1 00:00:00,200 --> 00:00:00,760 Speaker 1: For the rock. 2 00:00:02,560 --> 00:00:06,759 Speaker 2: You can't say him in case. I'm a. 3 00:00:13,199 --> 00:00:15,759 Speaker 1: Hello everybody, and welcome back to the Shirley You Can't 4 00:00:15,800 --> 00:00:20,160 Be Serious Podcast. I am here today with Jason Calvin, 5 00:00:20,320 --> 00:00:23,760 my continuous co host, and we have our very special 6 00:00:23,839 --> 00:00:27,199 guest again with us today, number four episode with mister 7 00:00:27,399 --> 00:00:29,320 David Right, David, how you doing today? Man? 8 00:00:29,480 --> 00:00:29,760 Speaker 3: Man? 9 00:00:29,920 --> 00:00:32,200 Speaker 4: I am deafened to my leftist Jimmy d and too 10 00:00:32,320 --> 00:00:36,880 my right on the miciss Jason c the Shirley Airwaves 11 00:00:36,920 --> 00:00:38,640 a guest spot on the show. Well it's got to 12 00:00:38,679 --> 00:00:41,320 be deaf Daves. Where's your hip hop expert? Well here 13 00:00:41,359 --> 00:00:44,280 he is all the knowledge that I drop make suckers furious? 14 00:00:44,280 --> 00:00:46,439 He ask me how I am? It's not that mysterious, 15 00:00:46,479 --> 00:00:49,280 Shirley You Can't Be Serious? A top down, turn it up, 16 00:00:49,320 --> 00:00:51,600 brass monkey in a cup. Tune in the final judgment 17 00:00:51,640 --> 00:00:54,600 and you'll know what's up hell devastating cauna podcaster B. 18 00:00:54,799 --> 00:00:57,399 My name is David, but you can call me d 19 00:00:58,119 --> 00:00:59,880 whoa man? That is? 20 00:01:00,240 --> 00:01:03,520 Speaker 1: Oh, we give it up to you. That was fantastic. 21 00:01:03,600 --> 00:01:07,480 Speaker 2: That is the best intro ever I've started the history 22 00:01:07,519 --> 00:01:07,879 right there. 23 00:01:07,959 --> 00:01:11,920 Speaker 1: Yeah, that's fantastic. So we started before every time we 24 00:01:12,000 --> 00:01:14,159 hit the record button. I say to Jason, do you 25 00:01:14,200 --> 00:01:16,359 have something? He says, now, do you have something? And 26 00:01:16,400 --> 00:01:21,239 we just throw something at the beginning, and that was fantastic. 27 00:01:21,319 --> 00:01:22,400 That's definitely the best way. 28 00:01:22,439 --> 00:01:26,200 Speaker 2: I took time, effort thought, ry the man off the dome. 29 00:01:26,680 --> 00:01:29,280 Speaker 1: I'm gonna I'm going to capture that. I'm gonna I'm 30 00:01:29,280 --> 00:01:31,319 going to put a backbeat to it, and I'm gonna 31 00:01:31,359 --> 00:01:33,439 let it just be the interest song for us every time. 32 00:01:33,560 --> 00:01:34,760 Speaker 2: Yeah, I think be awesome. 33 00:01:36,239 --> 00:01:38,799 Speaker 1: Welcome back, David. Is great to have you here again. 34 00:01:39,120 --> 00:01:42,159 If you, dear listener, are just joining us for the 35 00:01:42,239 --> 00:01:44,840 very first time in this podcast. This is number four 36 00:01:44,920 --> 00:01:46,879 in a series that we are doing where we are 37 00:01:46,879 --> 00:01:50,599 looking back at nineteen eighty six, thirty five years ago 38 00:01:50,920 --> 00:01:54,760 this year, covering two of the most iconic albums of 39 00:01:54,799 --> 00:01:59,359 that year, Raising Hell by Run DMC and Licensed to 40 00:01:59,519 --> 00:02:03,000 Ill by the Beastie Boys. Dave has been our special 41 00:02:03,040 --> 00:02:07,040 guest with the massive hip hop knowledge bringing it and 42 00:02:07,319 --> 00:02:10,360 just man, you couldn't have finished any stronger than that intro. 43 00:02:10,560 --> 00:02:12,960 So I'm excited to jump back into it today. We 44 00:02:13,000 --> 00:02:16,960 are talking about Raising Hell. Track by track, we have 45 00:02:17,120 --> 00:02:19,879 covered the history of the Beastie Boys. We have covered 46 00:02:19,919 --> 00:02:23,199 Licensed Still track by track, we have covered the history 47 00:02:23,240 --> 00:02:26,199 of hip hop itself as it leads up to Run DMC, 48 00:02:26,439 --> 00:02:29,159 and today we are going to be covering Raising Hell 49 00:02:29,360 --> 00:02:31,319 track by track. I am pumped. 50 00:02:31,840 --> 00:02:33,879 Speaker 2: I can't wait. I can't wait. Dave, are you ready 51 00:02:33,919 --> 00:02:35,479 to go track by track to Raising Hell? 52 00:02:35,599 --> 00:02:35,759 Speaker 3: Well? 53 00:02:35,759 --> 00:02:37,439 Speaker 4: First of all, in case I don't have a chance 54 00:02:37,520 --> 00:02:38,879 to say this at the end, I just want to 55 00:02:38,879 --> 00:02:41,280 thank y'all so much for giving me this opportunity to 56 00:02:41,840 --> 00:02:44,280 come on here for this guest and talk about this stuff. 57 00:02:44,319 --> 00:02:46,199 I feel like you just let me indulge myself, and 58 00:02:46,199 --> 00:02:49,080 I hope everybody's enjoyed it. I think it's amazing that 59 00:02:49,159 --> 00:02:52,639 I have an opportunity to talk about run DMC with 60 00:02:52,759 --> 00:02:59,159 two guys actually named d and Jay. I can sit 61 00:02:59,240 --> 00:03:01,919 here with with Lee's on my legs and Adidas on 62 00:03:01,919 --> 00:03:04,719 my feet, with d by my side and Jay with 63 00:03:04,840 --> 00:03:05,199 the beat. 64 00:03:07,159 --> 00:03:09,520 Speaker 1: That's fantastic, man, that is fantastic. 65 00:03:09,680 --> 00:03:11,280 Speaker 2: Dave. We've had a great time with you, man, It's 66 00:03:11,280 --> 00:03:13,759 been fun to get to know you, and you have 67 00:03:13,840 --> 00:03:17,599 been an awesome, awesome expert in this area. So thank 68 00:03:17,680 --> 00:03:19,199 you for contributing to our show. 69 00:03:19,199 --> 00:03:19,360 Speaker 3: Man. 70 00:03:19,479 --> 00:03:21,960 Speaker 1: Yeah, it's been a complete honor and just as a 71 00:03:22,000 --> 00:03:25,479 reminder to everyone, Dave is an author. You can catch 72 00:03:25,560 --> 00:03:29,599 his books at Galahad's doom dot com. We found out 73 00:03:29,639 --> 00:03:32,080 just this week also that he does a podcast. I 74 00:03:32,120 --> 00:03:33,879 don't know how we went this whole time and didn't 75 00:03:33,919 --> 00:03:36,639 know that, but he has got a podcast where he 76 00:03:36,719 --> 00:03:39,840 talks about soccer. It's a way to vent about your 77 00:03:39,879 --> 00:03:40,599 soccer feelings. 78 00:03:40,680 --> 00:03:43,439 Speaker 4: Right, Yeah, I'm a big I'm a big soccer fan, 79 00:03:43,479 --> 00:03:46,919 but specifically a fan of the American version of the game. 80 00:03:47,080 --> 00:03:49,439 So I'm a big major League soccer fan and US 81 00:03:49,560 --> 00:03:52,319 national team fan, and I just do a quick, little 82 00:03:52,439 --> 00:03:55,039 like news update type of podcast and usually no more 83 00:03:55,039 --> 00:03:58,319 than ten minutes long. So if someone's a very casual 84 00:03:58,400 --> 00:04:00,439 fan or a curious fan, but they don't really want 85 00:04:00,479 --> 00:04:01,759 to devote an hour and a half to a big 86 00:04:01,800 --> 00:04:04,000 deep dive, they can check in with my show, get 87 00:04:04,319 --> 00:04:06,759 what they need, and then be done beyond with their day. 88 00:04:06,879 --> 00:04:09,520 So it's called American Soccer Quick Kicks. 89 00:04:09,599 --> 00:04:13,560 Speaker 1: Very nice, and you got lambasted this week on Twitter 90 00:04:13,599 --> 00:04:16,800 for your thoughts on the new soccer ball. Is that right? 91 00:04:17,360 --> 00:04:17,600 Speaker 3: Yes? 92 00:04:17,680 --> 00:04:20,439 Speaker 4: I got destroyed because they showed the new ball designed 93 00:04:20,439 --> 00:04:22,160 for next year and has flowers on it. I made 94 00:04:22,199 --> 00:04:24,160 the mistake of saying that you don't put flowers on 95 00:04:24,160 --> 00:04:28,120 a grown man's soccer ball, and I got completely viscerated 96 00:04:28,639 --> 00:04:30,800 by a soccer twitter For that one. I may have 97 00:04:30,959 --> 00:04:34,000 mentioned that my grandmother would be excited to see a 98 00:04:34,040 --> 00:04:35,319 ball that matches her drapes. 99 00:04:37,399 --> 00:04:38,959 Speaker 3: I don't think they liked that too much. 100 00:04:39,720 --> 00:04:42,040 Speaker 4: Before we jump into the album, I got a couple 101 00:04:42,040 --> 00:04:44,399 of things I want to point out. First of all, 102 00:04:44,519 --> 00:04:48,000 this album represents pretty much the epitome of the collaboration 103 00:04:48,120 --> 00:04:51,160 with Rick Rubin and run DMC. He did go on 104 00:04:51,199 --> 00:04:53,759 to produce two more songs for them after this album. 105 00:04:53,879 --> 00:05:01,800 The first one was Christmas and Hollis, which is their 106 00:05:01,879 --> 00:05:04,360 well known holiday track. It was placed in die Hard. 107 00:05:04,399 --> 00:05:07,879 It's kind of an annual. It's a perennial holiday hit. 108 00:05:07,920 --> 00:05:08,879 At least around my house. 109 00:05:08,879 --> 00:05:12,319 Speaker 2: It is hey way, we can't blow past that man. 110 00:05:13,920 --> 00:05:16,600 This is our Guyles Christmas music that he plays for 111 00:05:16,680 --> 00:05:19,279 John McLean as they're taking the limo ride to Knock 112 00:05:19,319 --> 00:05:20,120 and Tony Tower. 113 00:05:23,680 --> 00:05:26,240 Speaker 4: That's right because the rhymes you hear are the rhymes 114 00:05:26,240 --> 00:05:29,360 of Daryl's. But each and every year we bust Christmas Carols. 115 00:05:29,399 --> 00:05:32,000 The last song he did with them was Mary Mary, 116 00:05:32,040 --> 00:05:34,600 which came off their nineteen eighty eight album Tougher Than Leather. 117 00:05:34,680 --> 00:05:37,279 And I want to mention that song because I happened 118 00:05:37,279 --> 00:05:39,519 to be in the crowd the night they were shooting 119 00:05:39,879 --> 00:05:42,959 the Mary Mary music video. It was in Albany, Georgia. 120 00:05:43,000 --> 00:05:45,240 I was with my friend from high school, Chris Grab. 121 00:05:45,360 --> 00:05:47,240 I know he's listening. Shout out to Chris. 122 00:05:47,720 --> 00:05:49,000 Speaker 3: We were there that night. 123 00:05:48,839 --> 00:05:51,959 Speaker 4: When they were shooting the video and their camera was 124 00:05:52,000 --> 00:05:54,759 behind me, and I'm in the video, but you kind 125 00:05:54,759 --> 00:05:55,879 of have to take my word for it. 126 00:05:55,920 --> 00:05:57,439 Speaker 3: You can't see my face, but. 127 00:05:57,439 --> 00:06:01,560 Speaker 4: You got one skinny, little white elbow pumping his fists 128 00:06:01,560 --> 00:06:02,000 in the air. 129 00:06:02,160 --> 00:06:03,560 Speaker 3: I promise you that's me. 130 00:06:03,879 --> 00:06:09,000 Speaker 1: That day's chicken wing famous elbow. And for your friend, 131 00:06:09,079 --> 00:06:13,879 I just have to say, what up, Chris. I was 132 00:06:13,879 --> 00:06:14,800 born to do baby. 133 00:06:16,199 --> 00:06:18,720 Speaker 4: That summer of nineteen eighty eight, it seemed like the 134 00:06:18,759 --> 00:06:21,759 only two videos on MTV were Mary Mary and Pour 135 00:06:21,839 --> 00:06:22,600 Some Sugar on Me. 136 00:06:23,040 --> 00:06:25,079 Speaker 3: I was very happy to watch Mary Mary every time 137 00:06:25,079 --> 00:06:26,240 it came on. That's my old bow. 138 00:06:26,680 --> 00:06:27,879 Speaker 2: That's fantastic, man. 139 00:06:28,120 --> 00:06:31,079 Speaker 3: So a note about the album cover for Raising Hell. 140 00:06:31,639 --> 00:06:34,639 Speaker 4: You'll notice that just like with their first two albums, 141 00:06:34,959 --> 00:06:37,079 the only two people that appear on the cover. 142 00:06:37,319 --> 00:06:38,360 Speaker 3: Are Daryl and Joe. 143 00:06:38,839 --> 00:06:41,439 Speaker 4: You don't see jam Master Jay in any of these 144 00:06:41,439 --> 00:06:44,839 first three album covers, and there's a good reason for that, Okay, 145 00:06:45,079 --> 00:06:47,319 jam Master j was not signed. 146 00:06:47,000 --> 00:06:48,199 Speaker 3: To Profile Records. 147 00:06:48,399 --> 00:06:51,240 Speaker 4: The only people that had contract Profile were Daryl and Joe, 148 00:06:51,399 --> 00:06:54,240 and so they had brought Jay in as a side man. 149 00:06:54,240 --> 00:06:55,600 Speaker 3: For their road performances. 150 00:06:55,639 --> 00:06:57,879 Speaker 4: He was for a long time, never officially signed to 151 00:06:57,959 --> 00:06:59,839 the record deal, even though you see him in some 152 00:07:00,079 --> 00:07:00,959 early photography. 153 00:07:01,079 --> 00:07:02,560 Speaker 3: Profile wouldn't put them on the cover. 154 00:07:02,879 --> 00:07:05,360 Speaker 2: Interesting, So I've got a little bit something on the 155 00:07:05,480 --> 00:07:09,120 album cover as well. Caroline Grayshock was the photographer and 156 00:07:09,160 --> 00:07:12,360 she's the one who took Cyndi Lauper's She's So Unusual 157 00:07:12,439 --> 00:07:14,879 cover as well. All Right, So before we go any further, 158 00:07:14,920 --> 00:07:17,759 this album was released May twenty seventh of nineteen eighty six. 159 00:07:17,959 --> 00:07:20,480 Run DMC is the first hip hop group to receive 160 00:07:20,519 --> 00:07:23,879 heavy rotation on MTV, grace the cover of Rolling Stone magazine, 161 00:07:23,959 --> 00:07:25,879 and get a Grammy nomination. 162 00:07:25,600 --> 00:07:28,079 Speaker 1: And a couple of quick background on the recording of 163 00:07:28,079 --> 00:07:30,399 the album. They had just come off of tour in 164 00:07:30,519 --> 00:07:33,240 nineteen eighty five and they went into a place called 165 00:07:33,360 --> 00:07:36,720 chun King Studios in New York City. Now, chun King 166 00:07:37,000 --> 00:07:41,439 became a huge studio for recording hip hop and rap 167 00:07:41,480 --> 00:07:45,040 style albums. You had Run, dmc, ll cool J, Beastie Boys, 168 00:07:45,079 --> 00:07:50,319 Public Enemy, Buster Rhymes, Notorious, Big Tupac, Lauren Hill, Outcast, 169 00:07:50,600 --> 00:07:54,279 Method Man, Nas, Lil Wayne, Kanye West. All of those 170 00:07:54,279 --> 00:07:57,399 guys and some rock groups Aerosmith as we know, Beyonce, 171 00:07:57,560 --> 00:08:02,480 Depeche Mode, Destiny's Child, Fergie and Lady Gaga all recorded 172 00:08:02,560 --> 00:08:05,360 at chunk King Studios at some point, but it had 173 00:08:05,480 --> 00:08:07,839 just gotten this name of chun King Studios when they 174 00:08:07,879 --> 00:08:11,639 came in to start their recording process. Now, the producer 175 00:08:11,680 --> 00:08:13,759 on this one was different than the last two albums, 176 00:08:13,759 --> 00:08:16,639 which we kind of discussed. They had had Larry Smith 177 00:08:16,800 --> 00:08:19,360 as their producer for the last couple of albums, and 178 00:08:19,399 --> 00:08:22,639 as Dave mentioned on our last episode, Run had gotten 179 00:08:22,639 --> 00:08:25,199 a little tired of how much Larry was trying to 180 00:08:25,240 --> 00:08:28,959 put more music into the albums, although it was his 181 00:08:29,439 --> 00:08:32,080 brilliant idea when they were listening to Riot to put 182 00:08:32,120 --> 00:08:35,480 some rock into their music. But this album they were 183 00:08:35,799 --> 00:08:40,159 using a new upstart DJ called Rick Rubin. 184 00:08:40,200 --> 00:08:43,159 Speaker 4: So you know, just remember the timeline from our first episode. 185 00:08:43,240 --> 00:08:46,840 The first album put out by def Jam was ellocol 186 00:08:46,919 --> 00:08:50,320 Jay's Radio, which came just after Crush Groove late nineteen 187 00:08:50,360 --> 00:08:52,840 eighty five, and it was produced by Rick Rubin. 188 00:08:52,879 --> 00:08:56,120 Speaker 2: If you want more history on run DMC and hip 189 00:08:56,120 --> 00:08:58,320 hop and rap, go back and listen to our previous 190 00:08:58,360 --> 00:09:00,039 episode from last week where Day. 191 00:09:00,360 --> 00:09:02,440 Speaker 1: Laid the knowledge on Thick and. 192 00:09:03,080 --> 00:09:06,039 Speaker 2: Is unbelievable the amount of knowledge to Day brought on 193 00:09:06,080 --> 00:09:09,600 that episode for sure. By the way, you mentioned Chunking Studios. Yes, 194 00:09:09,840 --> 00:09:13,200 that is also known as the Abbey Road of hip hop. 195 00:09:13,279 --> 00:09:15,480 One thing I wanted to cover real quick raising hell 196 00:09:15,799 --> 00:09:19,480 did not reach number one on the Billboard Hot two hundred. 197 00:09:19,679 --> 00:09:21,159 It made it all the way to number three. 198 00:09:21,440 --> 00:09:24,240 Speaker 1: Do you know the two albums that kept run DMC 199 00:09:24,399 --> 00:09:25,320 out of the top spots. 200 00:09:25,399 --> 00:09:28,440 Speaker 2: I do, and we've talked about one at length and 201 00:09:28,480 --> 00:09:32,120 one in glancing Mm hmm, Okay, the number two. 202 00:09:32,240 --> 00:09:34,039 Speaker 1: I'll give you, Yeah, go ahead and do number two, 203 00:09:34,039 --> 00:09:35,320 and I'll give you a hint on number one. 204 00:09:35,440 --> 00:09:37,440 Speaker 2: I'll give you a hint on number two. She made 205 00:09:37,480 --> 00:09:42,399 out with Adam Horowitz backstage at the Beastie boyscus Madonna, 206 00:09:42,399 --> 00:09:46,480 but I don't know. The album Madonna True Blue on 207 00:09:46,679 --> 00:09:49,840 the strength of Open Your Heart and Papa Don't Preach 208 00:09:50,039 --> 00:09:54,200 and la Isla Bonita reached number two September twentieth, nineteen 209 00:09:54,240 --> 00:09:55,399 eighty six, the number. 210 00:09:55,200 --> 00:09:59,519 Speaker 1: One album Okay, so what it's a soundtrack? What movie 211 00:10:00,120 --> 00:10:04,759 is everyone obsessed with? In nineteen eighty six pop Gun? 212 00:10:05,000 --> 00:10:06,080 You got it ding. 213 00:10:05,960 --> 00:10:09,559 Speaker 2: Ding ding Ding top Gun number one, Madonna number two, 214 00:10:10,240 --> 00:10:12,360 Rundy and See number three. 215 00:10:12,639 --> 00:10:15,399 Speaker 1: I mean, that's amazing that they're up there, and with 216 00:10:15,600 --> 00:10:20,000 those two iconic albums, it's it's an truly incredible given 217 00:10:20,000 --> 00:10:23,399 that rap wasn't even in the mainstream a couple of 218 00:10:23,440 --> 00:10:24,000 years before this. 219 00:10:24,240 --> 00:10:26,799 Speaker 4: That's right, and this was the first rap album to 220 00:10:26,879 --> 00:10:28,120 ever go platinum. 221 00:10:28,120 --> 00:10:30,279 Speaker 2: Fantastic. Are you ready to dive in? Track by track, Dave, 222 00:10:30,799 --> 00:10:33,720 let's do it all right. The first song on the 223 00:10:33,799 --> 00:10:39,360 track list Peter Piper, Peter Piper, Pig Peppers rock Humpy Down. 224 00:10:39,440 --> 00:10:42,519 That's his time, exactly nimble what nimble? Any quick? 