he did race cars. Yeah yeah, I
mean he did whatever he wanted. He married the girl
from Banana Rama, the hottest girl in Banana whoever he wanted.
If you will, that's it.
Speaker 7: That's it.
Speaker 1: Yeah, yeah, you know, you're right. And here's the other thing.
Individually strikes me as being a much happier individual despite
the end of his success, basically in nineteen eighty six, the.
Speaker 3: End of his fame, that's really what it was, Just
the end of his same, but that again, he wanted
that fame for the time that he was young, and
then he he knew he wanted to move on to
other things. He wanted to have diverse interests, and it
goes to his self confidence in who he was. I'm
going to do what I want to do, and I
did this rock star thing, and now I'm going to
do this race car thing, and now I'm going to
be this professional cyclist.
Speaker 1: And he seems to me very well adjusted, very comfortable
in being worth forty million dollars. George always seemed to
struggle with happiness.
Speaker 3: I think absolutely absolutely.
Speaker 1: So I will tell you this. Everything She Wants was
George Michael's favorite Wham song. This is one of the
only songs that he would play during the Faith years.
He shied away from most of his Wham stuff. And
he was also known, you know, like you said, he
was a perfectionist, so he would hang around for the
editing of the videos. In this case, he helped Andy
Morehan edit this particular video.
Speaker 3: Yeah, so tell me about this video.
Speaker 1: Okay, so it's black and white. Got some concert footage
of where you've got Georgia's mug right there, big, right
there in screen.
Speaker 3: That's whatever eighteen year old, eighteen year old girl wanted
to see at that point.
Speaker 1: Yeah, and it's a whole lot less happy than Wake
me Up before you go.
Speaker 3: It is not a happy subject at all.
Speaker 1: I will tell you this. This song hit number one
May twenty fifth, nineteen eighty five. Would you like to
hear the top seven that week?
Speaker 3: You know I would?
Speaker 1: Okay, because it's Lota with Shirley stuff. Okay, yeah, number
seven that week, May twenty fifth, nineteen eighty five, Number seven,
one night in Bangkok.
Speaker 3: Go check out our Patreon page. Boys and girls, ladies
and gentlemen. If you want to join our Patreon, you
can go to Patreon on dot com. Backslash Surely podcast
and we cover one hit wonders exclusively for our Patreon
members a little as five bucks a month if you
don't like what we've got, and you get access to
all of the episodes. If you don't like it, we'll
give you your money back and happy to do so.
Speaker 1: We've got some great episodes over there, including the one
on one nine in Bangkok, YEP number six Crazy for
You by Madonna.
Speaker 3: Madonna keeps coming up. I feel like we need to
cover her you.
Speaker 1: Need to cover at some point. Number five Smooth Operator
by Shad a shot a number four axel.
Speaker 3: F Okay, yeah, we just covered that one in our
Beverly Hills Cops soundtrack. Yep.
Speaker 1: Number three Everybody Wants to Rule the World covered that
last week, yeah right. Number two Don't You Forget About
Me from the Breakfast Club.
Speaker 3: That was another Patreon episode. Great episode, yep.
Speaker 1: And then number one Everything she Wants. Did you know
see this stat blew me away? When this song hit
number one, it became the first album to have three
number one singles since the Begis did it.
Speaker 3: That's impressive.
Speaker 1: Faith I think had four.
Speaker 3: Number one album. Did the Beaches get it with?
Speaker 1: I think they got it with Saturday Night Fever.
Speaker 3: Go back and check out that episode as well as
we covered that soundtrack versus the Dirty Dancing soundtrack after
doing that movie Versus The Dirty Dancing.
Speaker 1: Movie some of my favorite episodes.
Speaker 3: Oh they're great.
Speaker 1: Okay, we've done with Everything she Wants.
Speaker 3: Time to move on to song number three. The song
is called Heartbeat, and we talked about this album being
influenced by the sixties. This beat is straight out of
Leader at the Pack by the shanger loss. Oh okay, Now,
I texted you when I heard this, because this is
my first time going through this album since I was
you know, twelve, Yeah, no, try it eight okay yeah.
But the melody a little riff at the beginning. It
sounds like My Hometown by Bruce Springsteen, which of course
just came out the year before were.
Speaker 1: I can hear that. I think you're right, yeah, interesting.
