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Speaker 1: Hey girl, I can tell by the look in your

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eyes that you're in a land of confusion right now

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and you're thinking about throwing it all away. But I'm

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here to tell you don't give up. As a matter

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of fact, as long as you don't lose my number,

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then you and I can still have a big time

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at least for one more night. We don't have to

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go to some expensive restaurant, you know what I mean,

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no jacket required, no fancy dress. Just take me home

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and tonight, tonight, tonight, we can listen to the red

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ring falling outside, flashing against our windows like a sledgehammer

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as we cherish the invisible touch of our earbuds when

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we hit play together. And after listening to Jason and

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d on the Surely you Can't Be Serious podcast, then

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you know it's only a matter of time before I'm

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into deep Sue. What your name's not, Sue, Sue Soudy?

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Oh well that doesn't matter, just as long as you

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know that my name is deaf Dave.

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Speaker 2: Okay, d Before we get started on today's episode, I've

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got a couple of trivia questions. I think this is pertinent,

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I think it's interesting. Okay, So Can you name the

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last number one hit of the nineteen seventies? No, okay,

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it's Rupert Holmes, the Escape, the Pina Colada song?

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Speaker 3: All right? Right, right? Yeah, which at some point we

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got to get together Bradmore and do that one. We've

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covered a song that was written by Rupert Holmes. Song

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by Rupert Holmes. It's on our Patreon page. Go to

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patreon dot com. Backslash Shirly podcast, not backslash, just regular

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slash surely podcast and sign up for as little as

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five bucks a month.

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Speaker 2: Okay, so, the last number one hit of the seventies

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Rubert Holmes.

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Speaker 3: Do you like Pina Coladas? Yep? Got all right?

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Speaker 2: The first number one hit of the nineteen eighties. Do

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you have any idea what that is?

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Speaker 3: Not the same song? All right?

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Speaker 2: I consider myself a musical expert in the eighties. I

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don't know this song. It's called Please Don't Go by

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the Case Sunshine band.

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Speaker 3: Okay, well, I know the band, but I don't know, right,

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I don't know that song? All right?

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Speaker 2: Can you name the last number one hit of the

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nineteen eighties? No, Another Day in Paradise by Phil Collins. Oh, okay,

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can you name the first number one hit of the

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nineteen nineties, No Another Day in Paradise by Phil Collins.

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Speaker 3: All right, so it's still number one.

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Speaker 2: He bridged the gap from the eighties to the nineties. Ochay, Yes,

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so we're obviously going to be talking about Phil Collins today, which.

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Speaker 3: I'm excited to do. Yep.

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Speaker 2: Can you name the artist who had the most number

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one hits in the nineteen eighties?

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Speaker 3: Was it Phil Collins?

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Speaker 2: Actually is Michael Jackson, who had ten. He had five

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off of Bad, which is the crux of my bad

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versus thriller argument.

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Speaker 3: Right, But Phil Collins had seven number one hits. He

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had more US Top forty singles than any other artist

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throughout the eighties, including Michael Jackson.

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Speaker 2: There is a case to be made that Phil Collins,

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with Genesis and by himself, Yes, was the most consistent

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hit maker of the nineteen eighties.

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Speaker 3: Yes, and I mean we're talking about a mega rock

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star at the time of mega rock stars, MTV Full Blast,

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Top forty Radio full Blast. And have you seen this guy?

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I know, I love him. I mean he's he's short,

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he's balding, he's chubby, he can't dance, he can't sing,

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he can sing.

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Speaker 2: Come on, he's just.

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Speaker 3: An ordinary man.

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Speaker 2: He does talk like Dick Van Dyke and Mary Poppins

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a little bit, so I do. I told you, I said.

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He feels like the everyman representing the crowd, like the fans,

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you know. Peter Gabriel is like this guy on this

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different plane and he's making music and we just like, oh,

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he's a rock star. Feels like the mechanic who just

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happened to get this amazing gig and knows how to

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make incredible rock.

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Speaker 3: Let's just be clear, I got I got a list here.

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Let's be clear about how big this is. Okay. He

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is one of only three recording artists who have sold

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over one hundred million records, both as solo artists and

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separately as principal members of a band. Can you name

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the other two?

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Speaker 2: George Michael No, Michael Jackson, Yes.

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Speaker 3: The girl is mine, Mine, mine, all McCartney, you got it.

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Paul McCartney is the other one. He has won eight

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Grammy Awards, six brit Awards, two Golden Globes, one Academy

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Award and a Disney Legend Award, which probably meant a

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lot more back when he got it than it does now.

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He has won an Ivor Novella Award. He's won the

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British Academy of Songwriters, Composers and Authors Award. He has

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a star on the Hollywood Walk of Fame. He's in

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the Songwriters Hall of Fame and Rock and Roll Hall

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of Fame as a member of Genesis. In twenty ten.

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Speaker 2: Not too shabby. He also managed to make Amy Man

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jealous because of the Gorilla Love song that he.

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Speaker 3: Did cartoon Gorilla cartoon, Monkey Love song.

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Speaker 2: That's it.

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Speaker 4: That's it.

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Speaker 2: I broke down the nineteen eighties. I just went year

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by year between Genesis.

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Speaker 3: And Phil Collins. Yes, okay, yeah, quick trivia.

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Speaker 2: Question for you. Can you name the only year of

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the nineteen eighties that he did not have a top

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fifteen hit, either with Phil Collins or Genesis.

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Speaker 3: Yes, I know this. It is nineteen eighty one, which

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is crazy because that's the year that In the Air

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Tonight came out, which is his most iconic song.

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Speaker 2: That was the only song that didn't reach the top fifteen.

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Speaker 3: Yeah, which is nuts, which is nuts, Like, how did

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that not happen? I think it was just a little

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bit ahead of its time obviously, Yes, And I think

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maybe Miami Vice gave it the rocket fuel it needed

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to get there. Yeah. And by the way, guys, we

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are here talking about no jacket required. This is a

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Genesis trinity, if you will. That's right, it is a

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Genesis trinity because we are talking about Peter Gabriel So,

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which we did last week with our great friend Chad

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Briggs at episode, and then next week we're going to

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be talking about Genesis and Invisible Touch. All of these

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albums came out within roughly a year of each other,

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That's right. It's crazy how much you were hearing Phil

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Collins's voice on the radio this time. And when we

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did our episode on SO, I started off by saying, hey,

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as you know, these guys were both the former or

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current lead singers of Genesis, but Peter Gabriel had Phil

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come and do drums for several of his songs on

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what we call the Melt album. They're all called Peter

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Gabriel until So happens. But I told that story back

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then go back and listen to that. But then on

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this album we got Peter Gabriel joining the band for

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a song. You know, it's crazy how these guys they

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I mean, they're just friends. They're decent guys who happen

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to also be mega prolific rock stars.

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Speaker 2: That's right, So today we're talking about No Jacket Required.

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This album was released February eighteenth of nineteen eighty five.

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It sells twenty five million copies, twelve million in the

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United States alone, is the second biggest selling album of

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nineteen eighty five. Can you name the first.

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Speaker 3: Eighty five No, I don't know.

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Speaker 2: It's Brothers in Arms by Dire Straits.

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Speaker 4: Oh.

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Speaker 3: Perfect, perfect, Oh and that reminds me. Okay. So we also,

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just a few weeks ago, finished with our Heart Versus

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Brothers and Arms episodes, we had one of our loyal listeners,

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mister Lee Matthews, reach out to us by email. He

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is from across the pond over in the UK. Yeah,

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and he sent us an email going, hey, you know,

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Jason Jay, I know you are a Miami Vice fan

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and d you'll appreciate this too, And he sent us

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a clip from Miami Vice that used Brothers in Arms

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the song the last song, how we missed that album?

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A great job on catching our miss on that one.

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And holy cow, what an impactful moment in the Miami

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Vice canon. That was I mean, gee Mane, it was.

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It was rough, But I told I told Lee at

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the time. When you hear that Peter Gabriel So episode,

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if you take a shot every time Jason says the

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word so or mentions Miami Vice, you'll be unconscious before

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the episode is over.

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Speaker 2: You're welcome, everybody. So the title for this album is

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No Jacket Required. Yes, I've got a funny story on

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how that came to be.

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Speaker 3: Yes, he's hanging.

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Speaker 2: Out with Robert Plant.

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Speaker 3: Robert Plant the lead singer of Led Zeppelin and the

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Honey Drippers and the Honeydripper. You're into the eighties, Robert Plant, Well,

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we talked about that. That's right. But he's hanging out.

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Speaker 2: There at the pump Room in Chicago.

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Speaker 3: Yes, he said.

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Speaker 2: Robert Plant is wearing a garish jacket.

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Speaker 3: Garish. Garish is a very British word.

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Speaker 2: It is. I just listened to his audio books. You

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might have some strange words creeping in this episode.

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Speaker 3: Okay, it's flamboyant. Maybe it is a good word for

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what I am imagining Robert Plant is wearing as his jacket.

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Garish is the word he is.

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Speaker 2: And as he's trying to enter the hotel, this is

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the Ambassador or West I believe in Chicago. He goes

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to hang out and have a few drinks at the

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hotel bar with Robert Plant and their buddies, and the

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matre d comes up and says, excuse me, sir, you're

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not wearing a jacket. And he's wearing a leather jacket

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and say it was a couple thousand bucks. I mean

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it was not shabby. He's like, I am wearing a jacket,

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and they're like, no, a proper jacket. And he turns

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to Rubber Plant and he looks at this weirdrish scarish

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jacket he's got on Rubber Plants like see you. And

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so Phil said that they would not let him in

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number one. And that's as mad as he has ever

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been in his life.

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Speaker 3: Wow, super mad.

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Speaker 2: So when he's doing the rounds with David Letterman and

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Johnny Carson, of course he's retelling the story they wouldn't

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let me in. I'm not wearing a jacket, it's too stuffy.

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They wouldn't let me in. And so finally the Ambassador

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hotel sent him a jacket and said, please stop repeating

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this story.

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Speaker 3: You can come in. You can come in anytime.

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Speaker 2: You want just please stop telling this story.

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Speaker 3: Right right, Well, and there's another there was another incident

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that happened just before that incident, which is probably why

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it made him so mad. But he was. He was

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on vacation down in the Caribbean with his family and

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tries to go into the hotel bar there and they say, sir,

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you'll have to have a jacket. And he's like, well,

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I don't have a jacket. And I'm like, well why not?

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And he said, well, because I'm on holiday and it's

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the Caribbean, Like, why would anybody have a jacket. They

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didn't let him in there. I think maybe they gave

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him a ridiculous oversized I mean, because he's not a

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big guy jacket that he wore there.

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Speaker 2: And so no jacket required to enjoy this album yep, okay.

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Speaker 3: Okay album cover. You know why he looks the way

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that he does, why he has that red face on there?

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Tell me because he wanted to look hot and bothered.

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That Those were his words, I want to look hot

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and bothered. I don't know that I would ever say that,

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especially not for my album cover. I want to look

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hot and bothered.

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Speaker 2: I did hear him talk about how he wanted to

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make a dance album or at least something with some

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up tempo tracks.

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Speaker 3: Yeah, as we'll talk about a little bit later on

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as the episode goes on. His two previous albums had

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all kinds of stuff to do with heartbreak, and so

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this one he was looking for something a little on

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the cheer read more dancy.

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Speaker 2: Side, he called those divorce albums, Yeah, and he wanted

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to kind of.

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Speaker 3: Get away from the divorce albums. Right.

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Speaker 2: So this is actually produced by Hugh Pagem.

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Speaker 3: Yep, and who I mentioned again in our last episode

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when we were talking about Peter Gabriel. So Hugh Pagem

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was actually working on the Melt album on Intruder whenever

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he and Phil inadvertently discovered the magic of the gated drum,

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which if you don't know that term, you will know

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the sound because it is the sound of the drums

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in the air tonight and about ten or twelve dozen

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different albums of the nineteen eighties, because it became the

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sound of the eighties, that gated drum beat, which, by

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the way, they recorded this album at the Townhouse, which

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everybody went to that place to record so they could

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get that identical drum sound that Phil Collins and Hugh

245
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Pagem had put together in Face Value very good.

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Speaker 2: You know, I was doing some research on the Pump

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Room in Chicago. Yeah, it actually closed down in twenty seventeen, sadly,

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but I came across a sentence where it said the

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Pump Room has hosted many celebrities from across the world,

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including Morre's the Cat. You remember More's the Cat.

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Speaker 3: Where's the Cat from the Nine Lives?

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Speaker 2: Cat food cat food commercials?

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Speaker 3: Yes, More's the Cat. Wow.

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Speaker 2: By the way. One of the artists who recorded in

255
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Monts Rat Yes, which we talked about in our Brothers

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and Arms Yes, was Eric Clapton, Yes, and producer Phil

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Collins right.

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Speaker 3: Yeah. He had just worked with Eric Clapton producing his

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album just before he did this one. And then in

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between this one and Eric Clapton, he worked with Philip Bailey,

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who we talked about a little bit on our Best

262
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Our Top five of nineteen eighty five because Philip Bailey

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had a big hit, probably because Phil Collins was singing

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on the song. Yeah, easy Lever, easy Lover.

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Speaker 2: What a great song man? What is fantastic song?

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Speaker 3: It definitely is. It should be in the conversation through

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great songs of that year.

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Speaker 2: No Question, by the way, that reached number two in

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nineteen eighty five.

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Speaker 3: Easy Lever did Easy Lever.

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Speaker 2: Yeah, I believe kept out by I Want to Know

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What Love Is by Foreigner.

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Speaker 3: Which is pretty big song. Yeah. We talked about that

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one a few times.

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Speaker 2: But still that could have been four number ones in

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the same year. Yeah, Phil Collins, eighty five was big.

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Speaker 3: Yeah, all right, before we get.

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Speaker 2: Started on the track listing, I got a funny story

279
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for you. As Phil's traveling around doing the interview circuit

280
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for no jacket required, some reporters noted that he resembles

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Bob Hoskins.

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Speaker 3: Yes, or Danny DeVito agree, right, well, I mean height

283
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wise anyway, Yeah.

284
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Speaker 2: Okay, you know, of course they're all slightly balding. They're

285
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they're kind of stocky either, short, you know whatever. And

286
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so Phil made the comment that we could play the

287
00:14:37,960 --> 00:14:43,600
Three Bears, right they actually like. De Vito contacted him

288
00:14:43,600 --> 00:14:49,639
about maybe doing a live action Three Bears with Kim Basinger.

289
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Speaker 3: As Goldilocks Wow.

290
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Speaker 2: And Bob Hoskins and Danny Vito and Phil Collins as

291
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the Three Bears.