225 00:10:44,360 --> 00:10:48,720 Speaker 1: Okay? We jump in and we are immediately made aware 226 00:10:49,039 --> 00:10:52,759 of how awesome these guys are at exchanging lyrics back 227 00:10:52,799 --> 00:10:56,519 and forth. It is brilliant. They'll do line they'll do words, 228 00:10:56,600 --> 00:11:01,320 they'll do bits. It is so incredible how their rhythm 229 00:11:01,399 --> 00:11:03,519 is so in time with each other that they can 230 00:11:03,600 --> 00:11:06,720 sound like almost one person with two voices. It's amazing. 231 00:11:06,799 --> 00:11:10,039 Speaker 4: You don't get that awesome John Bonham drum phone that 232 00:11:10,080 --> 00:11:11,840 you get in the beginning of License to Ill, But 233 00:11:11,919 --> 00:11:15,399 what you get is immediately this blistering reminder of just 234 00:11:15,440 --> 00:11:18,320 how great these two guys are together. What had become 235 00:11:18,360 --> 00:11:21,320 their trademark was switching back and forth like that in 236 00:11:21,360 --> 00:11:22,200 their delivery. 237 00:11:22,440 --> 00:11:24,080 Speaker 3: But here they're they're. 238 00:11:23,960 --> 00:11:26,039 Speaker 4: Letting you know right off the top they have taken 239 00:11:26,080 --> 00:11:28,799 things to a whole other level, and it just blows 240 00:11:28,799 --> 00:11:30,960 you away. They start off with this a cappella beginning 241 00:11:31,000 --> 00:11:33,200 and you're already just blown back against the wall. 242 00:11:33,279 --> 00:11:36,360 Speaker 1: Yeah. And similar to Ryman and Stealing, they're throwing in 243 00:11:36,440 --> 00:11:40,360 some literary references. It's more nursery rhymes and you know, 244 00:11:40,480 --> 00:11:42,919 young adult kind of reading, like with Rip Van Winkle 245 00:11:43,000 --> 00:11:44,960 and such. But you got to be smart to hear 246 00:11:45,000 --> 00:11:47,519 what they're saying, to know what they're saying. It's great stuff. 247 00:11:47,600 --> 00:11:49,559 I have to think that the Beastie Boys we need 248 00:11:49,600 --> 00:11:51,600 to do something like that. When they pick their first song. 249 00:11:51,759 --> 00:11:54,720 Speaker 2: Hey, they make a reference to Humpty Dumpty, Little bo Pee, 250 00:11:54,840 --> 00:11:58,559 Rip Van Winkle and the most amazing toy of the 251 00:11:58,639 --> 00:11:59,840 nineteen seventies. 252 00:11:59,600 --> 00:12:01,919 Speaker 1: We will they wobbled, what they don't fall down? 253 00:12:01,919 --> 00:12:03,639 Speaker 2: The wobble but they don't fall down. 254 00:12:04,919 --> 00:12:08,200 Speaker 4: They also referenced the DC comics hero Flash when they 255 00:12:08,240 --> 00:12:09,919 say he's not Flash, but he's fast and his name 256 00:12:10,000 --> 00:12:10,360 is Jay. 257 00:12:10,480 --> 00:12:13,440 Speaker 1: That's awesome. Yeah. And the music that they've got behind 258 00:12:13,480 --> 00:12:17,399 it is again it makes me think of girls. It's 259 00:12:17,440 --> 00:12:21,799 that very kind of plinkety xylophone style of music that 260 00:12:21,840 --> 00:12:23,720 they've got going with them, which is the perfect thing 261 00:12:23,799 --> 00:12:26,519 to put with a song that's referencing all these nursery 262 00:12:26,559 --> 00:12:27,720 rhymes and school stories. 263 00:12:27,799 --> 00:12:30,879 Speaker 4: The bells are a sample of a song called take 264 00:12:30,960 --> 00:12:34,200 Me to the Marti Gras, which was by this jazz 265 00:12:34,320 --> 00:12:43,440 fusion kind of artist named Bob James. At the time 266 00:12:43,759 --> 00:12:47,080 that Ell was working on his first album, he had 267 00:12:47,080 --> 00:12:50,440 a song called Rock the Bells, and he had heard 268 00:12:50,720 --> 00:12:53,720 Run DMC working with this Bob James sample and was 269 00:12:53,759 --> 00:12:55,799 going to use the same sample in his song Rock 270 00:12:55,840 --> 00:12:58,039 the Bells. And when Run found out about it, he 271 00:12:58,080 --> 00:13:00,440 got mad in front of him and so basically won 272 00:13:00,480 --> 00:13:03,480 the argument. So LLLL agreed to take this same sample 273 00:13:03,519 --> 00:13:05,679 from Taking to the Marty Grass out of his song. 274 00:13:06,039 --> 00:13:08,559 So now the album cut of Rock the Bells actually 275 00:13:08,559 --> 00:13:09,559 has no bells in it at all. 276 00:13:09,639 --> 00:13:19,120 Speaker 2: Let's play a clip of that real quick. There it 277 00:13:19,200 --> 00:13:21,320 is man, that's it, no question answer. 278 00:13:21,600 --> 00:13:24,200 Speaker 4: So the whole song is about jam Master Jay. It 279 00:13:24,200 --> 00:13:25,879 didn't even though he had a self titled song on 280 00:13:25,919 --> 00:13:29,120 the first album. So Peter Piper actually became his theme 281 00:13:29,200 --> 00:13:31,919 song and it was the one that was most identified 282 00:13:31,960 --> 00:13:34,519 with jam Master j And in case you're not aware, 283 00:13:34,840 --> 00:13:37,519 he was killed in two thousand and two and an 284 00:13:37,559 --> 00:13:40,399 execution style murdered that for a long time was a 285 00:13:40,440 --> 00:13:41,039 cold case. 286 00:13:41,240 --> 00:13:43,600 Speaker 3: There's just recently in the last year been some movement 287 00:13:43,639 --> 00:13:44,279 on that case. 288 00:13:44,519 --> 00:13:45,919 Speaker 4: As a matter of fact, there was there was an 289 00:13:45,960 --> 00:13:49,639 indictment one year ago and just November this year the 290 00:13:49,799 --> 00:13:52,080 prosecution has said that they will not be seeking the 291 00:13:52,120 --> 00:13:53,960 death penalty, but they do have a couple of guys 292 00:13:54,000 --> 00:13:55,559 that will be going to trial for it. 293 00:13:55,639 --> 00:13:57,120 Speaker 3: But this was the song. 294 00:13:57,080 --> 00:14:00,559 Speaker 4: That they used at jams Jay's funeral and in all 295 00:14:00,600 --> 00:14:02,919 his tributes he was known as Peter Piper and this 296 00:14:03,000 --> 00:14:04,720 was this was the song they used to honor him. 297 00:14:04,720 --> 00:14:07,080 Speaker 2: I heard Daryl McDaniels talk about this song and when 298 00:14:07,200 --> 00:14:10,120 he was listening to the radio when this album was released, 299 00:14:10,600 --> 00:14:12,799 the DJ came on and said, we have got the 300 00:14:12,799 --> 00:14:16,200 most amazing, awesome hit of the summer from Run DMC. 301 00:14:16,320 --> 00:14:18,240 You're not even gonna believe. It's so great, And Daryl 302 00:14:18,279 --> 00:14:20,720 McDaniel's thinking, they're getting ready to play Peter Piper. Peter 303 00:14:20,759 --> 00:14:22,759 Piper is the one, and of course it was not. 304 00:14:22,960 --> 00:14:24,440 And we'll talk about that song here in just a 305 00:14:24,480 --> 00:14:26,799 few minutes, Okay, But this is. 306 00:14:26,799 --> 00:14:28,399 Speaker 3: A hit right out of the right out of the gate. 307 00:14:28,639 --> 00:14:30,559 Speaker 4: This is an awesome songs in one of their classics, 308 00:14:30,720 --> 00:14:32,200 one of their best loved songs. 309 00:14:32,279 --> 00:14:34,440 Speaker 3: It is awesome. It's a great starter to the album. 310 00:14:34,480 --> 00:14:38,159 Speaker 2: Absolutely ready for song number two, Yes, song number two 311 00:14:38,320 --> 00:14:40,679 on the album called It's Tricky. 312 00:14:40,840 --> 00:14:44,320 Speaker 4: This is my recital. I think it's very vital. 313 00:14:45,600 --> 00:14:51,679 Speaker 2: That's right on top, right to ro right that site 314 00:14:51,679 --> 00:14:55,240 on top. It's chick game all right. Now, This one 315 00:14:55,279 --> 00:14:57,799 I'm very familiar because they played it on MTV all 316 00:14:57,840 --> 00:15:00,519 the time. This reached number fifty seven on the Billboard 317 00:15:00,519 --> 00:15:03,600 Hot one hundred chart, released February eighth of nineteen eighty seven. 318 00:15:03,879 --> 00:15:06,039 Let's talk about what it samples. 319 00:15:05,799 --> 00:15:09,519 Speaker 1: Nineteen seventy nine, The Knack my Sharona. 320 00:15:10,360 --> 00:15:13,399 Speaker 2: When I read that, I was blown away because I 321 00:15:13,440 --> 00:15:15,679 didn't really hear it until that came to my attention. 322 00:15:15,840 --> 00:15:20,399 Speaker 1: Well, in two thousand and six, The Knack actually sued 323 00:15:20,600 --> 00:15:24,679 run DMC and their associates and some online stores for 324 00:15:25,320 --> 00:15:29,120 unlicensed use of this sample. And when they asked them, 325 00:15:29,399 --> 00:15:32,600 why did it take you twenty years to bring your 326 00:15:32,639 --> 00:15:35,960 case to court, they said, well, we just found out 327 00:15:38,519 --> 00:15:39,559 we hadn't heard it before. 328 00:15:39,679 --> 00:15:44,399 Speaker 2: Come on, man, twenty years to bring this case to court. 329 00:15:44,360 --> 00:15:46,759 Speaker 1: Right, you're just now becoming aware of the track. 330 00:15:46,840 --> 00:15:51,720 Speaker 4: It's tricky, rock run too, rock a run that's right 331 00:15:51,799 --> 00:15:53,000 on Thomas Chick game. 332 00:15:56,519 --> 00:15:57,000 Speaker 2: Wow. 333 00:15:57,279 --> 00:15:59,879 Speaker 3: Yep. And of course they structured the chorus around Mickey. 334 00:16:00,399 --> 00:16:03,240 Speaker 2: Yeah, okay, we got to talk about that too, because 335 00:16:03,799 --> 00:16:06,159 that to me as clear as a bell, right, yep. 336 00:16:06,759 --> 00:16:09,000 It's triggy to rock a rhyme, to rock a rhyme 337 00:16:09,039 --> 00:16:13,559 that's right on time. It's tricky. Right then you've got oh, Mickey, 338 00:16:13,600 --> 00:16:16,840 you're so fine, You're so fine, you blow my mind. Hey, Mickey, Yes, 339 00:16:17,120 --> 00:16:18,759 those are identical. 340 00:16:19,440 --> 00:16:22,480 Speaker 4: Yeah, and it's guaranteed to be an earworm. It's gonna 341 00:16:22,480 --> 00:16:23,200 be stuck in your head. 342 00:16:24,519 --> 00:16:26,360 Speaker 1: But it's also kind of a tongue twister. It is 343 00:16:26,440 --> 00:16:29,039 it's difficult to spit that out as fast as they do. 344 00:16:29,279 --> 00:16:31,840 And that's what the song is really about, is it's 345 00:16:31,919 --> 00:16:34,080 not as easy to be a rapper as you think 346 00:16:34,080 --> 00:16:37,440 it might be. You know, people dissing on them because 347 00:16:37,440 --> 00:16:41,360 it's not real music. It's not singing, but they're saying, hey, 348 00:16:41,720 --> 00:16:43,679 you try to do this. You see if you can 349 00:16:43,679 --> 00:16:44,600 do this, mister. 350 00:16:44,440 --> 00:16:47,440 Speaker 2: Knox, it's tricky to rock a rhyme that's right on time. 351 00:16:47,600 --> 00:16:50,120 Speaker 3: It's tricky, huge hit on MTV. 352 00:16:50,200 --> 00:16:52,240 Speaker 4: I know, Pin and Teller in the video. It's not 353 00:16:52,279 --> 00:16:54,919 a strong track, man, just coming out hot. Two songs 354 00:16:54,919 --> 00:16:55,600 in a row, boom. 355 00:16:55,639 --> 00:17:00,039 Speaker 1: Yeah, it's interesting. They they've got a positive message that 356 00:17:00,080 --> 00:17:02,639 isn't happening in a whole lot of rap after the eighties. 357 00:17:03,320 --> 00:17:05,920 They talk about how they get offered dope and lots 358 00:17:05,920 --> 00:17:07,839 of coke, but they said they just leave it alone. 359 00:17:07,960 --> 00:17:09,960 And this kind of goes along with another song on 360 00:17:10,000 --> 00:17:12,519 the album where he talks about going to Saint John's University. 361 00:17:12,920 --> 00:17:14,839 They were trying to speak to kids on the street 362 00:17:14,839 --> 00:17:17,400 who were out there doing drugs and not going to 363 00:17:17,440 --> 00:17:20,799 school to say, hey, we can make it not doing 364 00:17:20,799 --> 00:17:22,039 that stuff, and you can too. 365 00:17:22,759 --> 00:17:25,000 Speaker 2: I found something really cool on the internet in regards 366 00:17:25,000 --> 00:17:27,599 to It's Tricky. Okay, So there was a guy that 367 00:17:27,680 --> 00:17:30,839 he posted this on Instagram. Just a guy driving down 368 00:17:30,839 --> 00:17:34,039 the road top down, turn it up, had his windows 369 00:17:34,079 --> 00:17:37,240 down and was thumping It's tricky. Who pulls up next 370 00:17:37,319 --> 00:17:39,799 to him? Joseph Simmons run. 371 00:17:39,640 --> 00:17:40,359 Speaker 3: Oh yes. 372 00:17:40,519 --> 00:17:42,799 Speaker 2: When he pulls up next to him, rolls down his window, 373 00:17:42,920 --> 00:17:45,359 leans in. The guy's like, oh my gosh, that's run 374 00:17:45,440 --> 00:17:49,160 right next to me, and he is rocking the rhymes 375 00:17:49,240 --> 00:17:51,039 right out of his window. The guy was like, oh, 376 00:17:51,079 --> 00:17:53,799 I can't even believe it. There he goes, drives off. 377 00:17:53,839 --> 00:17:57,400 That's it, and the guy posted away it was awesome. 378 00:17:57,640 --> 00:18:00,519 Speaker 4: Man, that's a lot better than my elbow story. 379 00:18:02,480 --> 00:18:05,119 Speaker 2: Okay, that's it. That's all I got on on this triggy. 380 00:18:05,200 --> 00:18:08,440 Although I will say that video introduced me to Penn 381 00:18:08,480 --> 00:18:09,200 and Teller as well. 382 00:18:09,319 --> 00:18:10,839 Speaker 1: That was probably the first time I saw him too. 383 00:18:11,319 --> 00:18:17,279 Speaker 2: Okay. Song number three My uh didas my U Well 384 00:18:17,359 --> 00:18:23,839 two copy Doors and Football Almost at Live eight All 385 00:18:23,880 --> 00:18:28,480 the People Game. This was the first single release from 386 00:18:28,480 --> 00:18:32,680 this album. Strong Coming twenty ninth of nineteen eighty six. 387 00:18:32,960 --> 00:18:35,440 Speaker 4: This is a great song, fantastic song that's probably my 388 00:18:35,480 --> 00:18:36,759 second favorite on the whole album. 389 00:18:36,759 --> 00:18:39,160 Speaker 2: My roommate in college when we would be getting ready 390 00:18:39,160 --> 00:18:41,119 to go play football or basketball or whatever, i'm'll be like, 391 00:18:41,200 --> 00:18:43,319 let me grab my shoes real quick. That's all he needed. 392 00:18:43,359 --> 00:18:45,880 I'd say, I need to grab my shoes. My uh 393 00:18:46,079 --> 00:18:51,519 dudas Scott Foster. A shout out to Scott Foster. Interestingly, 394 00:18:51,960 --> 00:18:57,119 this song led to the first non sport entity to 395 00:18:57,279 --> 00:18:58,480 sell sneakers. 396 00:18:58,720 --> 00:19:01,720 Speaker 4: Yes, but when they recorded this song and when this 397 00:19:01,759 --> 00:19:04,680 album was released, they had no endorsement deal in place. 398 00:19:04,759 --> 00:19:06,400 Speaker 3: They just did it because they loved Adidas. 399 00:19:06,480 --> 00:19:09,240 Speaker 2: I read that in Hollis there was this local medic 400 00:19:09,799 --> 00:19:13,440 named doctor Diaz. Doctor Diaz was this guy around town 401 00:19:13,599 --> 00:19:18,240 who distributed a small pamphlet that talked about how fellon sneakers, 402 00:19:18,440 --> 00:19:22,000 lee jeans, these certain hats and gold chains and brand 403 00:19:22,039 --> 00:19:26,160 names of Puma and Adidas as troublesome. Like if you 404 00:19:26,200 --> 00:19:31,000 see anybody wearing Puma or Adidas, or gold chains or 405 00:19:31,079 --> 00:19:34,640 sneakers with no shoelaces, these are troublemakers. These are people 406 00:19:34,680 --> 00:19:37,519 you want to watch out for profiling there you go. 407 00:19:37,640 --> 00:19:39,599 And so they got mad about that. They found it 408 00:19:39,640 --> 00:19:42,640 insulting and they're like, hey, we wear Adidas and we're 409 00:19:42,640 --> 00:19:45,599 not bad guys. And so they were intent on writing 410 00:19:45,640 --> 00:19:47,880 a song about Adidas and being good guys. 411 00:19:48,039 --> 00:19:50,440 Speaker 4: So let me tell you about a man named Liar Cohen. 412 00:19:50,519 --> 00:19:52,799 But we didn't talk about him last episode. But he 413 00:19:52,839 --> 00:19:57,240 had started out running a club in California, and one 414 00:19:57,240 --> 00:19:59,480 time run DC had come out there and performed some 415 00:19:59,519 --> 00:20:02,440 shows with him, and at one point he decided he 416 00:20:02,480 --> 00:20:05,480 was going to work for Rush Management. He basically cold calls. 417 00:20:05,519 --> 00:20:07,400 He walks up to the front door in New York 418 00:20:07,880 --> 00:20:10,759 and tells Rush that he wants to work for now. 419 00:20:10,839 --> 00:20:12,519 Speaker 3: The Rush had known him from booking. 420 00:20:12,200 --> 00:20:14,359 Speaker 4: Shows at his club, but he's like, look, you know 421 00:20:14,400 --> 00:20:17,559 we're still a shoe string operation. And the way this 422 00:20:17,680 --> 00:20:19,960 works is is you know you get paid a percentage 423 00:20:20,000 --> 00:20:23,400 based on whatever new business you bring to the company. 424 00:20:23,519 --> 00:20:25,640 You know that that that's the only way I can pay. 425 00:20:25,759 --> 00:20:29,279 He said, well, okay, who's handling your merchandise? And Russ 426 00:20:29,319 --> 00:20:33,400 is like, uh my, what who's booking your shows? Who's 427 00:20:33,440 --> 00:20:36,680 managing your your packaging your tours. He's like, uh my, 428 00:20:36,960 --> 00:20:40,880 Pa packed what and Lyer said, I'll start on Monday. 429 00:20:41,559 --> 00:20:44,000 In nineteen eighty six when he first got this job 430 00:20:44,039 --> 00:20:47,079 and he was looking to generate the money. One thing 431 00:20:47,119 --> 00:20:49,599 they did is they they pulled out of these annual 432 00:20:49,720 --> 00:20:53,279 fresh Fest concert tours and he packages together the Raising 433 00:20:53,319 --> 00:20:57,000 Hell Tour and so all the non rush elements of 434 00:20:57,200 --> 00:20:59,920 fresh Fest dropped away. So they no more fat boys, 435 00:21:00,279 --> 00:21:03,359 no more breakdancers, and it was just Rush artists. 436 00:21:03,359 --> 00:21:04,720 Speaker 3: So that's how the Raising. 437 00:21:04,400 --> 00:21:07,720 Speaker 4: Hell Tour came to be just BC Boys, Houdini, Ello, 438 00:21:07,720 --> 00:21:10,160 Cool J and run DMC and that was it. And 439 00:21:10,200 --> 00:21:12,079 so it was so Liar Cohen was the guy who 440 00:21:12,160 --> 00:21:14,480 put that on. And it was in the middle of 441 00:21:14,519 --> 00:21:20,039 the Raising Hell Tour that Liar orchestrated a fantastic stunt 442 00:21:20,079 --> 00:21:23,480 related to this song may Adidas. What Liar and Russell 443 00:21:23,640 --> 00:21:28,400 did is they conspired to bring over Adidas executives from 444 00:21:28,440 --> 00:21:33,039 Germany and had them attend a sellout Run Deemsee concert 445 00:21:33,319 --> 00:21:37,079 at Madison Square Garden. Now Joseph Simmons also was in 446 00:21:37,119 --> 00:21:39,559 on it, and when they got ready to sing this song, 447 00:21:40,079 --> 00:21:42,319 he took off his Adidas shoe, held it up in 448 00:21:42,319 --> 00:21:44,599 the air and he told everybody else to do the same, 449 00:21:44,720 --> 00:21:48,799 and there was an ocean of teenagers holding their Adidas 450 00:21:48,839 --> 00:21:51,200 shoes in the air, waving them back and forth. The 451 00:21:51,240 --> 00:21:53,400 house lights come on, the spotlights are sweeping across them, 452 00:21:53,640 --> 00:21:56,920 and those Adidas executives, their jaws are on the floor. 