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Speaker 1: Hello everybody.

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Speaker 2: This is Morgan Richter from Miami Vice Changed Everything on

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YouTube and you are listening to the Shirley you Can't

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Be Serious Podcast.

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Speaker 3: Hello everybody, and welcome back to the Shirley you Can't

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Be Serious Podcast. We are here today to cover the

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soundtrack to the TV series Miami Vice. And before we

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get started, I have a bit of a bomb I

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have to drop. This is going to blow not just

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your minds, but several of our listeners' minds. Okay, are

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you ready for this?

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Speaker 4: Yeah? I'm ready.

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Speaker 3: I have never seen an episode of Miami Vice, not

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one single episode. Obviously, it was a pop culture nuclear bomb.

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I'm totally familiar with the concepts and all of that.

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But when Miami Vice aired, I was like eight years old.

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I wasn't staying up until ten watching TV. My parents

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were certainly not going to let me watch cop shows

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about drugs and cocaine. Horosh. Yes, So, so I never

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grew up with it. My sibling I Rafe, watched Magnum

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Pi and that was that was it. So I have

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never seen a single solitary episode. And so to make

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up for this gaping hole of knowledge that I have,

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we have brought on a special guest who knows literally

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everything about every single episode of Miami Vice, even the

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stuff that people who know everything don't know.

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Speaker 4: That's right, So welcome to the show, Morgan Richter, who

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is author YouTuber Miami Vice Expert. Morgan, Welcome to our show.

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Thanks for coming on.

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Speaker 2: Thank you so much for inviting me. I am extremely

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excited to be here, and Miami Vice is one of

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those subjects that I can talk about all day. So

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that's what I'm looking forward to doing.

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Speaker 3: As I understand it, it's MTV Cops.

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Speaker 2: Is that right? Yes, that is exactly how it was

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pitched to the executives at NBC and TV Cops, And

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indeed it had the look and the feel and most

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importantly the sound of music videos. So I think that

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was a really great way to describe it. I'm always

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leary of people who make big, sweeping statements, but I

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would say that Miami Vice's legacy is that it made

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music important to television. There have been many television shows

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that have made excellent use of music before and after

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Miami Vice, but I'm at a loss to think of

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another example at which the soundtrack and the score are.

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Speaker 1: As crucial as they are in Miami Vice.

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Speaker 2: So MTV Cops MTV premiered in nineteen eighty one, Miami

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Vice premiered in nineteen eighty four, and I think it

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rode that wave of music videos.

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Speaker 4: Absolutely And so we're at the end of this, we're

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going to compare it to the Beverly Hills Cops soundtrack,

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which we covered last week, and we just put you

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on the spot. But you're familiar with that soundtrack, so

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you're going to weigh in with your own final judgment

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at the end of.

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Speaker 1: The absolutely prepared for you that well fantastic.

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Speaker 4: Well, De's got his pastel's over here and he's wearing

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his white jacket and no socks and no socks and

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love for I've got my sawd off shotgun over here,

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and we're ready to be the Crocket and Tubs along

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with Morgan, gonna be Gina with this tie.

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Speaker 2: I'll be a combination of Gina and Trudy. Actually, I'm

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just gonna be the Castillo in all this.

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Speaker 4: Yeah, there you go. Well, just Claire at us if

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we do something wrong, right right, Okay, So just a

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quick overview of the Miami Vice soundtrack. So this album

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went four times platinum sowed four million copies. This is

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no slouch of an album. This is actually the first

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of three soundtracks from Miami Vice to be released. That

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struck me because I remember the first one. I don't

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remember the other two. It spent eleven weeks at number

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one on the Billboard Hot two hundred and is the

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best selling TV album until High School Musical came along

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in two thousand and six.

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Speaker 3: Well obviously, I mean High School Musical was an atomic

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pop right there.

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Speaker 2: Yeah, I mean, how can you measure up to the

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legacy of High School Musical?

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Speaker 4: Right right? And I mean this had number one hits

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on it. So I'm ready to dive into the songs.

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If you're ready to dive into the songs. These songs

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are too good to wait any longer. Let's just jump

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in right now. Number one out of the bag.

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Speaker 3: Sure thing? You got to intro with the TV theme

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to Miami Vice. Yes, okay, So the sound of the eighties?

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Is that too much? This is the sound of the

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mid eighties, right, Like every other serious cop drama before

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this was orchestral or maybe the piano from Hill Street Blues.

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But nothing was as pop synth heavy as this intro

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theme until this moment in time.

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Speaker 1: Absolutely. Yeah.

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Speaker 2: This is composer performer Jan Hammer, who was born in

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the former Czechoslovakia. He's known as a synthesizer pioneer, which

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of course he should be. And I think people sometimes

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when they're thinking of eighties music, when they're thinking of synthesizers,

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just think of some guy standing at an electronic piano essentially.

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Speaker 1: And in this case it's much more complicated than that.

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Speaker 2: He is using since and sequencers like the Faarrelight CMI,

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which was very popular and contributing to what we now

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think of as the sound of the eighties. To build

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the layers of the sound. In this track, we hear

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synth guitars, and we hear all different kinds of drums,

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and I think there's like a xylophone in there, and

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there are all these electronic sounds that we can't quite identify.

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It's extremely complicated, and I think this one minute track

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is brilliant for showing people the possibilities of synthesized music.

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Speaker 3: Yeah, so he was a genuine pioneer in the electronic

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music field. Everybody remembers the keyboard that was held like

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a guitar from the eighties. That's him. He did that,

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and I've listened to several interviews and I really feel

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like he was a guy who wanted to be out

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like the lead guitarist is and not stuck behind the keyboards.

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And so here's something interesting. He's done a cover of

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a Jimmy Hendrick song called Manic Depression. Okay, it's fantastic.

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It's all on keyboard, but he sounds like Hendrix playing

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the electric guitar. Actually met he met Hendrix when he

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first got involved in music, met him and they talked

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and Hendrix was telling him he was interested in getting

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into the jazz side of things, like Jon Hammer was

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doing at the time. Unfortunately, that also was the year

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that Jimmy Hendrix died, so that didn't get to happen.

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But he grew up in a jazz household like in

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Prague and the former Czechoslovakia. His mom was a renowned

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jazz singer. His dad was a cardiologist but also played

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jazz music with his mom. He had Louis Armstrong over

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to his house when he was a little kid because

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they were so prominent in Czechoslovakia. Wow. And then obviously

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he started playing piano at four. He goes on and

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obviously becomes very proficient at it, and so they go

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with him to the US to study at the Berkeley

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College of Music in Boston, and they're thinking, this is

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just his opportunity to really hone his skills. He had

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actually wanted to be a doctor, but somebody talked him

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into being a musician and how that happens. But it

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was the beginning of his career. But it was the

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end of theirs because when they went back to Czechoslovakia,

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which was communist run at the point. At that point

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they were like, hey, you guys just spent a year

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in a western country. We're not going to let you

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produce records anymore. And so she couldn't produce any records

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for twenty years after this. But John gets started playing

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with Sarah Vaughan. He plays prominently with Jeff Beck and

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Neil Shoon, Oklahoma's own Neil Shoon Journey from Journey then,

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so their band was shown in Hammer What Yeah, Shan

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and Ham not kidding, Not kidding. And then in eighty

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four he gets back with Jeff back on Jeff Beck's

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album called Flash and he has a song on there

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called Escape that wins the Grammy that year, and of

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course that's the same year that he gets a call

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from Michael Mann who says, I want you to not

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only do the theme song, I want you to do

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all of the soundtrack for this new series I'm doing.

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Speaker 4: It's incredible. So this song shows up in My Brother's Keeper,

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which is the first episode of Miami Vice.

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Speaker 3: No.

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Speaker 4: Number of nineteen eighty four.

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Speaker 2: Though the version that was used in brothers Keith brow

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of the pilot episode is not that one minute version.

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It's the one that will appear later on in the soundtrack,

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where it's a much longer, extended and slightly different one,

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And in fact, the first few Miami Vice episodes used

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a slightly different version. It wasn't until I think like

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episode five or something, I think part of Darkness around

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that time, that this version of the theme specifically started

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being used.

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Speaker 4: Wow, that's fantastic. You know that. I watched that first

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episode and there's Jimmy Smith's as Crockett's partner, right right,

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I was.

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Speaker 2: Right, what yeah, And then immediately Jimmy Smith gets blown

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to smithery Yeah up in the series again.

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Speaker 4: Yep, that's exactly right. So, due to the show's popularity,

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this was released as a single August of eighty five,

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it hits number one. November ninth of nineteen eighty five,

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an instrumental from a television show hits number one on

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the Hot one hundred. What that shows the extreme popularity

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of this show. It also shows the kind of the

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weakness of the chart. So I got this for you. Okay,

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here is the top five from November ninth of eighty five. Okay,

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number five. I know people hate this song, but I

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actually kind of have a soft spot for Number five

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We Built This City by Starship.

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Speaker 2: Yeah, I have a weak spot for it too. I

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know it's I know it's terrible. I don't truly know

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all the reasons why people hate it, but I like

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it anyway.

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Speaker 4: Number four You Belong to the City by Glenn Frye

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off of this soundtrack. Number three Head Over Heels by

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Tears for Fears.

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Speaker 3: That's a good one.

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Speaker 1: That's a good spot.

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Speaker 4: That's a fantastic song, and we're gonna be covering that

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here in just a few weeks.

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Speaker 3: I'm waiting for you to get to the weak spot

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on the on the chart.

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Speaker 4: Okay, you're ready, ready? The number two song, maybe maybe

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the worst song of the nineteen eighties. I hate this

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song part Time Lover by Stevie Wonder.

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Speaker 3: You hate all Stevie White, I do not.

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Speaker 4: I think.

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Speaker 3: Stevie Wonderson, you're a Stevie Wonder hater. I think that's

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a fantastic song. I think the analysis of the charts

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in eighteen is absolutely wrong.

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Speaker 1: I agree.

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Speaker 2: I've never heard of anyone hating part Time Lover until

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right this moment. We built the city. I will grant

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you it's a terrible song. But okay, okay, but I

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grant you that's a terrible song.

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Speaker 4: But still I'm going to I'm going to default to

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our lovely guest and just say, okay, sorry, my bad.

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And then, of course number one is the Miami Vice Team.

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Now get this, I've got I've got a couple of

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connections to a previous show that we did. All right,

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so this is the last instrumental to hit number one

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since you.

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Speaker 2: Know this, Morgan, I don't if I had to guess

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of an instrumental theme hitting and say mission impossible, but

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I don't know that's.

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Speaker 4: A good guess. It's actually the Harlem Shake from twenty thirteen.

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Speaker 2: Oh you went in a different direction there.

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Speaker 1: Sorry, I wasn't even following. But yeah, no, totally.

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Speaker 3: Wait a second, Wait a second, you're saying the Harlem

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Shaked from twenty thirteen was the first instrumental since this one. Okay, yeah,

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I thought I think you said you were asking about

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what came before it.

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Speaker 4: The Harlem Shake is the only instrumental since my advice.

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Sorry if I said that wrong, that's okay. Guys, you

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might have you got it on tape, so we'll check

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your mouth here in a little bit. Okay, now, wait,

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I got more. I got more. There's only one other

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song from a television show to hit number one since

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the Miami Vice theme. Any guesses on this? Yes? Are

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you looking at my notes?

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Speaker 3: No? But the answer is obvious. What I mean, we

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talked about it. We talked about it when we did

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our last episode. The answer has got to be I'll

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be there for you on from Friends.

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Speaker 4: That's a good guess. That is not the right answer,

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Oh it is. How do you talk to an angel

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from the television show The Heights? He yes?

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Speaker 1: Oh I never Yes.

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Speaker 2: The Heights has been off with my radar for so

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long that I forgot that song existed. But yeah, it

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was a juggernaut for that brief moment in time when

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the Heights was the thing, very.

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Speaker 4: Brief, yes, okay quickly. When this song hit number one,

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the album was already number one, And that's the first

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time a TV show had a number one song and

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a number one album at the same time. And in

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two thousand and three, readers of TV Guide voted this

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the most popular television theme song of the past fifty years.

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Andy Griffith theme finished second.

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Speaker 3: Wow, Morgan, and I get a quick question for you.

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Do you like the Eagles?

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Speaker 1: Oh? Yeah, absolutely, Well, the.

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Speaker 3: Next song is by a former and then again an

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Eagle got the rest of soul, somebody named Glenn Frey.

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Speaker 4: Next song Smugglers Blues by Glenn Fry. This is my

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favorite song on the album.