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Speaker 3: I love it. I love it. All right, okay, you

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ready to jump into this album track number one Sue

294
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Sue Studio. Okay, so let me just start by saying,

295
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what a great eighties sounding drum beat we have coming

296
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out of the gate here, right, That's fantastic. But if

297
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I can pull back on the range just for a

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second before we dive into how good this song is,

299
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because it is great. Yes, that's a drum machine. Like

300
00:15:35,679 --> 00:15:38,759
I'm listening to a drum machine. Of course I didn't know.

301
00:15:38,960 --> 00:15:41,919
I mean, I knew Phil Collins was a drummer, yes,

302
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and I knew that he's a good drummer. But until

303
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we started researching Genesis, my familiarity with Genesis was the

304
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eighties Genesis where they were all pop and none of

305
00:15:52,120 --> 00:15:54,559
the prog rock that they did back in the seventies. Right,

306
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And so we'll talk about when we do our Genesis episode,

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we'll talk about him getting involved with you and assists

308
00:16:00,480 --> 00:16:03,120
in how all of that happened. But on the ind

309
00:16:03,159 --> 00:16:08,200
between with Genesis, he played for a band called brand X.

310
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Has he heard of this?

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Speaker 2: I've heard of the band brand X.

312
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Speaker 3: Okay, So I just as I was, I caught little

313
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bits of the Phil Collins a drummer first documentary and

314
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kind of ended up in the middle. I think you're

315
00:16:20,399 --> 00:16:22,440
probably watching it on YouTube at the same time, so

316
00:16:23,240 --> 00:16:28,080
we overlapped there. But it was it was Michael Jackson's drummer,

317
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and he's talking about how he picked up the Brand

318
00:16:30,960 --> 00:16:34,000
X album and was blown away by how good the

319
00:16:34,120 --> 00:16:36,120
drumming was, and so he had to go look and

320
00:16:36,120 --> 00:16:38,320
see who this drummer was, and he's like some guy

321
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named Phil Collins. Because it's nineteen seventy six and unless

322
00:16:42,200 --> 00:16:45,240
you were a big Genesis fan, you probably didn't know

323
00:16:45,279 --> 00:16:48,960
who Phil Collins was, right, I mean, I've heard Phil's

324
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eighties drumming. This blew my mind. So I came away

325
00:17:12,599 --> 00:17:16,240
from that going holy crap, like they say he's a

326
00:17:16,319 --> 00:17:19,279
drummer first, Oh heck, yeah he was. I mean that's

327
00:17:20,680 --> 00:17:24,319
I'm amazed, Like he's doing a double bass tap well

328
00:17:24,359 --> 00:17:27,759
before Lars Ulric has even probably got his own drum kit.

329
00:17:27,880 --> 00:17:30,319
Yeah right, And of course I immediately called James Buckley

330
00:17:30,359 --> 00:17:33,440
and I was like, James, you're on call drumming expert

331
00:17:33,480 --> 00:17:35,480
and sometimes co host. I need to know. He's like,

332
00:17:35,519 --> 00:17:39,119
oh yeah, like in the mid seventies, Phil Collins and

333
00:17:39,240 --> 00:17:43,039
Bill Bruford were the top of the prog rock, jazzing

334
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drum pyramid.

335
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Speaker 2: Phil was the genesis drummer, happy to be the drummer,

336
00:17:48,359 --> 00:17:50,960
happy to be kind of the background vocalist. But when

337
00:17:50,960 --> 00:17:53,960
you're replacing Peter Gabriel, they need to find a singer.

338
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He doesn't really want the job. He says, how about

339
00:17:56,640 --> 00:17:59,599
we just do instrumentals and they're like, we're not doing instrumentals,

340
00:18:00,119 --> 00:18:02,640
talking about we got to find a singer. Well, they

341
00:18:02,640 --> 00:18:05,079
would interview singers, they'd find guys and he's like, no,

342
00:18:05,400 --> 00:18:06,640
you need to do it more like this, and he

343
00:18:06,640 --> 00:18:07,119
would sing it.

344
00:18:07,200 --> 00:18:09,319
Speaker 3: Yeah, because he did all the backup for Peter Gabriel,

345
00:18:09,400 --> 00:18:10,920
and so he was like, this is the way you

346
00:18:11,000 --> 00:18:12,759
do it. And he would show them and they couldn't

347
00:18:12,759 --> 00:18:16,279
get it, and they're like, Phil, you're singing better than

348
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everybody else. And he was like, okay, well let me

349
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give it a shot.

350
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Speaker 2: Let me give it a shot. Let me give it

351
00:18:21,480 --> 00:18:23,720
a shot. And then what do we get.

352
00:18:39,519 --> 00:18:42,400
Speaker 3: The album that came out. I mean, the people thought

353
00:18:42,480 --> 00:18:46,400
the band was dead when Peter Gabriel left. He leaves

354
00:18:46,440 --> 00:18:49,480
and their very first album is a better seller than

355
00:18:49,519 --> 00:18:51,640
any album that they'd had that's right, that's right.

356
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Speaker 2: When they discovered their drummer could also be the singer,

357
00:18:55,480 --> 00:18:57,160
he said, was like finding a five dollars bill in

358
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the couch.

359
00:19:00,119 --> 00:19:05,039
Speaker 3: It's probably a little better, right, It's great.

360
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Speaker 2: So Sis Studio was the first single released in the UK.

361
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Second single released in the US. This is released in

362
00:19:10,960 --> 00:19:13,599
April of nineteen eighty five. In the US, it hits

363
00:19:13,680 --> 00:19:16,960
number one for the July weekend nineteen eighty five. This

364
00:19:17,400 --> 00:19:20,240
nineteen eighty five top ten is killer.

365
00:19:20,799 --> 00:19:23,839
Speaker 3: Just to take you back, this is July of nineteen

366
00:19:23,839 --> 00:19:27,160
eighty five. You just saw Back to the Future for

367
00:19:27,200 --> 00:19:30,160
the first that's it, or the second time, the third time,

368
00:19:30,599 --> 00:19:32,400
and you just got in your car and you turned

369
00:19:32,440 --> 00:19:35,000
on the radio and you're listening to Phil Collins song

370
00:19:35,240 --> 00:19:36,119
nine times out of ten.

371
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Speaker 2: That's it. That's it. So let me give you Actually,

372
00:19:38,960 --> 00:19:41,440
I'm gonna start at number twelve. You've got Goonies Are

373
00:19:41,440 --> 00:19:44,200
Good Enough by Cydey Lappero, which we just talked about.

374
00:19:44,279 --> 00:19:46,599
Go back and listen to that number eleven Glory Days

375
00:19:46,599 --> 00:19:49,000
by Bruce Springsteen. Yeah, check out our Born in the

376
00:19:49,079 --> 00:19:53,319
USA podcast. You have number ten Angel by Madonna. Okay,

377
00:19:53,680 --> 00:19:56,519
you have voices carry at number nine by Till Tuesday.

378
00:19:56,640 --> 00:19:59,640
Speaker 3: Yep, don't forget to sign up for our Patreon. Number

379
00:19:59,640 --> 00:20:02,279
eight Every Time You Go Away by Paul Young. Yep.

380
00:20:02,400 --> 00:20:05,680
Speaker 2: Number seven You Give Good Love Whitney Houston's first number

381
00:20:05,680 --> 00:20:08,359
one hit. Number six Would I Lie To You? By

382
00:20:08,400 --> 00:20:11,319
the Eurythmics. Check out our one crazy summer episode we

383
00:20:11,440 --> 00:20:14,680
just did exactly. Number five The Search Is Over by Survivor,

384
00:20:14,880 --> 00:20:17,440
which we're getting ready to cover against Chicago here in

385
00:20:17,440 --> 00:20:18,039
a few weeks.

386
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Speaker 3: Right right.

387
00:20:18,680 --> 00:20:20,839
Speaker 2: Number four Heaven by Brian Adams.

388
00:20:21,000 --> 00:20:25,680
Speaker 3: Yep, go check that's eight our most popular YouTube episode.

389
00:20:26,440 --> 00:20:28,119
It's the one without our faces on it.

390
00:20:29,640 --> 00:20:33,960
Speaker 2: Right, let's say something right crazy Number three Raspberry Beret

391
00:20:34,039 --> 00:20:36,279
by Prince There You Go. Number two of You to

392
00:20:36,359 --> 00:20:38,920
a Kill by Duran Duran and number one is the

393
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studio that is a murderer's row of hits that we've

394
00:20:42,400 --> 00:20:42,920
talked about.

395
00:20:43,079 --> 00:20:45,559
Speaker 3: Yeah, I can tell you that in this past week,

396
00:20:45,920 --> 00:20:47,799
my son said to me, as we're driving the car,

397
00:20:47,799 --> 00:20:49,960
if you could go back to any time in your life,

398
00:20:50,000 --> 00:20:51,440
when you go back to I was like, nineteen eighty

399
00:20:51,480 --> 00:20:53,319
five was pretty dang good. It's pretty good.

400
00:20:53,640 --> 00:20:56,640
Speaker 2: In July of eighty five, this hits number one Yeah,

401
00:20:56,680 --> 00:21:00,640
he does receive some criticism because it sounds too similar

402
00:21:01,319 --> 00:21:02,240
to another song.

403
00:21:10,559 --> 00:21:12,799
Speaker 3: I can hear that. Yeah, yeah, I can hear that.

404
00:21:13,240 --> 00:21:16,160
It's not a copy, but it doesn't. It definitely does have.

405
00:21:16,119 --> 00:21:19,559
Speaker 2: It's dancy, it's up tempo, it's synth heavy.

406
00:21:19,759 --> 00:21:23,400
Speaker 3: Yeah. And you know, we've talked about this a million times,

407
00:21:23,720 --> 00:21:27,559
Like you know, bon Jovi and Richie Sambora sat on

408
00:21:27,839 --> 00:21:29,759
a box of cassette tapes and went through them one

409
00:21:29,799 --> 00:21:31,640
by one to try to figure out what songs they

410
00:21:31,720 --> 00:21:34,160
could steal to make their own songs. This is as

411
00:21:34,559 --> 00:21:38,920
it whenever Olivia Rodrigo, who is a current artist right now,

412
00:21:39,119 --> 00:21:41,160
when of her songs came out that sounded very similar

413
00:21:41,200 --> 00:21:44,000
to an Elvis Costello song, and people were like, you

414
00:21:44,119 --> 00:21:45,880
need to sue her, and he was like, no, this

415
00:21:45,920 --> 00:21:48,359
is the language of rock and roll, Like I probably

416
00:21:48,400 --> 00:21:51,319
borrowed that that sound from somebody else who borrowed it

417
00:21:51,319 --> 00:21:53,440
else from that else. That's it's ridiculous. This is the

418
00:21:53,440 --> 00:21:56,160
way we build music. So yeah, the fact that it's

419
00:21:56,160 --> 00:21:58,960
got a similar sound to nineteen ninety nine is not

420
00:21:59,000 --> 00:22:00,680
a deal killer for me at all on this one.

421
00:22:00,799 --> 00:22:02,480
Speaker 2: What does sisudio mean?

422
00:22:02,720 --> 00:22:06,319
Speaker 3: Yeah, no, I I myself. Actually, as I was listening

423
00:22:06,359 --> 00:22:08,559
to this, probably a couple of years ago. At this point,

424
00:22:08,599 --> 00:22:11,079
I was like, what is that? Like? What is that?

425
00:22:11,119 --> 00:22:13,240
So I had to I went and looked it up, right,

426
00:22:13,960 --> 00:22:15,680
and this goes back to what I was. What I

427
00:22:15,720 --> 00:22:18,440
came in with is we're listening to a drum machine. Here,

428
00:22:18,440 --> 00:22:20,319
we've got we've got the world one of the world's

429
00:22:20,359 --> 00:22:23,039
top drummers, and he's using a drum machine. But the

430
00:22:23,079 --> 00:22:25,400
way that he came up with several of these songs,

431
00:22:25,440 --> 00:22:29,039
including the Sudio, was that he would do the drum

432
00:22:29,279 --> 00:22:31,200
beat and they would just listen to it over and

433
00:22:31,240 --> 00:22:38,880
over again and try to improvise lyrics and melodies over

434
00:22:38,920 --> 00:22:43,279
the drum beat. And for this particular song, the scatting

435
00:22:43,319 --> 00:22:48,319
that he did studio, there is no one named Sisudio.

436
00:22:48,799 --> 00:22:53,440
It's just that was the scatting do pop she be

437
00:22:53,480 --> 00:22:57,519
bop bop that came out of his skimpy Sudio. That's it.

438
00:22:57,599 --> 00:22:59,519
That's what came out of his mouth. And when he good,

439
00:22:59,599 --> 00:23:01,720
when he went back to try to replace it with

440
00:23:01,720 --> 00:23:06,880
some other name, nothing worked worked, and well there you go. Yeah.

441
00:23:06,920 --> 00:23:09,640
Speaker 2: By the way, one of his daughters now has a

442
00:23:09,759 --> 00:23:12,599
horse named studio.

443
00:23:12,839 --> 00:23:15,599
Speaker 3: Very nice. Okay, Well, since you opened that door, I'm

444
00:23:15,599 --> 00:23:17,319
gonna go ahead. I'm gonna go ahead and bring this

445
00:23:17,359 --> 00:23:20,839
little nugget to you. Okay. So you know I asked

446
00:23:20,839 --> 00:23:22,319
you before the show. I was like, do you know

447
00:23:22,359 --> 00:23:25,200
who Mary Steam Virgin is married to? And you said

448
00:23:25,599 --> 00:23:27,799
Ted Danson? Do you know who she was married to

449
00:23:28,279 --> 00:23:32,920
before that? No, she was married to Malcolm McDowell. Oh yeah,

450
00:23:33,279 --> 00:23:37,279
Clockwork Maklae star Trek. He was mister Rourke on the

451
00:23:37,279 --> 00:23:40,000
reboot of Fantasy Island. He was, Yes, he's he's been.

452
00:23:40,119 --> 00:23:43,599
He's a very well known British actor, right. And they

453
00:23:43,759 --> 00:23:47,119
had a child whose name is Charlie McDowell. By the way,

454
00:23:47,119 --> 00:23:49,000
if you look at his picture, he looks like an

455
00:23:49,000 --> 00:23:52,240
exact cross between Mary Steam Virgin and Malcolm McDowell.

456
00:23:52,240 --> 00:23:52,559
Speaker 5: Okay.

457
00:23:53,319 --> 00:23:58,680
Speaker 3: And he is married to Lily Collins. Yeah, Phil's daughter,

458
00:23:58,720 --> 00:24:02,880
who is also a actress herself, has been in several

459
00:24:02,960 --> 00:24:03,119
like that.

460
00:24:03,359 --> 00:24:05,400
Speaker 2: She was in a series She's the Girl now.