Speaker 3: You got the sixty four shangri law you know three
girl music group beat going with that melody. But it's
still a catchy little tune.
Speaker 1: I think this could have been a successful single. This
is one that if they chose to release it with
the wham mania going on at the time, I have
no doubt this could have been a great single, great song,
successful charting single.
Speaker 3: So this song, He's sitting at the end of summer vacation,
watching his friends go by here in the school bell rings,
thinking about the happy little kisses he shared with some
girl until he sees another girl and he's then stuck like,
oh my gosh, I have this desire for her, but
I have this obligation to my or to my current
girl friend, which, of course that topic comes up a
little bit later on with Caroless Whisper, he says, how
could I help but admire her beauty? Standing on the
line between desire and duty, he.
Speaker 1: Had a restless heart. Yeah, you're a long term guy
with anybody kind of known for cruising, just as Brookshields.
That's right, that's right. Okay, I got a great story
for you. Okay, I'm gonna throw it in here. Okay.
So this album was recorded at Studio Maraval in the
south of France, like June and July of nineteen eighty four. Okay,
life must be hard, right, I know, right, France summer
feel terrible for them. That actually is one of the
studios where Pink Floyd put the finishing touches.
Speaker 3: On the wall. Yep.
Speaker 1: Okay. They come into the recording studio one day and
there's a message for them. They got a phone call
from Sir Elton John. He wants to invite them to
a bit of lunch. Andrew originally is like, that's when
we knew we're big time, you know. He talked about
how when they would hang out in George's room when
they were kids and talk about music and look at
albums and stuff. Good by Yellow Brick road. It was
one of their favorites, absolutely, and so they got to
hang out with Elton John and they were on his
boat and having lunch. One are the funny things that
they did. Of course they're twenty or twenty one, whatever
they are. They cruised by a boat where Joan Collins
was supposed to be. That was her boat, and so
George yelled at the boat, hey, Joan, show us your nickers.
So south of France for a couple of twenty year
olds who are on a pole and.
Speaker 3: With Elton John. Yeah, Elton John actually was one of
the one of the first big recording artists that came
forward and said, George Michael is an incredibly talented songwriter.
And I mean he's saying that from the songs off
of Make It Big. They're talking about faith, he's talking
about make it Big and fantastic, and he says, this
is a guy who's truly gifted, and I don't see
that very often anymore. And just to kind of add
credit to what Elton's saying, he won the award that
year for Best New Songwriter. That was the thing that
actually the award that actually made George Michael wheep on
stage because he was presented with the award by Elton John.
He's surrounded by all of his heroes, songwriting heroes, and
he felt like with this album, they were in teen
magazines right there with their shirts off and tan, and
they have the screaming girls and it's that rock star
side of things. And he understood that recognition and probably
didn't even like it that much. But once he was
recognized for his songwriting abilities, that's what really made him
feel like he was worth something.
Speaker 1: So, just to recap, Elton John says, they're awesome. George's
dad says, you suck until later, and until later he
does come around. He does, Let's give him credit. Where
it's Dune okay.
Speaker 8: Next all on the album's called Like a Baby.
Speaker 3: Okay. So this is the song where you have the
action scene in the movie and everybody's chasing each other
and there's gunfire and then they have to get onto
the elevator and all of a sudden, it's just waiting
awkwardly for a minute and a half.
Speaker 1: Yeah.
Speaker 3: I literally I was like, is this an instrumental? What
am I? Is this music? What am I listening to here?
This is easy smooth jazz from a different genre of
music than I thought I was listening to.
Speaker 1: This belongs on Cinemax after dark.
Speaker 3: Maybe that's time.
Speaker 1: I'm telling you. It's soft, it's smooth, it's jazzy, but
it does nothing for me.
Speaker 3: Uh yeah, And then I mean it's a full minute
and forty seconds into the song, and then all of
a sudden, George starts singing, oh, oh, guess it's not
a musical right. And to be honest, as far as
the songwriting goes for this album, this is bottom of
my list. This is the low low points, kind of
plain vanilla love song. Not terribly interesting stuff to me.
So we're in agreement this. If there is a skipper
on the album, this one's this is it. Okay, HiT's
stop on your tape player, kick it out.
Speaker 1: Flip it over first side two and we start off
with freedom.