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Speaker 3: That's fine with me.

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Speaker 4: I love it.

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Speaker 3: I'm okay with that being your favorite song.

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Speaker 4: So as I understand it. Michael Mann heard the song

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and went to his writers and said, hey, guys, we

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need to build an episode around this song. Is that right, Morgan?

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Speaker 1: That is cracked?

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Speaker 2: Specifically, he saw the music video for Smugglers Blues and

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was directly inspired by the music video, and they kind

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of just came up with an episode that was a

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riff on that video, except just using crocket and hugs

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and going on this. Yeah they're undercover, of course, but

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it's sort of a drug smuggling adventure that goes horribly wrong,

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as it does in the lyrics of Smugglers Blues.

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Speaker 1: I'm sorry when down like this so lose. It's the

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major of the business. It's the Smugglers Blues, which.

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Speaker 2: Yeah, this is a great song, and I love the lyrics,

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which are just very clever and fun. And it's this

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blues song and it's ostensibly a cautionary tale, but you

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always get the feeling that Glenn Fry is having an

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awful lot of fun while smuggling.

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Speaker 1: So even though it goes terribly.

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Speaker 2: Wrong, you'd be cool for twenty hours and I'll pay

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you twenty grand.

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Speaker 1: He's having a good time.

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Speaker 3: This is the one where like he and the partner

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go to do the drug deal and then his partner

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comes out shot right.

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Speaker 4: You're exactly right. I love this video. I told d

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I texted him this week. I'm like, the four minutes

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of this music video could be one of the best

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episodes of Miami Vice in season one. It's just you

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get everything packed in there. You get a murder, you

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get a drug deal, you got a bad thing going

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gone wrong, and then you got a betrayal and it's great.

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The music video is awesome.

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Speaker 2: Yeah, it's this beautiful little film. And I really missed

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the days kind of when people were doing music videos

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that felt comfortable telling a complete story with a beginning,

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middle and end.

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Speaker 3: So this one the album that this one is off.

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Glenn Fry's album is called The All Nighter and he

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co wrote this song with a guy named Jack Tempsin.

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Jack Tempshin wrote peaceful, easy Feeling. He co wrote already Gone, Yes,

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not too shabby, I.

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Speaker 4: Mean two of the ten off The Eagle's Greatest hits

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right there. Plus he also co wrote you Belong to

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the City, which we'll talk about here in a few minutes.

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Glenn Frye obviously is a musician by trade. He also acts,

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but he is one of several musicians to appear in

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Miami Vice. Okay, list for me, because I got a list.

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Speaker 2: I have a top of head list for I mean,

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obviously you've got James Brown, and you have Little Richard,

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and you have Gene Simmons, and you have Frank Zappa

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and the night kind of derail.

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Speaker 4: After that, that's pretty good.

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Speaker 1: There's some big ones.

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Speaker 3: So as I understand it, James Brown in the episode

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that he was in was an alien, and that's not

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to say an illegal immigrant.

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Speaker 2: He was an abductee of aliens.

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Speaker 1: Oh yeah, Yeah.

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Speaker 2: That's a season four episode and it's missing ours and

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it's quite widely regarded as the worst ever episode of

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Miami Vice. But in my review, I come up with

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at least ten episodes that I like less than that one.

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It's it's kind of it's a failure, but it's kind

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of a fascinating failure, and that it actually has a

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very Twin Peaks feel several years before Twin Peaks premiered,

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and James Brown is great in it as the legendary

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musician who happens to have deep connections to Walliens.

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Speaker 3: So we kind of touched on the fact that you've

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got this knowledge base and that you are a YouTuber

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if you will tell us a little bit more about

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this channel, because you literally go through episode by episode

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and review each each one. Is that right?

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Speaker 1: Yeah?

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Speaker 2: You know, my channel's essentially defunct now because I got

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through all of Miami Vice. I did every single episode

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of Miami Vice and I also did one hundred eighties

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films that kind of defined the eighties for gen.

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Speaker 1: Xers like myself.

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Speaker 2: But yes, I did every single last episode of Miami

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Advice on YouTube.

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Speaker 3: And so you mentioned that this one was that the

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James brownd episode was from season four, like as Michael

345
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Mann was there for was it one through three?

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Speaker 2: One through two, and then Dick Wolf took over in

347
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season three, And my hotly controversial position on Miami Vice

348
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is that people really like season three and that's the

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one that I'm really met on where I think Dick Wolf,

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for all of his strengths with television, he does crime procedurals,

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and Miami Vice was kind of two weird for Dick Wolf,

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and he kind of stripped it of a lot of

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the elements about it that were kind of jarring and

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off putting. Like the example I always use, and this

355
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is just a stylistic thing, but in the first two

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seasons Michael Mann's episodes, they would end usually with a

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freeze frame right after the climax, and you would have

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no Dane Wire and there would be no time for

359
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the audience to kind of unsold what they'd just seen,

360
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and it was really jarring, but really good. Like there

361
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are several episodes in those first two seasons that end

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with a gunshot and you know, and the freeze frame

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and you know, something terrible just happened, but cut to

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credits and you know, you go off to your Friday night.

365
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Kind of deeply unsettled with season three, with Dick Wolf's

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things after Michael Mann left, you'd get tag endings where

367
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you'd get a gunshot and somebody would be shot and killed,

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and then you'd get Crockett and Tubs being really sad

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for a while about how that didn't work out the

370
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way it planned, and it was just very much more

371
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a traditional cop show. Season four got really weird, and

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that's where all of a sudden we're having alien abductions

373
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and they have a lot more of failures. But I

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00:18:03,920 --> 00:18:06,839
like it more than season three, and I prefer weird

375
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to a very generic cop show. Not that there's anything

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00:18:09,920 --> 00:18:12,720
wrong with, say, a Dick Wolf cop show, it's just

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not what I was watching Miami Vice for.

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Speaker 4: Okay, I got the rest of the musicians. Okay, you

379
00:18:17,880 --> 00:18:20,440
got Geene Simmons, Like you said, we have Leonard Cohen,

380
00:18:20,599 --> 00:18:22,240
we have Phil Collins, right.

381
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Speaker 2: Yes, of course, Bill Collins as Yeah, Phil Collins, Ted.

382
00:18:27,039 --> 00:18:29,400
Speaker 4: Nugent, who shows up? Who's stealing cars?

383
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Speaker 1: Playing a murderer? Of course?

384
00:18:31,160 --> 00:18:35,599
Speaker 4: Yeah right, James Brown, Little Richard, Barbara Streisan, Franks Zappa,

385
00:18:35,720 --> 00:18:40,079
Like you said, Willie Nelson, Harry Shearer, Miles Davis, you

386
00:18:40,079 --> 00:18:44,160
get the Power stations show up, Sheena Easton as Crockett's

387
00:18:44,200 --> 00:18:48,920
love interest. M you get Isaac Kay's David Johansson singing

388
00:18:49,160 --> 00:18:51,559
a a at a party. But I wanted to bring

389
00:18:51,640 --> 00:18:54,240
up somebody who I'm wondering if you know who this is?

390
00:18:54,240 --> 00:18:54,920
Speaker 3: Do you know who.

391
00:18:54,880 --> 00:18:58,839
Speaker 4: Janeie Beggs is. So Jannie Beggs is Glenn Fry's wife.

392
00:18:59,119 --> 00:19:02,880
She is the woman in the Smugglers Blues video. Okay,

393
00:19:02,920 --> 00:19:04,960
so that was his then wife. They were married from

394
00:19:04,960 --> 00:19:07,559
eighty three to eighty eight. She was a deputante from

395
00:19:07,559 --> 00:19:10,279
Fort Worth. Her family owned a big cattle company. Well

396
00:19:10,319 --> 00:19:12,880
she married a big crazy rock star. Well they have

397
00:19:12,960 --> 00:19:16,440
since divorced, and post divorce, when the Eagles would play

398
00:19:16,519 --> 00:19:20,440
Lying Eyes, you would dedicate the song to his wife,

399
00:19:20,759 --> 00:19:26,799
quote unquote plaintiff. And that's the woman in this video

400
00:19:26,880 --> 00:19:31,240
who did not stay cool for twenty hours twenty grand

401
00:19:31,519 --> 00:19:33,119
I don't know, I don't think she got the twenty

402
00:19:33,119 --> 00:19:35,680
grand ether. Okay. Next song on the album is a

403
00:19:35,720 --> 00:19:37,839
song called Own the Night by Chaka Khan.

404
00:19:54,759 --> 00:19:57,680
Speaker 3: Okay, so this is interesting to me because if you

405
00:19:57,759 --> 00:19:59,839
just played me this song and said, is this on

406
00:20:00,039 --> 00:20:02,200
the Beverly Hills Cop soundtrack or is this on the

407
00:20:02,200 --> 00:20:05,519
Miami Vice, had been like Beverly Hills one. Right, this

408
00:20:05,599 --> 00:20:08,079
sounds like it comes off the Beverly Hills Cop soundtrack.

409
00:20:08,240 --> 00:20:11,039
Speaker 4: So Chaka Khan has this big nineteen eighty four eighty

410
00:20:11,079 --> 00:20:14,480
five Chuck Tuck Talk Chalk Talk con mainly due to

411
00:20:14,519 --> 00:20:26,640
the song I Feel for You written by Guess and

412
00:20:26,759 --> 00:20:29,960
it's Ali Willis is not Ali Willis, Prince Prince Rolle.

413
00:20:31,359 --> 00:20:33,480
Speaker 3: Yeah, that's right. She did have some high moments and

414
00:20:33,559 --> 00:20:35,519
eighty four was a pretty good year for her. Sure,

415
00:20:35,519 --> 00:20:37,400
so it makes sense they would put her on this album. Now,

416
00:20:37,440 --> 00:20:41,400
if you didn't know, she began with playing with Rufus

417
00:20:42,039 --> 00:20:45,799
band Rufus, which tell me something good. And then she

418
00:20:45,960 --> 00:20:48,559
of course when she went out solo, she did the

419
00:20:48,599 --> 00:20:52,400
original version of I'm every Woman, which Whitney Houston made

420
00:20:52,519 --> 00:20:55,200
huge around this time too. A few years later, I

421
00:20:55,200 --> 00:20:57,599
guess sure, and then she went on around the time

422
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that Whitney Houston was doing that and did Higher Love

423
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with Stevie.

424
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Speaker 4: I Love Now you're talking my language.

425
00:21:02,079 --> 00:21:03,480
Speaker 3: I knew, I knew that I would hit you on

426
00:21:03,519 --> 00:21:04,599
that one you pop this.

427
00:21:06,759 --> 00:21:10,640
Speaker 4: So this song shows up in the episode called Buddies Morgan,

428
00:21:11,359 --> 00:21:12,559
I'm gonna put you on the spot. What do you

429
00:21:12,559 --> 00:21:13,319
got for somebody?

430
00:21:13,960 --> 00:21:17,599
Speaker 2: Buddies is one of those things that obviously I have

431
00:21:17,680 --> 00:21:20,400
done an entire YouTube episode on it, and it's one

432
00:21:20,400 --> 00:21:23,160
I've seen several times and it just leaves my memory

433
00:21:23,160 --> 00:21:24,880
banks as soon as I've seen.

434
00:21:24,640 --> 00:21:27,640
Speaker 1: It, Like Buddies is the season one episode that it's

435
00:21:27,640 --> 00:21:28,559
got some good guest stars.

436
00:21:28,599 --> 00:21:31,920
Speaker 2: It stars James Ramar as Crockett's old army buddy who

437
00:21:32,160 --> 00:21:34,759
drags them down into trouble, and it's got guest stars

438
00:21:34,839 --> 00:21:39,920
include Nathan Lane and Frankie Valley. Yeah exactly, And there's

439
00:21:39,960 --> 00:21:42,559
a lot about a baby and I just never really

440
00:21:42,559 --> 00:21:45,240
remember it and like to prep for this podcast because

441
00:21:45,599 --> 00:21:47,640
you know, with Own the Night, I don't really remember

442
00:21:47,680 --> 00:21:49,160
the scene that Ow the Night.

443
00:21:49,119 --> 00:21:51,440
Speaker 1: Appears in, so I should rewatch Buddies.

444
00:21:51,519 --> 00:21:53,759
Speaker 2: And then I had a moment of like, no, life

445
00:21:53,799 --> 00:21:57,279
is too short for me to rewatch Buddies, so I didn't.

446
00:21:57,319 --> 00:21:58,359
Speaker 4: I've got to answer for you.

447
00:21:58,559 --> 00:21:59,720
Speaker 1: It plays in.