453 00:21:57,559 --> 00:22:01,160 They realized in that instant what is happening and how 454 00:22:01,359 --> 00:22:05,480 powerful run DMC is to this market. And just like that, 455 00:22:06,000 --> 00:22:10,839 they signed run DMC to an Adidas endorsement deal, making 456 00:22:10,960 --> 00:22:13,839 history as the first non athlete to sign a sneaker deal. 457 00:22:13,920 --> 00:22:17,240 And this was the beginning of the corporate world of 458 00:22:17,400 --> 00:22:20,559 understanding the power of the hip hop market. 459 00:22:20,640 --> 00:22:24,200 Speaker 2: It's fantastic, man, it is fantastic. They were trendsetters in 460 00:22:24,279 --> 00:22:26,279 so many ways. It's it's unbelievable. 461 00:22:26,680 --> 00:22:28,720 Speaker 1: Okay, So, since you brought the company up, and since 462 00:22:28,759 --> 00:22:31,440 you mentioned them earlier, I want to say this. So, 463 00:22:31,920 --> 00:22:37,559 Adidas the shoe brand was started by a guy named 464 00:22:37,960 --> 00:22:45,799 Adolph Dassler, right, he Hadi das Addas exactly right. He 465 00:22:46,400 --> 00:22:50,119 had a brother whose name was Rudolph Dassler, and at 466 00:22:50,160 --> 00:22:52,839 one point they were in business together, working together, but 467 00:22:52,920 --> 00:22:55,799 they realized they didn't like working together. They were they 468 00:22:56,000 --> 00:22:58,960 just you know, their brotherly hate just kind of boil. 469 00:22:59,000 --> 00:23:02,599 It reached a boiling point, and so Rudolph was like, 470 00:23:02,720 --> 00:23:04,720 you know what, I'm going to go across the river. 471 00:23:04,759 --> 00:23:06,519 I'm gonna start my own company and we'll just see 472 00:23:06,519 --> 00:23:12,000 how it goes. And so Adolf makes adi Das Adidas 473 00:23:12,759 --> 00:23:15,680 and Rudolph starts another shoe company that you might have 474 00:23:15,759 --> 00:23:20,559 heard of called Puma Wow. And then they both end 475 00:23:20,640 --> 00:23:23,440 up shoot on the feet of troublemakers out there. You 476 00:23:23,440 --> 00:23:24,279 need to watch out for that. 477 00:23:24,279 --> 00:23:25,160 Speaker 2: That's right, that's right. 478 00:23:26,279 --> 00:23:29,279 Speaker 4: So what's cool about this about the song, though, is 479 00:23:29,319 --> 00:23:32,519 that they're not necessarily bragging about the shoe itself. They're 480 00:23:32,559 --> 00:23:35,200 bragging about themselves and about all the things they've accomplished 481 00:23:35,200 --> 00:23:36,240 while wearing the shoes. 482 00:23:36,480 --> 00:23:39,559 Speaker 2: Russell Simmons had this idea that he wanted them to 483 00:23:39,559 --> 00:23:42,880 write a song about their Adidas and he apparently came 484 00:23:42,960 --> 00:23:48,480 up with this idea while smoking angel dust. So Daryl 485 00:23:48,559 --> 00:23:51,480 McDaniels said he went to see him and he's like, oh, 486 00:23:51,559 --> 00:23:53,279 you got to come up with a song that starts 487 00:23:53,319 --> 00:23:55,880 my Adidas standing on two fifth Street. And he was 488 00:23:55,880 --> 00:23:58,680 written and he was really high because he said it 489 00:23:58,720 --> 00:24:05,839 about fifty times. They actually mention their Live AID performance 490 00:24:06,400 --> 00:24:08,440 in the lyrics of this song. We talked about that 491 00:24:08,440 --> 00:24:11,000 Live Aid performance in last week's episode. 492 00:24:11,119 --> 00:24:13,319 Speaker 4: Yes, they step on stage at Live Aid. All the 493 00:24:13,319 --> 00:24:15,599 people gave in the poor gat paid. What I find 494 00:24:15,680 --> 00:24:18,279 amazing is that this song May Adidas has a very 495 00:24:18,319 --> 00:24:22,079 famous fan, Bob Dylan loves this song. 496 00:24:22,799 --> 00:24:25,720 Speaker 1: Really what That's awesome? 497 00:24:26,200 --> 00:24:28,720 Speaker 4: Yeah, at the time in nineteen eighty six, he said 498 00:24:28,720 --> 00:24:30,359 in an interview that he just thought this was a 499 00:24:30,400 --> 00:24:33,599 great example of just the vitality and just the uh 500 00:24:33,640 --> 00:24:35,759 this the inroads. I guess they had the voice of 501 00:24:35,799 --> 00:24:38,160 the black youth market and that he just saw this 502 00:24:38,279 --> 00:24:39,640 was a fantastic expression. 503 00:24:39,759 --> 00:24:40,640 Speaker 2: That is insane. 504 00:24:40,759 --> 00:24:41,480 Speaker 1: That's incredible. 505 00:24:41,519 --> 00:24:44,519 Speaker 2: We have mentioned Bob Dylan so much recently in such 506 00:24:44,680 --> 00:24:47,759 like way Out their Ways. He wrote Knocking on Heaven's Door, 507 00:24:47,799 --> 00:24:49,960 which we talked about in our Guns N' Roses episode 508 00:24:50,000 --> 00:24:53,039 several weeks ago now, and then because of Knocking on 509 00:24:53,079 --> 00:24:55,839 Heaven's Door that was in Pat Garrett and Billy the Kid, 510 00:24:55,920 --> 00:24:59,160 we talked about him in our Young Guns Versus Tombstone episode, 511 00:24:59,440 --> 00:25:01,039 and now we were going to talk about him with 512 00:25:01,119 --> 00:25:06,119 run Insane Man is everywhere? All right? Are we ready 513 00:25:06,119 --> 00:25:08,400 to finish up? On my ideas. 514 00:25:08,519 --> 00:25:10,359 Speaker 4: I mean, look at this one, two three, right out 515 00:25:10,359 --> 00:25:12,799 of the box. Peter Piper is tricky May Adidas. You 516 00:25:12,839 --> 00:25:16,200 would think this can't possibly get better. What's track four? 517 00:25:17,119 --> 00:25:23,079 Speaker 2: Track number four is the song that changed music culture, history, 518 00:25:23,240 --> 00:25:39,480 everything as we know it. 519 00:25:44,359 --> 00:25:46,160 Speaker 1: Okay, So I got to start off by saying, we 520 00:25:46,200 --> 00:25:50,640 talked about this song on our Aerosmith episode and just 521 00:25:50,920 --> 00:25:54,319 as a quick review of that, Steven Tyler came up 522 00:25:54,319 --> 00:25:58,559 with this beat and Joe Perry came up with the 523 00:25:58,640 --> 00:26:00,759 lick that went with it, and they were at the 524 00:26:00,920 --> 00:26:03,559 end of a very long recording session and they could 525 00:26:03,599 --> 00:26:06,440 not come up with any lyrics. They were struggling and struggling, 526 00:26:06,720 --> 00:26:09,279 and finally the producer was like, just leave, just get 527 00:26:09,319 --> 00:26:11,119 out of here, go watch a movie, have some fun. 528 00:26:11,480 --> 00:26:13,480 And they go across the street to the movie theater 529 00:26:13,599 --> 00:26:16,920 and what movie is playing Jason Young Frankenstein, in which 530 00:26:17,160 --> 00:26:21,240 we have Marty Feldman who has the iconic line walk 531 00:26:21,400 --> 00:26:25,880 this way, no, this way yes, And they thought that 532 00:26:25,880 --> 00:26:28,559 that line was hilarious, and that's how this song came 533 00:26:28,599 --> 00:26:30,880 into being, and it was a part of their Toys 534 00:26:30,880 --> 00:26:33,799 in the Attic album, which is probably their greatest album 535 00:26:33,880 --> 00:26:37,960 of the seventies, right, sure. So fast forward a few years, 536 00:26:38,079 --> 00:26:41,160 hip hop has caught on. Djaying has become a thing, 537 00:26:41,440 --> 00:26:44,400 and all of the DJs take these albums and because 538 00:26:44,400 --> 00:26:47,400 they don't want other guys stealing their tricks, they wipe 539 00:26:47,440 --> 00:26:52,200 out basically everything except the track numbers, and so they 540 00:26:52,240 --> 00:26:56,759 have toys in the attic and everybody who's anybody knows, hey, 541 00:26:56,920 --> 00:26:59,799 number four is a great lick and a great beat. 542 00:27:00,200 --> 00:27:02,240 But they would put that on, they'd play that lick, 543 00:27:02,319 --> 00:27:05,240 they'd play that beat, they'd scratch it back, they'd do 544 00:27:05,319 --> 00:27:08,319 what they did, but they never got to the lyrics 545 00:27:08,559 --> 00:27:09,319 of the song. 546 00:27:09,519 --> 00:27:12,119 Speaker 2: They would just say, hey, grab toys, and they played 547 00:27:12,160 --> 00:27:15,720 number four, right. But their plan was to roll that 548 00:27:15,880 --> 00:27:18,200 into a loop and then wrap over it. 549 00:27:18,319 --> 00:27:20,799 Speaker 1: Yeah, sample like they would normally do with any other song, 550 00:27:20,880 --> 00:27:22,680 like they would did with My Sharona or any of 551 00:27:22,680 --> 00:27:25,400 the others, is they're gonna they're gonna use that one 552 00:27:25,480 --> 00:27:27,720 little part and they're gonna make their own song out 553 00:27:27,720 --> 00:27:29,839 of it. But Rick was the one that said, no, 554 00:27:29,960 --> 00:27:32,359 you guys should do the original song. I mean and 555 00:27:32,599 --> 00:27:35,119 you if you listen to it, it's well to my ears, 556 00:27:35,279 --> 00:27:37,839 almost like a rap that Steven Tyler has a very 557 00:27:38,200 --> 00:27:55,519 rhythmic way of singing his song. Absolutely, and so they 558 00:27:55,519 --> 00:27:57,640 took the album home, they put it on the record, 559 00:27:57,680 --> 00:28:00,480 they turned it on and it got past that'll lick 560 00:28:00,519 --> 00:28:05,279 and it got into the lyrics and they were like no, no, no, no, no, no, 561 00:28:05,279 --> 00:28:08,279 no way, we're not doing this hill billy crap. 562 00:28:08,400 --> 00:28:11,240 Speaker 2: The interesting thing was they couldn't understand. And this is 563 00:28:11,240 --> 00:28:12,880 back in the days before the Internet where you could 564 00:28:12,920 --> 00:28:15,519 google lyrics. So they had their pen in their paper 565 00:28:16,319 --> 00:28:20,519 and they're like backstage lover, always undercover, talk to my 566 00:28:21,319 --> 00:28:25,839 this is hillbilly music. They were not into it at all. 567 00:28:26,200 --> 00:28:28,920 And actually it's Jim Master Jay who's the one who's like, guys, 568 00:28:28,920 --> 00:28:30,000 this is gonna be really good. 569 00:28:30,119 --> 00:28:31,920 Speaker 4: Jay knew a little bit more about the song, I 570 00:28:31,920 --> 00:28:34,000 guess because maybe he was the guy with the records 571 00:28:34,000 --> 00:28:36,720 in the back in the park. But when Ruven first 572 00:28:36,720 --> 00:28:40,119 suggested walk this Way, Joe and Daryl didn't even recognize it, 573 00:28:40,240 --> 00:28:42,000 or like, what do you mean walk this way? They 574 00:28:42,039 --> 00:28:44,839 didn't recognize it by that name, and Jason was the 575 00:28:44,880 --> 00:28:46,920 one that said no, no, yeah, yeah, yeah, you know this 576 00:28:46,960 --> 00:28:49,119 one his toys in the attic. Well, they knew it 577 00:28:49,119 --> 00:28:51,400 by the album name because all they knew is that 578 00:28:51,480 --> 00:28:53,839 opening drum beat, and it had been a staple in 579 00:28:53,880 --> 00:28:56,359 the park for years, just like you said, but they 580 00:28:56,400 --> 00:28:58,000 had just never bothered to listen to the rest of 581 00:28:58,000 --> 00:28:59,960 the song and they didn't know it by its proper name. 582 00:29:00,200 --> 00:29:02,039 Speaker 3: So it was Jason that said, no, no, no, listen, this 583 00:29:02,079 --> 00:29:02,519 could work. 584 00:29:02,559 --> 00:29:04,720 Speaker 4: Now, this is a case and I don't know how 585 00:29:04,720 --> 00:29:06,519 many It seems like it's in every episode where you're 586 00:29:06,519 --> 00:29:09,839 covering albums, but this is a case of where the 587 00:29:09,880 --> 00:29:12,799 album was basically done. They had all these other tracks finished, 588 00:29:13,200 --> 00:29:16,440 and Rick Rubin, yeah, I mean, you can finish the story. 589 00:29:16,480 --> 00:29:19,200 He was like, we need one more. We're missing something. 590 00:29:19,279 --> 00:29:21,480 And this was a late idea, in a late addition, 591 00:29:21,799 --> 00:29:23,799 and this was the one that kind of galvanized the 592 00:29:23,799 --> 00:29:24,200 whole out. 593 00:29:24,240 --> 00:29:26,119 Speaker 1: And I got to say, when we told this story 594 00:29:26,160 --> 00:29:29,759 in our Aerosmith episode, I talked about, you know, Aerosmith 595 00:29:29,880 --> 00:29:31,799 was kind of in bad trouble at that point. They 596 00:29:31,799 --> 00:29:34,200 were trying to come back, but they were not. They 597 00:29:34,200 --> 00:29:37,519 had not at all come back to from what they 598 00:29:37,519 --> 00:29:40,319 were in the seventies or what they had would become 599 00:29:40,359 --> 00:29:42,039 in the late ala and nineties. 600 00:29:42,119 --> 00:29:44,759 Speaker 2: Done with Mirrors in nineteen eighty five was a disaster. 601 00:29:44,799 --> 00:29:47,279 Speaker 1: Yeah, it was a total bomb. And so when they 602 00:29:47,319 --> 00:29:49,640 get a call at the when I we had our episode, 603 00:29:49,640 --> 00:29:51,480 I said, they get a call from mister Rick Rubin. 604 00:29:51,759 --> 00:29:54,359 Well that was because I was thinking Rick Rubin of 605 00:29:54,599 --> 00:29:57,240 you know, ultimate fame. But at this point, Rick Rubin 606 00:29:57,319 --> 00:30:00,640 is a guy who's done nothing. He was nobod to them. 607 00:30:00,799 --> 00:30:03,359 So they're getting a call from a nobody about a 608 00:30:03,440 --> 00:30:06,920 rap group who's done a couple of albums, saying hey, 609 00:30:07,039 --> 00:30:09,000 we want to cover your song and we want you 610 00:30:09,079 --> 00:30:12,279 to be involved with the re recording of the music. 611 00:30:12,880 --> 00:30:15,039 They had to be thinking the same thing, who are 612 00:30:15,039 --> 00:30:17,240 these guys? What are we going to be doing? And 613 00:30:17,279 --> 00:30:19,880 I think that even when they met up in the studio, 614 00:30:20,160 --> 00:30:24,119 there was a lot of posturing and measuring d's if 615 00:30:24,160 --> 00:30:26,000 you know what I mean, because these are these are 616 00:30:26,039 --> 00:30:28,319 some strong personalities in these two groups. 617 00:30:29,480 --> 00:30:32,079 Speaker 2: I've got a great story on this. After Rick Rubin 618 00:30:32,160 --> 00:30:35,079 told them to grab their loose leaf notebook and pin 619 00:30:35,400 --> 00:30:38,559 and go downstairs and write down the lyrics, and once 620 00:30:38,599 --> 00:30:41,319 they heard Steven Tyler start to seeing, they were refusing 621 00:30:41,400 --> 00:30:44,160 to do it. And so they sat there with their 622 00:30:44,240 --> 00:30:47,680 arms crossed like stubborn children. And then the phone would ring. 623 00:30:47,799 --> 00:30:50,519 The phone would ring, and they'd be like, not answering it, 624 00:30:50,720 --> 00:30:53,960 not answering it, and they knew it was Russell who 625 00:30:54,000 --> 00:30:58,319 was calling to yell at them, right, so they would 626 00:30:58,640 --> 00:31:01,240 like go into hiding for a week. They refuse to 627 00:31:01,279 --> 00:31:05,640 do this, and so Jay calls one day and so 628 00:31:05,720 --> 00:31:08,599 they're like, hey, Jay, what do you want. I know, 629 00:31:08,799 --> 00:31:10,880 you know you're mad at us or whatever. He's like, guys, 630 00:31:11,079 --> 00:31:15,200 get down to the studio. Stephen Tyler and Joe Perry 631 00:31:15,240 --> 00:31:20,440 are coming and they're like who who? And so Jay's 632 00:31:20,440 --> 00:31:24,319 like get down here, you know. So when they arrived, 633 00:31:24,480 --> 00:31:27,440 they see the guys from Aerosmith and they're like, oh 634 00:31:27,480 --> 00:31:29,519 my gosh, the Rolling Stones are here. 635 00:31:32,880 --> 00:31:36,039 Speaker 4: Well, it's a fanboy for Rick Rubin, right, because I mean, 636 00:31:36,079 --> 00:31:38,440 this dude has just been like this like slob, living 637 00:31:38,480 --> 00:31:41,119 in his dorm room and he stumbled into this situation 638 00:31:41,160 --> 00:31:43,920 where he's producing records and you know, he was the 639 00:31:43,960 --> 00:31:46,240 guy who grew up with Led Zeppelin and ac DC 640 00:31:46,359 --> 00:31:50,000 and Aerosmith, and he's like, what if we got Aerosmith. 641 00:31:49,680 --> 00:31:50,559 Speaker 3: And he got him? 642 00:31:50,799 --> 00:31:53,440 Speaker 4: And then so he's got his heroes in the studio 643 00:31:53,519 --> 00:31:55,960 with him and he can't believe it. He's got the 644 00:31:56,079 --> 00:31:58,599 Steve Tyler and d Joe Perry and they're making a 645 00:31:58,640 --> 00:32:00,559 record for him. And so he gets in there and 646 00:32:00,599 --> 00:32:03,880 he's got Joe Perry laying down guitar, and Rick Rubin 647 00:32:03,960 --> 00:32:07,279 decides he's not playing well enough, he's no good, and 648 00:32:07,359 --> 00:32:10,480 he's got the Cajonys to go up to Joe Perry 649 00:32:10,519 --> 00:32:12,680 and say, you're not doing it right. You got to 650 00:32:12,680 --> 00:32:15,200 try to get here, try it this way, and coach 651 00:32:15,480 --> 00:32:17,200 him on how to play his own lick. 652 00:32:17,839 --> 00:32:23,599 Speaker 1: Wow, No, play it this way. 653 00:32:24,079 --> 00:32:28,079 Speaker 4: He also, I understand Joe Perry plays bath on this track, 654 00:32:28,960 --> 00:32:30,920 but when they got ready to do that, you know, 655 00:32:31,039 --> 00:32:34,079 he hadn't brought a bass guitar. They didn't have a 656 00:32:34,160 --> 00:32:37,480 bass laying around. And so there were these kids hanging 657 00:32:37,480 --> 00:32:40,039 around the studio the day they were recording all this, 658 00:32:40,400 --> 00:32:41,960 and one of the kids is like, hold on, I'll 659 00:32:42,000 --> 00:32:43,920 go get my bass and he and he runs out 660 00:32:44,039 --> 00:32:46,200 right and eventually he comes back. He said, here, you 661 00:32:46,240 --> 00:32:48,480 can play you can play this, and that kid was 662 00:32:48,519 --> 00:32:50,759 out of me off. It was the Beas boys hanging. 663 00:32:50,559 --> 00:32:53,640 Speaker 1: Oh my gosh, I didn't another story, but I knew 664 00:32:53,640 --> 00:32:55,160 that that was where you were going with the kids 665 00:32:55,160 --> 00:32:55,599 hanging out. 666 00:32:55,720 --> 00:32:56,960 Speaker 2: That is fantastic. 