461
00:24:05,279 --> 00:24:07,319
Speaker 3: Okay, So she was in the blind Side as the daughter,

462
00:24:07,359 --> 00:24:10,519
and she's been in several other series. Is Lily Collins

463
00:24:10,559 --> 00:24:13,640
on the blind Side? Yep? And so I'm just thinking

464
00:24:13,680 --> 00:24:19,519
to myself in Phil's family tree. You've got Mary Stein Virgin,

465
00:24:20,759 --> 00:24:24,359
You've You've You've got Malcolm McDowell, You've got yes, Malcolm McDowell,

466
00:24:24,400 --> 00:24:28,880
You've got Ted Danson, and you've and you've got uh.

467
00:24:29,359 --> 00:24:34,160
I mean, he's got sons that are also major recording artists.

468
00:24:34,240 --> 00:24:38,079
I sent you a song today from Simon Collins, who

469
00:24:38,200 --> 00:24:41,000
had a band called Sound of Contact. Has a very

470
00:24:41,039 --> 00:24:44,880
similar sounding voice to his dad. Nick Collins is the

471
00:24:44,920 --> 00:24:48,000
one who kind of helped produce the documentary that just

472
00:24:48,079 --> 00:24:50,960
came out. He is a very prolific drummer and played

473
00:24:51,400 --> 00:24:54,799
drums for Genesis when Phil lost his ability to do so.

474
00:24:55,119 --> 00:24:55,480
Speaker 2: Wow.

475
00:24:55,640 --> 00:24:59,240
Speaker 3: I mean it's he has got an impressive lineup of family.

476
00:24:59,359 --> 00:25:03,559
And his brother is like a knighted cartoonist, like one

477
00:25:03,599 --> 00:25:08,279
of the most famous political and satirist cartoonists from the

478
00:25:08,359 --> 00:25:10,480
UK just passed away a couple of years ago. And

479
00:25:10,480 --> 00:25:12,440
it's funny because if you look at him, he's got

480
00:25:12,440 --> 00:25:15,640
the same base, but he's like normal height, and so

481
00:25:16,440 --> 00:25:19,079
they stand together and it looks it looks like twins.

482
00:25:21,160 --> 00:25:23,720
You sent to me like it was like a one frame.

483
00:25:24,200 --> 00:25:26,359
Speaker 2: It was like something you would see in like Cosmo

484
00:25:26,559 --> 00:25:29,079
or even Playboy, right and I'm.

485
00:25:28,960 --> 00:25:29,920
Speaker 3: Like, this is funny.

486
00:25:29,960 --> 00:25:31,480
Speaker 2: D wait, what do you does?

487
00:25:32,359 --> 00:25:35,880
Speaker 3: Exactly right? But it's funny. You're like, oh, Clive Collins,

488
00:25:35,960 --> 00:25:36,559
I see that right.

489
00:25:37,000 --> 00:25:39,319
Speaker 2: Yeah, okay, I want to talk about the video for

490
00:25:39,359 --> 00:25:42,079
a second because I've told you. I think I've already

491
00:25:42,119 --> 00:25:45,000
said it. But Phil Collins has that very everyman type

492
00:25:45,000 --> 00:25:48,000
of quality about So they shot this video at a

493
00:25:48,440 --> 00:25:54,359
very ordinary man yes, yes, so they shot this video

494
00:25:54,440 --> 00:25:58,160
at the Princess Victoria, which is a pub in London

495
00:25:58,799 --> 00:26:00,240
owned by Richard.

496
00:26:00,720 --> 00:26:03,680
Speaker 3: Okay, Virgin Records, which produced this album of course, yep.

497
00:26:04,400 --> 00:26:07,880
Speaker 2: And it's like him and his band and he's up

498
00:26:07,920 --> 00:26:11,359
there in front of like four people, and you can

499
00:26:11,359 --> 00:26:13,319
tell he just finishes a song and there's like a

500
00:26:13,440 --> 00:26:17,359
smattering of like barely clapping, and then he's like, all right,

501
00:26:17,440 --> 00:26:19,680
thank you, thank you again, thank you. You know the

502
00:26:19,759 --> 00:26:21,839
old He says, well, we got one more song for you.

503
00:26:21,920 --> 00:26:24,079
This song is called the Studio and they're like, ay, whatever,

504
00:26:24,920 --> 00:26:27,000
and then when he starts playing, it draws a crowd

505
00:26:27,039 --> 00:26:34,559
and everybody's clapping. And this song is infectious, it's pop gold,

506
00:26:34,799 --> 00:26:35,440
it's fun.

507
00:26:35,759 --> 00:26:37,920
Speaker 3: And the horns you get the phoenix horns from Earth

508
00:26:37,920 --> 00:26:39,480
Wind and Fire I love it.

509
00:26:39,480 --> 00:26:40,319
Speaker 2: It's fantastic.

510
00:26:40,400 --> 00:26:43,480
Speaker 3: It is a great album opener. Just shows what you

511
00:26:43,480 --> 00:26:45,880
can do with a drum machine and a little improv.

512
00:26:46,160 --> 00:26:48,839
It's incredible, really okay. And before we move on to

513
00:26:48,839 --> 00:26:52,480
the next song, one more tidbit on his family. Yes,

514
00:26:52,640 --> 00:26:55,279
Nick Collins, that plays the drum that played the drums

515
00:26:55,319 --> 00:26:58,160
form when he couldn't play for Genesis. Yes, a year

516
00:26:58,200 --> 00:27:00,920
and a half ago started a band called The Effect.

517
00:27:01,440 --> 00:27:08,079
Guitarist for The Effect is Trev Lucather, son of Lucather

518
00:27:08,319 --> 00:27:08,880
of Toto.

519
00:27:09,000 --> 00:27:12,759
Speaker 2: That's great, okay. Second song on the album, This song

520
00:27:12,839 --> 00:27:30,319
is called only You Know and I Know another killer upbeat.

521
00:27:30,440 --> 00:27:32,359
You got the horns, you got the keys, you got

522
00:27:32,400 --> 00:27:36,319
the guitar, You've got the Phoenix horns, which is from

523
00:27:36,359 --> 00:27:39,079
Earth Wind and Fire. Ok So it's real strong horns

524
00:27:39,160 --> 00:27:43,200
that you get in those kind of soulful records, dancy poppy.

525
00:27:43,480 --> 00:27:44,119
It's good fun.

526
00:27:44,440 --> 00:27:47,400
Speaker 3: This song is. I really like how it picks up

527
00:27:47,440 --> 00:27:50,400
at the chorus, Like the the verse is good. The

528
00:27:50,480 --> 00:27:52,559
chorus is great, like he brings it in the chorus,

529
00:27:52,599 --> 00:27:53,640
and I really like how it songs.

530
00:27:53,720 --> 00:27:57,200
Speaker 2: He's got a knack for making infectious grooves. Stuff we

531
00:27:57,440 --> 00:28:00,519
like to listen to whether you got irritated with Collins

532
00:28:00,519 --> 00:28:03,640
in the eighties. It's because his songs were so successful.

533
00:28:03,680 --> 00:28:21,599
They're on the radio all the time. Now, there is

534
00:28:21,640 --> 00:28:24,400
a line in this song that he got from real life,

535
00:28:24,400 --> 00:28:26,880
and I thought this was funny. So he met a

536
00:28:26,880 --> 00:28:30,160
girl at the Rainbow Club in La She became a

537
00:28:30,200 --> 00:28:32,279
second wife. Her name is Jill Tavelman. But when she

538
00:28:32,400 --> 00:28:35,960
introduced him to her mother, he says, Hi, how you doing, ma'am,

539
00:28:36,039 --> 00:28:39,839
I'm Phil Collins. She turned to her daughter and said, well, honey,

540
00:28:39,960 --> 00:28:43,480
as they say, love is blind, I did not.

541
00:28:43,759 --> 00:28:45,839
Speaker 3: I'd not heard that story. But as soon as you

542
00:28:45,880 --> 00:28:47,279
went there, I was like, oh, no, I know what

543
00:28:47,319 --> 00:28:50,440
she's gonna say. Yeah, ouch, thank you.

544
00:28:53,359 --> 00:28:56,519
Speaker 2: Okay, I've got to tell you this story in regards

545
00:28:56,960 --> 00:29:00,839
to the song against All Odds Okay, which I believe

546
00:29:01,119 --> 00:29:03,599
may be the best song of nineteen eighty four. I

547
00:29:03,720 --> 00:29:06,480
absolutely love it. It's a beautiful power ballad. So for

548
00:29:06,519 --> 00:29:09,519
the Academy Awards, they contact Phil and they say, hey,

549
00:29:09,680 --> 00:29:12,920
against All Odds is gonna be is nominated for an

550
00:29:12,920 --> 00:29:15,839
Academy Award, and he was over the moon. Phil is

551
00:29:15,880 --> 00:29:19,640
a big movie buffa. He's a like a historian. He

552
00:29:19,680 --> 00:29:22,799
loves the Academy Awards, so he reroutes his whole tour

553
00:29:23,000 --> 00:29:25,519
so he can go and perform against all odds at

554
00:29:25,559 --> 00:29:29,119
the Academy Awards. Yeah, And they're like, oh, well you're

555
00:29:29,200 --> 00:29:32,759
not going to perform it and he's like, what do

556
00:29:32,799 --> 00:29:36,240
you mean? I'm the singer, right, this is my song,

557
00:29:36,279 --> 00:29:39,880
I wrote it, I sing it, and for all history,

558
00:29:40,000 --> 00:29:42,440
that's how it works. And they're like, no, not this year,

559
00:29:42,640 --> 00:29:45,519
and he says, well why not? Like what's the reasoning?

560
00:29:45,599 --> 00:29:49,079
They said, Well, this is a movie event. We only

561
00:29:49,079 --> 00:29:53,119
want movie people involved with the Academy Awards. Does that

562
00:29:53,160 --> 00:29:54,480
make any sense to you at all?

563
00:29:54,640 --> 00:29:57,279
Speaker 3: No? Okay, then why would you have an Academy Award

564
00:29:57,319 --> 00:29:57,759
for a song?

565
00:29:58,119 --> 00:29:58,200
Speaker 4: So?

566
00:29:59,240 --> 00:30:04,960
Speaker 2: Right, exactly. So, along with his rejection from performing this song, yeah,

567
00:30:05,200 --> 00:30:08,200
Denise Williams performs Let's Hear It for the Boy and

568
00:30:08,319 --> 00:30:12,839
Ray Parker Junior performs Ghostbusters, so that doesn't hold any water. No,

569
00:30:13,720 --> 00:30:17,319
So leading up to the Awards he is pissed, like

570
00:30:17,440 --> 00:30:19,960
he's He's like, yeah, what's the deal. You guys are

571
00:30:19,960 --> 00:30:21,839
taking myself? Who is performing my song?

572
00:30:22,480 --> 00:30:22,680
Speaker 3: Right?

573
00:30:22,720 --> 00:30:24,759
Speaker 2: And they're like, well, we have a dancer who's gonna

574
00:30:24,799 --> 00:30:31,079
lip sync it what so some strongly worded letters are

575
00:30:31,119 --> 00:30:32,000
sent back and forth.

576
00:30:32,039 --> 00:30:35,960
Speaker 3: Anyway, he goes to the awards ceremony and as it starts,

577
00:30:36,160 --> 00:30:40,440
all eyes are on him, right, and this poor dancer

578
00:30:40,519 --> 00:30:43,079
gets up there and does just a terrible it's like

579
00:30:43,759 --> 00:30:46,480
maybe the most embarrassing performance of all time. What the

580
00:30:46,720 --> 00:30:51,279
actual heck? I know right, like she did something really

581
00:30:51,279 --> 00:30:54,079
good for somebody involved at the Academy to get this spot.

582
00:30:54,319 --> 00:30:58,720
Speaker 2: Yes, it's oh my god, it's so insane. Anyway, the

583
00:30:58,839 --> 00:31:01,319
song loses to I Just Called to Say I Love

584
00:31:01,319 --> 00:31:03,759
You by Stevie Wonder. I hate that song.

585
00:31:04,559 --> 00:31:05,480
Speaker 3: I hate that song.

586
00:31:06,079 --> 00:31:08,799
Speaker 2: And Phil came out pretty strong against that song. He said,

587
00:31:08,839 --> 00:31:10,640
Stevie Wonder is one of my heroes, but I have

588
00:31:11,160 --> 00:31:15,039
serious doubts that that song was actually written specifically for a.

589
00:31:15,000 --> 00:31:15,839
Speaker 3: Movie, right.

590
00:31:16,519 --> 00:31:19,279
Speaker 2: Uh so they just kind of bad feelings all around

591
00:31:19,319 --> 00:31:23,200
for him. The good news In two thousand, he eventually

592
00:31:23,279 --> 00:31:26,799
wins his Academy Award for You'll Be in My Heart.

593
00:31:27,359 --> 00:31:30,960
He even got to sing it right the bad News.

594
00:31:31,920 --> 00:31:35,039
That night, he beat the song Blame Canada, which is

595
00:31:35,119 --> 00:31:39,119
Trey Parker Matt Stone, and they went scorched earth on

596
00:31:39,640 --> 00:31:40,400
over that song.

597
00:31:41,359 --> 00:31:43,799
Speaker 3: I'lso beat out an Amy Man song. But you'll have

598
00:31:43,839 --> 00:31:46,599
to go check out our Patreon page to hear that story. Mike,

599
00:31:46,640 --> 00:31:50,240
you love song all right. Next song on the album

600
00:31:50,279 --> 00:32:05,599
is a song called Long Long Way to Go. Okay,

601
00:32:05,640 --> 00:32:09,000
wait to bring it back down. It's pretty moody, yeah,

602
00:32:09,039 --> 00:32:12,160
I mean we just we finished with two toe tapping

603
00:32:12,279 --> 00:32:17,039
dance hits and then we moved into a very dirge like,

604
00:32:17,400 --> 00:32:19,240
politically motivated song.

605
00:32:19,880 --> 00:32:22,079
Speaker 2: This song is actually considered to be one of his

606
00:32:22,319 --> 00:32:25,279
most famous, well known songs that was not released as

607
00:32:25,279 --> 00:32:25,720
a single.

608
00:32:25,880 --> 00:32:26,119
Speaker 3: Right.

609
00:32:26,200 --> 00:32:30,119
Speaker 2: This is also my first Miami Vice crossover. Okay, yes,

610
00:32:30,359 --> 00:32:33,400
and this song it sounds heavy, yeah, And so they

611
00:32:33,480 --> 00:32:35,599
used it for a heavy moment in Miami Vice when

612
00:32:35,720 --> 00:32:39,640
Tubbs's girlfriend and son were killed and he was at

613
00:32:39,680 --> 00:32:40,359
their funeral.