448
00:21:59,599 --> 00:22:04,359
Speaker 4: A bar right when krackt and tubs ce Robbie. Yes, Okay,

449
00:22:04,440 --> 00:22:06,720
this song was released as a single. It's the only

450
00:22:06,720 --> 00:22:08,759
one that didn't hit the top forty. It only made

451
00:22:08,759 --> 00:22:09,720
it to number seventy eight.

452
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Speaker 3: Deserve released up.

453
00:22:10,720 --> 00:22:12,279
Speaker 4: Yeah, it's got a great song.

454
00:22:12,400 --> 00:22:14,839
Speaker 2: I had no idea it was released as a single.

455
00:22:14,920 --> 00:22:16,880
I knew it's one of the ones that was written

456
00:22:16,920 --> 00:22:19,200
specifically for Miami Vice, I believe.

457
00:22:19,279 --> 00:22:23,240
Speaker 1: But yeah, it's it's fine, right.

458
00:22:23,480 --> 00:22:26,240
Speaker 3: It sounds like the song is about as memorable as Buddies.

459
00:22:26,759 --> 00:22:28,440
Speaker 1: That's yeah, there you go.

460
00:22:28,599 --> 00:22:31,519
Speaker 3: Okay, all right, let's move on. Let's jump back into

461
00:22:31,519 --> 00:22:36,640
Glen Fray again. Call him Glen Fray again, a detroit

462
00:22:36,759 --> 00:22:39,279
z own Glenn Fry. Now. The first song that we

463
00:22:39,319 --> 00:22:42,400
listened to was obviously off of an album that he

464
00:22:42,440 --> 00:22:45,359
had already done. But he came along and wrote a

465
00:22:45,480 --> 00:22:49,039
song specifically for Miami Vice. And that's this song called

466
00:22:49,480 --> 00:23:09,079
you Belong to the City.

467
00:23:08,880 --> 00:23:11,799
Speaker 4: You Don't get Belong Sacks intro on the radio cut

468
00:23:12,359 --> 00:23:13,119
Sexy Sacks.

469
00:23:13,200 --> 00:23:15,680
Speaker 3: Right, there is this in your list of top Sacks

470
00:23:15,720 --> 00:23:16,319
pop songs?

471
00:23:16,359 --> 00:23:16,559
Speaker 2: Yeah?

472
00:23:16,559 --> 00:23:18,839
Speaker 3: Of all time. Yeah, this hairless whisper.

473
00:23:19,240 --> 00:23:22,200
Speaker 4: Yeah, got the sexy sacks. So this song has written

474
00:23:22,240 --> 00:23:25,519
specifically for the show and shows up in The Prodigal Sun,

475
00:23:25,680 --> 00:23:28,880
which is season two episode one. Yeah, what can you

476
00:23:28,880 --> 00:23:30,400
tell us about that great episode?

477
00:23:30,519 --> 00:23:33,039
Speaker 2: Season two premiere. It's a big two part one and

478
00:23:33,319 --> 00:23:36,319
it's crocketted. Tubs end up going to New York, so

479
00:23:36,400 --> 00:23:40,000
it's almost completely out of Miami, and you Belong to

480
00:23:40,000 --> 00:23:45,039
the City plays while Crockett is Tubs Pubbs is from

481
00:23:45,079 --> 00:23:47,440
New York and this is his hometown, and Crockett is

482
00:23:47,519 --> 00:23:49,200
kind of the fish out of the water, but he's

483
00:23:49,359 --> 00:23:52,640
walking the New York street streets at night and the

484
00:23:52,759 --> 00:23:55,599
song is playing. I really like Smugglers Blues, but I

485
00:23:55,759 --> 00:23:57,799
love you Belong to the City. It's one of my

486
00:23:58,000 --> 00:24:00,240
favorite eighties songs, and it just kind of hit my

487
00:24:00,319 --> 00:24:01,240
sweet spot.

488
00:24:03,880 --> 00:24:09,079
Speaker 3: To night.

489
00:24:09,519 --> 00:24:11,680
Speaker 2: Yeah. I lived in Los Angeles for nineteen years, and

490
00:24:11,720 --> 00:24:13,640
then I moved to New York and now I'm currently

491
00:24:13,640 --> 00:24:17,000
living in Seattle, and whenever I go back to Los

492
00:24:17,000 --> 00:24:19,720
Angeles for a visit, this becomes my theme song for

493
00:24:19,799 --> 00:24:23,599
whatever reason, where I start feeling very deep and soulful

494
00:24:23,640 --> 00:24:25,799
when I think of the lyrics saying, now you're back again,

495
00:24:25,960 --> 00:24:29,200
you're feeling strange. So much has happened and nothing has changed.

496
00:24:29,279 --> 00:24:30,680
Speaker 1: I don't know why that really.

497
00:24:30,480 --> 00:24:33,119
Speaker 2: Resonates with me, but it's used just so beautifully in

498
00:24:33,200 --> 00:24:33,920
Miami Vice.

499
00:24:34,119 --> 00:24:34,680
Speaker 4: That's cool.

500
00:24:34,759 --> 00:24:38,039
Speaker 3: So let me ask this question as I understood it,

501
00:24:38,160 --> 00:24:40,079
and I, like I mentioned early on, I have not

502
00:24:40,200 --> 00:24:43,240
seen even episode one of this, But as I understood

503
00:24:43,240 --> 00:24:46,880
at the original script, Tubbs going like he's a was

504
00:24:46,920 --> 00:24:50,599
it a Chicago cop or some New York comet? Your

505
00:24:50,720 --> 00:24:55,279
cop who comes down to Miami to investigate the death

506
00:24:55,519 --> 00:24:59,000
of a friend of his, his brother brother brother? Yes, sorry,

507
00:24:59,200 --> 00:25:01,359
so Beverly Hills cop.

508
00:25:03,720 --> 00:25:05,599
Speaker 1: Yeah, yeah, there you go.

509
00:25:05,839 --> 00:25:07,960
Speaker 3: Yeah, spot on Beverly Hills cop. Right right.

510
00:25:08,079 --> 00:25:10,480
Speaker 4: It's not as funny as Eddie Murphy.

511
00:25:10,640 --> 00:25:11,759
Speaker 3: Yeah, but he's much prettier.

512
00:25:12,160 --> 00:25:14,240
Speaker 4: That's maybe so yeah.

513
00:25:15,759 --> 00:25:19,039
Speaker 3: Okay, So so this song is also by Glenn Frye,

514
00:25:19,319 --> 00:25:22,400
also co written by Jack Tempson. Did I mention he

515
00:25:22,400 --> 00:25:25,400
wrote Piece with Leezy Feeling and Already Gone and co

516
00:25:25,519 --> 00:25:30,519
wrote Already Gone. He also co wrote Somebody, So here's

517
00:25:30,559 --> 00:25:35,680
somebody like Bryan Adams, Oh somebody by the Eagles ufus. Okay,

518
00:25:35,839 --> 00:25:40,480
all right, done with you, sir, so okay, so here's

519
00:25:40,480 --> 00:25:42,079
what I've got on this on Glenn fry Have you

520
00:25:42,079 --> 00:25:43,240
guys seen Almost Famous?

521
00:25:43,319 --> 00:25:43,640
Speaker 4: Yes?

522
00:25:44,119 --> 00:25:47,799
Speaker 3: Did you know that the Eagles were inspirational for the

523
00:25:47,839 --> 00:25:49,440
band and Almost Famous?

524
00:25:49,519 --> 00:25:50,200
Speaker 4: Okay?

525
00:25:50,200 --> 00:25:52,119
Speaker 1: Did not know that, but that actually makes sense.

526
00:25:52,440 --> 00:25:56,000
Speaker 3: Okay, So apparently at least the key line in the

527
00:25:56,000 --> 00:25:59,200
movie came from Glenn Frye. So he's, I mean this

528
00:25:59,200 --> 00:26:02,200
this can Crow was like sixteen years old, and nobody

529
00:26:02,240 --> 00:26:04,519
at Rolling Stone knew how old he was when they

530
00:26:04,559 --> 00:26:07,720
sent him to go do this report on this band. Right,

531
00:26:07,759 --> 00:26:10,200
And so he comes and he's, I mean, these guys

532
00:26:10,200 --> 00:26:12,519
are in their mid twenties at this point, but they're

533
00:26:12,559 --> 00:26:15,079
hanging out, treating him like a little brother and teaching

534
00:26:15,119 --> 00:26:18,160
him good stuff. And right before you know, they're about

535
00:26:18,160 --> 00:26:20,440
to leave. Cameron Crow is about to leave. He's Lynn

536
00:26:20,440 --> 00:26:22,759
Fry says, I don't care what you write about us,

537
00:26:23,160 --> 00:26:25,359
just make us sound cools.

538
00:26:25,440 --> 00:26:26,839
Speaker 1: Right, It's a good quote.

539
00:26:26,839 --> 00:26:29,359
Speaker 4: That's cool. Okay. So this song reached number two on

540
00:26:29,400 --> 00:26:32,079
the Hot one hundred. We talked about this last week

541
00:26:32,119 --> 00:26:34,519
when we discussed The Heat Is On. The Heat Is

542
00:26:34,519 --> 00:26:37,839
On also reached number two. That's the highest charting solo

543
00:26:38,000 --> 00:26:40,839
songs for the Eagles. Don Henley never got higher the

544
00:26:40,920 --> 00:26:41,559
number five.

545
00:26:41,799 --> 00:26:42,039
Speaker 1: Wow.

546
00:26:42,599 --> 00:26:46,119
Speaker 4: Crazy, So can't fight this feeling blocked? The heat is

547
00:26:46,160 --> 00:26:50,240
on and we built this city blocks. You belong to

548
00:26:50,279 --> 00:26:51,599
the city, Are.

549
00:26:51,519 --> 00:26:52,359
Speaker 1: You kidding me?

550
00:26:53,119 --> 00:26:53,359
Speaker 3: Well?

551
00:26:54,680 --> 00:26:54,880
Speaker 1: Wow?

552
00:26:55,079 --> 00:27:01,319
Speaker 4: Of course, Man Marconi plays the mamba.

553
00:27:00,079 --> 00:27:02,759
Speaker 3: Of the radio. I know I love this song, but

554
00:27:02,839 --> 00:27:05,119
I really, really, really am anxious to get to the

555
00:27:05,160 --> 00:27:08,640
next song. Anybody with me? Yep, let's go all right.

556
00:27:09,000 --> 00:27:10,960
Speaker 4: Next song on the album is called In the Air

557
00:27:11,000 --> 00:27:21,039
Tonight by Phil Collins PULLO.

558
00:27:24,000 --> 00:27:24,319
Speaker 1: Nine.

559
00:27:29,960 --> 00:27:32,039
Speaker 3: Okay, so I know that we started with the beginning

560
00:27:32,039 --> 00:27:34,759
of the song, but if you ask anybody about this song,

561
00:27:34,839 --> 00:27:36,480
they're gonna talk to you about the middle, the drum

562
00:27:36,599 --> 00:27:40,000
vill right, the Drumville. So In the Air Tonight was

563
00:27:40,240 --> 00:27:44,119
the debut solo by Phil Collins. Was released as the

564
00:27:44,160 --> 00:27:46,920
lead single from Face Value, which came out in January

565
00:27:46,920 --> 00:27:49,279
of eighty one, so it was already well into its

566
00:27:49,359 --> 00:27:51,119
run by the time they decided to use it in

567
00:27:51,200 --> 00:27:54,480
Miami Vice. But we have talked about the co writer

568
00:27:54,599 --> 00:27:57,680
of this song, guy named Hugh Pagem before when we

569
00:27:57,680 --> 00:28:02,160
did our Synchronicity episode. Hu Pagem was the pretroducer on Synchronicity,

570
00:28:02,200 --> 00:28:04,279
and I brought up at that time. He is the

571
00:28:04,359 --> 00:28:08,200
guy who came up with the gated reverb drum sound

572
00:28:08,680 --> 00:28:21,000
that makes this song as iconic as it is interesting.

573
00:28:21,240 --> 00:28:24,400
Speaker 4: Okay, you know who else contributed to the creation of this.

574
00:28:24,359 --> 00:28:26,720
Speaker 3: Song, Bill Collins, wife's boyfriend.

575
00:28:30,480 --> 00:28:34,279
Speaker 4: More specifically Phil Collins, his wife's interior decorator.