Speaker 3: If you told me this was a remake of a
Supreme song from the sixties, I would say, yeah, I
can see that.
Speaker 1: I can see that.
Speaker 3: It is completely by that playbook. This is Motown all
over the place, except we got a white, blonde British guy.
Speaker 1: Singing yeah, yeah, this is a great pop song.
Speaker 3: Oh it's excellent. This is one of the best on
the album.
Speaker 1: The bridge is great, the chorus is great. It's sing
along another toe tapper. This is Wham encapsulated in three minutes.
Speaker 3: So this song was released on October first, nineteen eighty
four in the.
Speaker 1: UK in the UK, released in August of eighty five
in the US.
Speaker 3: Did it make it to number one?
Speaker 1: It made it to number three? What made it to
number three?
Speaker 3: I know you're gonna tell me the two that kept
it out of the one number one spot.
Speaker 1: Let's do the top five, Okay, So this is September
twenty eighth, nineteen eighty five, where it peaks out at
number three. Number five Oshila by Ready for the World.
Speaker 3: That is one that I have suggested. Four our one
hit Wonder episodisodes on Patreon.
Speaker 1: Yes, number four, Don't Forget My Number by Phil Collins.
Great Solins is always going to be out there. We
are covering Phil Collins next summer.
Speaker 3: Yeah.
Speaker 1: Number three Freedom number two cherished by Cooling the Gang.
Speaker 3: Okay, that's not bad. I don't know that it's better
than Freedom, right, it's not bad.
Speaker 1: Number one Money for Nothing by Dire Straits.
Speaker 3: Oh that was a winner.
Speaker 1: Yeah, yeah, yeah, And you're not knocking that one out.
Speaker 3: No, that's yeah, the beautiful combination of Mark Knopfler and
Sting and a killer guitar.
Speaker 1: Riff and a fantastic music video.
Speaker 3: Yeah, all of checks all the boxes. Yep.
Speaker 1: So Freedom was written when George was nineteen. After he
was done, he was thrilled. He said, I cannot believe
I just did that. That was the moment that he
started to take himself seriously as a songwriter.
Speaker 3: I heard him talk about his songwriting and he said
that when he does a song, well, it doesn't feel
like he's written the song. It feels like he has
discovered it, like that the song already exists and he's
just found it. It's out there and he's just found it.
Speaker 1: I mean, how can you argue with a guy who
every time they put out a single, it's in this
album nothing outside of the top three. Read number ones
and a number three.
Speaker 3: Yeah. Four releases and a little bit of a story.
Later on that year, after these, after this album has
been released, he says to himself, I'm gonna get fourth
number one single in this year, right, and writes another
song and almost makes.
Speaker 1: It number two. Despite being one of the greatest Christmas
songs of all time.
Speaker 3: Well, it did ultimately become number one in twenty twenty
four years, almost exactly four years after he passes away.
Speaker 1: Christmas that's the other Wham song that she knows.
Speaker 3: Last Christmas. By the way, ladies and gentlemen's who were talking.
Speaker 1: About right, that's right, which he said, they were watching
the football game soccer to you and me. Yeah, and
Andrews said that George just disappeared for.
Speaker 3: Like an hour, said he suddenly sat up, bolt upright
is the words he used, bolts up out of the chair.
I gotta go.
Speaker 1: It comes back an hour later, says Andy, you gotta
come listen to this.
Speaker 3: He's got a little four track recorder that you put
the regular old Maxwell cassette tape into and it's la
Last Christmas. Incredible, incredible. By the way, before we get
off of Last Christmas, the song that kept it out
of the number one spot, do they.
Speaker 1: Know it's Christmas by band Aid.
Speaker 3: Or whatever, which George Michael sang on.
Speaker 1: And but you know, it drove him freaking insane that
it never got to number one.
Speaker 3: He said he had two little voices in his head.
One was very happy that this charitable work that he
had done was doing so well, and the other one
was saying, I don't know if this was a true,
truly charitable concept or if they hoped that maybe the
fact that they added the charity to it might push
it into the number one spot. But all of the
proceeds from last Christmas were donated to tribute.
Speaker 1: Yeah, you really wanted that fourth number one. Luckily Faith
came along a couple of years later and he took
care of that. By the way, speaking of Faith, there
is an organ at the very beginning of the song
of Faith, which we talked about in our Faith episode.