667 00:32:57,160 --> 00:32:59,720 Speaker 1: Yeah. So fast forward a few months and they're at 668 00:32:59,720 --> 00:33:02,839 the on stage playing together in Miami and Adam Yak's 669 00:33:02,880 --> 00:33:04,799 drunk out of his mind trying to play bass with 670 00:33:05,200 --> 00:33:07,960 Chase and Joe Perry around backwards. 671 00:33:09,960 --> 00:33:12,559 Speaker 2: You know, you mentioned that Joe Perry was not playing 672 00:33:12,680 --> 00:33:14,920 up to par I heard an interview with Rick Rubin 673 00:33:15,000 --> 00:33:17,640 and he was like, Ron and DMC, they were not 674 00:33:17,920 --> 00:33:20,759 hitting the lyrics like he really wanted them to. He's like, 675 00:33:20,799 --> 00:33:24,039 they were lazy, they were goofing off. They weren't into it. 676 00:33:24,400 --> 00:33:27,319 He's like, get your butts in gear and lay down 677 00:33:27,359 --> 00:33:30,720 these tracks like you can, you know. And so everybody 678 00:33:30,839 --> 00:33:33,440 was kind of feeling it out and took a while 679 00:33:33,519 --> 00:33:36,359 to warm up to it. And Daryl mcdael's they're like, 680 00:33:36,400 --> 00:33:38,480 when did you know that this was going to change 681 00:33:38,480 --> 00:33:40,880 people's lives. He's like, I didn't know it was going 682 00:33:40,920 --> 00:33:42,000 to do anything until it. 683 00:33:41,960 --> 00:33:44,559 Speaker 1: Took off, right, And that was this story that you 684 00:33:44,599 --> 00:33:47,599 were alluding to earlier, whenever they had been touring. They 685 00:33:47,640 --> 00:33:50,839 get back, he starts listening to the radio and there's 686 00:33:50,880 --> 00:33:53,759 a DJ that comes on and he says, this is 687 00:33:54,119 --> 00:33:58,400 the hottest rap song of the summer. Guys, everybody get ready. 688 00:33:58,440 --> 00:34:02,079 This is about to blow the summer away. It's so strong. 689 00:34:02,160 --> 00:34:04,240 And he knew what the song was gonna be. He 690 00:34:04,359 --> 00:34:08,280 knew it had to be May Adidas or Peter Piper. 691 00:34:08,480 --> 00:34:11,559 And the song started playing and it was that Walk 692 00:34:11,639 --> 00:34:14,239 This Way lyric and he was like, what. 693 00:34:16,320 --> 00:34:20,039 Speaker 4: Yeah, So this album the artists themselves, they were more 694 00:34:20,039 --> 00:34:22,039 involved in the production of the tracks and the songs 695 00:34:22,360 --> 00:34:25,360 than the other albums, and Ruben was a little bit 696 00:34:25,679 --> 00:34:28,440 more hands off with this than he was with Licensed Ill. 697 00:34:28,840 --> 00:34:32,079 But Walk This Way is all Rick Ruper, and I mean, 698 00:34:32,320 --> 00:34:33,679 you know, we talked about how he had to coach 699 00:34:33,760 --> 00:34:36,639 up Joe Perry, had to coach up Running d. I mean, 700 00:34:36,880 --> 00:34:39,480 he demanded the best from all of these guys, and 701 00:34:39,639 --> 00:34:42,880 he put this record together and it sounds amazing. I mean, 702 00:34:43,000 --> 00:34:45,639 putting aside the fact that I'm gonna pick rap every day, 703 00:34:46,159 --> 00:34:49,159 I think this version of the song sounds great. It's 704 00:34:49,239 --> 00:34:51,719 just right there in your face, popping out of the speakers. 705 00:34:51,800 --> 00:34:54,280 I think it's the production on it is better than 706 00:34:54,320 --> 00:34:55,400 the original song. 707 00:34:55,519 --> 00:34:57,039 Speaker 3: It just got that energy to it. 708 00:34:57,039 --> 00:34:57,840 Speaker 2: It's fantastic. 709 00:34:58,079 --> 00:35:01,199 Speaker 1: There are a few cover songs that are so that 710 00:35:01,280 --> 00:35:04,519 are as on point with the original as this one 711 00:35:04,679 --> 00:35:07,840 is that you might say they may have outdone themselves 712 00:35:07,880 --> 00:35:10,039 on this one. And obviously, if you don't have Steven 713 00:35:10,079 --> 00:35:12,840 Tyler in there singing his parts to this song, it's 714 00:35:12,840 --> 00:35:14,880 not the same song. It doesn't do the same right. 715 00:35:14,920 --> 00:35:16,840 If you don't have Joe Perry in there doing the lick, 716 00:35:16,920 --> 00:35:19,840 even if he took some coaching, it's not the same song. 717 00:35:20,000 --> 00:35:23,559 But run DMC. Once they got their butts in gear, 718 00:35:23,880 --> 00:35:27,760 they were on point on their interpretation of these lyrics. 719 00:35:27,960 --> 00:35:29,320 And then we got to talk about the video. 720 00:35:29,400 --> 00:35:31,679 Speaker 2: Let's talk about the video. Yeah, okay, so the video 721 00:35:32,000 --> 00:35:35,519 is Aerosmith practicing. They're in the room right next door 722 00:35:35,559 --> 00:35:38,880 to runniom CE and they're practicing runnium C guys start 723 00:35:38,920 --> 00:35:41,079 the beat and Steven Tyler's banging on the wall with 724 00:35:41,119 --> 00:35:44,679 his microphone stand punches a hole through it, sticks his 725 00:35:44,679 --> 00:35:47,639 head in and that's when he screams, walk this way. 726 00:35:47,800 --> 00:35:51,119 And it's a metaphor for tearing down walls. 727 00:35:51,360 --> 00:35:54,079 Speaker 1: Yeah, it's great. I love it. And I will say this, 728 00:35:54,239 --> 00:35:56,760 I thought of you, Dave, because you are a video. 729 00:35:56,719 --> 00:35:57,880 Speaker 3: Guy, an editing guy. 730 00:35:58,119 --> 00:36:02,320 Speaker 1: After Steve Tyler gets singing through the hole, Joe Perry 731 00:36:02,320 --> 00:36:05,280 sticks his head in and looks around, and the camera 732 00:36:05,440 --> 00:36:09,960 pans across and it does this beautiful cross cut into 733 00:36:10,480 --> 00:36:12,880 the concert stage and I was like, oh, that was 734 00:36:12,920 --> 00:36:15,880 a really smooth cut right there. It looks like we 735 00:36:16,000 --> 00:36:17,360 just went through the wall and now we're in a 736 00:36:17,400 --> 00:36:18,480 completely different place. 737 00:36:18,719 --> 00:36:20,960 Speaker 3: This video was landmark. 738 00:36:21,000 --> 00:36:24,159 Speaker 4: It's really kind of amazing and in retrospect, despite the 739 00:36:24,199 --> 00:36:27,400 reluctance that the artists had with doing the song, in hindsight, 740 00:36:27,440 --> 00:36:29,880 it seems like a no brainer. It seems perfect. The 741 00:36:29,880 --> 00:36:31,920 beat sounds like a rap beat. It had been using 742 00:36:31,960 --> 00:36:35,039 the park for years. The lyrics are already delivered in 743 00:36:35,039 --> 00:36:37,639 a way that almost sounds like a rap anyway, Right, 744 00:36:38,039 --> 00:36:40,960 DMC had a history already of using rock and roll 745 00:36:40,960 --> 00:36:43,719 in their records. I mean, it just sounds fantasic. You're 746 00:36:43,719 --> 00:36:46,079 bringing in this classic rock band that's going to bring 747 00:36:46,119 --> 00:36:49,239 a whole new audience to run DMC. And this puts 748 00:36:49,280 --> 00:36:51,920 them on MTV for the first time. This video was 749 00:36:51,960 --> 00:36:54,559 the first time Steve Tyler and Joe Perry had ever 750 00:36:54,599 --> 00:36:56,000 appeared on MTV. 751 00:36:56,239 --> 00:36:56,880 Speaker 2: That's insane. 752 00:36:56,960 --> 00:36:57,840 Speaker 1: That's crazy. 753 00:36:57,960 --> 00:37:00,519 Speaker 4: And then not only do you have that metaph of 754 00:37:00,840 --> 00:37:04,199 walls being knocked down. But you're using that video and 755 00:37:04,239 --> 00:37:07,599 the collaboration here of these two high profile artists to 756 00:37:07,760 --> 00:37:11,360 really send that message of that crossover, right, So you're 757 00:37:11,400 --> 00:37:14,360 just uniting the races that black and white folks together 758 00:37:14,559 --> 00:37:17,199 can both like this music, can both like this song, 759 00:37:17,320 --> 00:37:19,880 and the video really drove that home in a pretty 760 00:37:19,880 --> 00:37:22,960 cool way. But not only that, but that's exactly what 761 00:37:23,039 --> 00:37:26,639 this song did for rap. This was no longer something 762 00:37:26,760 --> 00:37:29,159 obscure and on the fringes. I was like the weird 763 00:37:29,199 --> 00:37:31,480 white dude who already knew about like, you know, boogie 764 00:37:31,559 --> 00:37:33,840 Boys and Lottie Dotty and all this stuff my freshman year. 765 00:37:34,119 --> 00:37:37,000 But nobody really was on board with how cool rap 766 00:37:37,000 --> 00:37:39,880 could be until this song came out, and suddenly it 767 00:37:40,000 --> 00:37:43,119 was cool to like run DMC and I'm looking like 768 00:37:43,199 --> 00:37:45,000 that the hip guy in the corner who knew about. 769 00:37:44,800 --> 00:37:45,320 Speaker 3: It all along. 770 00:37:45,480 --> 00:37:49,079 Speaker 4: So so it cannot be overstated how massive of an 771 00:37:49,159 --> 00:37:53,199 impact this song had on breaking rap out. I'm busting 772 00:37:53,239 --> 00:37:56,559 through that wall and taking it to the main street. 773 00:37:56,679 --> 00:38:00,320 Speaker 1: Even just the simple storyline of the video. You start 774 00:38:00,679 --> 00:38:04,159 the video with animosity and by the time you reach 775 00:38:04,280 --> 00:38:08,719 the end, it's handshakes and hugs. Yeah, it's great, beautiful. 776 00:38:08,199 --> 00:38:09,880 Speaker 2: And in between you get a great look at their 777 00:38:09,920 --> 00:38:11,360 shoeless addas. 778 00:38:11,320 --> 00:38:14,000 Speaker 1: Yeah, and the vanes and Steven Tyler's neck. 779 00:38:15,800 --> 00:38:18,360 Speaker 4: This song is everything I mean. I believe that it 780 00:38:18,400 --> 00:38:21,960 was the success of this song that created the environment 781 00:38:22,000 --> 00:38:26,079 in the marketplace that allowed the Beastie Boys album to 782 00:38:26,079 --> 00:38:28,599 be received so well, and it kind of primed the 783 00:38:28,639 --> 00:38:32,039 audience and got the country ready for something like the 784 00:38:32,079 --> 00:38:32,719 Bastie Boys. 785 00:38:32,760 --> 00:38:34,039 Speaker 3: I don't think Licensed. 786 00:38:33,760 --> 00:38:37,880 Speaker 4: Ill sells as well as it does without raising hell first, 787 00:38:37,920 --> 00:38:39,920 but specifically walk this Way. 788 00:38:40,039 --> 00:38:43,199 Speaker 2: You're exactly right. Everything you say is absolutely true. But 789 00:38:43,480 --> 00:38:45,880 for a guy like me, what this song gave us 790 00:38:46,480 --> 00:38:49,239 was loving an elevator and Jennie's got a gun and 791 00:38:49,280 --> 00:38:51,599 crying and crazy and living on the edge and every 792 00:38:51,639 --> 00:38:54,920 other ariosmis song because it revitalized their career. 793 00:38:55,039 --> 00:38:58,400 Speaker 4: Yes, this is a fantastic the best of crossovers right, 794 00:38:58,679 --> 00:39:02,800 because it's a win win for everybody. Aerosmith absolutely needed 795 00:39:02,840 --> 00:39:05,719 this just as much as Run DMC did, and both 796 00:39:05,880 --> 00:39:08,639 acts come out way ahead after this collaboration. 797 00:39:08,760 --> 00:39:11,480 Speaker 2: Yep, and I love what Daryl McDaniel says about this song. 798 00:39:11,880 --> 00:39:15,320 He's like, at first, we were adamantly against it. We 799 00:39:15,320 --> 00:39:19,199 were viciously opposed, but when he talks to high school kids, 800 00:39:19,239 --> 00:39:23,159 he's like, listen, always be willing to try something new. 801 00:39:23,960 --> 00:39:26,840 It may just change your life. 802 00:39:27,840 --> 00:39:30,719 Speaker 4: And he's absolutely right, change your lives, change the direction 803 00:39:31,000 --> 00:39:32,280 of music in the eighties. 804 00:39:32,320 --> 00:39:34,599 Speaker 3: It's just absolute massive monster. 805 00:39:34,679 --> 00:39:36,719 Speaker 1: All right. I hate to be done with it, but 806 00:39:37,679 --> 00:39:40,880 we've hit four for four. At this point, we have 807 00:39:41,000 --> 00:39:46,119 had NonStop awesome ness classic. We are about to dive 808 00:39:46,159 --> 00:39:50,920 into track number five. Is it live the Microphone Master? 809 00:39:51,000 --> 00:39:54,920 Speaker 4: Do DMC cause one, two, three, four casualties. You'll be 810 00:39:55,039 --> 00:39:57,760 raising D down on your knee because I'm plumbing. 811 00:39:58,119 --> 00:39:59,519 Speaker 2: I'm stumming on the seas. 812 00:40:02,159 --> 00:40:04,199 Speaker 4: Okay, I love the song. I don't think this was 813 00:40:04,239 --> 00:40:06,039 a single from the album, but this is one of 814 00:40:06,119 --> 00:40:09,239 my favorite I love the energy of it. It's absolutely 815 00:40:09,480 --> 00:40:11,400 I turned this one up every time it comes on. 816 00:40:11,599 --> 00:40:12,679 Speaker 3: But I gotta tell you a story. 817 00:40:12,960 --> 00:40:15,760 Speaker 4: So I'm in twelfth grade, right, So this is a 818 00:40:15,800 --> 00:40:18,000 couple of years after the album has come out, and 819 00:40:18,119 --> 00:40:21,599 I'm sitting in English class, and I gotta tell you 820 00:40:21,679 --> 00:40:24,960 up front, my girlfriend is in the same class, and 821 00:40:25,000 --> 00:40:27,840 she's just a couple of rows away. Hey, We're sitting 822 00:40:27,840 --> 00:40:32,079 there and we are studying poetry and the teachers going 823 00:40:32,119 --> 00:40:35,079 over different types of rhyming schemes. You know how you 824 00:40:35,119 --> 00:40:38,679 have AABB CC or you might have aa B and 825 00:40:39,239 --> 00:40:40,239 CCB to go. 826 00:40:40,239 --> 00:40:40,760 Speaker 3: With the pino. 827 00:40:40,840 --> 00:40:44,119 Speaker 4: It's all just poetry stuff that they're learning in class, right, 828 00:40:44,400 --> 00:40:46,480 And they were like, and she was checking, you know, 829 00:40:46,519 --> 00:40:49,000 see if everybody understands what she's talking about, says, can 830 00:40:49,039 --> 00:40:52,400 you think of examples of some rhyming schemes? And I'm 831 00:40:52,440 --> 00:40:56,960 sitting over there and I just like that, that's all 832 00:40:57,000 --> 00:41:00,559 I do. And everybody looks at me, and I play 833 00:41:00,599 --> 00:41:04,239 it all over what who me? And and and everybody 834 00:41:04,280 --> 00:41:07,000 in the classroom, right, they like they know they know me. 835 00:41:07,239 --> 00:41:09,320 And all of a sudden, they're like they're starting to giggle. 836 00:41:09,320 --> 00:41:11,960 They're punching each other and pointing like hey, look look 837 00:41:12,000 --> 00:41:15,880 at that. And everybody starts laughing and snickering, just knowing 838 00:41:16,039 --> 00:41:19,320 something's something's coming, right, and uh, and I'm just playing 839 00:41:19,320 --> 00:41:21,440 it low key, you know. And what the teacher is 840 00:41:21,440 --> 00:41:24,599 this like prim and proper, you know, like classically educated, 841 00:41:24,679 --> 00:41:27,719 like Victorian like hair and a bun Victorian collar. And 842 00:41:27,760 --> 00:41:31,159 she turns and she says, David, can you share with 843 00:41:31,199 --> 00:41:36,159 the class an example of an internal rhyming scheme. I'm 844 00:41:36,239 --> 00:41:39,800 like just a softball right over the middle of the plate, 845 00:41:42,239 --> 00:41:44,559 and I'm playing it low key, you know. But but 846 00:41:44,639 --> 00:41:47,079 I've got twenty five kids in the room, like on 847 00:41:47,239 --> 00:41:49,159 the hook, and I'm reeling them in right, and I'm 848 00:41:49,199 --> 00:41:52,519 just like, oh, you want me to rhyme? And the 849 00:41:52,559 --> 00:41:55,199 teacher has no idea what's coming. And she's like yes, 850 00:41:55,480 --> 00:41:57,400 and I go, can they ejects? 851 00:42:00,480 --> 00:42:00,639 Speaker 1: Right? 852 00:42:00,719 --> 00:42:01,199 Speaker 2: Don't fight? 853 00:42:01,320 --> 00:42:03,719 Speaker 4: And I my check and and all the guys in 854 00:42:03,719 --> 00:42:05,199 the class got their hands in there and they're like, 855 00:42:05,320 --> 00:42:09,679 go death, day, go death. But all the girls in 856 00:42:09,760 --> 00:42:12,039 the class, they're they're ignoring me because all their eyes 857 00:42:12,320 --> 00:42:15,239 they're all my girlfriends, right, And she's completely mortified. 858 00:42:15,559 --> 00:42:17,199 Speaker 3: She's like trying to hide under the desk. 859 00:42:17,639 --> 00:42:20,679 Speaker 4: She's given me these looks like you shut up now, David, 860 00:42:21,519 --> 00:42:24,000 and I'm like oblivious, you know, just kind of got 861 00:42:24,039 --> 00:42:25,920 quality and skill book beyond belief, doll. 862 00:42:25,920 --> 00:42:27,360 Speaker 3: I steal me for real, and. 863 00:42:30,360 --> 00:42:32,199 Speaker 2: That's great, man, And it was awesome. 864 00:42:32,480 --> 00:42:37,239 Speaker 4: And then, uh, she didn't dump me right away. 865 00:42:39,480 --> 00:42:41,440 Speaker 3: No, this was a different girl, not the one that 866 00:42:41,519 --> 00:42:42,559 was jocking Mike d to. 867 00:42:44,280 --> 00:42:45,280 Speaker 4: Completely different girls. 868 00:42:45,360 --> 00:42:47,239 Speaker 3: He got rid of me right after prom is over. 869 00:42:47,400 --> 00:42:50,159 Speaker 4: So the moral of the story is, uh is I 870 00:42:50,480 --> 00:42:52,039 was a high school loser that never. 871 00:42:51,840 --> 00:42:52,960 Speaker 3: Made it with the last. 872 00:42:57,840 --> 00:42:58,960 Speaker 1: Oh that's fantastic. 873 00:42:58,960 --> 00:42:59,679 Speaker 3: That's great man. 874 00:43:00,360 --> 00:43:02,360 Speaker 2: Hey, I had something similar. I'm just gonna throw this 875 00:43:02,400 --> 00:43:05,440 in really quick. In my Spanish class, my Spanish teacher 876 00:43:05,480 --> 00:43:07,199 is one of those days we're watching a video and 877 00:43:07,239 --> 00:43:09,079 she's like, okay, class, we're gonna watch a movie, but 878 00:43:09,119 --> 00:43:11,360 it's gonna be in Spanish, and I'm gonna stop it 879 00:43:11,400 --> 00:43:13,239 every so often. You're gonna tell me what's going on 880 00:43:13,320 --> 00:43:15,800 if you can do it right. And we're like, okay, whatever. 881 00:43:16,119 --> 00:43:18,320 So she pops in Raiders of the Lost her but 882 00:43:18,440 --> 00:43:21,920 in Spanish. So she keeps copying and she's like, does 883 00:43:21,960 --> 00:43:25,679 anyone know what they're saying? And I'm like and I 884 00:43:25,800 --> 00:43:27,280 just like, like, well, they're looking for the arc, but 885 00:43:27,280 --> 00:43:29,159 they're looking the wrong place and the thing's one thing 886 00:43:29,199 --> 00:43:34,239 too short. And I amazed my Spanish teacher she had 887 00:43:34,320 --> 00:43:34,960 no clue. 888 00:43:35,199 --> 00:43:35,519 Speaker 1: Very good. 889 00:43:38,480 --> 00:43:43,360 Speaker 2: Oh my gosh, that's awesome. Man. All right, are we 890 00:43:43,440 --> 00:43:44,320 done with is it live? 891 00:43:44,559 --> 00:43:44,840 Speaker 1: Yeah? 892 00:43:44,960 --> 00:43:46,480 Speaker 3: Yeah, we could be done. I love it to me. 893 00:43:46,519 --> 00:43:47,239 It's another hit. 894 00:43:47,400 --> 00:43:50,239 Speaker 4: It's another it's another NonStop hits here coming from the top. 895 00:43:50,360 --> 00:43:52,000 Speaker 2: So the next song on the album is a song 896 00:43:52,039 --> 00:43:54,679 called Perfection. Everyone ready. 