614
00:32:41,319 --> 00:32:43,359
Speaker 3: So was used in Miami Vice.

615
00:32:44,000 --> 00:32:47,240
Speaker 2: And Phil Collins has you know, got a heavy connection

616
00:32:47,279 --> 00:32:49,160
to Miami Vice. A lot of his songs were used.

617
00:32:49,279 --> 00:32:52,799
We talked about Peter Gabriel songs in his use in

618
00:32:52,839 --> 00:32:55,359
Miami Vice. So here's a list of the songs of

619
00:32:55,400 --> 00:32:58,000
Phil Collins that were used in Miami Vice. Okay, so

620
00:32:58,759 --> 00:33:02,079
you've got a song called I Don't Care Anymore? You've

621
00:33:02,079 --> 00:33:03,640
got take Me Home, which we're going to talk about

622
00:33:03,640 --> 00:33:05,920
here in a second. Yep, you've got long, long way

623
00:33:06,000 --> 00:33:09,480
to go, you've got against all odds, you've got a

624
00:33:09,519 --> 00:33:12,000
song called Life as a Rat Race, which was a

625
00:33:12,480 --> 00:33:16,000
rewrite of a demo for this album that was originally

626
00:33:16,039 --> 00:33:18,599
called The Man with the Horn. Oh okay, And then

627
00:33:18,640 --> 00:33:21,799
of course you've got in the Air Tonight, which maybe

628
00:33:21,839 --> 00:33:24,119
the most iconic moment of Miami Vice history.

629
00:33:24,319 --> 00:33:24,839
Speaker 3: Right, okay.

630
00:33:25,599 --> 00:33:29,079
Speaker 2: He played Phil the Shill, Fill the Shill in I

631
00:33:29,079 --> 00:33:30,480
think season two of Miami Vice.

632
00:33:30,640 --> 00:33:33,920
Speaker 3: Right, He's like a con man. And and just so

633
00:33:34,000 --> 00:33:39,160
that our listening audience knows, Phil is not a musician

634
00:33:39,200 --> 00:33:42,359
that became an actor. He's an actor that became a musician.

635
00:33:43,079 --> 00:33:45,640
Tell me so. When he was I mean when he

636
00:33:45,720 --> 00:33:48,039
was very young, he like he got his first drums,

637
00:33:48,279 --> 00:33:50,599
Like he got a plastic drum at three, and by

638
00:33:50,640 --> 00:33:53,559
four and five he got some real drums, and they were,

639
00:33:53,680 --> 00:33:56,640
you know, doing a makeshift drum set for him. But

640
00:33:56,920 --> 00:33:59,480
and I sent you a cartoon that his brother had

641
00:33:59,559 --> 00:34:03,519
drawn of him pounding on the drum as a little kid. Right,

642
00:34:04,279 --> 00:34:06,799
But he was really he was an actor from a

643
00:34:06,920 --> 00:34:11,800
very early age. He played the part of the Artful

644
00:34:11,840 --> 00:34:18,280
Dodger in the musical Oliver at West End, like that

645
00:34:19,239 --> 00:34:23,960
the Broadway of London is where he was performing, like

646
00:34:24,000 --> 00:34:27,639
so big bragging rights for his family that Hey, my kids,

647
00:34:28,039 --> 00:34:31,679
my kid is playing the artful Dodger. And he was

648
00:34:31,800 --> 00:34:35,239
actually friends with Jack Wilde, who is the actor that

649
00:34:35,320 --> 00:34:38,519
played the artful Dodger in the movie Oliver that came

650
00:34:38,559 --> 00:34:39,480
out in the sixties.

651
00:34:39,599 --> 00:34:46,360
Speaker 5: Oh yeah, okay, I do anything for you anything, Yes,

652
00:34:46,599 --> 00:34:52,760
it's And so when he became a teenager, older teenager,

653
00:34:53,280 --> 00:34:55,559
he decided, I don't want to be an actor anymore.

654
00:34:55,559 --> 00:34:57,360
Speaker 3: Like they had given him all kinds of training to

655
00:34:57,360 --> 00:35:00,760
be an actor because he has shown such promise as

656
00:35:01,239 --> 00:35:03,639
a little kid. You know, you're a very young man.

657
00:35:04,280 --> 00:35:06,760
And he's like, nope, I want to go try to

658
00:35:06,800 --> 00:35:08,239
be a musician instead.

659
00:35:09,039 --> 00:35:12,840
Speaker 2: He was in A Hard Day's Night that was cut out.

660
00:35:13,079 --> 00:35:17,320
Oh and then he got to go to Pinewood Studios.

661
00:35:17,480 --> 00:35:20,880
He got a part as an extra in Chitty Chitty

662
00:35:21,000 --> 00:35:25,320
Bang Bang. Okay, the Ian Fleming Kids book. Right cut

663
00:35:25,360 --> 00:35:26,519
out of that one as well.

664
00:35:26,440 --> 00:35:27,000
Speaker 3: Uh huh.

665
00:35:27,079 --> 00:35:29,679
Speaker 2: And he's like, I guess they didn't like my face, right,

666
00:35:29,719 --> 00:35:33,880
you know, right, So but yeah, young Phil was an actor. Yeah,

667
00:35:33,920 --> 00:35:36,519
and when he got this script from Miamivice. You know,

668
00:35:36,840 --> 00:35:39,559
Miami Vice had a reputation of bringing in musical people

669
00:35:39,599 --> 00:35:40,519
and doing cameos.

670
00:35:40,920 --> 00:35:43,480
Speaker 3: He's like, oh, yeah, it'll be fun. He gets the script,

671
00:35:43,559 --> 00:35:46,599
he's reading and he's like, I'm on every page. Yeah.

672
00:35:46,639 --> 00:35:48,920
Speaker 2: And he contacts the director. He's like, I haven't acted

673
00:35:48,960 --> 00:35:51,199
in like twenty five years, and he's like, ah, to

674
00:35:51,280 --> 00:35:51,519
be fun.

675
00:35:51,559 --> 00:35:54,199
Speaker 3: You'll be doing You'll be fine. Yeah. And he has

676
00:35:54,239 --> 00:35:57,320
a major character on Miami Vice. I mean he goes

677
00:35:57,440 --> 00:36:00,559
on and is the star of his own movie.

678
00:36:00,719 --> 00:36:03,239
Speaker 2: We'll get to that here in fink now before we

679
00:36:03,239 --> 00:36:05,400
move on. I think this is a good chance to

680
00:36:05,480 --> 00:36:07,719
tell you do you know who sings backup on this song?

681
00:36:08,159 --> 00:36:11,320
Speaker 3: Uh? This one has Sting? That's right. Yeah.

682
00:36:12,000 --> 00:36:15,119
Speaker 2: Sting and Phil Collins didn't know each other until they

683
00:36:15,199 --> 00:36:18,840
met when they recorded the do you Know It's Christmas

684
00:36:18,880 --> 00:36:22,400
song band Aid, which was like a couple of months

685
00:36:22,400 --> 00:36:26,320
before this was recorded. Uh huh, and they became fast friends.

686
00:36:26,599 --> 00:36:30,119
So when Live Aid came calling and so Steing contacted

687
00:36:30,199 --> 00:36:32,679
him and says, hey, are you doing this this Live

688
00:36:32,679 --> 00:36:35,639
Aid Bob Geldoff thing, and feels like, yeah, I think

689
00:36:35,639 --> 00:36:37,719
I'm gonna And Sting's like, well, let's do it together.

690
00:36:38,079 --> 00:36:40,760
So Phil and Sting decide they're going to team up

691
00:36:40,880 --> 00:36:43,679
and perform at Live Aid together as like a team.

692
00:36:43,840 --> 00:36:46,280
Oh okay, right, And so, of course Steing had just

693
00:36:46,320 --> 00:36:49,719
broken up with the Police. He hasn't really established.

694
00:36:49,239 --> 00:36:51,079
Speaker 3: His band just yet, you know.

695
00:36:51,320 --> 00:36:53,719
Speaker 2: So Hey, here's my buddy, Phil, Phil, you want to

696
00:36:53,719 --> 00:36:55,880
come on stage. Let's do a couple of songs. We'll

697
00:36:55,880 --> 00:36:57,480
do a couple of years, couple of mine, and we'll

698
00:36:57,480 --> 00:36:59,199
team up and we'll do it, which I think is

699
00:36:59,239 --> 00:37:00,679
really cool, fantastic.

700
00:37:00,760 --> 00:37:00,920
Speaker 3: Right.

701
00:37:01,000 --> 00:37:03,480
Speaker 2: So they do in the air tonight, they do Long,

702
00:37:03,519 --> 00:37:06,159
Long Way to Go this song. Okay, they do against

703
00:37:06,159 --> 00:37:09,360
all odds, and then they do every Breath you take together.

704
00:37:09,719 --> 00:37:10,000
Speaker 3: Nice.

705
00:37:10,119 --> 00:37:12,119
Speaker 2: Okay, that's awesome, which I think is really cool.

706
00:37:12,199 --> 00:37:13,760
Speaker 3: Yeah, no, that's great. Now.

707
00:37:13,760 --> 00:37:18,559
Speaker 2: Then Geldoff says, hey, why don't you perform in Philadelphia

708
00:37:18,599 --> 00:37:22,239
as well? Okay, So leading up to this, he asked Phil,

709
00:37:22,400 --> 00:37:25,360
hey you do it in London. If you hop on

710
00:37:25,400 --> 00:37:28,880
a concord, you could make it to Philadelphia in time

711
00:37:29,119 --> 00:37:31,599
just barely to perform both contents.

712
00:37:31,719 --> 00:37:34,880
Speaker 3: Oh wow. And so Phil's like, well, I mean I don't.

713
00:37:34,920 --> 00:37:36,239
I don't want to be the only one who does this.

714
00:37:36,440 --> 00:37:37,199
He's like, no, no, no.

715
00:37:37,199 --> 00:37:38,400
Speaker 2: Duran Durant's going to do it too.

716
00:37:38,400 --> 00:37:40,480
Speaker 3: He's like, okay, well's yeah, that sounds like fun.

717
00:37:40,480 --> 00:37:44,199
Speaker 2: I'll do it, well Duran. Duran bails out and so

718
00:37:44,559 --> 00:37:45,679
but Phil had already committed.

719
00:37:45,840 --> 00:37:49,280
Speaker 3: Yeah. So he does these four songs with sting. He

720
00:37:49,360 --> 00:37:52,159
hops on the concord. Okay, now get this.

721
00:37:52,559 --> 00:37:55,119
Speaker 2: There's a TV crew following him around recording this whole deal,

722
00:37:55,159 --> 00:38:00,159
of course, and he bumps into Share, who is on

723
00:38:00,199 --> 00:38:04,199
the plane, and she sees all these cameras and stuff,

724
00:38:04,239 --> 00:38:05,840
and so she goes to the bathroom. She comes back,

725
00:38:05,880 --> 00:38:09,000
she's like, Phil, what's going on. He's like, you don't

726
00:38:09,000 --> 00:38:12,119
know this live aid and she's like, no, I don't

727
00:38:12,159 --> 00:38:12,840
know anything about it.

728
00:38:12,880 --> 00:38:15,519
Speaker 3: He's like, wow, I've just performed at Wembley. I'm going

729
00:38:15,559 --> 00:38:18,639
to Philadelphia. And she's like, can you get me on?

730
00:38:20,159 --> 00:38:23,280
And he's like, I'm not a talient agent, but your Share,

731
00:38:23,360 --> 00:38:26,360
I mean, come with me and we'll do this. Right.

732
00:38:27,079 --> 00:38:29,760
Speaker 2: So Share is like, I'll join you and we'll do

733
00:38:29,800 --> 00:38:33,119
this in Philadelphia. Okay, let me back up a second.

734
00:38:33,760 --> 00:38:37,119
His buddy Robert Plant like leading up to this event,

735
00:38:38,039 --> 00:38:40,199
says are you doing this deal live aid? And it

736
00:38:40,239 --> 00:38:42,920
feels like, yeah, I'm doing it. And Robert Plant's like,

737
00:38:43,199 --> 00:38:46,880
maybe you can get me on, and feels like you're

738
00:38:47,000 --> 00:38:50,320
Robert Plant, you can get yourself on. So anyway, Phil

739
00:38:50,559 --> 00:38:53,599
contacts Bob Geldoff and says, Robert Plant wants to do something.

740
00:38:53,760 --> 00:38:57,599
So and this is months before and Robert Plant says,

741
00:38:58,039 --> 00:39:04,039
maybe I'll call Jimmy as in Jimmy Page, which, of

742
00:39:04,039 --> 00:39:07,800
course led Zeppelin had not gotten back together since John

743
00:39:07,840 --> 00:39:11,719
Bonham's death. Okay, so Phil is already doing his own thing,

744
00:39:12,400 --> 00:39:15,199
and then next thing he knows he's going to drum

745
00:39:15,280 --> 00:39:17,599
for Robert Plant, who's going to do a couple of songs.

746
00:39:18,519 --> 00:39:21,400
Jimmy Page is going to join him. Also, all of

747
00:39:21,440 --> 00:39:24,440
a sudden, John Paul Jones is involved.

748
00:39:23,840 --> 00:39:27,079
Speaker 3: So it is literally all of led Zeppelin and Phil

749
00:39:27,199 --> 00:39:28,599
is taking the place of John Bonham.

750
00:39:28,679 --> 00:39:32,079
Speaker 2: Yes, but all of this I think Phil had his

751
00:39:32,079 --> 00:39:34,039
head in the sand a little bit. He didn't realize

752
00:39:34,280 --> 00:39:38,119
that he was stepping into a led Zeppelin reunion. Okay, Yeah,

753
00:39:38,480 --> 00:39:42,599
so he performs at Wimbley, He hits the Concorde, bumps

754
00:39:42,639 --> 00:39:47,360
into Chaer. He's going over to Philadelphia. They you know,

755
00:39:47,960 --> 00:39:49,920
Robert said, hey, we're going to do a couple of

756
00:39:49,960 --> 00:39:52,039
led Zeppelin songs. Phil knows all the songs, he's a

757
00:39:52,079 --> 00:39:54,679
fan of led Zeppelin. Well he gets over there. Well,

758
00:39:54,760 --> 00:39:58,239
the drummer from Chic has been rehearsing with these three guys,

759
00:39:59,559 --> 00:40:02,639
and of course they're back together on stage for reunion.

760
00:40:02,679 --> 00:40:05,000
And feels like, wait a minute, I maybe I need

761
00:40:05,039 --> 00:40:08,039
to bow out, like this is not my They're like, no,

762
00:40:08,079 --> 00:40:08,880
you in Roubert place.