576
00:28:34,400 --> 00:28:39,359
Speaker 3: Well, yes, so there are two stories about this song,

577
00:28:39,400 --> 00:28:41,319
and one is an urban legend and the other one

578
00:28:41,480 --> 00:28:44,680
is not right. The urban legend was some sort of

579
00:28:44,799 --> 00:28:49,640
idea that he had seen a camp counselor see somebody drowned,

580
00:28:49,720 --> 00:28:52,160
or maybe his brother drowned, which is why you get

581
00:28:52,200 --> 00:28:54,519
these I saw what you did lyrics in the song.

582
00:28:54,920 --> 00:28:56,960
But that one is not true. But there is a

583
00:28:57,000 --> 00:29:01,039
story that is true related to the interior does painter

584
00:29:01,359 --> 00:29:05,839
for the Collins household. He performs this song live on

585
00:29:05,920 --> 00:29:08,240
top of the Pops. On top of the Pops, and

586
00:29:09,039 --> 00:29:13,119
just before he begins the song, before the camera's roll,

587
00:29:13,400 --> 00:29:17,240
he sees a paint bucket sitting off stage right. He

588
00:29:17,319 --> 00:29:19,519
picks up the paint bucket and puts it on top

589
00:29:19,559 --> 00:29:20,759
of his piano.

590
00:29:20,720 --> 00:29:23,039
Speaker 4: As a as a message.

591
00:29:22,759 --> 00:29:25,599
Speaker 3: To his soon to be ex wife, I know what

592
00:29:25,680 --> 00:29:26,000
you did.

593
00:29:26,119 --> 00:29:29,279
Speaker 4: You know, I saw her discuss this, and she saw

594
00:29:29,319 --> 00:29:31,440
that and knew it was intended for her, and the

595
00:29:31,440 --> 00:29:33,799
interviewer was asking her about She's like, I was really

596
00:29:33,880 --> 00:29:36,319
hurt by that. That really bothered me. That really hurt

597
00:29:36,400 --> 00:29:38,240
my feelings. And they're like, so are you saying you

598
00:29:38,240 --> 00:29:40,599
didn't have an affair. No, I had the affair, but

599
00:29:42,119 --> 00:29:43,480
I didn't like the paint bucket.

600
00:29:43,559 --> 00:29:46,400
Speaker 3: Yeah, Bill Collins, my feelings were a little hurt too.

601
00:29:48,160 --> 00:29:52,000
Speaker 4: Okay, Morgan, this is one of the best uses of

602
00:29:52,119 --> 00:29:54,799
music in all of Miami Vice. Like you think of

603
00:29:54,960 --> 00:29:56,599
one moment in time, this is it.

604
00:29:56,720 --> 00:29:59,119
Speaker 2: Yeah, this is one of the best uses of music

605
00:29:59,240 --> 00:30:02,759
in television history. It's one of those songs that's so

606
00:30:03,000 --> 00:30:07,039
intrinsically linked to Miami Vice that even people with only

607
00:30:07,240 --> 00:30:10,359
vague memories of Miami Vice can probably come up with

608
00:30:10,400 --> 00:30:13,640
that scene from the pilot, Brothers Keeper with crocketted tubs

609
00:30:13,759 --> 00:30:16,480
driving around Miami at night in the Ferrari while this

610
00:30:16,599 --> 00:30:21,279
song plays, and it's so good. Overall, the pilot's pretty solid,

611
00:30:21,359 --> 00:30:24,480
but the series isn't quite fully formed yet. It still

612
00:30:24,519 --> 00:30:28,000
has those cop show elements, like a more traditional cop show,

613
00:30:28,079 --> 00:30:29,880
like it's the Little Hill Street Blues or a little

614
00:30:29,880 --> 00:30:32,960
Starsky and Hutshish, and you have you know, it's before

615
00:30:33,400 --> 00:30:36,359
Edward James Olmisus Castillo joins the show. So instead you

616
00:30:36,400 --> 00:30:40,079
have greg Orycierra as more of a conventional gruff police lieutenant,

617
00:30:40,160 --> 00:30:42,279
and you have a lot of business with Crockett's wife

618
00:30:42,279 --> 00:30:44,880
and they're struggling to make their marriage work, and so

619
00:30:45,079 --> 00:30:46,519
you know, these things that we have seen in a

620
00:30:46,519 --> 00:30:49,160
million cop shows. So the pilot's not quite there yet,

621
00:30:49,160 --> 00:30:51,480
but we get to this scene, and this is Miami

622
00:30:51,559 --> 00:30:54,839
Vice in its final form. This is why Miami Vice

623
00:30:54,920 --> 00:30:58,119
just became a cultural juggernaut and why it's still beloved today.

624
00:30:58,319 --> 00:31:01,559
I think Michael Mann and everyone involved with Miami Vice

625
00:31:01,680 --> 00:31:05,000
instantly realized that with this scene in the pilot, this

626
00:31:05,200 --> 00:31:09,440
kind of song specifically is perfect for Miami Vice. It's

627
00:31:09,480 --> 00:31:12,799
that MTV cops, but it's also you know, which always

628
00:31:12,839 --> 00:31:16,720
sounds sort of dismissive, and because Miami Vice is very MTV,

629
00:31:16,799 --> 00:31:20,839
but it's also very cinematic. It's just beautifully filmed, beautiful music,

630
00:31:21,000 --> 00:31:25,000
beautifully shot, beautifully lit. And I tend to refer to

631
00:31:25,039 --> 00:31:29,319
Miami Vice a lot as substance through style, and that's sort.

632
00:31:29,160 --> 00:31:30,759
Speaker 1: Of what I mean, and that this scene.

633
00:31:31,000 --> 00:31:33,480
Speaker 2: It's a really kind of profound moment with and it's

634
00:31:33,559 --> 00:31:35,359
all it is like, if you describe it to someone,

635
00:31:35,400 --> 00:31:37,359
it's like, well, yeah, two guys are in a hot

636
00:31:37,400 --> 00:31:39,319
car and they're driving down in the street at night,

637
00:31:39,359 --> 00:31:41,119
and a music and a song place and everyone goes,

638
00:31:41,400 --> 00:31:42,880
if you haven't seen it, you don't get it. But

639
00:31:43,000 --> 00:31:44,519
when you see it and in the art to night,

640
00:31:44,559 --> 00:31:45,839
it is such a great song for it.

641
00:31:45,920 --> 00:31:46,799
Speaker 1: Yeah, it's beautiful.

642
00:31:46,880 --> 00:31:48,519
Speaker 3: Can we touch on that for just a moment, because

643
00:31:48,519 --> 00:31:51,079
even though I haven't I was not a watcher of

644
00:31:51,119 --> 00:31:55,000
the show. There is a style about the show that

645
00:31:55,200 --> 00:31:58,400
is so distinct from anything that came before it. Like

646
00:31:58,440 --> 00:32:00,759
if I think about cop shows before for this, you

647
00:32:00,880 --> 00:32:03,319
got Chips, you got Starsky and Hutch, you got Hill

648
00:32:03,359 --> 00:32:06,200
Street Blues. All of them were still TV shows and

649
00:32:06,240 --> 00:32:10,119
they looked like TV shows. And when you get to this,

650
00:32:10,119 --> 00:32:13,440
this looks like a movie, which, of course now in

651
00:32:13,480 --> 00:32:17,799
television you know, thirty whatever years later, that's oh my gosh,

652
00:32:17,839 --> 00:32:21,039
is it forty years later it is Oh, it hurts

653
00:32:21,039 --> 00:32:24,440
my heart forty years later. That's what they do. They

654
00:32:25,160 --> 00:32:28,119
make TV to look like movies. But at this time,

655
00:32:28,599 --> 00:32:30,559
I don't know that I'd ever seen it done like

656
00:32:30,640 --> 00:32:31,119
this before.

657
00:32:31,160 --> 00:32:32,319
Speaker 4: I don't think it had been done.

658
00:32:32,400 --> 00:32:32,640
Speaker 3: Yeah.

659
00:32:32,759 --> 00:32:36,279
Speaker 2: Yeah, Miami Advice was so meticulous and so careful in

660
00:32:36,519 --> 00:32:39,359
every aspect of it in our sink of production design

661
00:32:39,440 --> 00:32:42,279
where famously the series had a rule that they couldn't

662
00:32:42,359 --> 00:32:45,279
use the color brown, you know, but things like that

663
00:32:45,440 --> 00:32:48,319
really made a difference, and it really led to such

664
00:32:48,359 --> 00:32:51,519
a very distinctive look and feel. And as we're talking

665
00:32:51,559 --> 00:32:54,720
about the music sound of Miami Vice, that nothing on

666
00:32:54,920 --> 00:32:57,720
television before it looked or sounded like that.

667
00:32:58,079 --> 00:32:58,240
Speaker 3: Yeah.

668
00:32:58,359 --> 00:33:00,240
Speaker 4: We talked about how the use of this song is

669
00:33:00,279 --> 00:33:03,440
perfect in this TV show. However, I would be remiss

670
00:33:03,480 --> 00:33:06,839
if I did not bring up another piece of entertainment

671
00:33:07,079 --> 00:33:10,000
that uses this song wonderfully.

672
00:33:10,519 --> 00:33:12,240
Speaker 3: And talking about the Cadbury commercial.

673
00:33:12,359 --> 00:33:14,880
Speaker 4: No, I'm not talking about the cave. I'm talking about

674
00:33:15,160 --> 00:33:18,680
in the Hangover when they come in and Mike Tyson

675
00:33:18,720 --> 00:33:20,119
tells him to shut up so he could listen to

676
00:33:20,200 --> 00:33:22,039
the drum fill. Oh yes, and then at the end

677
00:33:22,039 --> 00:33:27,599
of the drum fill, he just decks that guy all

678
00:33:27,759 --> 00:33:38,920
this moment, classic classic use of this song. All right, Morgan,

679
00:33:38,960 --> 00:33:41,920
are you a lover or hater of Elvis the Alligator?

680
00:33:42,720 --> 00:33:47,279
Speaker 2: I admire Elvis for kind of adding this kind of

681
00:33:47,400 --> 00:33:50,599
I guess whimsy to Miami Vice, where if you've noticed

682
00:33:50,599 --> 00:33:53,920
throughout the series, Elvis goot dated out, phased out throughout,

683
00:33:53,960 --> 00:33:56,559
and then finally, you know, in the first couple of seasons,

684
00:33:56,599 --> 00:33:58,960
Elvis was around a lot and always on Crockett's boat,

685
00:33:59,000 --> 00:34:00,960
and by the end of the season in your series,

686
00:34:01,000 --> 00:34:04,039
you would just never knew that Crockett ever had a

687
00:34:04,119 --> 00:34:09,119
gator named Elvis. I think Elvis works. I think it's

688
00:34:09,400 --> 00:34:13,280
possibly a little broad, but you know, Crockett's got a gator,

689
00:34:13,320 --> 00:34:13,639
why not?

690
00:34:14,800 --> 00:34:17,159
Speaker 4: Okay, So one more thing on in the air tonight.

691
00:34:17,199 --> 00:34:19,639
This song we talked about Phil Collins run through the

692
00:34:19,639 --> 00:34:21,960
eighties and how many number one hits he has and

693
00:34:22,000 --> 00:34:25,239
how successful Genesis is and how every other song on

694
00:34:25,280 --> 00:34:27,440
the radio was a Phil Collins or Genesis song. This

695
00:34:27,519 --> 00:34:29,239
song peaks out at number nineteen.

696
00:34:29,480 --> 00:34:30,039
Speaker 3: Shut up.

697
00:34:30,400 --> 00:34:33,760
Speaker 4: This song barely cracks the top twenty. So was this

698
00:34:34,000 --> 00:34:37,199
in eighty one or eighty one? August of eighty one

699
00:34:37,239 --> 00:34:39,320
is when it tops out? Wow, Now listen to this.

700
00:34:39,559 --> 00:34:42,559
Songs that placed higher on the chart in August of

701
00:34:42,599 --> 00:34:47,519
eighty one included songs by air supply, The commodores. John

702
00:34:47,599 --> 00:34:49,760
Schneider of The Dukes of Hazzard.

703
00:34:50,440 --> 00:34:51,840
Speaker 3: I've got no problem with what you're saying.

704
00:34:52,960 --> 00:34:56,639
Speaker 4: I love Air supplies, The Pointer Sisters great, the Alkridge

705
00:34:56,679 --> 00:34:57,760
Boys loved them.

706
00:34:57,960 --> 00:35:00,159
Speaker 3: Kenny Rogers huge at that time.

707
00:35:00,559 --> 00:35:02,800
Speaker 4: The theme for the Greatest American Hero.