897 00:43:55,519 --> 00:43:59,760 Speaker 4: It goes one, two, three. 898 00:44:00,119 --> 00:44:10,960 Speaker 2: It's quite essent because okay, I've got one thing to 899 00:44:11,000 --> 00:44:13,679 say about this and I'm gonna turn you list many. 900 00:44:13,840 --> 00:44:16,360 One thing I know about this song is that is 901 00:44:16,480 --> 00:44:25,519 Jason Mazel on the drums down front. O. 902 00:44:28,199 --> 00:44:31,119 Speaker 3: Yes, And that's really the the big takeaway. 903 00:44:31,280 --> 00:44:34,079 Speaker 4: This is the only track on the album it's got 904 00:44:34,079 --> 00:44:35,639 live drums, real drumming on it. 905 00:44:35,639 --> 00:44:38,039 Speaker 1: It's an interesting way that they handle it. It's a 906 00:44:38,079 --> 00:44:40,599 slow down beat. It's it is much slower than the 907 00:44:40,599 --> 00:44:43,880 first five songs that we've heard so far tempo wise. 908 00:44:44,320 --> 00:44:47,000 And then they do an interesting thing where I think 909 00:44:47,000 --> 00:44:51,280 it's run is doing the falsetto high pitched against against 910 00:44:51,320 --> 00:44:55,480 DMC's regular voice rap, which is interesting because later on 911 00:44:55,960 --> 00:44:59,320 d m C went through this whole weird spell where 912 00:44:59,400 --> 00:45:03,079 he went ultra low and said he was basically forced 913 00:45:03,079 --> 00:45:04,960 to sing in a higher voice that was than his 914 00:45:05,079 --> 00:45:08,559 normal voice. But anyway, it's just it's interesting that they've 915 00:45:08,599 --> 00:45:10,880 got that dynamic going on in this one. Would you 916 00:45:10,920 --> 00:45:11,599 do you like this song? 917 00:45:11,719 --> 00:45:13,119 Speaker 3: Dave, I do like it. 918 00:45:13,119 --> 00:45:15,760 Speaker 4: It is definitely, you know, a step down and energy 919 00:45:15,840 --> 00:45:17,800 from the other songs that have come before it so far. 920 00:45:18,239 --> 00:45:20,559 And you know, someone who's not like a huge devote 921 00:45:20,599 --> 00:45:22,880 to this album, this might be one that goes lower 922 00:45:22,880 --> 00:45:25,239 on their list. But the reason I like it is 923 00:45:25,320 --> 00:45:28,360 because it is so easy to do the parts, because 924 00:45:28,360 --> 00:45:30,440 it's so slow. You know, this is one that I 925 00:45:30,440 --> 00:45:32,360 could get together with a buddy and we could switch 926 00:45:32,400 --> 00:45:34,920 off parts and sing along with the record. 927 00:45:35,000 --> 00:45:37,159 Speaker 3: You know, we could, We could pull it off. But 928 00:45:37,239 --> 00:45:39,719 I don't ever skip it. It's a change of pace. 929 00:45:39,760 --> 00:45:41,320 Speaker 4: It's a nice little thing to have right there at 930 00:45:41,360 --> 00:45:42,760 this spot in the sequence. 931 00:45:43,079 --> 00:45:44,400 Speaker 3: And it's lighthearted. 932 00:45:44,559 --> 00:45:46,360 Speaker 4: You know, it's kind of funny. It's fun It's a 933 00:45:46,400 --> 00:45:48,000 step down from the others we've heard so far. 934 00:45:48,119 --> 00:45:50,239 Speaker 2: I like the drums. I do like the live drums. 935 00:45:50,280 --> 00:45:52,159 I think that it gives a little bit more character. 936 00:45:52,360 --> 00:45:55,519 You can see Jay's talent as a musician. Here, Okay, 937 00:45:56,119 --> 00:45:58,920 hit stop on your tape player, e Jack, kick it out, 938 00:45:58,960 --> 00:46:02,639 flip it over side two, and we start off with 939 00:46:02,679 --> 00:46:08,239 a song called hit It Run. You can't see him. 940 00:46:09,239 --> 00:46:09,480 Speaker 4: And the. 941 00:46:24,440 --> 00:46:26,760 Speaker 2: Powerful start to the second side right here. 942 00:46:26,800 --> 00:46:28,519 Speaker 1: Okay, hold on, hold on. It's so rare that I 943 00:46:28,559 --> 00:46:32,320 get the opportunity to do this. This is the titular track, 944 00:46:35,920 --> 00:46:40,519 Titular Uh never grown Up from sophomore years. 945 00:46:42,079 --> 00:46:45,559 Speaker 2: This one contains the gigantic mf or in the middle 946 00:46:45,639 --> 00:46:48,079 of it. Yeah, that was a little bit of a 947 00:46:48,119 --> 00:46:48,639 shock to me. 948 00:46:48,960 --> 00:46:51,280 Speaker 4: These two albums were looking at Licensed to Ill and 949 00:46:51,360 --> 00:46:53,559 Raising Hell. They you know, we look back at now 950 00:46:53,800 --> 00:46:56,960 and with like more mature ears, and they're they're both 951 00:46:56,960 --> 00:46:59,519 a little problematic for different reasons. You know, License to 952 00:46:59,559 --> 00:47:02,400 Ill is actually completely clean in his language. 953 00:47:02,400 --> 00:47:04,519 Speaker 3: It's just that some of the subject matter, you know, 954 00:47:04,679 --> 00:47:06,599 a little rough, and in. 955 00:47:06,519 --> 00:47:09,199 Speaker 4: This case, on this album, the subject matter is not 956 00:47:09,239 --> 00:47:13,000 too bad. But there are three tracks that have explicit 957 00:47:13,079 --> 00:47:16,239 language in it, and Little This was the worst one, unfortunately, 958 00:47:16,320 --> 00:47:19,960 because it does detract from what is a fantastic song. 959 00:47:19,960 --> 00:47:21,599 Speaker 3: It's an awesome, hy energy jam. 960 00:47:21,519 --> 00:47:24,719 Speaker 2: Along with dropping that mf or like a scud missile 961 00:47:24,800 --> 00:47:28,320 right there. I had seen some interviews with Run on 962 00:47:28,360 --> 00:47:31,079 YouTube and I was just watching those and he became 963 00:47:31,199 --> 00:47:34,239 later in life known as Reverend Run. He went to 964 00:47:34,320 --> 00:47:36,679 church all the time. As he was telling his story, 965 00:47:36,800 --> 00:47:39,119 he decided one day to go to church, and he 966 00:47:39,239 --> 00:47:41,159 was one of those deals that you know, as with 967 00:47:41,360 --> 00:47:44,079 most grown men who give in and go to church 968 00:47:44,119 --> 00:47:45,519 for the first time. They want to sit in a 969 00:47:45,559 --> 00:47:47,280 back row. They don't want anybody to talk to him, 970 00:47:47,280 --> 00:47:49,360 They just want to kind of observe. He's sitting there 971 00:47:49,400 --> 00:47:52,639 one day and he saw what clearly was a grandmother 972 00:47:53,079 --> 00:47:57,039 who was dragging her grandson to church. He didn't want 973 00:47:57,039 --> 00:47:59,119 to be there, but she was making right and he 974 00:47:59,159 --> 00:48:02,400 was into rap music. And as they walked in, he 975 00:48:02,559 --> 00:48:05,920 locked eyes with Run. He sits down with his grandmother 976 00:48:05,960 --> 00:48:08,280 and he keeps looking back at Run like that can't 977 00:48:08,280 --> 00:48:10,199 be who I think it is. And he keeps looking 978 00:48:10,239 --> 00:48:12,519 at it, and he elbows his grandmother and he's like, 979 00:48:12,599 --> 00:48:16,800 that's that's like a rap superstar behind us, and she's like, 980 00:48:16,920 --> 00:48:20,519 that ain't no rap superstar. You're in church. Turn around 981 00:48:20,639 --> 00:48:25,760 and listen right that he keeps glancing back, keeps glancing back, 982 00:48:25,800 --> 00:48:28,360 and he becomes more and more sure that that's Run 983 00:48:28,400 --> 00:48:31,480 from Run DMC. And he said, like on the tenth 984 00:48:31,559 --> 00:48:34,239 time Run winked at him, and that's when the guy's like, 985 00:48:35,360 --> 00:48:38,920 that's Run for Run DMC. And I just thought that 986 00:48:38,960 --> 00:48:40,199 story was hilarious. 987 00:48:42,599 --> 00:48:44,400 Speaker 1: And he never skipped church again. 988 00:48:44,760 --> 00:48:48,320 Speaker 2: That's right. The moral of the story is always go 989 00:48:48,400 --> 00:48:50,199 to church because you never know who you're gonna see there. 990 00:48:50,320 --> 00:48:54,559 Speaker 4: So this song features Daryl almost exclusively, Daryl doing all 991 00:48:54,599 --> 00:48:58,119 the rapping, and that is because Joe is actually beatboxing 992 00:48:58,159 --> 00:49:08,000 on this record, right TFC cham Master t and beatboxing 993 00:49:08,119 --> 00:49:10,400 was something that run DMC had never done, and it 994 00:49:10,440 --> 00:49:12,800 was kind of the domain of Dougie Fresh and the 995 00:49:12,840 --> 00:49:15,719 Fat Boys. Those were the two most prominent beat boxers 996 00:49:15,920 --> 00:49:18,599 and so for run DMC to come out with beat 997 00:49:18,639 --> 00:49:20,159 boxing was kind of a bold move. 998 00:49:20,559 --> 00:49:21,920 Speaker 3: And it's like, if they didn't. 999 00:49:21,760 --> 00:49:23,920 Speaker 4: Nail it, they were gonna look like they were just 1000 00:49:23,960 --> 00:49:24,960 being copycats. 1001 00:49:25,199 --> 00:49:27,760 Speaker 3: But I think this song is absolutely fantastic. 1002 00:49:28,119 --> 00:49:31,840 Speaker 4: I attended the Raising Hell Show in May of nineteen 1003 00:49:31,840 --> 00:49:35,239 eighty six in Columbus, Georgia, and this was before Walk 1004 00:49:35,280 --> 00:49:37,840 This Way had been released as a single. 1005 00:49:38,079 --> 00:49:39,079 Speaker 3: Okay, so I'm. 1006 00:49:38,920 --> 00:49:42,280 Speaker 4: About the the I'm not the only white kid in 1007 00:49:42,320 --> 00:49:42,840 the whole crowd. 1008 00:49:42,880 --> 00:49:43,000 Speaker 1: Right. 1009 00:49:43,079 --> 00:49:45,519 Speaker 4: If you remember the old school televisions, when you turn 1010 00:49:45,559 --> 00:49:47,199 it off and it would it would go black except 1011 00:49:47,280 --> 00:49:47,760 for that one. 1012 00:49:47,639 --> 00:49:48,320 Speaker 3: Little white dog. 1013 00:49:50,639 --> 00:49:52,280 Speaker 4: I would tell people I was the white dot on 1014 00:49:52,320 --> 00:49:53,400 the TV set you heard. 1015 00:49:54,159 --> 00:49:56,519 Speaker 3: But I did know King of Rock, right. 1016 00:49:56,599 --> 00:49:58,480 Speaker 4: King of Rock was the album that got me hooked 1017 00:49:58,480 --> 00:50:01,239 on all this and the King Rock. The song was 1018 00:50:01,280 --> 00:50:03,679 my favorite at the time, and I hadn't heard the 1019 00:50:03,760 --> 00:50:05,760 Raising Hell album yet when I went to this show 1020 00:50:06,119 --> 00:50:10,440 and they start off with I'm the Key of Rock, 1021 00:50:10,679 --> 00:50:12,920 and I was like, oh, they just took King of 1022 00:50:12,960 --> 00:50:14,480 Rock and they just flipped it and there's a whole 1023 00:50:14,480 --> 00:50:16,760 new song and it completely blew me away. 1024 00:50:17,000 --> 00:50:19,039 Speaker 3: I mean I was just enraptured. 1025 00:50:19,119 --> 00:50:22,559 Speaker 4: So from that very first live performance, I've always absolutely 1026 00:50:22,639 --> 00:50:23,639 loved this song. 1027 00:50:23,480 --> 00:50:23,880 Speaker 1: All right. 1028 00:50:24,000 --> 00:50:26,800 Speaker 2: Moving on to the eighth track on the album. Yes, 1029 00:50:27,719 --> 00:50:35,800 this song is called Raising Hell class from Queens Come Checks. 1030 00:50:35,880 --> 00:50:38,760 Speaker 4: We're raising Hell like a class one of us fell rings. 1031 00:50:40,639 --> 00:50:44,400 Speaker 2: I won't be raised something face, we won't be faced. 1032 00:50:45,679 --> 00:50:51,360 Top down, Turn it Up. This song is a guitar 1033 00:50:51,599 --> 00:50:53,039 rock thumper man. 1034 00:50:53,079 --> 00:50:56,719 Speaker 4: Turn it Up. This is my favorite song in this album. 1035 00:50:56,920 --> 00:50:59,039 I can't help but listen to it and listen to 1036 00:50:59,079 --> 00:51:01,960 it loud and screamed the lyrics along every time. 1037 00:51:03,079 --> 00:51:04,559 Speaker 2: Who does the guitar on this man? 1038 00:51:04,599 --> 00:51:05,360 Speaker 1: That's you know? 1039 00:51:05,440 --> 00:51:06,519 Speaker 3: I don't I don't know. 1040 00:51:06,679 --> 00:51:09,559 Speaker 4: I wanted it to be Eddie Martinez, but as I 1041 00:51:09,599 --> 00:51:12,199 was researching for it, I can never find the answer. 1042 00:51:12,280 --> 00:51:13,360 So I really don't know. 1043 00:51:13,440 --> 00:51:15,079 Speaker 2: The answer man, it's great, It's great. 1044 00:51:15,119 --> 00:51:17,880 Speaker 4: I love this song too, dissing all Devil's causing heavoc 1045 00:51:17,960 --> 00:51:20,719 in hell at a very high level based on troubleshell yell. 1046 00:51:20,960 --> 00:51:22,280 Speaker 3: I mean, it's everything. 1047 00:51:22,119 --> 00:51:23,920 Speaker 4: Like a beast, or at least there's no stuff because 1048 00:51:23,960 --> 00:51:31,119 the rock again, I sees great mans, kings from queens, 1049 00:51:31,119 --> 00:51:35,159 from queens come kings. It's the rock and roll version 1050 00:51:35,199 --> 00:51:38,320 of rap, right. They're screaming their lyrics like not every 1051 00:51:38,400 --> 00:51:41,480 rapper yells their lyrics the way run DMC does. I mean, 1052 00:51:41,519 --> 00:51:44,519 these guys are taking a rock mentality and a rock 1053 00:51:44,559 --> 00:51:47,400 approach to their rap, even when they're not using like 1054 00:51:47,519 --> 00:51:48,440 rock arrangements. 1055 00:51:48,599 --> 00:51:49,400 Speaker 3: This is the song. 1056 00:51:49,440 --> 00:51:51,280 Speaker 4: If I can only pick one song off the album, 1057 00:51:51,440 --> 00:51:52,360 it's gonna be this one. 1058 00:51:52,400 --> 00:51:55,119 Speaker 1: I gotta say, I was not familiar with this song 1059 00:51:55,199 --> 00:51:58,760 before we started doing the research and listening to this album. 1060 00:51:58,960 --> 00:52:02,440 This song is the standout for me at this point. 1061 00:52:02,599 --> 00:52:04,519 I love the fact that he keeps talking about how 1062 00:52:04,400 --> 00:52:07,239 awesome D is because I identify with that, and so 1063 00:52:07,960 --> 00:52:10,239 you know, from the mountain valley to the deep blue sea, 1064 00:52:10,360 --> 00:52:12,039 the word is heard is told by D. 1065 00:52:12,440 --> 00:52:13,159 Speaker 2: I love that. 1066 00:52:13,360 --> 00:52:15,280 Speaker 1: I love it all. It's such a good song. We 1067 00:52:15,320 --> 00:52:17,280 get these golden nuggets every once in a while as 1068 00:52:17,280 --> 00:52:19,760 we're going through these albums of like, hey, I didn't 1069 00:52:19,760 --> 00:52:22,039 really even hear this one before, and this is this 1070 00:52:22,119 --> 00:52:24,199 is definitely that song for me on this album. 1071 00:52:24,280 --> 00:52:24,719 Speaker 3: Wow. 1072 00:52:25,000 --> 00:52:27,400 Speaker 2: Okay, so this is where I want to drop in 1073 00:52:27,440 --> 00:52:31,079 my Sarah McLaughlin's story. Okay, we take this heavy, hard 1074 00:52:31,159 --> 00:52:34,360 kitting rocker and then flash forward eleven years to nineteen 1075 00:52:34,400 --> 00:52:37,880 ninety seven. Run DMC has fallen from grace. Daryl McDaniels 1076 00:52:38,000 --> 00:52:41,920 is a full blown alcoholic who is suicidal emotionally broken. 1077 00:52:42,159 --> 00:52:45,079 Every day he wakes up and finds the reason not 1078 00:52:45,119 --> 00:52:48,639 to commit suicide. He returns from a Japanese tour. Dave, 1079 00:52:48,679 --> 00:52:49,400 do you know the story? 1080 00:52:49,840 --> 00:52:50,960 Speaker 3: I don't, Okay. 1081 00:52:51,079 --> 00:52:53,639 Speaker 2: So, on his way back from the Japanese tour, he's 1082 00:52:53,639 --> 00:52:55,480 supposed to fly in based on where he lives. He's 1083 00:52:55,480 --> 00:52:58,559 supposed to fly into LaGuardia Airport in New York City 1084 00:52:58,639 --> 00:53:02,519 and instead he goes to JFK. So he's megapist about that. 1085 00:53:02,599 --> 00:53:04,880 So he gets in the taxi and the taxi says 1086 00:53:05,199 --> 00:53:06,920 Texan guy says, where are we going, sir? And he 1087 00:53:06,920 --> 00:53:10,119 says New Jersey and the guy same thing. Happens. He 1088 00:53:10,119 --> 00:53:12,400 looks over his shoulder kind of glances at him, and 1089 00:53:12,440 --> 00:53:15,039 he keeps turning. Every stop light, he keeps glancing at him, 1090 00:53:15,079 --> 00:53:17,360 and finally, like at the third stop light, he's like, 1091 00:53:17,559 --> 00:53:19,079 I know I'm not supposed to say this, but you're 1092 00:53:19,159 --> 00:53:21,320 run DMC and I love run DMC, and I could 1093 00:53:21,320 --> 00:53:24,039 get fired and I just really would love an autograph 1094 00:53:24,079 --> 00:53:27,199 and I'm really really sorry. And Darrel's like, look, man, 1095 00:53:27,239 --> 00:53:29,400 it's cool, don't worry about it. I'll even take a 1096 00:53:29,440 --> 00:53:32,360 picture with you. It'll be fine. And so the guy's like, oh, 1097 00:53:32,400 --> 00:53:34,559 this is so amazing, thank you so much, blah blah blah. 1098 00:53:34,599 --> 00:53:37,480 So as they're traveling, the guy says, would you mind 1099 00:53:37,519 --> 00:53:39,639 if I turn on the radio, And Darrel's like, yeah, 1100 00:53:39,639 --> 00:53:42,199 that's fine whatever, And so, because he knows he's a rapper, 1101 00:53:42,239 --> 00:53:45,559 he turns on the local hardcore wrap station in New 1102 00:53:45,639 --> 00:53:50,360 York City and Daryl's like, look, man, anything but this crap. 1103 00:53:50,440 --> 00:53:52,679 I can't take it, none of this stuff. So the 1104 00:53:52,679 --> 00:53:54,639 guy's like, okay, let's find this fine spine. So he 1105 00:53:54,679 --> 00:53:57,239 turns it to the easy listening station, and the song 1106 00:53:57,320 --> 00:53:59,320 that is playing when he turns it to the easy 1107 00:53:59,360 --> 00:54:03,280 listening station is a song called Angel by Sarah. 1108 00:54:03,119 --> 00:54:06,440 Speaker 1: McLachlin makes me think of a dog commercial. 