763
00:40:09,039 --> 00:40:09,840
Speaker 3: You can't bow now.

764
00:40:09,920 --> 00:40:12,119
Speaker 2: This is we're getting ready to go on stage. So

765
00:40:12,119 --> 00:40:14,679
it feels like, well, okay, I guess I'll join you.

766
00:40:15,360 --> 00:40:18,280
So he talks to I think his name is Tony Thompson.

767
00:40:18,320 --> 00:40:20,760
He's the drummer for Chic, and he's like, hey, listen,

768
00:40:20,840 --> 00:40:22,840
two drummers, what where are you going to do? What

769
00:40:22,840 --> 00:40:23,400
do you you know?

770
00:40:23,400 --> 00:40:24,079
Speaker 3: What are you thinking?

771
00:40:24,480 --> 00:40:28,480
Speaker 2: Well he's like not interested in hearing anything from Phil.

772
00:40:29,000 --> 00:40:32,079
So Phil feels like I got Robert Plant involved in this,

773
00:40:32,199 --> 00:40:35,280
and now I'm like the fifth wheel, right, and I'm

774
00:40:35,280 --> 00:40:38,239
stepping into a led Zeppelin reunion, of which I was

775
00:40:38,320 --> 00:40:40,280
not fully aware that this is what was happening.

776
00:40:40,320 --> 00:40:40,440
Speaker 5: Right.

777
00:40:41,199 --> 00:40:44,800
Speaker 2: So Phil catches the Concord comes back. He plays on

778
00:40:44,920 --> 00:40:48,880
stage with led Zeppelin as the reunion, but it is

779
00:40:48,960 --> 00:40:53,360
billed as a disaster afterwards. And guess who gets the blame?

780
00:40:53,679 --> 00:40:56,039
Speaker 3: Phil Phil? Of course, yeah, he.

781
00:40:56,000 --> 00:40:58,039
Speaker 2: Says, if you go back and look, and I did.

782
00:40:58,360 --> 00:41:00,679
He says, I'm playing air drums. He says, I'm just

783
00:41:00,719 --> 00:41:03,679
trying to hide and not get in the way, and

784
00:41:03,719 --> 00:41:08,519
he's just not hitting anything. And he took the he

785
00:41:08,559 --> 00:41:12,519
took the blame for it. That's tragedy, and led Zeppelin

786
00:41:12,519 --> 00:41:16,360
has done everything they can to scrub it from the

787
00:41:16,400 --> 00:41:17,960
Live Aid history.

788
00:41:19,920 --> 00:41:20,920
Speaker 3: So huh.

789
00:41:21,119 --> 00:41:21,719
Speaker 2: Kind of interesting.

790
00:41:21,719 --> 00:41:23,400
Speaker 3: So what did Share perform?

791
00:41:23,719 --> 00:41:27,960
Speaker 2: So the rest of the story is Phil does his set.

792
00:41:28,440 --> 00:41:31,360
He also plays with Eric Clapton. He also plays in

793
00:41:31,400 --> 00:41:35,559
the led Zeppelin reunion. Clapton played in the Leeds Clapton No.

794
00:41:35,679 --> 00:41:39,840
Clapton played on his own at Live Age, Phil played

795
00:41:39,880 --> 00:41:43,920
with him. Phil joined led Zeppelin in the reunion, of

796
00:41:44,000 --> 00:41:47,000
which he says he really didn't realize that was what

797
00:41:47,039 --> 00:41:49,719
was happening. He was supposed to see We Are the

798
00:41:49,760 --> 00:41:53,280
World at the end, but he was so embarrassed and

799
00:41:53,320 --> 00:41:55,559
so humiliated and felt like a jerk, and he's like,

800
00:41:55,719 --> 00:41:57,800
I know, I'm out of here, I'm going to the hotel.

801
00:41:58,400 --> 00:41:59,920
So when he got back to the hotel, he turned

802
00:42:00,159 --> 00:42:03,800
on and for the end and they're singing we know

803
00:42:03,880 --> 00:42:05,840
the World, and all the people are there together, and

804
00:42:05,880 --> 00:42:07,599
who does he see singing we are the world?

805
00:42:07,880 --> 00:42:08,159
Speaker 5: Sure?

806
00:42:08,320 --> 00:42:12,960
Speaker 2: Sure Share managed to get on stage, get a microphone,

807
00:42:13,480 --> 00:42:15,679
had no idea this was happening. Next thing you know,

808
00:42:15,760 --> 00:42:17,599
she's singing at live aid.

809
00:42:18,360 --> 00:42:22,280
Speaker 3: Wow, that's crazy, that's fun, what a what a good story,

810
00:42:22,360 --> 00:42:23,079
that's fantastic.

811
00:42:23,159 --> 00:42:24,400
Speaker 2: I kind of went all over the place, but.

812
00:42:26,079 --> 00:42:27,440
Speaker 3: Okay, I think we got to keep moving.

813
00:42:27,519 --> 00:42:29,760
Speaker 2: Next song on the album is a song called I

814
00:42:29,800 --> 00:42:38,320
Don't Want to Know.

815
00:42:46,480 --> 00:42:51,039
Speaker 3: Okay, so this is one that you needed the album for, right, Yeah,

816
00:42:51,199 --> 00:42:54,599
not a single could have been a single. So I

817
00:42:54,599 --> 00:42:57,320
think it sounds like it's it had that single potential.

818
00:42:57,360 --> 00:42:58,840
And if I had heard it over and over on

819
00:42:58,920 --> 00:43:00,960
the radio again, I'm I'd have fallen in love with

820
00:43:01,000 --> 00:43:02,039
it like I did the other song.

821
00:43:02,159 --> 00:43:05,440
Speaker 2: I think he just has a knack for writing catchy, hooky,

822
00:43:05,719 --> 00:43:07,280
fun up tempo stuff.

823
00:43:07,360 --> 00:43:10,639
Speaker 3: Yeah, and so the lyrics of this song are really

824
00:43:11,119 --> 00:43:13,519
all about she's not going to get me back. She

825
00:43:13,519 --> 00:43:28,079
can try, she can cry, I'm not coming back now.

826
00:43:28,280 --> 00:43:31,599
We kind of touched on this that the first two

827
00:43:31,920 --> 00:43:35,840
solo albums that he did were basically a love letter

828
00:43:35,920 --> 00:43:38,920
to his wife, who had divorced him, right, and he

829
00:43:39,000 --> 00:43:42,039
was just doing everything now. He didn't wasn't very tactful

830
00:43:42,039 --> 00:43:43,960
about it, Like if I saw you drowning, I wouldn't

831
00:43:44,039 --> 00:43:45,719
lend a hands. Probably not the way to win your

832
00:43:45,760 --> 00:43:48,119
wife back, but that was what it was.

833
00:43:48,719 --> 00:43:51,320
Speaker 2: Neither is putting a paint can on the piano.

834
00:43:51,559 --> 00:43:55,559
Speaker 3: Yeah. Yeah, So there's a there's a whole other, whole

835
00:43:55,559 --> 00:44:00,360
other story there where she I mean, we want to

836
00:44:00,360 --> 00:44:02,559
go there? Yeah, let's go there, and so so here

837
00:44:02,599 --> 00:44:06,320
it is. So whenever Genesis hits it big with Phil

838
00:44:06,400 --> 00:44:09,320
singing his wife, he's like, hey, we're making it big.

839
00:44:09,400 --> 00:44:12,119
We got to go tour the US. And his wife

840
00:44:12,159 --> 00:44:14,159
at the time is like, who used to be a

841
00:44:14,159 --> 00:44:16,639
backup singer in his original band in high school? You know,

842
00:44:17,679 --> 00:44:19,760
they met when they were eleven. They've known each other

843
00:44:19,840 --> 00:44:23,440
for decades, and she's like, you know, you're putting your

844
00:44:23,639 --> 00:44:26,360
the band as a priority over me, and you've done

845
00:44:26,360 --> 00:44:28,639
it for years and I'm not going to deal this anymore.

846
00:44:29,119 --> 00:44:31,559
And he was He was like, but I have to

847
00:44:31,559 --> 00:44:33,800
go do this. You know, I have to work. We

848
00:44:33,920 --> 00:44:36,079
have to make it big in the US if we're

849
00:44:36,079 --> 00:44:40,239
going to make it at all. And she said, if

850
00:44:40,280 --> 00:44:42,920
you go do this, I'm not going to be here

851
00:44:42,960 --> 00:44:45,440
when you get back, right, And she was true to

852
00:44:45,480 --> 00:44:45,880
her word.

853
00:44:46,199 --> 00:44:46,559
Speaker 6: She was.

854
00:44:46,719 --> 00:44:49,280
Speaker 3: She found another guy while he was off on tour

855
00:44:49,320 --> 00:44:51,679
because he left anyway thinking I'll work it out.

856
00:44:51,760 --> 00:44:53,920
Speaker 2: He told her, he said, just wait a couple of weeks,

857
00:44:53,960 --> 00:44:54,559
I'll be home.

858
00:44:54,719 --> 00:44:55,440
Speaker 3: Yeah.

859
00:44:55,519 --> 00:44:59,880
Speaker 2: Well, they were getting their house redecorated, and.

860
00:45:01,639 --> 00:45:02,360
Speaker 3: And one of the.

861
00:45:02,280 --> 00:45:08,239
Speaker 2: Painters, she was very blatant, like, that's the dude, that's

862
00:45:08,239 --> 00:45:08,960
who I've been with.

863
00:45:09,199 --> 00:45:11,239
Speaker 3: What are you gonna do about it? Right, and kind

864
00:45:11,280 --> 00:45:12,920
of in his face about it. Yeah.

865
00:45:12,960 --> 00:45:14,880
Speaker 2: And so when he performed in the Air tonight, I

866
00:45:14,920 --> 00:45:17,000
think on top of the Pops he had a paint

867
00:45:17,039 --> 00:45:20,559
can on the piano as a nod.

868
00:45:20,760 --> 00:45:23,639
Speaker 3: Yeah. Yeah. It was a tumultuous relationship, but one that

869
00:45:23,719 --> 00:45:28,719
he always wanted to get back together until he finally

870
00:45:28,880 --> 00:45:34,320
decided I don't care anymore. I don't care anymore. And

871
00:45:34,360 --> 00:45:37,280
I think this song is in that same vein of hey,

872
00:45:37,679 --> 00:45:38,199
it's over.

873
00:45:38,559 --> 00:45:42,199
Speaker 2: Rumor has it? The Phil divorced his second wife by facts,

874
00:45:43,199 --> 00:45:43,840
Did you hear this.

875
00:45:44,039 --> 00:45:45,960
Speaker 3: No, this is Jill.

876
00:45:46,440 --> 00:45:47,039
Speaker 2: This is Jill.

877
00:45:47,159 --> 00:45:49,400
Speaker 3: Yeah, we'll talk about Jill here in just a second. Okay.

878
00:45:50,039 --> 00:45:52,199
Speaker 2: Next song on the album One More Night.

879
00:46:06,599 --> 00:46:09,719
Speaker 3: All right, couples move to the center of the dance floor.

880
00:46:10,079 --> 00:46:13,800
Speaker 2: This is a makeout classic from nineteen eighty five. I

881
00:46:13,800 --> 00:46:16,639
think this is great. I like the verses actually more

882
00:46:16,719 --> 00:46:18,840
than I even like the chorus and the chorus is

883
00:46:18,840 --> 00:46:21,559
a number one hit feeling song.

884
00:46:21,480 --> 00:46:24,039
Speaker 3: Both hooky melodies and the verse and the chorus for sure.

885
00:46:25,039 --> 00:46:28,440
This is his second number one after Against All Odds. Okay.

886
00:46:28,480 --> 00:46:30,440
Speaker 2: This is released in January of eighty five. It hits

887
00:46:30,480 --> 00:46:33,320
number one March and eighty five in the States. Here's

888
00:46:33,320 --> 00:46:35,639
your top five all yeah, yeah, okay? Now.

889
00:46:36,000 --> 00:46:40,360
Speaker 3: Number five We are the world coming up like a

890
00:46:40,800 --> 00:46:43,440
on its way up, not on its way down. Gotcha? Yeah.

891
00:46:43,519 --> 00:46:46,519
Speaker 2: Number four lover Girl by Tina MARIEEP talked about her

892
00:46:46,559 --> 00:46:49,320
on our Top Gun soundtrack episode It's Right. Number three

893
00:46:49,400 --> 00:46:52,320
Can't Fight This Feeling by Ario speed Wagon, which we.

894
00:46:52,280 --> 00:46:55,840
Speaker 3: Will be covering soon when we do Ario speed Wagon

895
00:46:56,320 --> 00:46:58,000
versus who are we doing them against?

896
00:46:58,920 --> 00:47:01,000
Speaker 2: Rush?

897
00:47:01,039 --> 00:47:04,119
Speaker 3: That's the spoiler. We just spoiled it.

898
00:47:05,079 --> 00:47:08,599
Speaker 2: Number two is Material Girl, which never made it to

899
00:47:08,719 --> 00:47:12,360
number one. Wow, because one more night held it off

900
00:47:13,079 --> 00:47:15,719
at number one until we are the world was like, no,

901
00:47:15,840 --> 00:47:18,599
we're not bowling everything out of the way. This song

902
00:47:18,679 --> 00:47:22,880
was used in the movie The Color of Money. Okay Scorsese,

903
00:47:23,039 --> 00:47:24,280
Tom Cruise, Paul Newman.

904
00:47:24,360 --> 00:47:27,800
Speaker 3: Yeah, kind of a part to the Hustler. Yes, yeah,

905
00:47:27,840 --> 00:47:34,519
This music video Tom Cruise with a perm Yeah yeah yeah.

906
00:47:34,559 --> 00:47:37,920
Speaker 2: This music video was shot at that same the studio

907
00:47:38,039 --> 00:47:42,719
pub they call it the Princess Victoria, owned by Richard Branson,

908
00:47:43,599 --> 00:47:46,360
and the song the lyrics are like, before we end

909
00:47:46,360 --> 00:47:49,840
this relationship, just give me one more night to try

910
00:47:49,840 --> 00:48:05,079
to work this thing out, right, great song, number one hit,

911
00:48:05,480 --> 00:48:10,519
makeout classic absolutely okay, all right, hit stop on your

912
00:48:10,559 --> 00:48:13,440
tape player, kick it out, flip it over for side two.

913
00:48:14,239 --> 00:48:17,119
Side two starts off with a song called Don't Lose

914
00:48:17,119 --> 00:48:17,559
My Number.

915
00:48:29,119 --> 00:48:31,960
Speaker 3: I'm hoping against hope that you've got the story behind

916
00:48:31,960 --> 00:48:32,320
this song.

917
00:48:33,320 --> 00:48:34,280
Speaker 2: I have the story.