708
00:35:03,320 --> 00:35:06,039
Speaker 3: Which is my favorite TV theme of all time. Okay,

709
00:35:06,159 --> 00:35:09,719
that's a that's a graveyard of It was not a graveyard.

710
00:35:10,480 --> 00:35:12,360
We can say that in the air Tonight was ahead

711
00:35:12,400 --> 00:35:14,159
of its time. I Will, I Will, There we go,

712
00:35:14,239 --> 00:35:14,559
I Will.

713
00:35:14,679 --> 00:35:17,159
Speaker 4: Jesse's Girl was also on that chart. So yeah, yeah,

714
00:35:17,400 --> 00:35:20,639
that's right before MTV changes our lives.

715
00:35:20,880 --> 00:35:23,639
Speaker 3: Yeah, it is right before. Okay, so is this the

716
00:35:23,639 --> 00:35:25,760
point you hit stop on your tape player, Hit stop.

717
00:35:25,480 --> 00:35:27,679
Speaker 4: On your tape player, kick it out, flip it over

718
00:35:27,760 --> 00:35:28,559
for side two.

719
00:35:28,760 --> 00:35:31,199
Speaker 3: Here we are back again with the Miami Vice theme.

720
00:35:40,480 --> 00:35:44,440
This was longer, though, So this is our opportunity. Since

721
00:35:44,440 --> 00:35:46,679
we already talked about Jon Hammer and the music, we

722
00:35:46,719 --> 00:35:49,039
can talk about the video in this one. You guys

723
00:35:49,039 --> 00:35:50,800
remember the video, Crockett.

724
00:35:50,400 --> 00:35:53,719
Speaker 4: And Tubs are chasing Jon Hammer around his synthesizers.

725
00:35:54,320 --> 00:35:54,920
Speaker 1: That's right.

726
00:35:55,119 --> 00:35:59,639
Speaker 3: Yeah, So the video does this marvelous job of intercutting

727
00:35:59,679 --> 00:36:04,119
scene from the actual Miami Vice TV series with scenes

728
00:36:04,159 --> 00:36:09,000
that they filmed separately of John Hammer running around with

729
00:36:09,079 --> 00:36:12,079
some sort of briefcase of something or other. Now, Jon

730
00:36:12,159 --> 00:36:15,719
Hammer is dressed in very much the Miami Vice style,

731
00:36:15,960 --> 00:36:22,159
but Jon Hammer is a short, very balding, slightly tubby man. Yes,

732
00:36:22,519 --> 00:36:24,679
I don't know if he'd gotten the part in the

733
00:36:24,719 --> 00:36:27,719
actual TV show, but they have this great moment where

734
00:36:28,719 --> 00:36:31,719
the police chief is like he's back and puts the

735
00:36:31,760 --> 00:36:33,440
piece of paper down and it's a picture of Jon

736
00:36:33,519 --> 00:36:38,039
Hammer and he looks like the most unintimidating, like crossing

737
00:36:38,079 --> 00:36:40,760
guard at your school guy in the world.

738
00:36:41,000 --> 00:36:42,159
Speaker 4: Nice. Nice.

739
00:36:42,280 --> 00:36:45,320
Speaker 3: I was watching. I actually watched a video on the

740
00:36:45,320 --> 00:36:47,840
making of the video, and the director of the video

741
00:36:48,400 --> 00:36:51,119
was one of the editors from the TV show. Like,

742
00:36:51,280 --> 00:36:53,360
I feel like somebody was walking through the hall like,

743
00:36:53,440 --> 00:36:54,920
oh hey, we got to go up to New York

744
00:36:54,960 --> 00:36:57,320
and do Jan's part of the video, and they're like,

745
00:36:57,440 --> 00:36:58,239
who's still here?

746
00:37:00,039 --> 00:37:02,159
Speaker 4: Jimmy, has it left for the weekend? You got it, Jimmy.

747
00:37:02,159 --> 00:37:04,440
Speaker 3: Would you like to direct a music video? Yes?

748
00:37:04,840 --> 00:37:07,079
Speaker 4: Yeah, sure, why not? Okay?

749
00:37:07,239 --> 00:37:11,320
Speaker 3: That moves us right into the song Vice by Grandmaster

750
00:37:11,519 --> 00:37:22,480
Melomel Melly Mell. You have the light to remain signing.

751
00:37:23,280 --> 00:37:25,960
Anything you say can it will be used against you

752
00:37:26,039 --> 00:37:29,639
in the corner blow All right. If this song reminds

753
00:37:29,719 --> 00:37:33,280
you of the song White Lines off of the Beat

754
00:37:33,400 --> 00:37:37,079
Street soundtrack, there's a reason for that. It's grand Master

755
00:37:37,159 --> 00:37:37,840
Flash Baby.

756
00:37:38,360 --> 00:37:41,239
Speaker 4: Grandmaster Melly Mill was a member of Grand Master Flash

757
00:37:41,280 --> 00:37:42,119
and the Furious Five.

758
00:37:42,360 --> 00:37:43,920
Speaker 3: Yeah, where's Dev Dave.

759
00:37:43,800 --> 00:37:44,519
Speaker 4: When we need him?

760
00:37:45,920 --> 00:37:48,280
Speaker 3: I don't know, but I listened to White Lions on

761
00:37:48,400 --> 00:37:50,000
repeat back in nineteen eighty three.

762
00:37:50,039 --> 00:37:52,559
Speaker 4: I can tell you that, speaking of White Lines, that

763
00:37:53,000 --> 00:37:57,800
music video starred Laurence Fishburne and was directed by Spike Lee. Right,

764
00:37:58,360 --> 00:38:00,440
how about that nice here?

765
00:38:00,559 --> 00:38:01,079
Speaker 3: That's all you have?

766
00:38:01,159 --> 00:38:03,400
Speaker 4: Well, that's pretty much all I got. I do have

767
00:38:03,440 --> 00:38:06,519
something else for you. Melly Mel is believed to be

768
00:38:06,559 --> 00:38:11,000
the first rapper to use the term mc mc melly Mel.

769
00:38:11,119 --> 00:38:13,719
He is also the rat voice that you hear on

770
00:38:13,800 --> 00:38:19,639
Shaka Khan's I Feel for You Chock Con Chuck Chuck

771
00:38:19,639 --> 00:38:23,199
a Con.

772
00:38:23,519 --> 00:38:25,400
Speaker 3: I did not know that I love that part of

773
00:38:25,400 --> 00:38:29,599
that song that I liked, Chuck Cohn, Chuck Con, everybody

774
00:38:29,639 --> 00:38:30,039
Chuck Con.

775
00:38:30,400 --> 00:38:32,480
Speaker 4: Actually, I was talking to Jeff Johnson about what we're

776
00:38:32,480 --> 00:38:34,639
doing Miami Vice soundtrack and He's like, oh, I remember

777
00:38:34,679 --> 00:38:36,960
that one song they give you your Miranda rights at

778
00:38:37,000 --> 00:38:39,199
the beginning of the song, this is it?

779
00:38:39,519 --> 00:38:40,039
Speaker 1: This is it?

780
00:38:40,199 --> 00:38:43,480
Speaker 4: Okay Morgan, you know when this appears in any episode?

781
00:38:43,480 --> 00:38:44,320
What do you got here? Yeah?

782
00:38:44,400 --> 00:38:47,639
Speaker 2: It appears in the season two episode Whatever Works and

783
00:38:47,679 --> 00:38:49,599
this is here is the thing. I like the song

784
00:38:49,719 --> 00:38:52,679
a lot, and I the season two episode it appears

785
00:38:52,679 --> 00:38:55,400
in Whatever Works is among my favorites, But in the

786
00:38:55,440 --> 00:38:58,119
context of the episode, I barely ever noticed the song.

787
00:38:58,199 --> 00:39:00,440
Speaker 1: And that's because Whatever Works is.

788
00:39:00,119 --> 00:39:02,199
Speaker 2: Is one of the very few Miami Vice episodes that

789
00:39:02,280 --> 00:39:03,960
has a live band performance in it.

790
00:39:04,079 --> 00:39:07,679
Speaker 1: That's the one where the power Station appears, and you.

791
00:39:07,639 --> 00:39:09,639
Speaker 2: Know, the power Station, at the height of their fame,

792
00:39:09,800 --> 00:39:13,320
performed live in a bar, and there's a show stopping

793
00:39:13,360 --> 00:39:16,800
bit in it in which an extremely drunk John Taylor

794
00:39:17,000 --> 00:39:20,280
of drandur Ann and power Station he's playing himself and

795
00:39:20,440 --> 00:39:23,519
before the set he's chatting with a visibly annoyed Crockett

796
00:39:23,559 --> 00:39:25,760
and you can tell it's a hilarious scene because John

797
00:39:25,800 --> 00:39:27,559
Taylor is so drunk and he can barely get his

798
00:39:27,719 --> 00:39:30,960
words out, and Don Johnson is just so mad, and

799
00:39:31,000 --> 00:39:33,440
you can tell he just he's so mad. At the

800
00:39:33,599 --> 00:39:36,800
drunk English pop star who is ruining his show as

801
00:39:36,840 --> 00:39:42,440
this beautiful exchange, and that Pamela d Bars, who of

802
00:39:42,440 --> 00:39:45,599
course was used to date Don Johnson, but also was

803
00:39:45,719 --> 00:39:48,000
married to Michaelda Bars at the time, who was the

804
00:39:48,079 --> 00:39:50,840
lead singer of the Power Station after Robert Palmer left,

805
00:39:50,880 --> 00:39:53,400
writes about this not in I'm with the Band, but

806
00:39:53,480 --> 00:39:55,800
in her second memoir, Take Another Piece of My Heart,

807
00:39:55,840 --> 00:39:58,199
and she just she's hilarious on it where it's exactly

808
00:39:58,199 --> 00:40:00,159
what you think is happening, where our.

809
00:40:00,119 --> 00:40:02,639
Speaker 1: Station to show it up super duper drug you know.

810
00:40:02,679 --> 00:40:04,920
Speaker 2: I just we're not taking it seriously and Don's just

811
00:40:04,920 --> 00:40:06,480
going great, this is my show.

812
00:40:06,239 --> 00:40:07,960
Speaker 1: And you idiots are ruining it.

813
00:40:08,079 --> 00:40:08,360
Speaker 4: Wow.

814
00:40:08,559 --> 00:40:10,440
Speaker 1: But so anyway, quite being.

815
00:40:10,280 --> 00:40:14,039
Speaker 2: To go back to Vice and Mellie mel great song

816
00:40:14,199 --> 00:40:16,119
and it's a lot of fun. It reminds me of

817
00:40:16,719 --> 00:40:20,280
Smugglers Blues and that it's another Beast songs that ostensibly

818
00:40:20,320 --> 00:40:22,480
a cautionary tale with oh boy, you don't want to

819
00:40:22,519 --> 00:40:25,480
be involved with drugs or prostitutes or mobsters or anything,

820
00:40:25,519 --> 00:40:28,039
but it kind of comes across as a celebration of

821
00:40:28,079 --> 00:40:30,800
all of that because it's such a fun song and

822
00:40:30,880 --> 00:40:32,280
White Lines has the same things.

823
00:40:32,719 --> 00:40:33,800
Speaker 1: Speaking of White Lines.

824
00:40:33,880 --> 00:40:37,480
Speaker 2: If I know anything more about Miami Vice, anything topics

825
00:40:37,480 --> 00:40:39,480
that I know more about than I know about Miami Vice,

826
00:40:39,480 --> 00:40:42,800
it's Duran Duran. So I worry that I'm going to

827
00:40:42,840 --> 00:40:46,480
just segue here. But Duran Durand covered White Lines. They

828
00:40:46,480 --> 00:40:50,000
did a great version of White Lines that they incorporated

829
00:40:50,000 --> 00:40:52,760
into all of their concerts even today. And it's one

830
00:40:52,800 --> 00:40:54,840
of those songs that when Duran Durand does it, when

831
00:40:55,079 --> 00:40:57,519
Grandmaster Flash does it, it just comes about as a

832
00:40:57,679 --> 00:41:00,119
celebration to cocaine.

833
00:40:58,960 --> 00:41:02,760
Speaker 4: It's all right, Moving on to the next song. This

834
00:41:02,920 --> 00:41:09,320
is better Be Good to Me by Tina Turner. Oh yes,

835
00:41:09,400 --> 00:41:16,519
I'm touched by this show of emotion shrabby of Devotionho.

836
00:41:26,440 --> 00:41:29,679
Speaker 3: Okay, everybody knows that this song is by Tina Turner.