1109 00:54:07,079 --> 00:54:10,559 Speaker 2: They play it over that please adopt a dog commercially. Yes, 1110 00:54:11,559 --> 00:54:14,559 a little hard hitting, but it's soft and it's so 1111 00:54:14,960 --> 00:54:19,039 tender and it's beautiful. But it's just this light piano, 1112 00:54:19,159 --> 00:54:22,639 easy listening song. And Darryl sitting there and he's like, 1113 00:54:22,639 --> 00:54:25,280 like breaks down because of the beauty of this song. 1114 00:54:25,400 --> 00:54:28,159 And he starts to like emotionally break and he's like, 1115 00:54:28,199 --> 00:54:30,639 if there is this kind of beauty left in the world, 1116 00:54:31,480 --> 00:54:34,840 then I can still go on living. And he's like, 1117 00:54:34,960 --> 00:54:39,159 I can't express this enough to you. Sarah McLaughlin's Angels 1118 00:54:39,199 --> 00:54:42,440 saved my life, okay, in the back of a cab, 1119 00:54:42,920 --> 00:54:44,480 at the back of a cat. And if you grew 1120 00:54:44,519 --> 00:54:46,400 up in the nineties, you were very familiar with the song. 1121 00:54:46,440 --> 00:54:48,079 They played it all the time. 1122 00:54:47,920 --> 00:54:50,679 Speaker 1: Part of the soundtrack for City of Angels. Yes, I 1123 00:54:50,760 --> 00:54:52,320 owned it and listened to it all the time. I 1124 00:54:52,320 --> 00:54:53,440 thought it was truly beautiful. 1125 00:54:53,599 --> 00:55:06,679 Speaker 5: It's beautiful in them, So he said he went into 1126 00:55:06,719 --> 00:55:09,280 a shell and all he did at his house was 1127 00:55:09,320 --> 00:55:12,480 read comic books and listen to Sarah McLachlan CDs. 1128 00:55:12,599 --> 00:55:14,639 Speaker 2: Right, they would pick him up to go do play 1129 00:55:14,639 --> 00:55:17,559 a show. Jay and Ron would show up and say 1130 00:55:17,760 --> 00:55:19,280 let's go get in the car, and he's like, you'd 1131 00:55:19,280 --> 00:55:22,440 have to play My Sarah McLachlin CD. And they're like, man, 1132 00:55:22,519 --> 00:55:24,440 get that crap out of here. We're not listening to that. 1133 00:55:24,719 --> 00:55:27,079 And he said he would take his bags, go back 1134 00:55:27,159 --> 00:55:30,039 in the house and shut the door. I'm not coming 1135 00:55:30,119 --> 00:55:33,519 unless you play My Sarah McLachlan CD. Save my Life man. 1136 00:55:34,000 --> 00:55:37,000 So finally, his manager, who was his best friend at 1137 00:55:37,000 --> 00:55:39,000 the time, his name is Eric, talks him into going 1138 00:55:39,039 --> 00:55:42,960 this Clive Davis after Grammy's party and it's a big deal, 1139 00:55:43,079 --> 00:55:44,880 but he's all he wants to do is sit around 1140 00:55:44,880 --> 00:55:47,119 and listen to is Sarah McLaughlin CD. And so they 1141 00:55:47,159 --> 00:55:49,760 know he's suicidal, they know he's troubled. He's an alcoholic. 1142 00:55:49,840 --> 00:55:51,800 So they drag him to this Grammy show and he's 1143 00:55:51,800 --> 00:55:54,440 sitting there and it's the same deal. He sits a 1144 00:55:54,519 --> 00:55:56,760 chair right by the door and all he wants to 1145 00:55:56,800 --> 00:55:57,599 do is go. 1146 00:55:57,480 --> 00:55:59,400 Speaker 1: Home, all right? And do I have to wait? 1147 00:55:59,440 --> 00:56:01,320 Speaker 2: How long did I to wait? So he says, you've 1148 00:56:01,320 --> 00:56:04,360 got one hour. I'm gonna be here one hour, he said. 1149 00:56:04,400 --> 00:56:07,320 The first dude who walks in the door is Buster Rhymes, 1150 00:56:08,679 --> 00:56:13,079 and Buster Rhymes is like, this dude is hip hop personified, 1151 00:56:13,199 --> 00:56:15,719 and he brings all this attention to him and he's 1152 00:56:15,760 --> 00:56:18,599 just like, please just go away. I just want to 1153 00:56:18,639 --> 00:56:24,159 go home. Listen to my Sarah McLaughlin see, so he says, 1154 00:56:24,280 --> 00:56:26,480 so then he goes away. The second dude who walks 1155 00:56:26,480 --> 00:56:29,159 into Stevie One, he said Stevie Wonder didn't see him. 1156 00:56:29,320 --> 00:56:37,440 Obviously that's a joke, yeah, but but Stevie's people kind 1157 00:56:37,440 --> 00:56:40,760 of push him over towards him, and he's so bitter 1158 00:56:40,800 --> 00:56:43,239 and so angry. He's like, I hope freaking Stevie Wonder 1159 00:56:43,280 --> 00:56:45,960 falls on his face as he's walking out here. But 1160 00:56:46,039 --> 00:56:48,880 what Stevie gets over there, he talks to him briefly, Okay, 1161 00:56:48,920 --> 00:56:50,840 thank you, thinking think you go away, but he said 1162 00:56:50,880 --> 00:56:54,079 the third person that walked in the door is Sarah McLachlan, 1163 00:56:55,480 --> 00:56:58,280 and he's freaking out. He's like sweating, and he's like 1164 00:56:58,440 --> 00:57:00,320 a fanboy. He's like, oh my gosh, I got to 1165 00:57:00,320 --> 00:57:02,239 go talk to her and tell her what she's done 1166 00:57:02,280 --> 00:57:05,800 for me in my life. So he gets up, gathers 1167 00:57:05,800 --> 00:57:09,079 his courage, walks over to her and says, excuse me, 1168 00:57:09,119 --> 00:57:11,079 mister McLachlan, I just want to tell you that your 1169 00:57:11,119 --> 00:57:13,119 song Angel is the most beautiful thing I've ever heard, 1170 00:57:13,119 --> 00:57:16,360 and it changed me and it saved my life. And 1171 00:57:16,400 --> 00:57:20,360 she goes, hey, you're you're DMC from Run DMC and 1172 00:57:20,400 --> 00:57:25,679 he's like yes, and she's like it's trick, do raku ra. 1173 00:57:27,519 --> 00:57:29,760 Speaker 4: Walk this way and he's like no, no, no. 1174 00:57:32,239 --> 00:57:36,159 Speaker 2: So anyway, he got through that massive depression with the 1175 00:57:36,239 --> 00:57:40,920 help of Sarah McLaughlan, and eventually he kicked the alcohol 1176 00:57:40,920 --> 00:57:41,559 habit as well. 1177 00:57:41,639 --> 00:57:42,800 Speaker 3: That's fantastic story. 1178 00:57:42,880 --> 00:57:43,719 Speaker 2: We done with that one. 1179 00:57:44,239 --> 00:57:46,000 Speaker 4: Yeah, all timer, I want to say this real quick. 1180 00:57:46,079 --> 00:57:48,920 Run DMC's final album came out in two thousand and one. 1181 00:57:49,000 --> 00:57:50,880 It was called Crown Royal, and this was at a 1182 00:57:50,920 --> 00:57:53,960 time when Daryl had lost his voice. He actually could 1183 00:57:54,039 --> 00:57:57,280 not perform. They called it a Run DMC album and 1184 00:57:57,440 --> 00:57:59,639 Run carried the album with a new guest star in 1185 00:57:59,679 --> 00:58:02,599 Every Tree. And they had a song called School of Old, 1186 00:58:02,880 --> 00:58:06,599 which was a collaboration between Ron and Kid Rock and 1187 00:58:06,639 --> 00:58:09,119 it's one of the best songs on that album, and 1188 00:58:09,159 --> 00:58:12,320 they reused the final verse from the song Raising Hell. 1189 00:58:12,519 --> 00:58:15,000 They reuse it in School of Old on the on 1190 00:58:15,039 --> 00:58:17,039 their two thousand and one album, and that's a song 1191 00:58:17,119 --> 00:58:17,880 that's worth checking out. 1192 00:58:17,880 --> 00:58:20,480 Speaker 1: It's pretty cool, awesome, awesome. I found out who the 1193 00:58:20,519 --> 00:58:21,719 guitar player is in the song you. 1194 00:58:21,719 --> 00:58:24,000 Speaker 2: Guys ready, Yeah, okay, yeah. 1195 00:58:23,679 --> 00:58:27,320 Speaker 1: Rick Houpin. Rick Hoopin is the one playing the guitar 1196 00:58:27,440 --> 00:58:29,239 on the song. I should have known. 1197 00:58:29,280 --> 00:58:30,559 Speaker 4: It's awesome, all right. 1198 00:58:30,599 --> 00:58:32,760 Speaker 2: So that brings us the song number nine on the album. 1199 00:58:32,800 --> 00:58:36,039 This was the third single released October twenty first, nineteen 1200 00:58:36,039 --> 00:58:39,079 eighty six. This song is called you b illan o 1201 00:58:39,239 --> 00:58:41,239 j wait. 1202 00:58:44,159 --> 00:58:58,880 Speaker 4: Wait well, this song was a big hit among my friends. 1203 00:58:58,960 --> 00:59:01,000 It's obviously it's a comedy. 1204 00:59:00,639 --> 00:59:01,039 Speaker 3: Song, right. 1205 00:59:01,079 --> 00:59:03,159 Speaker 4: It's almost like in the tune of I mean in 1206 00:59:03,239 --> 00:59:06,000 the vein of like Charlie Brown, if you remember those 1207 00:59:06,039 --> 00:59:07,760 old kind of songs like that that were kind of 1208 00:59:08,159 --> 00:59:10,519 joke records. We got a big kick out of this, 1209 00:59:10,559 --> 00:59:13,480 and we always enjoyed playing it personally. For me, it's 1210 00:59:13,559 --> 00:59:16,559 it's it's not my favorite on the album, just because 1211 00:59:17,000 --> 00:59:18,679 I'm usually not in the mood for comedy when I'm 1212 00:59:18,679 --> 00:59:20,679 listening to run DMC, but it is. 1213 00:59:20,719 --> 00:59:22,559 Speaker 3: It is a lot of fun. It's a fun song. 1214 00:59:22,639 --> 00:59:23,599 Speaker 2: It's a little bit goofy. 1215 00:59:23,840 --> 00:59:25,400 Speaker 1: This was a fun song to break too. I can 1216 00:59:25,400 --> 00:59:26,119 tell you that. 1217 00:59:27,079 --> 00:59:28,880 Speaker 3: There's a nice moment in the song where he goes 1218 00:59:29,079 --> 00:59:29,760 and it was. 1219 00:59:29,840 --> 00:59:32,320 Speaker 4: Deaf, and I was able to take that song deaf and. 1220 00:59:32,360 --> 00:59:34,559 Speaker 3: Use it myself, you know. As for deaf Dave, I 1221 00:59:34,599 --> 00:59:35,159 could say. 1222 00:59:36,719 --> 00:59:39,480 Speaker 2: You explained to me last week, which I hadn't always 1223 00:59:39,480 --> 00:59:41,639 been super crystal clear on what it meant to be 1224 00:59:41,960 --> 00:59:46,159 ill or illan, and so ill is the opposite of 1225 00:59:46,239 --> 00:59:49,360 chill right. It's you're acting like a fool, you're acting crazy, 1226 00:59:49,400 --> 00:59:52,400 you're acting dumb, you be illings right. 1227 00:59:52,480 --> 00:59:55,239 Speaker 1: Whack, by the way, has made it back into the vernacular. 1228 00:59:55,280 --> 00:59:57,639 I've got kids who are using whack now. I imagine 1229 00:59:57,679 --> 00:59:58,639 Illen will be next. 1230 01:00:00,760 --> 01:00:01,679 Speaker 3: That's my vernacular. 1231 01:00:01,719 --> 01:00:02,639 Speaker 1: But that's. 1232 01:00:04,639 --> 01:00:06,760 Speaker 2: Peaked at number twenty nine on the Hot one hundred. 1233 01:00:06,840 --> 01:00:09,760 All right, So next song on the album is called 1234 01:00:10,000 --> 01:00:18,320 dumb Girl. Interesting to find out how many times they 1235 01:00:18,360 --> 01:00:19,880 actually say the word dumb at the beginning. 1236 01:00:21,199 --> 01:00:23,679 Speaker 3: This song is all about that bass. 1237 01:00:24,079 --> 01:00:28,519 Speaker 4: If you wanted to show off your car's system, Dumb 1238 01:00:28,559 --> 01:00:30,639 Girl was the track you could go through in nineteen 1239 01:00:30,679 --> 01:00:33,199 eighty six, turn up those sub warfers. 1240 01:00:32,880 --> 01:00:36,880 Speaker 3: And rattle windows all around the block. One of those 1241 01:00:36,880 --> 01:00:37,840 songs that would. 1242 01:00:37,679 --> 01:00:40,159 Speaker 4: Be obnoxious in traffic and you couldn't even hear anything 1243 01:00:40,159 --> 01:00:42,719 else except that bass just shaking the ground. 1244 01:00:42,920 --> 01:00:44,920 Speaker 2: So here's the thing I read about this. This This 1245 01:00:45,000 --> 01:00:48,400 was something I found really interesting. So it is generally 1246 01:00:48,639 --> 01:00:51,199 not like them to be insulting to women and to 1247 01:00:51,280 --> 01:00:53,639 write a song about, you know, dumb girl. It's just 1248 01:00:53,719 --> 01:00:56,360 a little bit, I mean, not that big of a deal, 1249 01:00:56,400 --> 01:00:59,400 but it's it's you know, uncharacteristic for that. So the 1250 01:00:59,480 --> 01:01:02,400 rumor is that Ello cool J wrote this song when 1251 01:01:02,400 --> 01:01:04,719 he was seventeen years old. That was the rumor on 1252 01:01:04,760 --> 01:01:05,119 the street. 1253 01:01:05,280 --> 01:01:06,920 Speaker 1: He's not listed among the songwriters. 1254 01:01:06,960 --> 01:01:09,400 Speaker 2: I can tell you that that's That was the rumor 1255 01:01:09,440 --> 01:01:13,000 I found on the internet, because the Internet is always. 1256 01:01:12,800 --> 01:01:13,400 Speaker 1: Right, right. 1257 01:01:14,840 --> 01:01:16,119 Speaker 3: I like the song. I just think it's a lot 1258 01:01:16,119 --> 01:01:16,400 of fun. 1259 01:01:16,400 --> 01:01:18,800 Speaker 4: They're they're switching back and forth real well in this 1260 01:01:19,079 --> 01:01:20,840 and the dumb did he dumb? 1261 01:01:20,840 --> 01:01:21,280 Speaker 2: Did he did he? 1262 01:01:21,360 --> 01:01:23,280 Speaker 3: Dumb? Dumb? All that stuff's a lot of fun. And 1263 01:01:23,320 --> 01:01:25,639 of course the bass just hitting like crazy. I listened 1264 01:01:25,639 --> 01:01:27,400 to it every time. I'll never skip it. I love it. 1265 01:01:28,039 --> 01:01:30,440 Speaker 1: So who's j C? The first line of the song 1266 01:01:30,599 --> 01:01:33,000 is I'd seen you Jack and j C? Because they 1267 01:01:33,000 --> 01:01:37,519 got him most haze. Oh right here O song was. 1268 01:01:37,480 --> 01:01:41,480 Speaker 2: Written about me and my girlfriend is right now and 1269 01:01:41,480 --> 01:01:42,960 it actually this is our line. 1270 01:01:43,039 --> 01:01:45,119 Speaker 1: J c ain' d just be his fan. 1271 01:01:47,119 --> 01:01:47,519 Speaker 3: All right. 1272 01:01:47,800 --> 01:01:50,239 Speaker 2: The next song on the album is a song called 1273 01:01:50,719 --> 01:01:52,000 Son of Bifer. 1274 01:01:51,760 --> 01:01:54,000 Speaker 1: He yo j yoj check this out. 1275 01:01:54,400 --> 01:01:57,559 Speaker 2: I was born son oh bif brother. 1276 01:02:00,360 --> 01:02:00,880 Speaker 1: It runs. 1277 01:02:02,199 --> 01:02:05,280 Speaker 4: So this song is only about twenty seven seconds long. 1278 01:02:05,559 --> 01:02:07,880 It's a reprise of the last verse I hit. It runs, 1279 01:02:08,239 --> 01:02:10,440 and it just seems like a silly little interlude. It 1280 01:02:10,480 --> 01:02:13,800 barely even counts as a song. But while researching for 1281 01:02:13,840 --> 01:02:17,519 this podcast, I came across the story about Daryl McDaniels, 1282 01:02:17,599 --> 01:02:20,599 and wow, it just it makes this song, of all things, 1283 01:02:20,679 --> 01:02:22,559 it makes this song a lot more poignant than you 1284 01:02:22,599 --> 01:02:23,360 ever would guess. 1285 01:02:23,599 --> 01:02:24,000 Speaker 1: Yeah. 1286 01:02:24,039 --> 01:02:28,039 Speaker 2: The interesting thing, during Darryl's depression, he thought, well, to 1287 01:02:28,119 --> 01:02:30,199 help me get out of this depression, I'm going to 1288 01:02:30,199 --> 01:02:32,320 write a book because I want people to understand who 1289 01:02:32,360 --> 01:02:35,440 Darryl is. They know who dmc is. I want him 1290 01:02:35,480 --> 01:02:37,719 to know who Daryl is. And so he knew that 1291 01:02:37,800 --> 01:02:40,719 he had been born May thirty first, nineteen sixty four, 1292 01:02:40,960 --> 01:02:42,800 but he didn't really know the details. So he called 1293 01:02:42,800 --> 01:02:44,679 his mother and he says, hey, Mom, I know I 1294 01:02:44,800 --> 01:02:47,800 was born May thirty first, nineteen sixty four, but I've 1295 01:02:47,800 --> 01:02:50,559 got a few questions for you. How much did I weigh? 1296 01:02:50,840 --> 01:02:53,199 What time of day was it, and what hospital was 1297 01:02:53,239 --> 01:02:56,360 I born in? She answers all three of those. He says, okay, okay, okay, 1298 01:02:56,440 --> 01:02:58,960 thanks mom, love you, tuk to you later. Boom hangs 1299 01:02:59,039 --> 01:03:01,920 up with her. One hour later, she calls him back 1300 01:03:02,039 --> 01:03:04,280 with his father on the line, and he thinks, well, 1301 01:03:04,320 --> 01:03:06,760 this is going to be something nostalgia or trivial, something 1302 01:03:06,800 --> 01:03:09,079 like that. So they're going to tell him another detail 1303 01:03:09,119 --> 01:03:10,880 that they remembered about the day he was born. So 1304 01:03:10,920 --> 01:03:15,199 he's like, hey, guys, what's going on? And she's like, oh, hey, Darryl, 1305 01:03:15,320 --> 01:03:16,840 I just want to let you know you were a 1306 01:03:16,880 --> 01:03:19,760 month old when we brought you home. You were adopted. 1307 01:03:20,199 --> 01:03:25,599 We love you bye. Click, So he said. On top 1308 01:03:25,639 --> 01:03:29,880 of being suicidal, emotionally broken, alcoholic, he finds out at 1309 01:03:29,920 --> 01:03:32,519 age thirty five that he was adopted. 1310 01:03:32,880 --> 01:03:36,480 Speaker 4: Wow, it shook his world. He had no idea he 1311 01:03:36,480 --> 01:03:39,039 had grown up in such a loving home. And remember 1312 01:03:39,039 --> 01:03:41,920 we talked last week about how his mother was so overprotective. 1313 01:03:42,079 --> 01:03:44,280 It kind of recast all that into different light now. 1314 01:03:44,480 --> 01:03:46,239 She didn't want him to go to the city. She 1315 01:03:46,239 --> 01:03:47,760 didn't want him to leave the house. He didn't want 1316 01:03:47,800 --> 01:03:49,760 him to have friends over when she wasn't home. She 1317 01:03:49,880 --> 01:03:52,960 was very protective of her son, and they absolutely loved 1318 01:03:53,039 --> 01:03:55,679 him very much, and he had a great upbringing, you know, 1319 01:03:55,719 --> 01:03:58,199 and people would tease him about how he didn't look 1320 01:03:58,239 --> 01:04:01,719 anything like his parents, right, But any fleeting thought that 1321 01:04:01,800 --> 01:04:04,119 he had like that just didn't last long and was 1322 01:04:04,159 --> 01:04:06,280 dismissed because of how much love he felt from his 1323 01:04:06,320 --> 01:04:08,880 mom and dad and how close he was to his parents. 1324 01:04:09,199 --> 01:04:12,119 But hip hop and is particularly so much of his 1325 01:04:12,239 --> 01:04:14,920 type of rap is about I am Darryl, I am 1326 01:04:15,000 --> 01:04:18,079 Daryl Mack, I am the devastating Mike Controller, I am 1327 01:04:18,159 --> 01:04:20,840 the son of Byford, and all these things. And then 1328 01:04:20,880 --> 01:04:23,559 he's thirty five years old and he founds out he's 1329 01:04:23,559 --> 01:04:25,719 not even sure who he is at all. He did 1330 01:04:26,000 --> 01:04:30,360 nothing that he thought he knew can he remain certain 1331 01:04:30,400 --> 01:04:31,239 about at this point? 1332 01:04:31,320 --> 01:04:34,480 Speaker 2: So kind of the end of the story is he 1333 01:04:34,679 --> 01:04:37,440 proceeds to he was a private investigator to find his 1334 01:04:37,480 --> 01:04:40,440 birth mom, and he really wanted to have a copy 1335 01:04:40,480 --> 01:04:43,159 of his pre adoption birth certificate, that piece of paper 1336 01:04:43,239 --> 01:04:46,480 was really important to him because on it it showed 1337 01:04:46,559 --> 01:04:49,679 who he actually was. And so he talked to the 1338 01:04:49,760 --> 01:04:52,840 lady at the Department of Health and she had it 1339 01:04:53,000 --> 01:04:55,199 in her hand but couldn't give it to him, and 1340 01:04:55,239 --> 01:04:58,480 so he's like, that's crazy, why can you not give 1341 01:04:58,519 --> 01:05:01,599 that to me? And so he actually has now helped 1342 01:05:01,840 --> 01:05:05,880 pass laws that allow adoptees to get a copy of 1343 01:05:05,880 --> 01:05:07,159 their pre adoption birth certificate. 