918
00:48:34,599 --> 00:48:36,800
Speaker 3: Yeah, I don't know if you're gonna be happy with it. Okay,

919
00:48:37,880 --> 00:48:39,880
I mean this is a this isn't a love song,

920
00:48:40,159 --> 00:48:44,159
right like, it seems like a cloaking dagger, spies and

921
00:48:44,320 --> 00:48:47,039
shadows and right chasing on the street kind of stuff.

922
00:48:47,079 --> 00:48:47,880
What's going on here?

923
00:48:48,039 --> 00:48:51,440
Speaker 2: Billy, don't forget my number if you're not anywhere that

924
00:48:51,480 --> 00:48:52,199
I can't find you.

925
00:48:52,360 --> 00:48:54,039
Speaker 3: Billy is my contact that I have.

926
00:48:54,199 --> 00:48:56,559
Speaker 2: Right, So people, this is like the studio people are like,

927
00:48:56,599 --> 00:48:57,440
what does this song mean?

928
00:48:57,639 --> 00:48:59,280
Speaker 3: Yeah, it feels like I don't know.

929
00:49:00,920 --> 00:49:04,880
Speaker 2: I don't know, right, They're just words that came out

930
00:49:04,920 --> 00:49:07,800
of my mouth and I wrote them down and it

931
00:49:07,840 --> 00:49:09,360
became a number four hit.

932
00:49:09,840 --> 00:49:27,599
Speaker 3: Well, I mean that works.

933
00:49:29,599 --> 00:49:32,119
Speaker 2: This song is released July first, basically the same day

934
00:49:32,159 --> 00:49:35,320
that Sus Studio hits number one. Okay, number five you

935
00:49:35,360 --> 00:49:37,199
have Oh Sheila by Ready for the World.

936
00:49:37,360 --> 00:49:40,760
Speaker 3: I heard that today. Everybody thought that was Prince in disguise?

937
00:49:40,960 --> 00:49:43,800
Right that Sheila is Sheila e right right? Yeah?

938
00:49:43,880 --> 00:49:47,000
Speaker 2: Yeah. Number four, don't lose my number of Phil Collins, Yeah, okay.

939
00:49:47,639 --> 00:49:49,239
Number three Freedom by Whim.

940
00:49:50,039 --> 00:49:51,840
Speaker 3: That's one of my favorites. Yeah, go ahead.

941
00:49:52,119 --> 00:49:54,360
Speaker 2: Number two Cherish by Cooling the Gang.

942
00:49:54,480 --> 00:49:58,599
Speaker 3: Oh yeah, cool Gang re Emerging. Yes, and then number

943
00:49:58,639 --> 00:50:03,440
one Money for Nothing by Dire Straits. Can't beat that. Man,

944
00:50:03,920 --> 00:50:05,000
did you watch this video?

945
00:50:06,039 --> 00:50:09,199
Speaker 2: Oh man, this is such a great eighties video. So

946
00:50:09,239 --> 00:50:14,559
it's a music video about making music videos. Okay, So

947
00:50:14,599 --> 00:50:16,800
it starts off and it feels sitting on a desk

948
00:50:17,280 --> 00:50:20,280
like the every dude he is, and he's talking to

949
00:50:20,320 --> 00:50:22,400
a reporter and he's like, so anyway, that's why I

950
00:50:22,440 --> 00:50:24,280
call it No Jacket Required, which I thought was a

951
00:50:24,280 --> 00:50:28,440
great book, right, right, And his assistant comes in. It's

952
00:50:28,440 --> 00:50:30,599
like filled the director for your next music video wants

953
00:50:30,599 --> 00:50:32,039
to talk to you. And he's like, oh great, send

954
00:50:32,079 --> 00:50:34,800
him in whatever. And the director comes in. Phil sticks

955
00:50:34,840 --> 00:50:37,079
out his hand and he walks right by and he

956
00:50:37,320 --> 00:50:42,199
looks at him. He's like John Wayne. It feels like

957
00:50:43,119 --> 00:50:49,039
Robert Redford, and he's like Gary Cooper and he's like

958
00:50:49,320 --> 00:50:53,119
Clint Eastwood and they just keep kind of this weird exchange, right,

959
00:50:53,159 --> 00:50:55,519
and you're made to feel uncomfortable because the director is

960
00:50:55,559 --> 00:50:58,199
so weird. But then they both look at each other

961
00:50:58,239 --> 00:51:01,519
at the same time and they go Al Craigs right,

962
00:51:02,679 --> 00:51:03,400
And I was like.

963
00:51:03,920 --> 00:51:05,639
Speaker 3: Who in the heck is mal Craigs?

964
00:51:05,679 --> 00:51:05,800
Speaker 6: Right?

965
00:51:05,880 --> 00:51:09,440
Speaker 2: This has to be an inside joke. So Mal Craigs

966
00:51:10,000 --> 00:51:13,320
was like the head of the roadies for Phil calls,

967
00:51:14,119 --> 00:51:16,599
so it's some joke some guy on his crew that

968
00:51:16,679 --> 00:51:21,119
he's just like making a joke. So but the video

969
00:51:21,239 --> 00:51:22,880
is like, what is this video is going to be

970
00:51:22,880 --> 00:51:25,960
about right. So you have a scene where Phil is

971
00:51:26,039 --> 00:51:30,239
clearly mad Max right, and you have the Old West

972
00:51:30,239 --> 00:51:33,199
and he's a cowboy, and then you have him parodying

973
00:51:33,320 --> 00:51:35,960
like the David Lee Roth California girls.

974
00:51:36,239 --> 00:51:37,440
Speaker 3: Yes, he's doing the dance.

975
00:51:37,440 --> 00:51:41,000
Speaker 2: He's dancing and one of the girls is Jill, his wife,

976
00:51:41,079 --> 00:51:44,159
which I thought was kind of cute. And then you

977
00:51:44,280 --> 00:51:46,239
got you got the showgun. They're making fun of that.

978
00:51:46,320 --> 00:51:49,320
You might think video from the cars. This one guy

979
00:51:49,400 --> 00:51:51,679
is trying to convince him that, you know, you raise

980
00:51:51,760 --> 00:51:54,199
your crossbow and you shoot the guy and he and

981
00:51:54,239 --> 00:51:56,519
he hits himself with an arrow and there's like blood.

982
00:51:56,519 --> 00:51:58,280
It feels like, oh, you know, I don't think this

983
00:51:58,360 --> 00:52:02,000
is really me. So the whole video is about making

984
00:52:02,039 --> 00:52:03,599
a video. It was really cute.

985
00:52:03,639 --> 00:52:06,480
Speaker 3: It's really fun. Yeah, great eighty stuff. I loved it.

986
00:52:06,559 --> 00:52:10,159
That's fantastic. So the video starts off, This isn't another

987
00:52:10,239 --> 00:52:12,679
interesting thing that you're going to tell us about. Yes,

988
00:52:12,719 --> 00:52:16,480
the video starts off and they're naming history like they're

989
00:52:16,559 --> 00:52:20,800
naming some Western history movie stars, right, John Wayne and

990
00:52:20,920 --> 00:52:27,039
Clint Eastwood, Robert Redford, yes, Gary Cooper, Yes. Now, among

991
00:52:27,199 --> 00:52:29,599
the all the awards that Phil has gotten. He got

992
00:52:29,639 --> 00:52:33,639
an honorary degree from the Berkeley College of Music in music.

993
00:52:34,760 --> 00:52:39,159
He also got an honorary degree in history. Really, can

994
00:52:39,159 --> 00:52:40,039
you tell us why?

995
00:52:40,840 --> 00:52:41,039
Speaker 4: Well?

996
00:52:41,079 --> 00:52:44,880
Speaker 2: I do know that he has a lifelong love and

997
00:52:45,559 --> 00:52:49,400
sort of fascination with the Alamo. Yeah, and he became

998
00:52:49,480 --> 00:52:55,320
a collector of all these documents, relics, weapons, even of

999
00:52:55,360 --> 00:52:58,320
the Alamo. And I do know in twenty fourteen he

1000
00:52:58,440 --> 00:53:02,320
donated his entire private collection to the Alamo, under the

1001
00:53:02,360 --> 00:53:06,480
condition that the public could see it. Yeah, and he

1002
00:53:06,519 --> 00:53:09,119
became awarded honorary Texan.

1003
00:53:09,440 --> 00:53:12,360
Speaker 3: That's awesome in twenty fifteen. Yes, I think that's really good.

1004
00:53:12,400 --> 00:53:13,119
It's fantastic.

1005
00:53:13,360 --> 00:53:15,760
Speaker 2: He actually does the narration for the tour.

1006
00:53:16,360 --> 00:53:19,039
Speaker 3: That's so crazy. I know I would have you would

1007
00:53:19,079 --> 00:53:22,000
have a guy, you know from England, a blue collar

1008
00:53:22,079 --> 00:53:26,760
England accent, giving you the tour information for the album.

1009
00:53:26,960 --> 00:53:29,400
Speaker 2: I saw a video where Phil is waving around a

1010
00:53:29,440 --> 00:53:33,960
sword that belonged to somebody important, that Santana or one

1011
00:53:34,000 --> 00:53:34,800
of the losers some.

1012
00:53:34,800 --> 00:53:39,920
Speaker 3: Of the Sorry, sorry for all of our Texas listeners.

1013
00:53:43,079 --> 00:53:44,760
Speaker 2: They don't you know, you don't get to keep the

1014
00:53:44,760 --> 00:53:51,639
sword for the winners, all right. Next song on the album, Yeah,

1015
00:53:51,880 --> 00:53:53,360
song called who said I would.

1016
00:54:04,559 --> 00:54:08,559
Speaker 3: Okay, So the first little intricate, little clip that's maybe

1017
00:54:08,599 --> 00:54:10,760
just ten seconds long at the beginning of it total

1018
00:54:10,800 --> 00:54:15,400
gives me total risky business vibes of you know, he's

1019
00:54:15,519 --> 00:54:17,400
racing against the clock to try to get all of

1020
00:54:17,440 --> 00:54:19,559
the furniture put back before the parents get home.

1021
00:54:19,679 --> 00:54:20,400
Speaker 2: My egg Joel.

1022
00:54:22,360 --> 00:54:25,679
Speaker 3: But the song itself, this is like Susu Studio Part two.

1023
00:54:25,679 --> 00:54:25,880
Speaker 6: To me.

1024
00:54:26,000 --> 00:54:30,320
Speaker 3: This is almost identical chord progression and beat, it's upbeat,

1025
00:54:30,440 --> 00:54:33,840
it's fun. Yeah, this is a great concert song. You know.

1026
00:54:33,920 --> 00:54:36,280
Speaker 2: This was not released as a single from No Jacket Required,

1027
00:54:36,679 --> 00:54:39,639
but they released the live version of it and it

1028
00:54:39,719 --> 00:54:42,119
became a top one hundred hit in nineteen ninety one

1029
00:54:42,960 --> 00:54:44,079
hit number seventy three.

1030
00:54:44,880 --> 00:54:46,159
Speaker 3: Well something.

1031
00:54:46,400 --> 00:54:49,679
Speaker 2: Hey, this album is packed full of songs. Right, if

1032
00:54:49,679 --> 00:54:51,760
they didn't get a hit the first time round, maybe

1033
00:54:51,760 --> 00:54:52,920
they get it the second time round.

1034
00:54:53,039 --> 00:54:56,639
Speaker 3: Yeah, exactly. Yeah, they made this to be a potential

1035
00:54:56,679 --> 00:54:58,920
single on every single song, right yep.

1036
00:55:00,000 --> 00:55:02,440
Speaker 2: Okay, next song on the album. Yeah, this song is

1037
00:55:02,440 --> 00:55:15,719
called Doesn't Anyone Stay Together Anymore? Okay, I'm ready for

1038
00:55:15,760 --> 00:55:17,320
this story. I've been waiting for this one.

1039
00:55:17,440 --> 00:55:21,400
Speaker 3: This song is about people getting divorced at the time

1040
00:55:21,440 --> 00:55:23,840
that he wrote it, Phil was not actually getting divorced,

1041
00:55:23,880 --> 00:55:27,559
but had been divorced, and his manager was getting divorced

1042
00:55:27,599 --> 00:55:30,719
and had friends getting divorced. And I'll tell you this,

1043
00:55:30,840 --> 00:55:34,280
you know, since you mentioned that he divorced Jill by facts, right,

1044
00:55:35,159 --> 00:55:38,599
that original band that he put together back in grade

1045
00:55:38,639 --> 00:55:43,159
school was a band called The Real Thing. And one

1046
00:55:43,159 --> 00:55:47,239
of the backup singers for the band was Andrea Burtelly

1047
00:55:47,760 --> 00:55:51,360
Andy uh huh, Andy, his first who later became his

1048
00:55:51,559 --> 00:55:54,519
first wife, the one that had the paint can to

1049
00:55:54,599 --> 00:55:55,280
remind her.

1050
00:55:57,039 --> 00:55:57,280
Speaker 5: Yes.

1051
00:55:58,280 --> 00:56:03,079
Speaker 3: And the other backup singer was a friend named Lavinia

1052
00:56:03,199 --> 00:56:08,119
Lang huh. And while Phil was still married to Jill

1053
00:56:09,039 --> 00:56:14,079
and on tour he ran into Lavinia Lang again and

1054
00:56:14,800 --> 00:56:17,519
they hit it off in a big way. And I

1055
00:56:17,559 --> 00:56:20,079
think he sent the facts not too long after. Yeah, yeah,

1056
00:56:21,360 --> 00:56:23,000
doesn't anyone stay together anymore?

1057
00:56:24,960 --> 00:56:27,039
Speaker 2: Now, you got to tell the story about when he

1058
00:56:27,079 --> 00:56:27,519
performed this.

1059
00:56:27,599 --> 00:56:31,400
Speaker 3: Do you know this story? Well, so the this is nuts, right,

1060
00:56:31,519 --> 00:56:35,159
this is absolutely nuts. So obviously by this time in history,

1061
00:56:35,199 --> 00:56:39,880
he's he's already huge, right and so, and huge not

1062
00:56:39,920 --> 00:56:42,159
only in the US, but of course in his home

1063
00:56:42,159 --> 00:56:46,519
country right of Britain, right right, Well, in the eighties,

1064
00:56:46,920 --> 00:56:51,320
Britain had a prince. His name was Charles, Prince Charles,

1065
00:56:51,400 --> 00:56:53,960
and Prince Charles had his fortieth birthday and they were like,

1066
00:56:54,079 --> 00:56:56,320
who do you want to perform? And he said Phil Collins,

1067
00:56:56,400 --> 00:57:03,719
of course, and Phil performed this song right, not realizing

1068
00:57:03,840 --> 00:57:08,320
that just a few short weeks later, Charles and Diana

1069
00:57:08,360 --> 00:57:11,320
would be also not staying together anymore.