That organ is playing the chorus from Freedom.
Speaker 3: Go check out that episode. It's fantastic.
Speaker 1: Let's talk about the music video for a second. Okay,
we did talk about this at length during our Faith episode,
but it was shot in China, which at the time
that was the first time a Western act had ever
been invited to China to perform, and so there's some
really great shots there at the Great Wall. And I
remember at the time we talked about how the organizers
for this event they went to the Chinese officials and
they said, okay, here's your choices, Queen, and they showed
some like unflattering pictures of Freddie Mercury or you know,
these two wholesome young men right here, and the Chinese
guys are like, we'll take this. People right here, Whan
and so music video. They're all over China, they're doing things.
They're at the Great Wall of China. There's a there's
a great shot of them playing a boombox to like
a bunch of older people and they're playing wake me
Up before you.
Speaker 3: Go go so with this song. Not in China, but
in Japan. They did an advertisement. I don't even know
what the advertisement was for, but it was It was
great because I saw a video and it's George Michael
and Andrew Ridgeley and this has to be very close
to right before George passed away. I mean they're both
obviously in their in their fifties Gray and yeaheah, and
they talk about how number when they start off the
video doing a bad moonwalk like Simon Labon did, and
then they changed the words to freedom and it goes
like this.
Speaker 2: No, mom, it's that you're slightly porkyky.
Speaker 1: That's good. I love it. Number three hits for those
keeping score at home, that's two number ones and a
number three with one more.
Speaker 3: To coo yeah, and and a mention of a number
two in there by the Way, not off this album,
but same.
Speaker 1: That's right, that's right, Okay, moving on to the next song.
Speaker 3: Let's do it.
Speaker 1: The next song is called if you Were There?
Speaker 6: Okay, what do you think?
Speaker 7: Uh?
Speaker 3: Kind of sounds like the beginning of an eighties sitcom.
Speaker 1: When called if you Were There?
Speaker 3: Yeah?
Speaker 1: This is a cover. Yeah, this is a cover from
the nineteen seventy th song by the Eisley Brothers. Okay,
that's why it sounds slightly discoy.
Speaker 3: I guess it sounds very eighties to me, which I
don't think that most of the songs, I mean, other
than they defined the eighties at the time that this
album came out, Freedom, Wake Me Up, Before You Go Go,
Everything She Wants, all of those songs they set the standard.
This one, to me imitates the standard, and I don't
I mean, it's it's okay. It sounds like a filler
song to me.
Speaker 1: I told you that of the songs on this album,
they either transcend time and space or they're just kind
of Yeah, this is one of those songs.
Speaker 3: I'm just like, eh, yeah, I'm moving on pretty movie.
Speaker 1: Yeah, okay, next up, song called credit Card Baby.
Speaker 3: Great, we're back to the motown. I'm happy you know
this is This isn't the Spreams. This is the Four Tops, right,
this is sugar Pie, Honey Bunch, whatever you like. I
can't help myself. This is and I Again they deliver
when they throw back to that sixty style.
Speaker 1: This is the happy version of everything she wants. He
doesn't trust women, clearly because all they want him for
is his money. Yes, okay, I'm gonna play you a
song that I think this sounds exactly alike.
Speaker 7: Okay, that's doing it all for my baby.
Speaker 3: Huey Lewis knew it as soon as I heard it.
But again, I mean they are both imitating the style
of the Four Tops from nineteen sixty five or whatever. Yeah, yeah,
but do whatever you want to call it is it's great.
I love it.
Speaker 1: Okay, I got this story behind this song.
Speaker 3: Okay, Yeah, I'm excited.
Speaker 1: So here you go. Who is this song about? Right?
Who is the critic?
Speaker 3: Herd baby?
Speaker 1: So basically, George had three girlfriends in his entire life,
like serious girlfriends, right, Okay, he had a bunch of
women he was with whatever a bunch of guys too,
but three serious girlfriends. Okay, one is Brookshields. Okay, one
is Kathy Young. She's the girl that he wrote explore
monogamy on her back for the right Yeah, I watch
your sex video, right, Japanese girl right, smoking yeah, smoking on.
And this other girl named Pat Fernandez. Most people think
this song is about Pat Fernandez.
Speaker 3: Okay, she looks like the middle sister on the.