837
00:41:29,800 --> 00:41:33,760
Yes except let's cover. Oh yeah, okay. This song was

838
00:41:33,800 --> 00:41:38,719
originally released by a band called Spider in nineteen eighty one.

839
00:41:38,960 --> 00:41:42,440
Not really sure what happened with that particular release. They

840
00:41:42,440 --> 00:41:44,760
don't really have anything else to speak of beyond that,

841
00:41:44,800 --> 00:41:47,719
but fortunately Tina Turner picked it up and made it

842
00:41:47,760 --> 00:41:49,360
into something incredibly good.

843
00:41:49,480 --> 00:41:51,639
Speaker 4: Okay, I got something for you on Spider. You ready

844
00:41:51,639 --> 00:41:54,280
for this I'm gonna blow your mind on Spider. Okay,

845
00:41:54,719 --> 00:41:58,719
so this song was written by Holly Knight and Mike Chapman,

846
00:41:58,960 --> 00:42:02,440
who were in the band's So Holly Knight is responsible

847
00:42:02,519 --> 00:42:06,320
for writing the song Ragged All by Aerosmith, Obsession by

848
00:42:06,360 --> 00:42:09,920
an Emotion, Wow, Love is a Battlefield, and Invincible by

849
00:42:09,920 --> 00:42:13,840
Pat Benatar. Lse wrote the Warrior by Scandal. Mike Chapman

850
00:42:13,880 --> 00:42:18,039
wrote the song kiss You All Over and what ultimately

851
00:42:18,079 --> 00:42:20,440
became Mickey by Tony Basil.

852
00:42:20,639 --> 00:42:23,760
Speaker 3: Oh, that's right, that's right. Oh my gosh. Well there's

853
00:42:23,880 --> 00:42:27,239
two huge hitters for the songwriting there you go. Wow,

854
00:42:27,320 --> 00:42:28,800
how about that nice? That's a good one.

855
00:42:28,920 --> 00:42:33,119
Speaker 4: So this song reached number five November of nineteen eighty four.

856
00:42:33,559 --> 00:42:36,719
Much better top five this week. Okay, you have better

857
00:42:36,800 --> 00:42:38,800
be good to be at number five. You have out

858
00:42:38,800 --> 00:42:41,000
of Touch by Holly Oates at number four, you have

859
00:42:41,039 --> 00:42:43,360
I Feel for You by Shaka Khan at three, you

860
00:42:43,440 --> 00:42:45,719
have Purple Rain by A Prince at number two, and

861
00:42:45,760 --> 00:42:49,239
you Wake Me Up Before you Go Go at number one.

862
00:42:49,440 --> 00:42:49,880
Speaker 1: Very good.

863
00:42:50,039 --> 00:42:53,840
Speaker 4: This song comes from the episode Give a Little, Take

864
00:42:53,880 --> 00:42:57,960
a Little. This was a depressing episode for me. Morgan

865
00:42:58,039 --> 00:42:58,880
tell us about.

866
00:42:58,679 --> 00:43:00,960
Speaker 2: That Give a Little take a little Oddly enough, was

867
00:43:01,000 --> 00:43:04,239
the first Miami Vice episode I ever saw and when

868
00:43:04,239 --> 00:43:06,880
it first aired in nineteen eighty four, And yeah, it's

869
00:43:06,920 --> 00:43:09,960
a very depressing episode and undercover Gina gets forced into

870
00:43:10,119 --> 00:43:15,599
sex with Polly from Rocky Bert Young and then later.

871
00:43:15,000 --> 00:43:17,119
Speaker 4: We'll stop right there. It's horrible enough, right.

872
00:43:17,360 --> 00:43:19,800
Speaker 2: Right there, it's horrible, and then later kills him in

873
00:43:19,840 --> 00:43:22,519
the line of duty, and it's extremely pressing. But yeah,

874
00:43:22,559 --> 00:43:25,599
I watched it while visiting with my aunt who she

875
00:43:25,639 --> 00:43:27,519
had just discovered Miami Vice and it was her new

876
00:43:27,519 --> 00:43:30,000
favorite show. And I was ten in nineteen eighty four,

877
00:43:30,000 --> 00:43:31,519
and I watched it with my aunt, who at the

878
00:43:31,519 --> 00:43:33,519
time did not have kids and everything. And after it

879
00:43:33,559 --> 00:43:36,320
was done, she was like, I probably shouldn't have shown

880
00:43:36,360 --> 00:43:39,000
that to a ten year old, and I was all, no,

881
00:43:39,199 --> 00:43:41,159
that is great. I am now going to shape my

882
00:43:41,239 --> 00:43:44,239
life and personality around this series, which you know is

883
00:43:44,280 --> 00:43:47,400
exactly what I did. It's one of the more, yeah,

884
00:43:47,400 --> 00:43:51,559
I would say, depressing episodes of season one, certainly, but

885
00:43:52,079 --> 00:43:54,039
it's a good one and better be good to me.

886
00:43:54,039 --> 00:43:55,159
Speaker 1: It's such a great song.

887
00:43:55,239 --> 00:43:57,920
Speaker 2: And by the way, before I forget, why did Tina

888
00:43:57,960 --> 00:44:00,840
Turner never appear on a Miami Vice episode. That seems

889
00:44:00,880 --> 00:44:04,840
like a terrible oversight amongst all of these music heavy hitters,

890
00:44:05,039 --> 00:44:06,039
she would have been perfect.

891
00:44:06,079 --> 00:44:09,280
Speaker 4: Absolutely. Two songs in season one, right used better be

892
00:44:09,280 --> 00:44:10,960
a Good to Me? And they use What's Love Got

893
00:44:10,960 --> 00:44:11,400
to Do with It?

894
00:44:11,480 --> 00:44:12,960
Speaker 1: Yes, of course, yes.

895
00:44:13,079 --> 00:44:15,480
Speaker 4: Okay, So let's talk about these three songs at the end.

896
00:44:15,519 --> 00:44:17,880
They're all by Jon Hammer. Let's kind of group them up.

897
00:44:17,960 --> 00:44:21,400
Speaker 3: So the name of these three songs are Flashback, Chase,

898
00:44:21,679 --> 00:44:25,400
and Evan. And the important thing to remember is that

899
00:44:25,639 --> 00:44:28,960
Jon Hammer was writing not only you know, individual songs

900
00:44:29,000 --> 00:44:32,840
for this album, he was writing the weekly soundtrack to

901
00:44:33,000 --> 00:44:35,639
the show. They would film the show, they would edit together,

902
00:44:35,760 --> 00:44:37,800
they would send the copy to him up in New

903
00:44:37,880 --> 00:44:40,880
York and he would watch the show without music and

904
00:44:41,000 --> 00:44:42,920
figure out how to put the music to it every

905
00:44:42,920 --> 00:44:45,320
week and he would turn it around in a week.

906
00:44:45,440 --> 00:44:48,400
So it's weird because he's making twenty minutes of music

907
00:44:48,519 --> 00:44:52,559
worthy of a TV series that we said, the music

908
00:44:52,639 --> 00:44:55,880
in this series has changed the face of TV. He

909
00:44:56,039 --> 00:44:59,320
was doing that every single week for five years. Yeah,

910
00:45:00,679 --> 00:45:03,920
and these three songs are just key examples of the

911
00:45:04,000 --> 00:45:05,480
type of music he was doing with that.

912
00:45:06,400 --> 00:45:08,920
Speaker 4: With the soundtrack, Yeah, for sure, I was listening to

913
00:45:09,039 --> 00:45:11,559
you know, Flashback is just kind of you know, okay

914
00:45:11,719 --> 00:45:15,320
or whatever. Chase sounds like just a faster, more energetic

915
00:45:15,440 --> 00:45:18,320
version of the Miami Vice theme to me, right, But

916
00:45:18,400 --> 00:45:20,119
Evan is one I want to spend a minute on,

917
00:45:20,400 --> 00:45:23,519
especially with you, Morgan tell Us, because as I'm researching

918
00:45:23,559 --> 00:45:27,000
this episode, I'm like looking for this episode called Evan

919
00:45:27,079 --> 00:45:28,880
on TV. It's not there, right.

920
00:45:28,920 --> 00:45:29,920
Speaker 1: It is nowhere.

921
00:45:30,119 --> 00:45:32,960
Speaker 2: It almost never is streaming, but it has shown up,

922
00:45:33,039 --> 00:45:35,679
like I think NBC dot Com had it briefly.

923
00:45:35,280 --> 00:45:36,760
Speaker 1: But it the lost episode.

924
00:45:36,880 --> 00:45:39,800
Speaker 2: Evan is also my favorite episode of Miami Vice, and

925
00:45:39,880 --> 00:45:43,199
it is actually a lot of people's absolute favorite episode

926
00:45:43,199 --> 00:45:46,559
of Miami Vice. And there's no real consensus as to

927
00:45:46,599 --> 00:45:50,719
why it's been dropped from streaming. I had the screenwriter

928
00:45:50,840 --> 00:45:54,280
of Evan, actually Paul Diamond, actually contact me on Twitter

929
00:45:54,320 --> 00:45:57,239
it do you know what you know why Evan doesn't

930
00:45:57,239 --> 00:45:57,960
show up on screen?

931
00:45:58,159 --> 00:45:58,320
Speaker 1: You know?

932
00:45:59,239 --> 00:46:01,119
Speaker 4: Oh my god, yeah, exactly.

933
00:46:01,239 --> 00:46:03,119
Speaker 1: And he doesn't even know, he thinks.

934
00:46:03,239 --> 00:46:05,719
Speaker 2: And I think it is a music rights issue in

935
00:46:05,760 --> 00:46:08,719
that it uses two Peter Gabriel songs. The series uses

936
00:46:08,760 --> 00:46:12,239
a lot of Peter Gabriel music throughout. They use more

937
00:46:12,360 --> 00:46:16,239
Peter Gabriel songs than Phil Collins songs oddly enough, and wow,

938
00:46:16,599 --> 00:46:19,280
fite Phil Collins being so linked. So it's not that

939
00:46:19,360 --> 00:46:21,880
Peter Gabriel had a problem with his music being used

940
00:46:21,920 --> 00:46:24,719
in Miami Vice. But the two songs that are used,

941
00:46:24,800 --> 00:46:27,440
Rhythm of the Heat and Ico, are both kind of

942
00:46:27,599 --> 00:46:32,559
very personal, very important songs, and I think Peter Gabriel

943
00:46:32,599 --> 00:46:34,960
just said, yeah, I don't really want to give permission.

944
00:46:35,159 --> 00:46:38,440
I've also heard the argument that people are convinced it's

945
00:46:38,440 --> 00:46:41,639
a content issue. I don't think it is, but I

946
00:46:41,679 --> 00:46:44,679
don't have any inside knowledge, and it could be rare

947
00:46:44,840 --> 00:46:49,719
for nineteen eighty four. It deals very openly with homosexuality

948
00:46:49,800 --> 00:46:52,719
throughout the episode. There is the use of a prominent

949
00:46:52,760 --> 00:46:56,360
anti gay slur and people but well, maybe that's what

950
00:46:56,480 --> 00:46:59,199
did it. But like in context, it's a very thoughtful

951
00:46:59,239 --> 00:47:02,320
episode and everything's very well done. There's also a scene

952
00:47:02,320 --> 00:47:04,599
where you see a swastika, so maybe that has something

953
00:47:04,599 --> 00:47:05,079
to do with it.

954
00:47:05,159 --> 00:47:05,679
Speaker 1: I don't know.

955
00:47:05,840 --> 00:47:08,880
Speaker 2: There could be content reasons. In other words, I'm convinced

956
00:47:08,920 --> 00:47:11,320
that in this case it really is the music rights.

957
00:47:11,360 --> 00:47:14,639
But in any case, my favorite episode, it's Crockett gets

958
00:47:14,679 --> 00:47:18,320
involved in a case with his former partner Evan, who

959
00:47:18,559 --> 00:47:21,760
is just an absolute LuSE Canon who's working on the Alcohol,

960
00:47:21,840 --> 00:47:24,119
Bacco and Firearms Task Force, and they have a case

961
00:47:24,159 --> 00:47:27,519
with vice that intersects, and Evan and Crockett.

962
00:47:27,159 --> 00:47:28,800
Speaker 1: Absolutely hate each other.