1070
00:57:11,440 --> 00:57:26,719
Speaker 4: Yeah.

1071
00:57:26,800 --> 00:57:30,079
Speaker 2: He told a story on his audio book where he

1072
00:57:30,199 --> 00:57:35,920
and Diana became pretty good friends, and so he was

1073
00:57:35,960 --> 00:57:38,320
friendly with her even though she was royalty whatever, and

1074
00:57:38,360 --> 00:57:40,119
so he said, one day he went to the dentist

1075
00:57:40,679 --> 00:57:43,159
and had some dental work, and he came out and

1076
00:57:43,639 --> 00:57:46,440
a BMW pulls up and somebody rolls down the window

1077
00:57:46,480 --> 00:57:51,639
and they're like, Phil, Phil, it's Princess Diana yelling at

1078
00:57:51,719 --> 00:57:55,400
him from her car, right, and she says, what are

1079
00:57:55,440 --> 00:57:57,599
you doing here? You're like, I've gone from donal work,

1080
00:57:57,599 --> 00:58:03,199
you know, and she's like, marvelous, I just had a colonoscopy.

1081
00:58:04,119 --> 00:58:05,679
She said, you haven't done that.

1082
00:58:05,760 --> 00:58:06,360
Speaker 3: They're great.

1083
00:58:08,559 --> 00:58:10,679
Speaker 2: Then she drives off and he turned to his assistant.

1084
00:58:10,719 --> 00:58:11,840
He's like, did that just happen?

1085
00:58:13,480 --> 00:58:16,000
Speaker 3: Is this the drugs worn off yet?

1086
00:58:16,079 --> 00:58:16,719
Speaker 6: Right? Oh?

1087
00:58:16,800 --> 00:58:18,320
Speaker 3: My gosh, that's hilarious.

1088
00:58:18,360 --> 00:58:21,760
Speaker 2: I thought that was a great story I.

1089
00:58:21,800 --> 00:58:26,159
Speaker 3: Just had They're wonderful. They are not wonderful, by the way.

1090
00:58:26,559 --> 00:58:30,440
That is a lie that she was being sarcastic. Either

1091
00:58:30,440 --> 00:58:33,159
that or she was still coming down from whatever.

1092
00:58:33,440 --> 00:58:33,679
Speaker 4: Right.

1093
00:58:35,800 --> 00:58:37,559
Speaker 2: I like this song. I think it's the fun I

1094
00:58:37,639 --> 00:58:38,960
think this could have been hit as well.

1095
00:58:39,079 --> 00:58:43,679
Speaker 3: You had the Princess of Wales's joke about her bungle

1096
00:58:43,719 --> 00:58:46,519
holes in him. That's fantastic.

1097
00:58:46,800 --> 00:58:51,880
Speaker 2: That's that's how comfortable people are with Phil Collins. I

1098
00:58:51,920 --> 00:58:55,480
told you Phil Collins, despite being the second wealthiest drummer

1099
00:58:55,519 --> 00:58:58,440
in the world and maybe the greatest drummer in the world,

1100
00:58:58,880 --> 00:59:01,039
he still seems like a guy who would get a

1101
00:59:01,079 --> 00:59:03,039
blotch of barbecue sauce on his shirt and not know

1102
00:59:03,079 --> 00:59:05,360
about it. You know, he just he just seems like

1103
00:59:05,400 --> 00:59:06,039
an every guy.

1104
00:59:06,159 --> 00:59:09,840
Speaker 3: You know he does. But yes, second only to Ringo

1105
00:59:09,920 --> 00:59:15,000
Star in drummer wealth in the UK and probably the

1106
00:59:15,039 --> 00:59:20,199
most money paid out in a divorce from his third wife,

1107
00:59:20,199 --> 00:59:23,280
who we haven't even gotten to yet. Yeah, yeah, something

1108
00:59:23,400 --> 00:59:26,880
like twenty five pounds or something.

1109
00:59:27,760 --> 00:59:32,079
Speaker 2: Well, yes, yeah, anyway, yeah, next song on the album.

1110
00:59:32,159 --> 00:59:33,639
This song's called inside Out.

1111
00:59:45,320 --> 00:59:47,519
Speaker 3: So Phil is definitely playing the drums and not the

1112
00:59:47,599 --> 00:59:48,639
drum machine on this one.

1113
00:59:48,760 --> 00:59:51,719
Speaker 2: Yeah he's banging away. Yeah, it's that gated drum sound.

1114
00:59:51,760 --> 00:59:54,440
I think, oh yeah, this is a great song. I

1115
00:59:54,440 --> 01:00:04,400
think this could be a hit as well.

1116
01:00:13,559 --> 01:00:14,280
Speaker 3: Every single one.

1117
01:00:14,480 --> 01:00:18,480
Speaker 2: Yeah, this reached number nine on the Hot Rocks chart. Okay,

1118
01:00:18,559 --> 01:00:21,000
so in some sense it was a hit even though

1119
01:00:21,000 --> 01:00:23,199
it wasn't released as a single. This is a great

1120
01:00:23,280 --> 01:00:26,320
concert song. I think just this whole album is just

1121
01:00:26,320 --> 01:00:27,000
so much fun.

1122
01:00:27,199 --> 01:00:29,079
Speaker 3: Yeah, you think they missed the boat. I'm not releasing

1123
01:00:29,119 --> 01:00:29,840
this as a single.

1124
01:00:30,440 --> 01:00:34,159
Speaker 2: Well, everything he released turned to gold, right, I think

1125
01:00:34,199 --> 01:00:35,480
this could have turned to gold as well.

1126
01:00:35,559 --> 01:00:35,840
Speaker 3: Sure.

1127
01:00:36,000 --> 01:00:37,679
Speaker 2: I got a quote for you from Phil Collins on

1128
01:00:37,760 --> 01:00:40,599
his popularity. He said, I know I was starting to

1129
01:00:40,639 --> 01:00:43,119
annoy everybody on the periphery, But in my defense, I

1130
01:00:43,159 --> 01:00:44,360
only wrote the song one time.

1131
01:00:46,280 --> 01:00:49,559
Speaker 3: You know, we mentioned he's the second wealthiest drummer, next

1132
01:00:49,840 --> 01:00:53,840
only to Ringo Star. But he had the occasion when

1133
01:00:53,880 --> 01:00:57,559
he was a much younger, much poorer drummer to play

1134
01:00:57,559 --> 01:01:01,280
with a different beetle and to give us that story,

1135
01:01:01,320 --> 01:01:03,639
we're gonna bring back Chad Briggs. Chad.

1136
01:01:04,119 --> 01:01:04,280
Speaker 4: So.

1137
01:01:04,599 --> 01:01:08,440
Speaker 6: Phil Collins obviously was not part of the original Genesis

1138
01:01:08,679 --> 01:01:13,679
he did come fairly early on, but he was an operator, right,

1139
01:01:14,320 --> 01:01:16,280
I mean he he knew the music scene and the

1140
01:01:16,360 --> 01:01:20,480
music scene in London at that time, was I mean

1141
01:01:20,480 --> 01:01:23,360
it was, it was amazing. So there was a story.

1142
01:01:23,400 --> 01:01:26,199
And this reminds me of your story of Mary Clayton

1143
01:01:26,280 --> 01:01:28,719
from the Dirty Down Seat soundtrack. Right. He gets a

1144
01:01:28,719 --> 01:01:31,960
call late at night and they're saying, Phil, Phil, they're

1145
01:01:32,000 --> 01:01:35,440
doing recording, they need a percussionist. It's like, guys, come on,

1146
01:01:35,519 --> 01:01:37,920
I just got out of the bath and just watching TV.

1147
01:01:38,039 --> 01:01:40,920
And no, no, no, this is this is George Harrison

1148
01:01:41,559 --> 01:01:44,159
Abby Road. You need to get down here. Jumps into

1149
01:01:44,159 --> 01:01:47,159
a taxi, screaming at the taxi driver. You know, get

1150
01:01:47,199 --> 01:01:49,119
me to this place, get me, get me, get me.

1151
01:01:49,320 --> 01:01:51,960
He shows up, He walks into this room and there

1152
01:01:52,119 --> 01:01:56,320
there's Ringo playing drums, George Harrison on guitar, Klaus Foreman

1153
01:01:56,400 --> 01:02:00,880
on bass, Billy Preston on piano, Badfinger guitars, Murray's on keyboards,

1154
01:02:01,519 --> 01:02:03,880
and guess who's the producer, Phil Spector.

1155
01:02:04,480 --> 01:02:07,039
Speaker 2: Oh wow, okay.

1156
01:02:07,039 --> 01:02:10,400
Speaker 6: Again again I'd throwback to dirty Dancing.

1157
01:02:10,960 --> 01:02:11,159
Speaker 3: Yep.

1158
01:02:12,280 --> 01:02:16,519
Speaker 6: They spend they spend hours playing. Now they put Collins

1159
01:02:16,840 --> 01:02:20,079
on conga. He's not a conga player, right, and so

1160
01:02:21,039 --> 01:02:24,400
he's not sure if they're recording him, and he just

1161
01:02:24,480 --> 01:02:28,519
keeps playing. Spector finally says all right, all right, Phil,

1162
01:02:28,559 --> 01:02:31,559
you're on and his fingers are bloody. By this point,

1163
01:02:31,719 --> 01:02:35,480
he's just not sure what's going on. Everyone leaves, they're

1164
01:02:35,519 --> 01:02:38,400
in a different room. Someone tells him, all right, Phil,

1165
01:02:38,480 --> 01:02:41,519
you can go, and he walks away. He's a teenager

1166
01:02:41,519 --> 01:02:43,159
at this point. He doesn't know what's going on. The

1167
01:02:43,159 --> 01:02:46,159
album comes out, he's not credited, and he knows that

1168
01:02:46,159 --> 01:02:48,280
they used a slightly different version of the song, but

1169
01:02:48,440 --> 01:02:51,880
it kind of eats away at Collins for years, right,

1170
01:02:51,960 --> 01:02:53,960
and then you fast forward to the nineteen eighties. Phil

1171
01:02:54,000 --> 01:02:56,480
Collins is a superstar on his own right now, he's

1172
01:02:56,519 --> 01:02:59,320
still thinking about this album. He's still thinking about how

1173
01:02:59,360 --> 01:03:03,800
he was not credited for anything on this George Harrison piece.

1174
01:03:04,559 --> 01:03:07,480
So he mentions this to one of George Harrison's friends.

1175
01:03:07,840 --> 01:03:09,840
Did they use me? Did they not use me? A

1176
01:03:09,840 --> 01:03:11,960
couple of days later, he gets a package in the

1177
01:03:12,000 --> 01:03:15,599
mail from George Harrison with the tape inside and a

1178
01:03:15,639 --> 01:03:18,119
note saying, we found the master tapes. You want to

1179
01:03:18,159 --> 01:03:20,440
listen to it. There's even a note saying, was this you?

1180
01:03:20,920 --> 01:03:24,639
And it's the conga drums and it sounds horrible, right,

1181
01:03:24,719 --> 01:03:29,880
it's overdone, it's sort of a little bit offbeat. And

1182
01:03:29,960 --> 01:03:32,320
Collins is just sitting there going, oh my god, Oh

1183
01:03:32,360 --> 01:03:34,239
my god, I just screwed up so badly. I screwed

1184
01:03:34,280 --> 01:03:36,639
up so badly. How could I you know? And he's

1185
01:03:36,679 --> 01:03:39,280
just thinking George Harrison, I mean, he's like the King,

1186
01:03:39,400 --> 01:03:43,639
and man, how did I screw up like this? The

1187
01:03:43,639 --> 01:03:48,559
punchline is the tape was fake. George Harrison heard about

1188
01:03:48,599 --> 01:03:53,360
this request. He put the band back together, re recorded

1189
01:03:53,679 --> 01:03:56,559
everything they'd done that night, but then turned to the

1190
01:03:56,599 --> 01:04:01,559
person they brought into, a percussionist, and said, do it

1191
01:04:01,639 --> 01:04:03,519
be like half beat ahead?

1192
01:04:04,159 --> 01:04:05,320
Speaker 3: Just ruin it?

1193
01:04:05,400 --> 01:04:08,719
Speaker 6: Okay, just ruin it. It was just the cruelest prank

1194
01:04:08,800 --> 01:04:12,119
that they played on Phil Collins. But I can't imagine

1195
01:04:12,119 --> 01:04:14,440
the effort you have to put in to say, all right,

1196
01:04:14,480 --> 01:04:17,639
all right, yeah, well we'll not just say that, yeah

1197
01:04:17,639 --> 01:04:19,840
we didn't use you. We're gonna drive it in and

1198
01:04:20,440 --> 01:04:23,239
try to make you think that no, you were never

1199
01:04:23,400 --> 01:04:23,840
part of it.

1200
01:04:23,880 --> 01:04:31,199
Speaker 3: In the great story, fantastic, Oh my gosh, that was awful.

1201
01:04:33,920 --> 01:04:37,119
Speaker 2: All right, last song on the tape, but not the

1202
01:04:37,159 --> 01:04:40,719
last song on the CD. This song is called take

1203
01:04:40,760 --> 01:04:41,159
Me Home.

1204
01:04:49,840 --> 01:04:53,840
Speaker 3: Okay, if I may quote Jason Colvin for the episode,

1205
01:04:54,360 --> 01:04:57,400
this is the best song on the album, and I'm

1206
01:04:57,519 --> 01:05:03,400
spiking the football. This This is sonic perfection, This is

1207
01:05:03,639 --> 01:05:09,199
eighties gold. The harmonies and filled to the chorus are

1208
01:05:09,440 --> 01:05:30,239
so fantastic, far away favorite song of the album.

1209
01:05:30,280 --> 01:05:32,079
Speaker 2: You were just playing that and when you hit that

1210
01:05:32,119 --> 01:05:35,719
big chorus, my eyes watered up. That's what happens.

1211
01:05:35,760 --> 01:05:38,239
Speaker 3: It's so good. You're going to start pumping your fist

1212
01:05:38,320 --> 01:05:41,519
and take me home, take me Home, singing along with it. Man,

1213
01:05:41,559 --> 01:05:44,760
it's just so good. Now, here's the crazy thing for

1214
01:05:45,079 --> 01:05:47,440
my entire life. I thought that this song was very

1215
01:05:47,519 --> 01:05:50,400
much like Home Sweet Home by Motley Crue. It's about

1216
01:05:50,400 --> 01:05:52,079
like I'm tired of the road. I want to get back.

1217
01:05:52,239 --> 01:05:54,880
It's not what it's about. Tell me blew my mind.