Speaker 1: Cause that's exactly what I was gonna say. Yeah, it misplayed,
so yeah, yep, this from a guy who could bed
literally anyone in the world in nineteen eighty.
Speaker 3: But like I said, I don't know why you're limiting
it to women.
Speaker 1: Once again, you're a correct sir. Yeah, Okay, fun song,
not great?
Speaker 3: Oh I like it?
Speaker 1: You like it?
Speaker 3: Yeah? This is one of this is a This is
a top half of the album for me. Okay, sure
for sure.
Speaker 1: Yeah, well that's fair enough. Let's get to the big hitter.
Speaker 3: Okay, last song on the album before it get started.
On the song, do you know who Joshua Reddick is? No,
he's a baseball player, okay, played. I think he started
with the Boston Redtox. Would kind of go in and
out of the majors and minors, never really kind of
found himself until twenty thirteen. He's by this time with
the Oakland A's, he's not doing real hot, and then
one game August of twenty thirteen, he hits three home
runs in one game, and suddenly his career takes off,
like he becomes unstoppable, and by February of the next year,
twenty fourteen, he's signed a multi million dollar contract to
two million in something with the Oakland A's and three
months later they say, Hey, you are batting like a phenom.
What would you like your coming up to bat? Intro?
Kick some butt song to right, and he picks song
number eight off of Make It Big song we like
to call careless whisper. Can you imagine walking up to
the plate with the solo player.
Speaker 1: Hey, if you believe it's because of a song, are
you're breathing out your eyelids? Doesn't matter?
Speaker 3: Well, all I can say is the guy's career skyrocketed
after that, Like it was. It was a four million dollar,
then a six million dollar next year, and then like
a fifty million dollars for the next four years. I mean,
he he really took off and I would say that
it's in no small part due to the magic of
this song.
Speaker 1: This is a eighties masterpiece.
Speaker 3: So I gave a big, long story when we covered
Faith back in our very first season. I gave a big,
long story about the story behind the song that I
had actually heard George Michael talk about in an interview,
and he had he had a girl that he fell
in love with at the skating rink when he would
chaperone his older sister at the skating rink. There's a
green Jane, Yes, that he fell in love with and
he'd then you know, they go on their separate ways.
Nothing ever happens with that romance. But then he starts
dating a girl named Helen, and then happens. Stance be
what it is. He comes across Jane again and suddenly
Jane is infatuated with him, and now it's this awkward
situation where he's with Helen, but he's got all of
those old feelings about Jane. Now researching this album again
for this episode, what I understand is that's a bunch
of horses, which is tragic because it's a great story.
Speaker 1: It is a great story.
Speaker 3: But here is the true part of the story. Here
is the part of the story that has remained consistent throughout.
At seventeen years old, the young yet to be named
George Michael, George Michael gets on a bus public transit,
walks onto the bus, and as he is handing his
ticket or money to the bus driver, this melody goes
into his head and that night he goes and finds
a friend who plays the saxophone, records him playing the saxophone,
and it all develops this song.
Speaker 1: The original demo for this was created in nineteen eighty
one in the originally's home, but it never it doesn't
really ever fit any album until Make a Big comes along.
Speaker 3: When George and Andrew first got together as a band,
they had a demo tape which was essentially this completed song,
a half song and like the first two chords of
another song that they were thinking about right, And they
would go from record company to record company saying listen
to our demo, listen to our demo, and every time
they were thrown out. But guess what, every single one
of those record companies heard careless whisper and said, no thanks,
come back when you can write a hit.
Speaker 1: Oh my gosh, it's so incredible, right, it's the biggest
selling single of nineteen eighty five, and they had no clue.
But you can actually see the evolution of the song.
Speaker 3: But then they don't put it on Fantastic.
Speaker 1: Andrew originally said just didn't feel right for the tone
of the album.
Speaker 3: But it does feel right for the tone of this album.
Speaker 1: So their manager says, hey, I got a great idea.
Why didn't you go to the studio Muscle Shoals in
Alabama where Aretha Franklin recorded Respect.
Speaker 3: Yeah, they're working with Jerry Wexler, who did Aretha Franklin's Respect,
Who did Ray Charles songs?
Speaker 1: I mean he was He's a legend.
Speaker 3: He's a legend. George flies from the UK down to
Alabama to play with the Swampers. Yeah.