1344 01:05:07,199 --> 01:05:07,719 Speaker 1: It's awesome. 1345 01:05:07,840 --> 01:05:09,960 Speaker 4: Well, the one thing that was really healing for him 1346 01:05:10,039 --> 01:05:13,159 and really helped him, and he said it served as 1347 01:05:13,159 --> 01:05:16,320 an anchor, was he discovered that his birth name actually 1348 01:05:16,440 --> 01:05:20,000 was Daryl. His real mother gave him Darryl at his 1349 01:05:20,079 --> 01:05:23,280 birth and that really helped him have something to hold 1350 01:05:23,320 --> 01:05:25,280 on to and all his brag and he did on 1351 01:05:25,480 --> 01:05:28,679 record about his name being Daryl, and that really saw 1352 01:05:28,760 --> 01:05:30,480 him through the storm. Really the worst part of all this. 1353 01:05:31,559 --> 01:05:33,239 Speaker 2: On a lighter note, you know the beginning of the 1354 01:05:33,239 --> 01:05:36,599 song when he's son of Bifer, brother of Al he 1355 01:05:36,719 --> 01:05:39,280 got that from a Thor comic. We talked about how 1356 01:05:39,320 --> 01:05:42,519 Darryl McDaniels was a big, big comic book fan and 1357 01:05:42,559 --> 01:05:45,199 he got it from Thor where Thor was son of 1358 01:05:45,320 --> 01:05:47,280 Odin brother of Loki. 1359 01:05:47,559 --> 01:05:50,320 Speaker 1: So just to touch on something that's put him where 1360 01:05:50,320 --> 01:05:52,440 he was at that point. You know, we talked last 1361 01:05:52,440 --> 01:05:55,840 episode about the fact that before they really did their 1362 01:05:55,880 --> 01:05:59,000 first show, the only rapping that he had done had 1363 01:05:59,000 --> 01:06:01,960 been up in there, you know, in the attic when 1364 01:06:02,000 --> 01:06:05,159 he was drunk. Well, he realized, because he was normally 1365 01:06:05,159 --> 01:06:07,880 a very introverted guy, he realized that if I start 1366 01:06:08,039 --> 01:06:10,639 drinking a little bit, it'll loosen me up and I 1367 01:06:10,679 --> 01:06:14,639 can perform on stage. Well that was fine, because that 1368 01:06:14,679 --> 01:06:16,559 meant he would just drink before they went on stage 1369 01:06:16,559 --> 01:06:19,760 and everything would be fine. But then they hit it big, 1370 01:06:19,880 --> 01:06:21,760 and they hit it really big, and he had to 1371 01:06:21,760 --> 01:06:25,679 be not Daryl but DMC not just on stage but 1372 01:06:25,880 --> 01:06:28,559 all the time because they were constantly in the public eye. 1373 01:06:28,920 --> 01:06:31,840 And so he started drinking more and more so he 1374 01:06:31,880 --> 01:06:35,639 could maintain that persona, and eventually he was drink He 1375 01:06:35,679 --> 01:06:38,840 was going through a case of forties a day, like 1376 01:06:38,920 --> 01:06:41,880 it was just in his hand all day long, was 1377 01:06:41,880 --> 01:06:47,079 a forty and like case of forties a day. And 1378 01:06:47,400 --> 01:06:49,960 I mean it was just that he didn't eat, he 1379 01:06:49,960 --> 01:06:52,679 didn't do anything, he didn't drink anything else. It was 1380 01:06:52,880 --> 01:06:57,239 just drinking beer all day long, and Eventually he had 1381 01:06:57,239 --> 01:06:59,320 a he had an episode much like we talked about 1382 01:06:59,360 --> 01:07:02,719 Duff McKagan haven, where he woke up and like he 1383 01:07:02,880 --> 01:07:05,800 was feeling the most intense pain of his entire life. 1384 01:07:06,320 --> 01:07:09,079 And they took him to the hospital and the doctor said, 1385 01:07:09,159 --> 01:07:12,960 you know, you drink very much. And he's like yeah, 1386 01:07:13,079 --> 01:07:16,000 and he's like, okay, well, I'm gonna give you a choice. Okay, 1387 01:07:16,760 --> 01:07:22,039 you can keep drinking and die, or you can stop now, 1388 01:07:22,320 --> 01:07:24,880 never drink again, and you will be able to live. 1389 01:07:25,119 --> 01:07:26,440 But those are your only two childs. 1390 01:07:26,480 --> 01:07:28,760 Speaker 3: Wow. And then something amazing happened. 1391 01:07:28,880 --> 01:07:33,760 Speaker 4: Daryl McDaniels produced a song and emerged as an artist 1392 01:07:34,039 --> 01:07:37,159 in a way that you perhaps never would have expected. 1393 01:07:37,239 --> 01:07:40,000 Speaker 3: He called his friend Sarah McLaughlin. 1394 01:07:41,519 --> 01:07:45,159 Speaker 4: And they produced a song about this all right, about 1395 01:07:45,199 --> 01:07:47,599 this journey of discovering that you're adopting. 1396 01:07:48,079 --> 01:07:49,679 Speaker 3: It's called just Like Me. 1397 01:07:50,639 --> 01:07:53,440 Speaker 4: That Chah was born. It was a beautiful day. It 1398 01:07:53,599 --> 01:07:57,199 was nineteen sixty and Sarah McLaughlin appears on the record 1399 01:07:57,239 --> 01:07:59,920 with him. She chose to collaborate with him because she 1400 01:08:00,079 --> 01:08:02,840 also she was. 1401 01:08:02,880 --> 01:08:07,840 Speaker 2: A see young girl and you try hard to truth. 1402 01:08:08,599 --> 01:08:09,800 Speaker 5: Is there a chance full. 1403 01:08:09,679 --> 01:08:10,800 Speaker 1: Of baby to live? 1404 01:08:26,000 --> 01:08:29,119 Speaker 4: I mean, I can't get through the video in one sitting. 1405 01:08:29,119 --> 01:08:30,760 Speaker 3: I have to stop and gather myself. 1406 01:08:31,000 --> 01:08:33,880 Speaker 4: It's really it's it's a powerful song because you know 1407 01:08:33,960 --> 01:08:36,479 how personal and how true of a story it is. 1408 01:08:36,600 --> 01:08:38,840 It's a powerful song, and I have to think that 1409 01:08:38,880 --> 01:08:41,319 it would it would have to be impactful and healing 1410 01:08:41,319 --> 01:08:42,439 to anybody. 1411 01:08:42,079 --> 01:08:44,720 Speaker 3: Who's ever been in a similar situation that he's been in. 1412 01:08:44,880 --> 01:08:45,640 Speaker 2: It's fantastic. 1413 01:08:46,239 --> 01:08:46,479 Speaker 1: You know. 1414 01:08:46,680 --> 01:08:49,279 Speaker 2: One of the things he talks about. Somebody was asking him, 1415 01:08:49,279 --> 01:08:51,439 why is it so important for you have that birth certificate, 1416 01:08:51,640 --> 01:08:54,439 that pre adoption birth certificate, and he said, well, you 1417 01:08:54,520 --> 01:09:07,199 never start a book on chapter two. 1418 01:09:08,800 --> 01:09:11,680 Speaker 4: He's also a producer of his own line of comic books. 1419 01:09:11,960 --> 01:09:13,640 Speaker 2: Yeah, that's awesome. That's awesome. 1420 01:09:13,920 --> 01:09:14,159 Speaker 3: You know. 1421 01:09:14,399 --> 01:09:16,279 Speaker 2: One of the things I love about him. Every time 1422 01:09:16,279 --> 01:09:18,159 I see him, he's wearing a different shirt. I've seen 1423 01:09:18,199 --> 01:09:20,760 him wear an a CDC black and black shirt. I've 1424 01:09:20,800 --> 01:09:23,479 seen him wear Arismath shirts. Of course, he wore a 1425 01:09:23,560 --> 01:09:27,159 Nirvana shirt. All these different vands that you wouldn't necessarily 1426 01:09:27,199 --> 01:09:28,840 think or associate with run DMC. 1427 01:09:29,479 --> 01:09:30,960 Speaker 3: Yep, he's a big classic rock guy. 1428 01:09:31,000 --> 01:09:34,560 Speaker 2: Now, sure, that's so cool. That's so cool. All right, 1429 01:09:34,680 --> 01:09:38,560 last track on the album is a song called Proud 1430 01:09:38,560 --> 01:09:39,079 to Be Black. 1431 01:09:39,279 --> 01:09:42,560 Speaker 4: You know I'm proud to be and that's a fat job. 1432 01:09:43,960 --> 01:09:51,439 Was fine, I take it back jobs like well, Like 1433 01:09:51,439 --> 01:09:54,319 I said before, I saw run DMC in concert three times. 1434 01:09:54,479 --> 01:09:56,319 So I'm in eighty six the Raising Hell tour when 1435 01:09:56,319 --> 01:09:57,640 I was not familiar with the album. 1436 01:09:58,239 --> 01:10:00,640 Speaker 3: I did see them in two thousand and. 1437 01:10:00,560 --> 01:10:04,399 Speaker 4: One, but in nineteen eighty eight on the Runs House tour, 1438 01:10:04,920 --> 01:10:06,640 they came out this is the where, this is the 1439 01:10:06,680 --> 01:10:09,680 show where they recorded the Mary Mary video, right, And 1440 01:10:09,720 --> 01:10:11,680 of course at this point, I'm very familiar with the 1441 01:10:11,760 --> 01:10:14,239 Raising Hell album and I'm down on the floor and 1442 01:10:14,239 --> 01:10:15,640 I'm squeezed in and I'm close. 1443 01:10:15,439 --> 01:10:16,199 Speaker 3: To the stage. 1444 01:10:16,479 --> 01:10:18,680 Speaker 4: It was at this point in my life where I 1445 01:10:18,800 --> 01:10:22,039 learned that there are some songs that white dudes don't 1446 01:10:22,079 --> 01:10:29,880 sing at the top of their lungs. The show, I'm 1447 01:10:29,920 --> 01:10:31,920 just into it, right, I'm feeling the music and I'm 1448 01:10:31,920 --> 01:10:34,640 sitting there going I'm proud to be black, y'all. And 1449 01:10:34,720 --> 01:10:37,800 I start getting looks and did receive. 1450 01:10:38,600 --> 01:10:40,199 Speaker 2: I got real quiet. 1451 01:10:41,439 --> 01:10:43,119 Speaker 3: With a mousehut the rest of the jam. 1452 01:10:43,840 --> 01:10:47,479 Speaker 1: That's funny. Yeah, So this this song makes references to 1453 01:10:47,800 --> 01:10:52,640 Jesse Owens, to Martin Luther King, to Harriet Tubman and 1454 01:10:52,680 --> 01:10:57,039 to Malcolm X, George Washington Carver, and I just got 1455 01:10:57,039 --> 01:10:59,359 to say this. So, in doing the research that we 1456 01:10:59,399 --> 01:11:01,199 did and looking at the history of rap, I came 1457 01:11:01,239 --> 01:11:04,199 across something I didn't know before. So we talked about 1458 01:11:04,199 --> 01:11:07,279 the influences on hip hop and some of the rhymes 1459 01:11:07,279 --> 01:11:09,479 and such and some of the I listened to some 1460 01:11:09,520 --> 01:11:12,920 of the earlier rap songs and I found out that 1461 01:11:12,960 --> 01:11:15,640 one of them was strongly influenced by a speech that 1462 01:11:15,680 --> 01:11:19,399 Malcolm X gave where he was talking about the difference 1463 01:11:19,439 --> 01:11:22,399 between the slaves that lived in the house and the 1464 01:11:22,439 --> 01:11:25,560 slaves that worked the field. And he was talking about 1465 01:11:25,560 --> 01:11:28,560 how the slaves that worked in the house were always 1466 01:11:28,680 --> 01:11:32,039 cowing to the master, and if anything were going wrong, 1467 01:11:32,600 --> 01:11:35,359 like that the house was on fire, they would realize 1468 01:11:35,359 --> 01:11:37,239 they're going to lose their home, and so they'd run 1469 01:11:37,279 --> 01:11:41,079 intil the master, whereas the slaves in the field couldn't 1470 01:11:41,119 --> 01:11:44,000 have cared less if the house was on fire, which 1471 01:11:44,039 --> 01:11:47,760 is where you get the song lyrics the roof, the roof, 1472 01:11:48,000 --> 01:11:51,520 the roof is on fire. We don't need no water. 1473 01:11:51,760 --> 01:11:57,199 Let that burn that. There you go, Wow, there's a 1474 01:11:57,239 --> 01:11:57,880 tidbit for you. 1475 01:11:58,119 --> 01:11:58,399 Speaker 2: Wow. 1476 01:11:58,479 --> 01:11:58,960 Speaker 1: There you go. 1477 01:11:59,119 --> 01:12:01,840 Speaker 4: A couple of things about this It's interesting to look 1478 01:12:01,880 --> 01:12:04,439 at the writer credits for this song because one of 1479 01:12:04,439 --> 01:12:05,720 the writers is. 1480 01:12:05,760 --> 01:12:08,039 Speaker 3: Doctor Dre No not that one. 1481 01:12:08,439 --> 01:12:08,760 Speaker 2: Wow. 1482 01:12:10,680 --> 01:12:13,439 Speaker 4: So doctor Dre from Yo MTV raps fame, who spent 1483 01:12:13,960 --> 01:12:18,159 spent a stint as the DJ for Beastie Boys, helped 1484 01:12:18,159 --> 01:12:20,000 co write Proud to Be Black. 1485 01:12:20,720 --> 01:12:25,920 Speaker 3: Now, guess who the other credited writer is on this song? 1486 01:12:26,159 --> 01:12:32,520 Speaker 4: A guy named Daniel Simmons. Run's dad wow write this song? 1487 01:12:33,000 --> 01:12:36,359 Speaker 3: Okay? Run's Daniel Sr. 1488 01:12:37,039 --> 01:12:40,239 Speaker 4: Was someone who, at the beginning of our story last week, 1489 01:12:40,640 --> 01:12:42,520 was an administrator in the public school system. 1490 01:12:42,720 --> 01:12:45,720 Speaker 3: He would go on to become a professor in black history. 1491 01:12:45,800 --> 01:12:48,720 Speaker 4: In nineteen sixty three, when they're still living in Jamaica, Queens, 1492 01:12:49,079 --> 01:12:51,640 he started getting involved in activism for the. 1493 01:12:51,600 --> 01:12:52,600 Speaker 3: Civil rights movement. 1494 01:12:53,159 --> 01:12:55,239 Speaker 4: He participated in a protest that was going on there 1495 01:12:55,239 --> 01:12:58,239 locally in Jamaica, Queens, and then that that really kind 1496 01:12:58,239 --> 01:13:00,640 of woke him up and got him kind of politically 1497 01:13:00,640 --> 01:13:03,279 active in the civil rights movement. As a matter of fact, 1498 01:13:03,479 --> 01:13:05,920 he drove down I think it was August nineteen sixty three, 1499 01:13:06,159 --> 01:13:09,000 and he marched with doctor King in the Freedom March 1500 01:13:09,399 --> 01:13:11,800 and was there in the crowd on the day of 1501 01:13:11,840 --> 01:13:12,359 the I have. 1502 01:13:12,359 --> 01:13:16,279 Speaker 3: A dream speech. Oh wo wow. And he helped write 1503 01:13:16,399 --> 01:13:17,159 Proud to Be Black. 1504 01:13:17,239 --> 01:13:17,800 Speaker 1: That's amazing. 1505 01:13:17,840 --> 01:13:18,439 Speaker 2: It's fantastic. 1506 01:13:18,479 --> 01:13:19,239 Speaker 1: It's fantastic. 1507 01:13:19,239 --> 01:13:19,920 Speaker 2: Great story man. 1508 01:13:20,039 --> 01:13:22,520 Speaker 1: Best way to end our discussion of track by track 1509 01:13:22,560 --> 01:13:27,439 on this album, now we come to the moment of decision. Okay, 1510 01:13:27,520 --> 01:13:30,479 So here we are. We've gone through the history of 1511 01:13:30,560 --> 01:13:34,439 Beastie Boys. We've gone through Licensed to Ill track by track. 1512 01:13:34,800 --> 01:13:37,520 We've gone through the history of hip hop itself and 1513 01:13:37,640 --> 01:13:41,640 run DMC and Raising Hell track by track, and so 1514 01:13:41,960 --> 01:13:42,600 Jason you're on. 1515 01:13:42,920 --> 01:13:43,159 Speaker 6: Yeah. 1516 01:13:45,079 --> 01:13:47,760 Speaker 2: So, as a person who was didn't own either one 1517 01:13:47,760 --> 01:13:50,279 of these albums, I found that as I went through them, 1518 01:13:50,439 --> 01:13:52,119 I liked a lot of the songs on there that 1519 01:13:52,199 --> 01:13:55,239 I didn't know I wasn't familiar with before we started this. Okay, 1520 01:13:55,439 --> 01:13:58,399 as I go through the track list from License to Ill, 1521 01:13:58,560 --> 01:14:01,279 you've got some major your major songs for My Youth, 1522 01:14:01,359 --> 01:14:03,399 You've got Fight for Your Right, You've got No Sleep 1523 01:14:03,439 --> 01:14:07,159 Till Brooklyn. You've got Paul Revere. We loved Brass Monkey 1524 01:14:07,199 --> 01:14:11,640 and Girls and Ryman Steeling was great. Those songs are awesome. 1525 01:14:11,960 --> 01:14:15,600 They're also rock based. A lot of Led Zeppelin in there. 1526 01:14:15,720 --> 01:14:18,600 Then you go back to the Raisin Hell album. You've 1527 01:14:18,640 --> 01:14:22,479 got Peter Piper awesome, You've got of course Walk this 1528 01:14:22,560 --> 01:14:25,760 Way is mind blowing, It's tricky, was on MTV all 1529 01:14:25,800 --> 01:14:28,840 the time, you be illing. Raisin Hell is awesome. But 1530 01:14:28,960 --> 01:14:32,439 for me, I have to go with Beastie Boys on 1531 01:14:32,600 --> 01:14:36,000 The Power behind, Fight for Your Right and No Sleep 1532 01:14:36,000 --> 01:14:39,039 Till Brooklyn. I'm going License to Ill as the better 1533 01:14:39,159 --> 01:14:40,760 of these two albums the Graves. 1534 01:14:43,479 --> 01:14:47,399 Speaker 1: Okay, so coming into this, I thought I would probably 1535 01:14:47,439 --> 01:14:50,000 say that the same thing I thought I would probably 1536 01:14:50,039 --> 01:14:55,319 say Licensed to Ill. There are so many strong songs, 1537 01:14:55,840 --> 01:14:59,239 and they borrow from some of my favorite songs, with 1538 01:15:00,000 --> 01:15:02,319 a lot of Led Zeppelin, When the Levee Breaks the 1539 01:15:02,319 --> 01:15:05,560 Oceans and all of these other songs, and I love it. 1540 01:15:05,680 --> 01:15:08,039 If I'm walking out the door and I want to 1541 01:15:08,079 --> 01:15:11,039 grab an album, this is easily one I could grab 1542 01:15:11,119 --> 01:15:13,720 and throw in the CD player and enjoy the long 1543 01:15:13,760 --> 01:15:17,199 trip to wherever it is that I'm going. But for 1544 01:15:17,760 --> 01:15:22,119 this particular matchup, I'm falling back on nostalgia as the 1545 01:15:22,199 --> 01:15:27,039 young kid who took a paint pen and wrote doctor 1546 01:15:27,119 --> 01:15:32,399 Fresh in bubble letters on his boombox because he wanted 1547 01:15:32,439 --> 01:15:35,960 to be a bee boy. He wanted to dance to 1548 01:15:36,640 --> 01:15:39,600 whatever awesome rap was out there at the time. Run 1549 01:15:39,680 --> 01:15:44,199 DMC was a part of my childhood, whereas Beastie Boys 1550 01:15:44,239 --> 01:15:46,920 was something that I didn't grow a taste for until later. 1551 01:15:47,560 --> 01:15:50,640 And so because I love it, because it brings me 1552 01:15:50,720 --> 01:15:53,039 back to those days of my youth, I got to 1553 01:15:53,079 --> 01:15:53,880 pick Craze in Hell. 1554 01:15:54,119 --> 01:15:56,000 Speaker 2: All right, Dave, you're the tiebreaker. 1555 01:15:56,199 --> 01:15:59,439 Speaker 4: Well, first of all, you have to understand that they're 1556 01:15:59,439 --> 01:16:02,039 good news is you don't really have to choose, right, 1557 01:16:02,119 --> 01:16:06,119 You still get to listen to both albums. These are 1558 01:16:06,119 --> 01:16:08,640 both Hall of Fame albums. For me, they are absolutely 1559 01:16:08,680 --> 01:16:11,079 still at the top of my list. It's hard for 1560 01:16:11,119 --> 01:16:13,720 me to think of these as nostalgia trips because the 1561 01:16:13,760 --> 01:16:16,000 truth is neither one of these albums have ever left 1562 01:16:16,000 --> 01:16:20,039 my rotation. They remain a part of my listening habits, 1563 01:16:20,039 --> 01:16:21,680 and they have through all these years. 