963
00:47:28,840 --> 00:47:30,960
Speaker 2: And Evan, who is played by William Russ, who is

964
00:47:31,000 --> 00:47:33,280
best known as the nice dad on Boy Meets World,

965
00:47:33,360 --> 00:47:36,280
but he gives just this really scorching great performance here,

966
00:47:36,559 --> 00:47:39,360
is just so unhinged and so dangerous, and they keep

967
00:47:39,400 --> 00:47:43,159
colliding and there's something going on that Crocket won't tell tubs.

968
00:47:43,239 --> 00:47:46,199
It turns out that Crockett and Evan were best friends

969
00:47:46,199 --> 00:47:49,199
with another cop, Mike Orgel, who turned out to be gay,

970
00:47:49,440 --> 00:47:52,360
and this is nineteen eighty four, and Evan didn't deal

971
00:47:52,400 --> 00:47:54,599
with it well and just started making a lot of

972
00:47:55,039 --> 00:47:56,760
anti gay remarks and kind.

973
00:47:56,599 --> 00:47:59,559
Speaker 1: Of got him pushed out of the like put onto

974
00:47:59,639 --> 00:48:01,159
a desk job in the forest.

975
00:48:01,760 --> 00:48:05,679
Speaker 2: And this partner, Mike Rgel, eventually kind of ended up

976
00:48:05,760 --> 00:48:07,880
getting in the middle of a violent robbery and getting shot,

977
00:48:07,920 --> 00:48:11,480
but essentially as a suicide, and Evan has never forgiven

978
00:48:11,559 --> 00:48:14,639
himself for that, And at the end of it, Evan

979
00:48:14,960 --> 00:48:17,719
sacrifices his life for Crockett and dies in his arms

980
00:48:17,719 --> 00:48:19,679
on one of those freeze frames, and it's just it

981
00:48:19,760 --> 00:48:22,920
uses this not only these really good Peter Gabriel songs

982
00:48:22,920 --> 00:48:25,280
again Rhythm of the Heat and Miko, which are both

983
00:48:25,280 --> 00:48:30,159
wonderful songs, it has this Jon Hammer instrumental Evan, which

984
00:48:30,400 --> 00:48:33,519
is a really lovely piece. And it's one of those

985
00:48:33,559 --> 00:48:36,679
episodes that it doesn't really play into the larger Miami

986
00:48:36,760 --> 00:48:40,639
Vice mythology at all, but it's so well done that

987
00:48:40,719 --> 00:48:43,960
a lot of people, myself included, rank it as their favorite.

988
00:48:44,000 --> 00:48:47,920
Speaker 4: Jon Hammer received an Emmy nomination specifically for this episode.

989
00:48:48,119 --> 00:48:48,639
Speaker 1: Yes he did.

990
00:48:48,800 --> 00:48:51,159
Speaker 4: That's interesting. I wish I could watch that episode now

991
00:48:51,159 --> 00:48:52,079
you got met me?

992
00:48:52,199 --> 00:48:55,880
Speaker 2: Yeah, it does show up legit sometimes and I and

993
00:48:56,079 --> 00:48:58,400
whenever it does, people email me to let me know.

994
00:48:58,480 --> 00:49:00,639
And among Miami Vice p well, it's kind of a

995
00:49:00,639 --> 00:49:02,519
big deal when Evan shows up.

996
00:49:02,679 --> 00:49:05,880
Speaker 4: Okay, so that brings us to the end of the album.

997
00:49:05,960 --> 00:49:07,880
But Dee and I have talked we're gonna do a

998
00:49:07,880 --> 00:49:08,559
bonus song.

999
00:49:08,960 --> 00:49:13,480
Speaker 3: A bonus song. The Beverly Hills soundtrack has eleven solid

1000
00:49:13,559 --> 00:49:15,480
songs on it. This one has a few more of

1001
00:49:15,519 --> 00:49:18,400
the instrumentals. We kind of combined these last three and

1002
00:49:18,519 --> 00:49:21,000
so we are going to throw in a bonus song

1003
00:49:21,639 --> 00:49:42,119
called She's a Beauty by the Tubes. The story behind

1004
00:49:42,119 --> 00:49:44,760
this song is so freaking good it is. It's so

1005
00:49:44,920 --> 00:49:45,559
freaking good.

1006
00:49:45,679 --> 00:49:46,519
Speaker 4: Okay, lay it on me.

1007
00:49:47,119 --> 00:49:50,480
Speaker 3: Okay. So the writers of this song are b Waybill Yep,

1008
00:49:50,559 --> 00:49:52,800
David Foster, who we've talked about in the past, Saint

1009
00:49:52,800 --> 00:49:56,679
Elmo's fire Right, and Steve Lucather who is the guitarist

1010
00:49:56,880 --> 00:50:01,280
for Toto, the guitarist on Thriller. Yeah, I mean just

1011
00:50:01,360 --> 00:50:04,840
a huge studio is musician in addition to being, you know,

1012
00:50:04,920 --> 00:50:07,639
a member of one of the biggest groups of the eighties.

1013
00:50:07,719 --> 00:50:12,039
But it is inspired by fee Way Bills walk down

1014
00:50:12,079 --> 00:50:15,280
the street in a special district in San Francisco called

1015
00:50:15,280 --> 00:50:15,920
the Tenderloin.

1016
00:50:29,079 --> 00:50:32,039
Speaker 4: Yeah who he says, he, you know, accidentally ended up

1017
00:50:32,039 --> 00:50:35,280
there on the way to Macy's. I was like, wait

1018
00:50:35,360 --> 00:50:36,239
a minute.

1019
00:50:36,599 --> 00:50:40,880
Speaker 3: So as he's walking down the street towards Macy's.

1020
00:50:40,480 --> 00:50:42,119
Speaker 4: You know, right, because that's what you do.

1021
00:50:42,920 --> 00:50:45,840
Speaker 3: He's he's in this red light district and there is

1022
00:50:45,880 --> 00:50:48,559
a sign that says pay a dollar talk to a

1023
00:50:48,639 --> 00:50:52,039
naked girl. And he says, I passed this sign I

1024
00:50:52,039 --> 00:50:54,480
don't know how many times before and just kept on walking,

1025
00:50:54,599 --> 00:50:56,760
but this time, for some reason, I'm like, well, let's

1026
00:50:56,760 --> 00:50:59,199
give this a try. And I think the idea was

1027
00:50:59,239 --> 00:51:01,800
it's like next to a massage parlor, and so you

1028
00:51:02,199 --> 00:51:05,360
talk to the naked girl and then that entices you

1029
00:51:05,400 --> 00:51:07,960
to go into the massage parlor and finished things up.

1030
00:51:08,039 --> 00:51:10,960
He says, what ensues is one of the most awkward

1031
00:51:10,960 --> 00:51:25,119
conversations I've ever had in my life.

1032
00:51:27,599 --> 00:51:29,840
Speaker 4: Yeah. So she's trying to talk him into coming back,

1033
00:51:29,960 --> 00:51:31,800
and he's like, you know, you're really pretty.

1034
00:51:31,800 --> 00:51:32,519
Speaker 3: What are you doing here?

1035
00:51:32,840 --> 00:51:34,880
Speaker 4: You're gorgeous. We're looking for dancers.

1036
00:51:34,880 --> 00:51:35,480
Speaker 3: Would you like it?

1037
00:51:35,519 --> 00:51:38,679
Speaker 4: And he says she's ignoring him, yes, flat, ignoring everything

1038
00:51:38,719 --> 00:51:39,440
he says to her.

1039
00:51:39,480 --> 00:51:40,559
Speaker 3: Just going through her script.

1040
00:51:40,760 --> 00:51:44,519
Speaker 4: I'm in a rock band and we need dancers. Yeah,

1041
00:51:44,519 --> 00:51:45,639
that's great, Come on back.

1042
00:51:45,760 --> 00:51:48,920
Speaker 3: We're called the tubes. Okay, right.

1043
00:51:49,280 --> 00:51:51,400
Speaker 4: You know when he wrote this song, he actually wrote

1044
00:51:51,440 --> 00:51:54,119
the lyrics you can Talk to a Naked girl, but

1045
00:51:54,239 --> 00:51:56,119
his producer is like, no way, you can't use that,

1046
00:51:56,280 --> 00:51:58,280
and he's like, yes, I'm using it. No we're not,

1047
00:51:58,280 --> 00:52:00,159
and they have this big fight over it. So his

1048
00:52:00,199 --> 00:52:02,639
producer ended up winning, and he actually that's why you

1049
00:52:02,679 --> 00:52:05,440
get the line you can talk to a pretty girl and.

1050
00:52:05,400 --> 00:52:07,519
Speaker 3: Now this experience I'm thinking about it. I'm like, oh,

1051
00:52:07,519 --> 00:52:09,320
I remember this video, and then all all of a sudden,

1052
00:52:09,360 --> 00:52:11,719
I went, wait a minute, No, this was a Madonna video.

1053
00:52:11,880 --> 00:52:13,880
That was the one. It was the little kid who

1054
00:52:13,920 --> 00:52:15,800
would put the dollar in and watch her do it

1055
00:52:15,920 --> 00:52:16,920
in your herpease.

1056
00:52:17,119 --> 00:52:17,960
Speaker 4: That's it, and you.

1057
00:52:17,920 --> 00:52:21,719
Speaker 3: Know, follow the door down as it's closing. So do

1058
00:52:21,719 --> 00:52:22,159
you remember the.

1059
00:52:22,199 --> 00:52:25,960
Speaker 1: Video on this it's very similar. Yeah, that's that's the

1060
00:52:26,039 --> 00:52:28,000
video top of my head. So I could be wrong.

1061
00:52:28,039 --> 00:52:30,840
Speaker 2: I believe the young boys played by the late Alexis Arquette,

1062
00:52:31,199 --> 00:52:34,159
that's right, acting family. Now that you mentioned it, it's

1063
00:52:34,239 --> 00:52:36,800
kind of crossing in my mind with that Madonna video

1064
00:52:36,920 --> 00:52:38,920
because it very much kind of is the open your

1065
00:52:38,960 --> 00:52:41,719
heart thing with the young boy at a peep show and.

1066
00:52:42,400 --> 00:52:45,079
Speaker 4: Yeah, okay, I've got something for you. So you mentioned

1067
00:52:45,079 --> 00:52:50,639
Alexis Arquette, who was credited as Robert Arquette when this happened, right,

1068
00:52:51,280 --> 00:52:54,800
of course, a member of the Arquette family. His slash

1069
00:52:54,880 --> 00:52:58,320
her involvement in this video is due to the fact

1070
00:52:58,559 --> 00:53:11,519
that Steve mccara was dating Rosanna during the Toto years

1071
00:53:11,639 --> 00:53:15,800
to create the SONGA and Her Little brother is standing

1072
00:53:15,880 --> 00:53:18,280
right there. We need somebody in our video. Well, here's

1073
00:53:18,320 --> 00:53:19,719
my little brother, Robert.

1074
00:53:20,280 --> 00:53:21,159
Speaker 3: That's perfect.

1075
00:53:21,840 --> 00:53:25,559
Speaker 4: That is perfect, Osannah throw back to our total episode.

1076
00:53:25,639 --> 00:53:29,519
Speaker 3: Go check out Toto Versus Got.

1077
00:53:29,320 --> 00:53:33,239
Speaker 4: It, Randuran our best of eighty two yep. Rio. So

1078
00:53:33,360 --> 00:53:35,000
the you know who the director on the video was

1079
00:53:35,159 --> 00:53:35,880
Kenny Ortega.

1080
00:53:35,920 --> 00:53:39,679
Speaker 3: Kenny Ortega who we talked about in our Dirty Dancing episode.

1081
00:53:39,719 --> 00:53:42,639
He was the choreographer for Dirty Dancing. He was the

1082
00:53:42,719 --> 00:53:46,679
guy who went tape after tape after tape after tape

1083
00:53:47,039 --> 00:53:50,760
until he finally, very last tape found the song for

1084
00:53:50,920 --> 00:53:51,920
Dirty Dancing.

1085
00:53:53,920 --> 00:53:56,760
Speaker 4: And the Time of My Life.

1086
00:53:56,840 --> 00:54:00,400
Speaker 3: Yeah, that's right. And he also a choreographed to the

1087
00:54:00,599 --> 00:54:04,199
dance scene at the parade for Ferris Bueller's Day Off yep,

1088
00:54:04,480 --> 00:54:06,880
and get Ready for a button here, get ready for

1089
00:54:06,920 --> 00:54:10,039
a throwback. He directed high school musical Wow, It.

1090
00:54:10,199 --> 00:54:11,360
Speaker 1: All comes full circle.