Speaker 1: He said that when he was recording the song, Jerry
Wexser would be like, all right, George, whenever you're ready.
By the way, that's the microphone that Rea Franklin used
to sing respect into. So it was all this pressure. Yeah,
and he said that everybody there was the best of
the best, but after listening to it didn't feel like
it had any kind of soul.
Speaker 3: Let's listen to that version here. He's right, it's land.
Speaker 1: It doesn't have the magic.
Speaker 3: Yeah. So when he got back to the UK with
the tape, Andrew's like excited. You know, I would be
excited if my buddy had just flown across the country,
across the world to work with the best musicians in
the business, the best producer in the business, in this
iconic studio. And he says, how is it? How did
it go? What does it sound like? And George just says,
tell me what you think and just puts the.
Speaker 5: Tape in again, guilty to pretend, and they.
Speaker 3: Both listened to it, and Andrew says, I feel like
they took all of the edge off. Yeah, and George said,
I feel exactly the same way. Now at this point,
as this young and yet to be super famous guy,
do you go with Jerry Wexler and the Swampers or
do you put your foot down and say let's rerecord
it my way?
Speaker 1: He had the gumption to say, this is not right,
this is not what I want. Thank you, Jerry Wexler.
I'll do it myself.
Speaker 3: Yeah.
Speaker 1: So he goes back into the studio and he brings
in ten different saxophone players and fires ten saxophone players.
Speaker 3: Yeah. We talked in our Faith episode about how, in
any normal situation, you take a session musician who knows
what he's doing, and this is a thing where he
arrives at eleven and is done by one o'clock. Right. No,
he brings that guy in and he plays all afternoon
and George says, that's not it, that's not it. Fire
that guy, bringing the next guy, and then they do
it nine more times, and then finally, finally, and this
is again serendipity. Yep, they bring in Steve Gregory. Steve Gregory,
phenomenal saxophonist, knows his craft. But you have this reef
little moment where luck shines and George, who's the one
who's nixed every single sax solo they've done so far,
leaves the studio and Steve says, it's a little tough
to get all these notes in this short span here.
What if I lower the key that this is in
and play it slower and then you speed it up
to match the right pitch and the right tempo. That's
exactly what they do. They do it before George gets
back and they have it recorded, and when he walks
in the door, and they play it for him and
he says, that's it. That's the sound that I will play,
and it's this. It's the blast. It's the blast that
you get in some of those notes that's missing from
that muscle Shoals version. That makes this sax solo in
the top echelon of sax solos as far as songs.
I mean, Baker Street level.
Speaker 1: It's magical.
Speaker 3: It's magical.
Speaker 1: The other part that we kind of bypassed. Andrew gets
writer credit on.
Speaker 3: This they work together on when they were seventeen.
Speaker 1: Well, a lot of people have said this was George's
sort of last gift to Andrew, splitting the proceeds, splitting
the writing of the song so that he could get
a big payday. Andrew is adamant. Listen, I wrote some
of the chords in this song, brought it to yog
and he said, those chords go perfectly with this sex
solo I got in my head. So it really was
written by the two of them. In fact, there's a
part in the song at the end where it goes
next level. It's the part when he says, tonight the
music seems so loud. I wish that we could lose
this crowd, and he's really belting it out with passion,
you know, the please stay bagging part of it. Next level.
Speaker 3: He brings the emotion to those lyrics, probably better than
any other song that he's done.
Speaker 1: In Let's talk about the music video for a second. Okay,
So originally this was shot in Miami Beach. I've got
a picture of them at the hotel, the Holiday Inn
in Miami the holidays where they stayed while they failed
the video for this.
Speaker 3: George walking around in a towel.
Speaker 1: Yeah it was, that's exactly right. But shot in Miami.
He did not like the way his hair looked. I think,
I'll tell you this. So his hair is dark. It's
doesn't have that bleach blonde look in this.
Speaker 3: It's dark.
Speaker 1: So he calls his sister in London who's a hairstylist.
They fly her out to Miami at the cost of
ten thousand pounds so she can come and cut and
fix and style his hair. And that's why when you
watch the music video, there's kind of two pieces that
you have the Miami footage and you have the when
he's in the sort of the theater with the chains
hanging from the ceiling. His hair is blonde in those shots. So,
and that's the reason why.