1564 01:16:21,800 --> 01:16:23,800 Speaker 3: Another thing about these two albums is. 1565 01:16:23,760 --> 01:16:26,800 Speaker 4: That this largely validated my existence in high school, right 1566 01:16:26,840 --> 01:16:29,239 because I had been the weird fringe guy that was 1567 01:16:29,359 --> 01:16:31,840 listening to all this weird rap before it had broken 1568 01:16:31,840 --> 01:16:34,479 out and go to mainstream, and it was all I wanted. 1569 01:16:34,239 --> 01:16:36,479 Speaker 3: To listen to and nobody knew these acts of these. 1570 01:16:36,319 --> 01:16:39,760 Speaker 4: Songs, and I got some barbs thrown my way occasionally. 1571 01:16:40,079 --> 01:16:42,720 Speaker 3: But it was when these songs hit and it. 1572 01:16:42,640 --> 01:16:44,600 Speaker 4: Broke through and now you had white kids as well 1573 01:16:44,640 --> 01:16:48,079 as black kids listening to rap, then suddenly. 1574 01:16:47,560 --> 01:16:48,840 Speaker 3: My status got elevated. 1575 01:16:48,880 --> 01:16:51,600 Speaker 4: I felt not only more accepted, but you know, I'm 1576 01:16:51,600 --> 01:16:53,600 also they got there turn into with questions and everything. 1577 01:16:53,640 --> 01:16:55,880 So I felt the one time in my life where 1578 01:16:55,920 --> 01:16:57,600 I felt like the hipster that was ahead of the crowd. 1579 01:16:57,680 --> 01:16:59,039 Speaker 3: And they go hand in hand, right. 1580 01:16:59,039 --> 01:17:01,079 Speaker 4: They came out the same year by the same producer, 1581 01:17:01,359 --> 01:17:04,000 the acts knew each other, they toured together. It's really 1582 01:17:04,039 --> 01:17:06,720 hard to separate these two albums from me. What I'm 1583 01:17:06,760 --> 01:17:10,119 saying is with both albums, I never skip a track, 1584 01:17:10,640 --> 01:17:14,000 and that's something that you can rarely say about any album. 1585 01:17:14,399 --> 01:17:17,039 Speaker 3: And they're both true for this one. So where do I. 1586 01:17:17,039 --> 01:17:19,199 Speaker 4: Draw the line, what hair do I split? And what 1587 01:17:19,359 --> 01:17:22,039 side do I come down on? Well, it comes down 1588 01:17:22,119 --> 01:17:25,640 to your mood, really, right, because there are different attitudes 1589 01:17:25,760 --> 01:17:28,239 that are the prevailing attitude in each album. 1590 01:17:28,479 --> 01:17:30,039 Speaker 3: I think the BC Boys one is. 1591 01:17:30,000 --> 01:17:33,359 Speaker 4: More fun, you know, and it's more lighthearted and it's 1592 01:17:33,399 --> 01:17:35,920 not not necessarily obvious punch lines. Maybe sometimes there are, 1593 01:17:36,000 --> 01:17:39,920 but you come away smiling. And then with Run DMC, 1594 01:17:40,680 --> 01:17:43,600 you've got more of an edgier rock attitude. And even 1595 01:17:43,640 --> 01:17:46,479 though there's some rock and roll music on License to Ill, 1596 01:17:46,760 --> 01:17:50,199 the overall attitude is a tougher one on Raising Hell. 1597 01:17:50,479 --> 01:17:52,399 Speaker 3: So it may come down to just the mood you're 1598 01:17:52,399 --> 01:17:53,000 in that day. 1599 01:17:53,439 --> 01:17:55,159 Speaker 4: But what I do is I come down to this. 1600 01:17:55,880 --> 01:17:58,720 Even though the Beast of Boys are authentic and they're legit, 1601 01:17:59,159 --> 01:18:02,800 they come from then in New York, but they come 1602 01:18:03,159 --> 01:18:08,560 from the pump lineage right and whereas Run DMC, with 1603 01:18:08,640 --> 01:18:11,920 the tider Russell Simmons, they are right there, a part 1604 01:18:11,920 --> 01:18:14,560 of that main hip hop lineage that I ran down, 1605 01:18:14,600 --> 01:18:17,039 starting with Cool Hirk last week, coming all the way through. 1606 01:18:17,600 --> 01:18:20,239 And so because of that, because of all the weight 1607 01:18:20,479 --> 01:18:22,760 of hip hop and everything I find cool about that, 1608 01:18:23,399 --> 01:18:26,119 and their connection to Russell and all the early days 1609 01:18:26,119 --> 01:18:28,640 in the early eighties, I come down on Run DMC. 1610 01:18:29,119 --> 01:18:32,399 They're the greatest rap act ever. This is their greatest album. 1611 01:18:32,560 --> 01:18:34,960 There's no way anybody can knock them from the perse. 1612 01:18:35,119 --> 01:18:37,079 The final judgment, I'm dropping the mic. 1613 01:18:37,520 --> 01:18:38,880 Speaker 3: It is Raising Hell. 1614 01:18:39,880 --> 01:18:42,720 Speaker 2: Yes, awesome, love it coming strong right there. 1615 01:18:42,840 --> 01:18:45,560 Speaker 1: I love it. Well, guys, tell us what you think 1616 01:18:45,720 --> 01:18:48,079 you've tuned in for these episodes. You've got to love 1617 01:18:48,119 --> 01:18:50,720 these albums. They have to be a part of your 1618 01:18:50,720 --> 01:18:53,520 life if you were alive in the eighties. But hit 1619 01:18:53,600 --> 01:18:57,159 us up on Twitter and on Facebook at Shirley Podcast 1620 01:18:57,359 --> 01:18:59,359 if you want to send us an email like mister 1621 01:18:59,439 --> 01:19:01,880 Deaf Dave did for us to go. Hey, if you 1622 01:19:01,920 --> 01:19:05,520 guys ever cover run DMC and Beastie Boys, I want 1623 01:19:05,560 --> 01:19:07,640 to be a part of it man. By all means, 1624 01:19:07,720 --> 01:19:10,960 hit us up Shirleypodcast at gmail dot com. 1625 01:19:11,520 --> 01:19:14,439 Speaker 2: Dave, thank you so much for giving us your time 1626 01:19:14,479 --> 01:19:17,279 and expertise on these two amazing albums. 1627 01:19:17,720 --> 01:19:19,920 Speaker 3: You have no idea how much fun I've had. I 1628 01:19:19,960 --> 01:19:21,920 know this is kind of this is probably a unique thing. 1629 01:19:21,920 --> 01:19:24,000 Speaker 4: You haven't hang anybody on like this for this much, 1630 01:19:24,039 --> 01:19:25,880 four weeks in a row like this. It was what 1631 01:19:25,960 --> 01:19:28,399 a privilege one honor. I absolutely love your show. I 1632 01:19:28,399 --> 01:19:31,239 love your format. I've listened to every single one of them, 1633 01:19:31,279 --> 01:19:33,479 except for the Bill and Ted ones because I haven't 1634 01:19:33,479 --> 01:19:36,680 seen faced the music yet. But other than that, I've 1635 01:19:36,720 --> 01:19:39,439 seen your whole show and I'm looking forward to going 1636 01:19:39,479 --> 01:19:41,439 back to being a listener and tuning in what you 1637 01:19:41,479 --> 01:19:43,920 have for us next time, and just best of luck 1638 01:19:43,960 --> 01:19:45,960 to you guys going forward. Anytime I can help you 1639 01:19:46,039 --> 01:19:47,760 all out, you know, call me up. 1640 01:19:47,800 --> 01:19:48,439 Speaker 3: I'm ready to help. 1641 01:19:48,720 --> 01:19:49,159 Speaker 2: Awesome. 1642 01:19:49,319 --> 01:19:51,880 Speaker 1: Thanks, thanks so much. We can't wait. It's I'm a 1643 01:19:51,920 --> 01:19:54,239 little emotional here at the end of this adventure that 1644 01:19:54,279 --> 01:19:56,239 we've had, but we will find a way to do 1645 01:19:56,319 --> 01:19:56,680 it again. 1646 01:19:56,760 --> 01:19:58,399 Speaker 2: Yeah, we'll see you down the road. Dave, Thank you 1647 01:19:58,439 --> 01:20:01,880 so much, good man. Thanks, and for everybody else out 1648 01:20:01,920 --> 01:20:04,119 there when you come back next week, we're going to 1649 01:20:04,159 --> 01:20:08,520 be diving into Christmas movies. Okay. These are classic Christmas movies, 1650 01:20:08,640 --> 01:20:09,640 the Christmas. 1651 01:20:09,199 --> 01:20:10,479 Speaker 1: Movies of little boys. 1652 01:20:10,640 --> 01:20:14,319 Speaker 2: We are going to compare a Christmas story to Home Alone, 1653 01:20:14,600 --> 01:20:18,560 shoot your eye out, So come back and join us 1654 01:20:18,560 --> 01:20:20,399 for those. We can't wait to get into those. Dave, 1655 01:20:20,479 --> 01:20:23,640 thanks again, and we will see everybody next week. Okay. 1656 01:20:23,720 --> 01:20:26,039 D For the Shirley Showcase this week, I've got my 1657 01:20:26,079 --> 01:20:28,640 dear friends Mark and Melissa Mingle and they are going 1658 01:20:28,680 --> 01:20:31,119 to tell us what they think about Purple Rain the 1659 01:20:31,199 --> 01:20:32,880 movie versus Footloose the movie. 1660 01:20:32,920 --> 01:20:34,720 Speaker 1: All right, this is one of our episodes on the 1661 01:20:34,800 --> 01:20:39,000 nineteen eighty four Summer special. So let's hear what Melissa 1662 01:20:39,039 --> 01:20:40,600 and Mark I have to say. 1663 01:20:40,680 --> 01:20:43,720 Speaker 7: Hi, this is Mark Mingle, this is Melissa Mingle, and 1664 01:20:43,760 --> 01:20:46,800 we are going to quickly give you our feedback on 1665 01:20:47,439 --> 01:20:52,359 Footloose the film and Purple Rain from nineteen eighty four. Mark, 1666 01:20:52,560 --> 01:20:56,279 how old were you in the summer of nineteen eighty four. 1667 01:20:56,640 --> 01:20:59,159 Speaker 6: I turned twelve at the end of the summer of 1668 01:20:59,199 --> 01:21:03,239 eighty four, and so I specifically do remember going to 1669 01:21:03,279 --> 01:21:06,159 the theater with my sister and some friends to see Footloose, 1670 01:21:06,359 --> 01:21:09,079 and at the time loved it. I mean, you know, 1671 01:21:09,560 --> 01:21:13,039 I was just about to become a teenager, and all 1672 01:21:13,079 --> 01:21:16,319 these teenagers singing and dancing and all this stuff they 1673 01:21:16,319 --> 01:21:18,319 were wanting to do seem very cool, and all the 1674 01:21:18,399 --> 01:21:19,800 songs seem very cool to me. 1675 01:21:19,920 --> 01:21:22,079 Speaker 1: So I really loved Footloose enjoyed it. 1676 01:21:22,239 --> 01:21:24,319 Speaker 6: Of course, all the music was getting popular on the 1677 01:21:24,439 --> 01:21:27,319 radio with Kenny Loggins and other artists, so yeah, it 1678 01:21:27,359 --> 01:21:29,479 was totally cool for me at the time. I don't 1679 01:21:29,479 --> 01:21:32,439 know that it holds up terribly well over the years 1680 01:21:32,479 --> 01:21:35,079 if you go back and watch it now. As Purple Rain, 1681 01:21:35,399 --> 01:21:39,960 I believe was rated R and I did not go 1682 01:21:40,079 --> 01:21:42,479 to rate at our movies when I was twelve for you, 1683 01:21:43,239 --> 01:21:46,760 so it I didn't see that till later. It was 1684 01:21:46,920 --> 01:21:50,239 maybe eighty six, eighty seven, probably before I saw that 1685 01:21:50,520 --> 01:21:53,479 and so, and I don't know, I'll be honest, I 1686 01:21:53,479 --> 01:21:55,680 don't remember if I saw it all in one sitting, 1687 01:21:55,760 --> 01:21:59,199 if I sat through the whole thing on HBO or something, 1688 01:21:59,279 --> 01:22:02,159 but I or on video, so I saw some of it. 1689 01:22:02,840 --> 01:22:06,079 I love the music for Purple Rain. I mean, there's 1690 01:22:06,279 --> 01:22:09,039 tons and tons of great hits from that album. But 1691 01:22:09,119 --> 01:22:11,199 I know the album better than I know the movie. 1692 01:22:11,359 --> 01:22:16,520 Speaker 7: Okay, So I was fourteen that summer and I loved 1693 01:22:16,680 --> 01:22:20,199 both soundtracks, which we are not supposed to talk about. 1694 01:22:20,239 --> 01:22:24,279 We're supposed to just talk about the films. I now 1695 01:22:24,760 --> 01:22:28,479 love many of the actors that were in Footloose, Kevin Bacon, 1696 01:22:28,720 --> 01:22:32,680 Sarah Jessica Parker. The pastor and his wife were John 1697 01:22:32,800 --> 01:22:38,279 Lithgow and Diane Weist. Yes, I had a little see 1698 01:22:38,520 --> 01:22:42,359 the trophy husband remembers things better than me. Great cast. 1699 01:22:42,520 --> 01:22:45,600 But even as a fourteen year old, there were things 1700 01:22:45,680 --> 01:22:49,760 that I thought, dialogue wise and things about the film 1701 01:22:49,800 --> 01:22:52,760 that seemed a little mainstream. And I'm going to say it. 1702 01:22:52,800 --> 01:22:53,960 Speaker 4: I'm going to say the word. 1703 01:22:53,840 --> 01:22:57,840 Speaker 7: Pedestrian just trying to appeal to the masses. 1704 01:22:58,239 --> 01:23:01,600 Speaker 6: Also, Kevin Bacon being like and playing a teenager in 1705 01:23:01,680 --> 01:23:03,159 high school was kind of a stretch, but. 1706 01:23:03,159 --> 01:23:07,640 Speaker 7: Still, well, that's grease and everything else. But Purple Rain 1707 01:23:08,680 --> 01:23:11,479 even we probably need to have a double feature and 1708 01:23:11,520 --> 01:23:16,720 rewatch these, but I felt like that was more of 1709 01:23:16,760 --> 01:23:20,680 a true film, not just a movie appealing to the masses. 1710 01:23:20,920 --> 01:23:23,600 I felt like there was more truth to the characters 1711 01:23:24,039 --> 01:23:27,520 even as a kid. I felt like it was more 1712 01:23:27,920 --> 01:23:32,319 of a film, not just a Hollywood movie. And both 1713 01:23:32,399 --> 01:23:35,039 soundtracks are great, but I think there was more depth 1714 01:23:35,760 --> 01:23:38,520 to Purple Rain. But I think we might need to 1715 01:23:38,640 --> 01:23:42,279 rewatch both of them because we are much older now. 1716 01:23:42,560 --> 01:23:47,199 But I'm definitely putting my vote for Purple Rain as best. 1717 01:23:47,399 --> 01:23:50,680 Speaker 6: I would probably vote for Footloose because I could identify 1718 01:23:50,800 --> 01:23:53,880 in the film with some of the growing up in 1719 01:23:53,960 --> 01:23:58,000 you know, kind of a pretty you know, conservative Baptist 1720 01:23:58,119 --> 01:24:00,640 church as a kid, like you start to think about 1721 01:24:00,680 --> 01:24:04,159 things like, hey, why can we dance or not dance? 1722 01:24:04,239 --> 01:24:07,399 And you know, my church wasn't really like the church 1723 01:24:07,439 --> 01:24:10,680 and Footloose at all. But seeing kids want to kind 1724 01:24:10,680 --> 01:24:13,359 of grow up and express themselves and not just be 1725 01:24:13,840 --> 01:24:17,039 you know, controlled by others, I mean, without being just 1726 01:24:17,279 --> 01:24:19,600 overtly rebellious. 1727 01:24:19,800 --> 01:24:21,079 Speaker 4: It seemed like a pretty. 1728 01:24:20,840 --> 01:24:23,279 Speaker 6: Harmless way to kind of rebel and have fun by 1729 01:24:23,359 --> 01:24:25,520 dancing with your friends. So I don't know, I thought 1730 01:24:25,520 --> 01:24:27,960 that seemed kind of cool and more relatable to me 1731 01:24:28,000 --> 01:24:31,359 as a kid than Purple Rain, which seemed much more 1732 01:24:31,439 --> 01:24:35,199 like adults living in an adult world than high school kids, 1733 01:24:35,199 --> 01:24:38,239 which I could relate to really well as an almost 1734 01:24:38,800 --> 01:24:40,079 junior high kid at the time. 1735 01:24:40,520 --> 01:24:43,520 Speaker 7: That's true, and we both actually grew up in Oklahoma, 1736 01:24:44,079 --> 01:24:47,920 where that film was set, so that probably does hit 1737 01:24:48,000 --> 01:24:51,600 closer to home. But overall, Mark is going to vote 1738 01:24:51,680 --> 01:24:55,840 Footloose and I'm going to vote Purple Rain, and we 1739 01:24:55,920 --> 01:25:01,680 both vote for Surely you can't be serious being amazing. 1740 01:25:02,439 --> 01:25:05,880 Thank you for asking for our feedback. Love you guys. 1741 01:25:06,439 --> 01:25:09,159 Speaker 1: Oh my gosh, I just want to wrap them up 1742 01:25:09,199 --> 01:25:11,560 in a little present and sticking into my pocket. They 1743 01:25:11,560 --> 01:25:14,560 are the cutest couple I've ever heard in my life. 1744 01:25:15,279 --> 01:25:18,479 Speaker 2: They are awesome. They're my dear friends. Melissa as an 1745 01:25:18,520 --> 01:25:22,720 absolute eighties junkie, and so's Mark. So she can't wait 1746 01:25:22,760 --> 01:25:24,439 for our Duran Duran episode that we're going to do 1747 01:25:24,600 --> 01:25:25,279 next year. 1748 01:25:25,439 --> 01:25:28,640 Speaker 1: So I'm excited for that one as well. Melissa is 1749 01:25:28,680 --> 01:25:32,600 always very interactive with us on Facebook and has given 1750 01:25:32,640 --> 01:25:35,680 us some really gold nuggets as far as information goes 1751 01:25:35,720 --> 01:25:38,159 over the last couple of years. So thank you, Melissa, 1752 01:25:38,239 --> 01:25:41,439 Thank you Mark. Really appreciate you guys doing this for us. 1753 01:25:41,479 --> 01:25:44,880 It means so much to us. Thank you for being followers. 1754 01:25:44,479 --> 01:25:45,119 Speaker 3: Of the podcast. 1755 01:25:45,199 --> 01:25:49,399 Speaker 2: I love that she thinks Prerople Rain is deep. Melissa, 1756 01:25:49,479 --> 01:25:53,800 thank you very much and understanding the depth of Apollonia 1757 01:25:53,920 --> 01:25:55,680 and Prince in Preple Rain? 1758 01:25:55,760 --> 01:25:58,199 Speaker 1: Did you watch rated R movies in nineteen eighty four? 1759 01:26:00,039 --> 01:26:03,800 Speaker 2: How am I going to answer that without your ground you? 1760 01:26:06,079 --> 01:26:08,960 If you want to contribute to our Shirley showcase, send 1761 01:26:09,039 --> 01:26:12,560 us an email at Shirley podcast at gmail dot com. 1762 01:26:12,600 --> 01:26:14,119 We would love to hear from. 1763 01:26:13,960 --> 01:26:16,279 Speaker 4: You one more time for old time's sake. I'm deaf 1764 01:26:16,399 --> 01:26:18,239 n To my left is Jimmy d and to my 1765 01:26:18,319 --> 01:26:20,880 right on the mic, it's Jason C. Four weeks in 1766 01:26:20,920 --> 01:26:23,359 a row on the Shirley airwaves. I guess spot on 1767 01:26:23,399 --> 01:26:25,600 the show. Well, it's got to be deaf Daves. Where's 1768 01:26:25,600 --> 01:26:27,720 your hip hop expert? Well, here he is all the 1769 01:26:27,800 --> 01:26:30,439 knowledge that I drop. You gotta be serious, you ask 1770 01:26:30,479 --> 01:26:32,680 me how I am. It's not that fear, Oh man, 1771 01:26:32,680 --> 01:26:33,640 I totally messed it up. 1772 01:26:35,119 --> 01:26:35,600 Speaker 3: Expert. 1773 01:26:35,600 --> 01:26:37,760 Speaker 4: Well, here he is all the knowledge that idrop make 1774 01:26:37,840 --> 01:26:39,960 suckers furious. You ask me how I am. It's not 1775 01:26:40,039 --> 01:26:42,439 that mysterious, Shirley, you can't be serious. 1776 01:26:42,560 --> 01:26:43,079 Speaker 2: A top tail. 1777 01:26:43,199 --> 01:26:44,960 Speaker 4: Turn it up, frass monkey in a cup to an 1778 01:26:45,000 --> 01:26:47,000 in for final judgment, you will find what's up. 1779 01:26:47,159 --> 01:26:49,960 Speaker 3: How devastating can a podcaster be. My name is David, 1780 01:26:49,960 --> 01:26:50,600 but you could. 1781 01:26:50,439 --> 01:26:54,079 Speaker 2: Call me d That is awesome, dude, way to go, man, 1782 01:26:54,319 --> 01:26:55,319 I can't believe you did that. 1783 01:26:55,920 --> 01:26:58,520 Speaker 4: This is so good. 1784 01:27:00,479 --> 01:27:02,000 Speaker 2: Oh man, that's fantastic.