1091
00:54:13,280 --> 00:54:17,000
Speaker 4: So She's a Beauty reaches number ten July of nineteen

1092
00:54:17,039 --> 00:54:19,239
eighty three. I'm not going to go through the top ten,

1093
00:54:19,559 --> 00:54:22,480
but this song appears in what I think is one

1094
00:54:22,480 --> 00:54:26,039
of the weirdest episodes of Miami Vice. It stars Susie

1095
00:54:26,079 --> 00:54:29,679
Amos from Titanic, who looks like a twelve year old

1096
00:54:29,719 --> 00:54:32,960
porn star in this episode, and she's wearing like ballerina

1097
00:54:32,960 --> 00:54:35,400
outfits and this is not at all.

1098
00:54:35,320 --> 00:54:38,880
Speaker 2: What I She's got like a full leotard and tights

1099
00:54:38,920 --> 00:54:41,880
on and she's shooting a porn film. And my mind goes,

1100
00:54:41,880 --> 00:54:43,960
how do you shoot a porn film when you have

1101
00:54:44,079 --> 00:54:45,559
a leotard under type?

1102
00:54:45,639 --> 00:54:47,960
Speaker 1: Because that's a hard outfit to get out of and

1103
00:54:49,800 --> 00:54:50,960
you kind of think that.

1104
00:54:50,960 --> 00:54:52,719
Speaker 2: The focus is going to be on getting out of

1105
00:54:52,760 --> 00:54:55,920
your clothes without having to just do a lot of contorting.

1106
00:54:56,159 --> 00:54:59,320
But yeah, yeah, it's the season one episode Hard of Darkness.

1107
00:54:59,360 --> 00:55:03,239
Scot O'Neil from Married with Children and others. This early

1108
00:55:03,280 --> 00:55:07,039
scene with Susie Amos shooting a porn film, and again

1109
00:55:07,079 --> 00:55:09,360
she does look extremely young, and then she gets murdered

1110
00:55:09,400 --> 00:55:11,760
like immediately after that and is never seen again and

1111
00:55:11,840 --> 00:55:14,679
the rest of the episode, but she's the beauty plays

1112
00:55:14,679 --> 00:55:16,719
while they're filming this weird porn film.

1113
00:55:17,159 --> 00:55:19,480
Speaker 3: Okay, so that brings us to the end, even with

1114
00:55:19,519 --> 00:55:23,039
her bonus song I Know, And that means it's time

1115
00:55:23,039 --> 00:55:27,840
for final judgment. Morgan, please be our guest final judgment

1116
00:55:28,000 --> 00:55:32,760
your pick between the Miami Vice soundtrack and Beverly's Cop soundtrack.

1117
00:55:33,039 --> 00:55:35,360
Speaker 2: Yeah, I am going to come down on the side

1118
00:55:35,519 --> 00:55:36,880
of Miami Vice, you.

1119
00:55:36,800 --> 00:55:39,440
Speaker 1: Know, and that's Weiny Vice. It's my baby.

1120
00:55:39,519 --> 00:55:42,280
Speaker 2: But the Byreally Hills Cops soundtrack is so so strong,

1121
00:55:42,440 --> 00:55:44,480
It's new attitude.

1122
00:55:44,599 --> 00:55:46,840
Speaker 1: Neutron Dance. Neutron Dance is one of those songs that

1123
00:55:46,880 --> 00:55:48,719
I could listen to all day. It's fabulous.

1124
00:55:48,880 --> 00:55:51,400
Speaker 2: My deciding factor with it's going to be head to head,

1125
00:55:51,400 --> 00:55:53,880
gun and fry and it's the one two punch of

1126
00:55:53,920 --> 00:55:57,320
smugglers blues and especially you Belong to the City that

1127
00:55:57,400 --> 00:55:59,239
wins out over the Heat is on, which is a

1128
00:55:59,280 --> 00:56:01,760
fabulous song, but it's no you Belong to the City.

1129
00:56:01,760 --> 00:56:03,559
Speaker 1: So I'm just gonna give it to Miami Vice.

1130
00:56:04,199 --> 00:56:09,360
Speaker 3: Sweet d Well. This is interesting for me. Yes, there

1131
00:56:09,440 --> 00:56:13,320
are some smash hits off of the Beverly Hills soundtrack.

1132
00:56:13,880 --> 00:56:18,440
Axel F World dominating in that time in history, Absolutely

1133
00:56:18,480 --> 00:56:21,760
amazing instrumental song And as far as the instrumental songs

1134
00:56:21,880 --> 00:56:24,000
go on those two albums, I would I would lean

1135
00:56:24,039 --> 00:56:26,719
towards axel F over the Miami Vice theme for sure,

1136
00:56:26,960 --> 00:56:31,199
But album to album, song to song, Miami Vice has

1137
00:56:31,800 --> 00:56:36,920
some amazing songs that cannot be overcome by the genuinely

1138
00:56:36,960 --> 00:56:42,079
good songs on Beverly Hill's soundtrack, but not monumental Collins songs,

1139
00:56:42,360 --> 00:56:47,519
monumental Glenn Fry songs. This album is packed with amazing

1140
00:56:47,920 --> 00:56:51,000
pop songs, and I gotta pick. I gotta pick Miami

1141
00:56:51,079 --> 00:56:51,639
Vice as well.

1142
00:56:51,800 --> 00:56:53,679
Speaker 4: All right, well that I guess that leads me then

1143
00:56:53,760 --> 00:56:56,000
huh yeah. So I love the Miami Vice soundtrack. I

1144
00:56:56,000 --> 00:56:58,199
love the Belly Hills Cop soundtrack. I own both of these,

1145
00:56:58,480 --> 00:57:02,719
but there's only so much jon Hammer one person can take.

1146
00:57:04,599 --> 00:57:08,199
So I am not overly a Patty LaBelle guy. But

1147
00:57:08,480 --> 00:57:11,199
New Attitude and Stir It Up are great pop songs.

1148
00:57:11,400 --> 00:57:14,840
They're not total bangers, but they're good. They're solid. Neutron

1149
00:57:14,920 --> 00:57:16,800
Dance is an eighties banger.

1150
00:57:17,280 --> 00:57:18,679
Speaker 3: Heat is on as an eighties banger.

1151
00:57:18,719 --> 00:57:23,960
Speaker 4: Acxualf is an eighties banger. So I'm taking the stronger,

1152
00:57:24,440 --> 00:57:29,960
poppier Beverly Hills Cop soundtrack over the instrumental heavy Miami

1153
00:57:30,039 --> 00:57:34,079
Vice soundtrack. That is fair, Okay. Next week we have

1154
00:57:34,440 --> 00:57:38,679
the Karate Kid Versus The Last Dragon, the Karate movies

1155
00:57:38,679 --> 00:57:41,679
from nineteen eighty four. We're gonna match those up head

1156
00:57:41,679 --> 00:57:43,880
to head, and it's going to we're gonna sweep the

1157
00:57:43,960 --> 00:57:45,960
leg and crane kick our way to God.

1158
00:57:46,159 --> 00:57:47,800
Speaker 3: You guys, I want to confess at this time. I

1159
00:57:47,840 --> 00:57:50,760
actually did tell Jason last night. I was like, Okay,

1160
00:57:50,800 --> 00:57:53,440
I have to get this off of my chest. I've

1161
00:57:53,519 --> 00:57:56,480
never seen an episode of Miami Vice, so he knew

1162
00:57:56,519 --> 00:57:58,760
going in that this was the case. But he the

1163
00:57:58,800 --> 00:58:00,559
first words out of his mouth was, well, you know

1164
00:58:00,599 --> 00:58:04,159
you can watch this on two b right. I was like, Jason,

1165
00:58:04,440 --> 00:58:07,159
I'm struggling to find time to watch Karate Kid and

1166
00:58:07,199 --> 00:58:11,559
The Laugh Dragon. I can't do an entire five year series. Okay, buddy,

1167
00:58:11,920 --> 00:58:15,119
I can't. I can't do that. But that matchup is

1168
00:58:15,559 --> 00:58:17,719
they're going to be fun. I've gotten last Draggon in,

1169
00:58:17,800 --> 00:58:20,119
I've seen Karate Kid a million times, so it will

1170
00:58:20,159 --> 00:58:22,960
be great. And those two again, you've got some great

1171
00:58:23,159 --> 00:58:24,599
you get a great soundtrack.

1172
00:58:24,159 --> 00:58:25,719
Speaker 4: On both of them. You're already I can see the

1173
00:58:25,719 --> 00:58:31,360
glow happening around Morgan. Thank you so much for I mean, really,

1174
00:58:31,440 --> 00:58:33,159
we reached out to you. You don't know us. We

1175
00:58:33,280 --> 00:58:35,599
just we just hit you up and said, hey, jump

1176
00:58:35,639 --> 00:58:37,760
on with us, and we appreciate you doing that. That

1177
00:58:37,880 --> 00:58:38,199
was great.

1178
00:58:38,280 --> 00:58:39,440
Speaker 3: You are a new friend now.

1179
00:58:39,679 --> 00:58:40,639
Speaker 1: Yeah, Thank you.

1180
00:58:41,119 --> 00:58:43,880
Speaker 2: This has been so much fun and I I am

1181
00:58:43,920 --> 00:58:45,639
so happy a that you reached out to me and

1182
00:58:45,679 --> 00:58:49,519
B that I discovered your podcast, because this is exactly

1183
00:58:49,760 --> 00:58:52,239
my kind of thing. These sorts of discussions make me

1184
00:58:52,440 --> 00:58:55,039
very very happy. So I'm looking forward to going back

1185
00:58:55,039 --> 00:58:58,199
and listening to all of your episodes because you two

1186
00:58:58,239 --> 00:59:00,079
are delightful and this was so much fun.

1187
00:59:00,119 --> 00:59:01,519
Speaker 4: On Thank you very much.

1188
00:59:01,599 --> 00:59:03,719
Speaker 3: Thank you guys. By the way, if you guys would

1189
00:59:03,719 --> 00:59:06,559
like to reach out and support the podcast, you can

1190
00:59:06,599 --> 00:59:10,679
do that very easily by just going to the rating

1191
00:59:10,920 --> 00:59:13,960
on your podcast app and hitting the five stars for us.

1192
00:59:14,039 --> 00:59:16,119
Following us helps us on our ratings as well and

1193
00:59:16,159 --> 00:59:18,000
gets us up there for other people to hear about.

1194
00:59:18,039 --> 00:59:19,639
And if you want to, you want to donate a

1195
00:59:19,679 --> 00:59:23,239
little money towards our investment here we have a Patreon

1196
00:59:23,280 --> 00:59:27,280
page as well. It's patreon dot com Backslash Shirley Podcast,

1197
00:59:27,440 --> 00:59:29,360
and for as little as five bucks a month, you

1198
00:59:29,440 --> 00:59:33,159
get access to all of our secret episodes, our one

1199
00:59:33,239 --> 00:59:36,239
hit wonder episodes where we deep dive into the one

1200
00:59:36,280 --> 00:59:38,639
hit wonders of the eighties and nineties, and some other

1201
00:59:38,679 --> 00:59:41,039
crappy songs that Jason makes me listen to. Youss.

1202
00:59:41,199 --> 00:59:43,639
Speaker 4: Hey listen before before you get off that subject, we

1203
00:59:43,760 --> 00:59:47,760
will be patreoning on some more Miami Vice nineteen eighty

1204
00:59:47,760 --> 00:59:51,079
four songs. So we are going to do Somebody's Watching

1205
00:59:51,119 --> 00:59:52,960
Me with Def Dave. Yep, We're going to be doing

1206
00:59:53,039 --> 00:59:56,840
Turn Up the Radio with Amanda Janik, and who knows

1207
00:59:56,840 --> 00:59:58,599
what else we'll hit up over there. So you like

1208
00:59:58,679 --> 01:00:01,360
what we're doing Miami Vice, you're definitely gonna want to

1209
01:00:01,400 --> 01:00:02,239
check us out on Patreon.

1210
01:00:02,400 --> 01:00:04,079
Speaker 3: Guys, we can't tell you how much we appreciate you

1211
01:00:04,159 --> 01:00:06,719
listening to us. It's crazy to us that you guys

1212
01:00:06,760 --> 01:00:09,440
keep coming back. Thanks again, we couldn't do it without you.

1213
01:00:09,639 --> 01:00:12,679
We will see you all next week by guys lax

1214
01:00:12,800 --> 01:00:14,320
On Wax.

1215
01:00:14,400 --> 01:00:18,280
Speaker 2: So hello everybody, this is Morgan Richter and now I

1216
01:00:18,320 --> 01:00:20,079
can't remember what I be on YouTube