Speaker 3: The director of the video is a guy named Duncan Gibbons.
He was working for a company called John Roseman Productions. Well,
John Roseman had something to say about the making of
the video. He called it a disaster, right. Part of
that because George was being so prima donna about his hair, Yeah,
and then part of it just because it was just dumb.
It didn't make any sense with what was going on
lyrically in the song. And so that's why you have
that second half that is shot by Morhan.
Speaker 1: Yeah, definitely. I did see somewhere where somebody said that,
you know, he went through all this trouble to make
his hair look good and all it ended up doing
was looking like Princess Diana.
Speaker 3: By the way, I don't know if we mentioned it,
but Morehan is the guy who also directed I Want
Your Sex, Faith and Father Figure.
Speaker 1: By the way, this song hits number one February sixteenth,
nineteen eighty five.
Speaker 3: That is three for those of you who are keeping track,
boys and girls, three number one hits, four to three
hits and one extra for the year that still got
to know him too. That's right. So when the single
was released, George Michael dedicated the song to his parents.
Now we talked about how his father told him he
couldn't sing, expected him to go be a doctor or
an accountant or help out with the restaurant, right, did
not expect him to make it. But at some point
when they are big with this tour, he goes to
see him in concert and sees an arena full of
people screaming and crying and singing along with his son,
and he says, I wept like a baby. I did
a complete U turn. I said I was wrong, We're right,
you were gifted, and I'm sorry. So in the liner
notes dedicated to his parents, says it was five minutes
in return for twenty one years.
Speaker 1: Okay, I'm glad that his dad saw the light. I mean,
how could you not acknowledge talent? There, I means on
display for the world to see that your son is
one of the greatest, most gifted singer songwriters of his era.
Speaker 3: So you mentioned earlier there. With this song, they released
it as Wham Featuring George Michael or just George Michael,
which was a little unusual given that this was just
their second album, but like I said, I feel like
these guys had an idea of what WAM was going
to be and it was not going to be something
that lasted.
Speaker 1: It's interesting this sort of agreement that they have on this.
Obviously they're prepping George for his solo career, but Andrew
did write this song as well. So Andrew's just an
incredibly gracious guy. He saw George's talent, he saw where
he was going, and he got.
Speaker 3: Out of the way. Yeah. And if you watch the
final concert, like the final of the final they'd come
out with a third album that was really their goodbye album,
and they do the final show of the final tour,
these guys couldn't be getting along any better. Like, there's
literally no hostility that they have towards each other. They're
not acrimonious at all. They genuinely they love each other.
They are best friend ends and they knew that it
was just time for this phase of their lives to
be over.
Speaker 1: Burnet, when he hugged Andrew at the end of that
last show in June of nineteen eighty six, they had
that huge concert Wembley Arena, hugged him and said, Andrew,
I could not have done this without you. That to me.
Andrew is happy to go off into the sunset and
wish George the best, and of course George goes on
to sell one hundred and twenty million albums worldwide from
that point forward and puts himself in the echelon of
the Princes and the Michael Jackson's and the Madonnas of
the eighties.
Speaker 3: So I don't want to leave the song without talking
about the Ceether cover. Okay, this is actually a really
great cover. And see there is this South African band
that is a very hardcore band, but they do a
great job with the song. They got asked to do
a Valentine's Day song and they thought this is so ridiculous.
Let's do something crazy like a Wham song. They do
it and it becomes a big hit for them. And
so they're touring with Nickelback, which we'll be covering later on.
Let's go who do you hate more? Nickelbacker, Creed. We
will be covering those two bands later on this summer.
Speaker 1: Ready for it.
Speaker 3: And they're turing with Nickelback and they say, the younger
kids in the crowd are like singing along because they
think it's a Seither song. They don't know about Wham.
And then you've got the older guys who are there
for the hard rock, who are like giving them the
finger and throwing bottles at them because they think they're
I don't know something, homophobia thing or something I.
Speaker 1: Don't that's funny. Yeah, all right, are we ready for
final judgment?
Speaker 3: Boys and girls? It is that time we have covered
both of these albums. They are both incredible albums. They're
both big if you will, they are big sig chair,
big chair and make it big. Yes, it's time for
final judgment. I nominate Jason Colvin to speak first.