1218
01:05:55,000 --> 01:05:55,199
Speaker 2: Yeah.

1219
01:05:55,280 --> 01:05:58,639
Speaker 3: So this is from the perspective of someone who is

1220
01:05:58,679 --> 01:06:02,440
in a mental asylum, who always has that hope of

1221
01:06:02,519 --> 01:06:04,639
you know, somedamn, I'm gonna get out here and I'm

1222
01:06:04,679 --> 01:06:06,280
I'm going to go back to my home, even though

1223
01:06:06,320 --> 01:06:09,559
they really have no recollection of what their home was

1224
01:06:09,639 --> 01:06:13,920
really ever like, and it's based on kN Kesey's book

1225
01:06:14,480 --> 01:06:17,000
One Flew Over the Cuckoo's Nest, which of course came

1226
01:06:17,039 --> 01:06:19,079
out Best Picture in nineteen seventy five. Here I Was

1227
01:06:19,119 --> 01:06:25,000
Born Jack Nicholson. Very impactful movie. But geez, what a

1228
01:06:25,119 --> 01:06:27,119
great song. That doesn't make me think of that movie

1229
01:06:27,119 --> 01:06:27,400
at all.

1230
01:06:28,599 --> 01:06:32,440
Speaker 2: It's a wonderful song, an absolute banger. I don't know

1231
01:06:32,480 --> 01:06:35,239
how this didn't get to number one. It only reached

1232
01:06:35,320 --> 01:06:36,079
number seven.

1233
01:06:36,519 --> 01:06:38,800
Speaker 3: Yeah, this was the lowest, the lowest, right.

1234
01:06:39,239 --> 01:06:40,239
Speaker 2: It was the lowest.

1235
01:06:40,280 --> 01:06:42,599
Speaker 3: This was of all of the singles on this album.

1236
01:06:42,639 --> 01:06:44,840
This was his lowest, which I mean, how many people

1237
01:06:44,840 --> 01:06:47,280
would love to have had a number seven song? Of course, right,

1238
01:06:47,320 --> 01:06:50,880
but I just blows my mind, like why why why

1239
01:06:50,920 --> 01:06:53,159
would this one? Do you want to hear the six

1240
01:06:53,239 --> 01:06:54,639
better songs? You know that I do?

1241
01:06:54,800 --> 01:06:58,719
Speaker 2: Okay, So Take Me Home tops out at number seven, right, which, no,

1242
01:06:59,000 --> 01:07:01,920
it needs come on, this needs to be higher. Number

1243
01:07:01,960 --> 01:07:04,119
six is Your Love by the Outfield, which is a

1244
01:07:04,159 --> 01:07:04,880
banger song.

1245
01:07:05,039 --> 01:07:08,320
Speaker 3: Dude, huge again for the third time in this episode.

1246
01:07:08,360 --> 01:07:10,480
Go check out our Patreon page that you can hear

1247
01:07:10,519 --> 01:07:12,000
the full story on that song. Right.

1248
01:07:12,960 --> 01:07:16,400
Speaker 2: Number five Live to Tell, which one of Madonna's best songs.

1249
01:07:16,639 --> 01:07:17,840
Speaker 3: Okay, it's kind of a.

1250
01:07:17,760 --> 01:07:20,599
Speaker 2: Softer ballad from her. Number four is what Have You

1251
01:07:20,639 --> 01:07:22,320
Done for Me Lately? By Janet Jackson.

1252
01:07:22,400 --> 01:07:24,480
Speaker 3: Sure, I don't think it's better than this. As a

1253
01:07:24,519 --> 01:07:26,440
matter of fact, I don't think that the Madonna song

1254
01:07:26,519 --> 01:07:28,880
is either your your love. I can see being ahead

1255
01:07:28,880 --> 01:07:29,840
of it. Okay, yeah.

1256
01:07:30,000 --> 01:07:32,039
Speaker 2: Number three, why can't this be loved? By Van Halen.

1257
01:07:32,320 --> 01:07:33,679
Speaker 3: It's a good one, okay, yeah.

1258
01:07:33,800 --> 01:07:36,079
Speaker 2: Number two West End Girls by the Pet Shops.

1259
01:07:35,840 --> 01:07:38,199
Speaker 3: Oh gosh, that was huge. A yeah.

1260
01:07:39,360 --> 01:07:41,400
Speaker 2: And then number one is the Greatest Love of All

1261
01:07:41,440 --> 01:07:45,199
by Whitney Houston. Yes, okay, I mean it was a

1262
01:07:45,480 --> 01:07:46,119
rocket ship.

1263
01:07:46,360 --> 01:07:50,239
Speaker 3: Yeah. Well, so there's at least there's at least a

1264
01:07:50,280 --> 01:07:53,800
handful of definite. You know, maybe these songs are better

1265
01:07:53,880 --> 01:07:58,559
on all of them, but gee, that is This is

1266
01:07:58,599 --> 01:08:00,719
why we talk about the eighties, guys, because back when

1267
01:08:00,760 --> 01:08:03,079
it's so good, you've had a top ten like that.

1268
01:08:03,320 --> 01:08:04,719
Speaker 2: I want to talk about the video of this song

1269
01:08:04,760 --> 01:08:10,840
real quick, okay, yeah, because this took time, effort, for sight, discipline.

1270
01:08:10,880 --> 01:08:16,359
Even parts of this video are filmed in London, Paris, Tokyo,

1271
01:08:16,560 --> 01:08:23,560
New York, Sydney, Breman, Memphis, La you know, Hollywood, Stockholm,

1272
01:08:23,640 --> 01:08:29,880
San Francisco, Kyoto, Chicago, Saint Louis, Houston. So you've got

1273
01:08:29,880 --> 01:08:33,279
to kind of dedicate yourself to making a video all

1274
01:08:33,319 --> 01:08:36,479
around the globe, right, And it's you know, here I am.

1275
01:08:36,720 --> 01:08:38,840
Speaker 3: He's at the Golden Gate Ridge, Take me Home. I'm

1276
01:08:38,880 --> 01:08:41,840
at the Sydney Opera House. Take me Home. You know,

1277
01:08:42,560 --> 01:08:44,920
I'm in New York. Take me Home. I think it's

1278
01:08:46,000 --> 01:08:47,880
so great. And then the end of the video, he

1279
01:08:47,960 --> 01:08:50,560
finally gets home. He's excited to be home. He opens

1280
01:08:50,600 --> 01:08:52,840
the door and his wife's immediately have you been at

1281
01:08:52,840 --> 01:08:56,520
the PUBA game? Always something funny with him.

1282
01:08:56,760 --> 01:09:00,479
Speaker 2: Yeah, yeah, okay, I sent you a song this week

1283
01:09:00,920 --> 01:09:03,800
called Home by Bone Thugs and Harmony. Yeah, And I

1284
01:09:03,880 --> 01:09:07,159
listened to it and it's obviously it's rap, yeah, but

1285
01:09:07,239 --> 01:09:09,000
I thought it was awesome.

1286
01:09:09,319 --> 01:09:09,640
Speaker 3: Yeah.

1287
01:09:09,680 --> 01:09:12,039
Speaker 2: And then Phil is bringing the take Me Home chorus

1288
01:09:12,039 --> 01:09:12,640
in there.

1289
01:09:12,600 --> 01:09:15,279
Speaker 3: So this is great because Bone Thugs and Harmony. I mean,

1290
01:09:15,279 --> 01:09:17,520
I wasn't listening to rap at the time. This was

1291
01:09:18,000 --> 01:09:19,640
round two thousand something like that.

1292
01:09:19,720 --> 01:09:19,880
Speaker 6: Yeah.

1293
01:09:19,960 --> 01:09:22,039
Speaker 3: Yeah, so I wasn't really listening to rap in the

1294
01:09:22,079 --> 01:09:26,600
year of two thousand, but I had to be under

1295
01:09:26,600 --> 01:09:29,159
a rock not to hurt hear of bone Thugs and harmony.

1296
01:09:29,760 --> 01:09:33,840
And so these guys did what all kinds of rap

1297
01:09:33,920 --> 01:09:36,720
musicians have done for many decades now, which is sample

1298
01:09:36,840 --> 01:09:39,439
some music. And they wanted to sample this take Me

1299
01:09:39,560 --> 01:09:42,359
Home song because they love it, right, because it's a

1300
01:09:42,399 --> 01:09:43,399
fantastic song.

1301
01:09:43,479 --> 01:09:44,319
Speaker 2: It's irresistible.

1302
01:09:44,479 --> 01:09:48,720
Speaker 3: And so they say, they say to him, hey, can

1303
01:09:48,760 --> 01:09:51,520
we is it okay? They asked permission. They didn't, you know,

1304
01:09:51,680 --> 01:09:54,359
they didn't like two live crew it. They went and

1305
01:09:54,399 --> 01:09:59,079
asked for permission for it, and he was like yeah, yeah, okay, Yeah,

1306
01:09:59,119 --> 01:10:01,920
that'll be fine. And they're like will you be in

1307
01:10:01,920 --> 01:10:04,760
the video? And he's like, ah, you know, I don't

1308
01:10:04,800 --> 01:10:08,079
really know. They go to London to meet him and

1309
01:10:08,119 --> 01:10:21,279
say please, please, we want you to be in the video.

1310
01:10:21,680 --> 01:10:24,199
We want you to and by him agreeing to do that,

1311
01:10:24,279 --> 01:10:26,680
then they get that full chorus. They get him singing

1312
01:10:26,720 --> 01:10:29,039
take Me Home, and he's in the video and he's

1313
01:10:29,159 --> 01:10:32,119
just he's very in the background until it's that take

1314
01:10:32,199 --> 01:10:34,000
me Home point, and then he's just looking at the

1315
01:10:34,000 --> 01:10:34,920
camera singing the song.

1316
01:10:35,000 --> 01:10:36,279
Speaker 2: It's great, It's so great.

1317
01:10:36,319 --> 01:10:37,159
Speaker 3: That is really great.

1318
01:10:37,199 --> 01:10:40,039
Speaker 2: Yeah, all right, let's go to the last song on

1319
01:10:40,079 --> 01:10:40,920
the CD.

1320
01:10:41,640 --> 01:10:54,199
Speaker 3: This song is called we said Hello goodbye, not to do.

1321
01:10:56,199 --> 01:10:57,159
Speaker 6: And we black.

1322
01:10:59,439 --> 01:11:08,960
Speaker 3: Phois. It's okay. So we have a min along kind

1323
01:11:08,960 --> 01:11:13,039
of classical interlude here, and then we get an echoe piano. Yes,

1324
01:11:13,119 --> 01:11:16,680
and it's got very much that Jackson Brown feel to

1325
01:11:16,760 --> 01:11:19,640
me of just him at the piano on the stage.

1326
01:11:19,960 --> 01:11:21,399
They got the piano's got a little bit of an

1327
01:11:21,399 --> 01:11:24,279
echo effect on it, a little delay, and then the

1328
01:11:24,359 --> 01:11:27,560
drums come in, and those drums coming in are so

1329
01:11:27,800 --> 01:11:35,079
ringo star okay. And then when he's playing like he's chanting,

1330
01:11:35,159 --> 01:11:37,600
like to me, he's channeling Ringo on this one. This

1331
01:11:37,680 --> 01:11:40,199
would say this is a ringo drum riff if I

1332
01:11:40,199 --> 01:11:41,000
could call one.

1333
01:11:41,039 --> 01:11:45,720
Speaker 2: All right, step back, okay, d This is the best

1334
01:11:45,720 --> 01:11:49,359
song on the album I Am spiking the football.

1335
01:12:05,039 --> 01:12:05,600
Speaker 3: Wow.

1336
01:12:05,640 --> 01:12:10,159
Speaker 2: This song went with every graduation video from my years

1337
01:12:10,159 --> 01:12:12,479
of growing up, so there's like eighty eight to ninety

1338
01:12:12,520 --> 01:12:16,279
two was like a part of every graduation video. Turn

1339
01:12:16,319 --> 01:12:18,720
your head, don't look back, set your sales for a

1340
01:12:18,760 --> 01:12:21,119
new horizon. It's a perfect graduation song.

1341
01:12:21,279 --> 01:12:21,479
Speaker 3: Yeah.

1342
01:12:21,720 --> 01:12:25,199
Speaker 2: I love this song and I absolutely love take Me Home.

1343
01:12:26,000 --> 01:12:29,880
But this song was not released as a single until

1344
01:12:30,079 --> 01:12:33,159
it was on the Plane for Keeps soundtrack. Oh wow,

1345
01:12:33,239 --> 01:12:37,039
it didn't chart, but to me, it just this makes

1346
01:12:37,079 --> 01:12:39,319
me wipe tears. I absolutely love this song.

1347
01:12:39,479 --> 01:12:43,479
Speaker 3: Okay, so wow, that's coming strong on that one. That's impressive.

1348
01:12:43,760 --> 01:12:44,239
I love it.

1349
01:12:44,560 --> 01:12:45,600
Speaker 2: I absolutely love it.

1350
01:12:45,640 --> 01:12:48,640
Speaker 3: All right, people, that is no jacket required. That's the

1351
01:12:48,720 --> 01:12:52,159
end of it. Yeah. So we've gone through two of

1352
01:12:52,199 --> 01:12:55,640
the three and we've done a pretty good job of

1353
01:12:55,800 --> 01:12:59,159
not talking about Genesis as much as it obviously is

1354
01:12:59,159 --> 01:13:02,279
in this conversation of Peter Gabriel and Phil Collins. But

1355
01:13:02,680 --> 01:13:06,039
come back next week and we will be talking all

1356
01:13:06,279 --> 01:13:09,760
kinds of Genesis because we're going to be talking about

1357
01:13:09,800 --> 01:13:11,239
the album in Visible Touch.

1358
01:13:11,640 --> 01:13:12,439
Speaker 2: See you next week.

1359
01:13:12,760 --> 01:13:23,319
Speaker 7: I guess Holmes Holmes Rupert Holmes on our Patreon episode.

1360
01:13:23,359 --> 01:13:26,239
Speaker 3: That is not sung by Rupert Holmes, but it is

1361
01:13:26,279 --> 01:13:28,399
a good one. You should come check it out. You

1362
01:13:28,439 --> 01:13:32,000
can go do that by going to our Patreon page. Yes, yes,

1363
01:13:32,319 --> 01:13:35,479
I'm totally interrupted the let's let's that interrupts a flow?

1364
01:13:35,560 --> 01:13:36,000
Speaker 6: Start over?

1365
01:13:36,119 --> 01:13:37,359
Speaker 3: Fine, it's fine, you sure?

1366
01:13:38,279 --> 01:13:38,560
Speaker 4: Sure?

1367
01:13:39,399 --> 01:13:40,840
Speaker 3: Well now now the flow isn't ready