Speaker 1: Okay, So for me, I'm a pop guy, always been
a pop guy. I love rock as well. These are
two great mid eighties sort of pop rock albums. I
would say that I love Make It Big more than most.
The good hooks, good looks, formula I worked on me
as a kid. I thought these guys were cool, thought
they put out great music. I thought it was a
lot of fun. I was all in, had this tape,
loved it. But the Tears for Fears album is better.
It speaks to my soul more. It's a little more serious.
Although I tend to be more happy go lucky and
less serious. I can't deny the head over heels. Everybody
wants to rule the world. Shout mothers, talk for me,
spiking the football, Tears for Fears Songs from the Big Chair.
It's the better of these two albums.
Speaker 3: When we got done with Tears for Fears, I was
thinking to myself, this is going to be a landslide
for Tears for Fears. I didn't have high aspirations for
Make It Big. I was at that moment that I
hadn't yet studied it. I was thinking bubblegum pop, right,
which I thought you would land both feed in. But
upon going through the album, rediscovering some of these songs,
looking at the lyrics of these songs in more detail,
Make It Big is a high quality album. It has
a feel good component that is kind of missing from
Tears for Fears, Ye songs from the Big Chair, and
so I think of it. I think of these two
albums very much in the same way when we did
our Bruce Springsteen Born in the USA versus Huey Lewis
and the News Sports. If I'm going to the beach
and it's sunny and I want to put the top
down and crank up the volume. I'm bringing Huey Lewis
in the news. If I've just had a fight with
my spouse, or you know, some somebody just wrecked their
car into my carr in the parking lot and I'm
angry and it's nighttime, I want to listen to Bruce Springsteen. Right,
So Tears for Fears is my angry drive music or
maybe my sad drive music, and Wham is my happy,
go lucky Let's go to the beach and have some
fun and kick a volleyball around. So any depending on
the day, one of the other of these albums is
going to be number one for me. But overall, looking
at the entire album, because they both have huge banger
songs off of them. Right, I can't find filler songs
in Songs from the Big Chair. I can and make
it big. The filler songs are skippers, and I didn't
have any skippers on Songs from the Big Chair. And
like I said, Songs from the Big Chair was like
that girl from high school that you kind of disregarded
and then fell in love with when you saw her
again forty years later. So I have to agree with you.
Songs from the Big Chair is the better of these
two albums. But dang, it is a much closer race
than I thought it was.
Speaker 1: That is awesome. I love it you chose George Bichael
in the in Excess battle. I did I think George
Michael's guy six and tea a little bit?
Speaker 3: He does? Yeah, I I mean he is. He is
truly or excuse me, was truly a gifted musician one
of the trevies. I didn't realize he had passed away
on Christmas Day, Christmas Day, twenty sixteen. Yep, all right,
that does it for this matchup. Next week we have
got another stellar matchup.
Speaker 1: We are doing a what the heck Happened between Jaws
three and Beverly Hills Cop three with our good buddy
Jeff Johnson from the Film By podcast.
Speaker 3: I just want you to know you are to blame
the fact that I just spent six dollars and ninety
nine cents to buy a blue ray disc of Jaws three,
which we left before it was over in the theater
forty one years ago.
Speaker 1: Okay, listen, we covered Jaws in season one the Film
By Guys. They covered Jaws two during their nineteen seventy
eight thing. We both did JOS four with them together?
And what the heck happened?
Speaker 6: Thing?
Speaker 1: We can't just not do JOSS three good, but we're not.
Come back next week for our discussion on that.
Speaker 3: Guys, if you have listened this far, please just show
us a little bit of love. You don't even have
to spend money just to hit the five star on
whatever app you're using to listen to this podcast. If
you leave a review, that helps get us up in
the rankings so that more people see us. So, if
you love us, the best thing is to tell other
people about us. The second best thing is to join
our Patreon family because that's freaking fantastic. And then if
you've got nothing else to do, just give us a
little five star in a review. You know what our
marketing budget is, it's your dollars. You're listening to it
right now, that's right.
Speaker 1: So you know who we rely on to share the word,
people like yourselves.
Speaker 3: There you go, Thank you very much, Thank you, guys.
Speaker 1: We will see you next week for Jows three versus
Beverly Hills Cop three. What the heck happened? You put
boom boom in mah.
Speaker 3: W my phone.
Speaker 6: Here we go