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Speaker 1: And during the few moments that we have left, we

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want to talk right down to earth and the language

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that everybody here can easily understand.

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Speaker 2: Hello everybody, and welcome back to the Shirley You Can't

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Be Serious podcast. We are here today talking Living Color,

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Damon Wayne's.

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Speaker 3: And David Allen Green, Jim.

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Speaker 2: Carrey, No sorry wrong, Living Color. We are here today

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to talk about the album Vivid. We are here with

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our good friend, original Patreon subscriber, mister James Buckley. How's

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it going, James?

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Speaker 4: It is a lovely day in paradise. Anytime I can

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talk with you, guys is a good time.

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Speaker 1: It's been about about a year or so since you

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talked to allis in chains with us, right, I guess

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that was last fall.

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Speaker 4: Yeah, for a while, but I figure you guys had

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hit the bottom of the barrel again. So you called

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me a favorite albums of all time.

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Speaker 2: So this is part of our Summer of eighty eight series.

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This one came out the exact same day as Open

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Up and Say Ah by Poison? Did you buy both

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albums that day?

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Speaker 3: Not that day?

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Speaker 1: It took me until nineteen eighty nine to catch on

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to Living Color.

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Speaker 2: Yeah, James did, you know, living in Color before they

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started hitting the radio waves or MTV.

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Speaker 4: I remember hearing Cult Personality before we saw the video.

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There was a local radio station out of Streetport which

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played had a pretty good selection of rock music, and

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they were playing Cult Personality. How can you not fall

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in love with that song? But it wasn't until I

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guess early eighty nine when I finally saw the video

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and wanted a pair of body glove clothing, you know,

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right away, but still of course, yeah, And I think

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that's around the time I got the cassette because I

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remember I was a freshman in college and a guy

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in my English class he was a bass player, and

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he went I would just sit at the back of

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the classroom and geek out over the musicianship on that album.

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Speaker 2: The originator of this band is a guy named Vernon Reed.

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He's the lead guitarist at the band. I can remember

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talking to other guitarists at the time because this was

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about the time that I started playing guitar, I told

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Jason after nineteen eighty eight, and it was because I

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had started playing guitar, I got introduced to classic rock

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that I had never listened to before, and so I

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was listening to Led Zeppelin, Leonard skinnerd The Eagles, all

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these seventies bands in nineteen eighty nine. So unless it

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was a nuclear bomb song like Welcome to the Jungle

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or Cultural Personality, I didn't really know about it.

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Speaker 1: I told you I was on a ski trip and

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our buddy Patreon, Chris Bauer. You know, it was back

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in the days when you were passing off headphones and

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that's how you would share music.

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Speaker 3: Hey man, here, put my headphones on. Listen to this.

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Speaker 1: It's play like dude, that song is awesome, And that's

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how I got to know culture Personality.

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Speaker 3: Now.

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Speaker 1: The release dates on this is it's tricky because this

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album was released on May third of nineteen eighty eight.

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It did not catch fire in my neighborhood until nineteen

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eighty nine. It was a slow burner for a long time.

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Speaker 3: Before it actually caught on.

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Speaker 1: Rolling Stone ranks this as the number sixty fourth best

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album of the nineteen eighties, and it's two times platinum.

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It has hard rock, funk, metal, jazz, pop, arena, rock,

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and punk all merged together on one album. And I'm

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like evangelistic about this album. I think it's great. I

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tell everybody about it. Most people know culture personality, but

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they don't know it's packed full of great songs.

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Speaker 2: Trying to define this band or fit them into one

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particular category is pretty well impossible, they said. People would

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come up to us afterwards and go, you know, what

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kind of music is this? And they would say, well,

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what kind of music do you think it is? Because

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everybody had a different perspective on it, and it was

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they were taking from so many different musical fields and

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just amalgamizing them together. It was it was something that

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nobody had done before.

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Speaker 4: The late eighties were a weird time in heavy metal.

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A lot of the hair stuff was starting to lose

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some of it's so lower, even though I still loved

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a lot of it. You had in the Northwest. You

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had Sound Garden who were starting to come out and

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they were combining my traditional black Sabbath tap and metal

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with psychedelia and punk rock. You had Faith No More

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who were cramming heavy metal in with everything from cabaret

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jazz to punk. And then you had a Living Color.

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I mean, as you said, it was everything. It was metal,

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it was punk, it was funk, free form jazz, all

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crammed into one album and I'm still listening to what

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thirty five years later.

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Speaker 2: Yeah. Yeah, So Vernon Reed, trained as a jazz musician,

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was involved with the guy James that you had talked

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to us about, and you said you thought that his

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experience with this guy probably was key in sculpting his

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musical abilities.

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Speaker 4: Yeah. He played with a jazz drummer named Ronald Shannon

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Jackson who was a free jazz guy. You know, being

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a North Louisiana guy, have obviously have an extensive background

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in free jazz appreciation. Of course, I took one for

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the team and I went and listened to some of

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the decoding Society stuff. He played with Ronald Shannon Jackson.

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Speaker 2: Uh huh.

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Speaker 4: And it's bizarre. It's like you'll have guys playing in

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several keys at the same time, several rhythms. Sometimes it

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seems like different times signatures, but they still found a

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way to make it resolve.

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Speaker 2: There were a couple of different bands that Vernon Reed

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had called Living Color for the true Core grouperformed Okay,

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and they were more jazz. It was a totally different

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sound than what we end up with for Vivid.

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Speaker 1: These guys, their influences are led Zeppelin, Leonard Skinner van

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Halen Prince. He said Little Red Corvette was like manna

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from heaven.

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Speaker 4: Vernon also mentioned a band called The Bad Brains who

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I happened to love. And it's kind of an interesting

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story because the Bad Brains were four guys from New

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York who were like jazz musicians, but then they heard

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the Ramones and the Dead Boys and other punk bands

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and decided they wanted to start a band. And it

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was very fast, hardcore punk. I know the Living Colors

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covered their songs Sailing on a lot, but their guitarists

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was a guy named Doctor no Kunow. His real name

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is Gary Miller. I think Bernon also listed him as

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being one of his influences. So you can kind of

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see them as a follow up with the Bad Brains

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started back in the eighties.

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Speaker 3: You sent me this morning.

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Speaker 1: You sent me their cover version of Should I Stay

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or Should I Go?

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Speaker 3: By the clash.

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Speaker 5: Darling, you got to let men Noah.

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Speaker 4: You can hear a lot of the Bad Brains influence

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and the way they did that the chorus that really

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sped up chorus, that's kind of more of the Bad

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Brains approached the song.

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Speaker 1: Yeah, it sounded like somebody was messing with the record

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player back in the day when you could switch from

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thirty three to forty.

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Speaker 2: Five, you know, And they hit the double time.

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Speaker 4: Now.

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Speaker 2: They did the double time in the original Clash version

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as well, but they didn't do it. They didn't do

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it until like the end of the song, which is

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my ears. That's where you expected is it comes in

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on that end, but they kind of they took it

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and they really cranked it up right in the middle,

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and then they went back to slow again, and then

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they cranked it up again at the end as well.

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Speaker 3: It's crazy, okay.

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Speaker 1: So Vernon Reed and Corey Glover meet at a birthday party.

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Speaker 2: It was birthday.

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Speaker 1: This is Corey Glover's ex girlfriend's birthday party. So anyway,

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for what a reason, Corey Glover's ex girlfriend asks him

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to sing Happy.

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Speaker 3: Birthday to her. Not everyone, right, Yeah, I want Corey

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to sing to me.

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Speaker 1: Yeah, And Corey, in an effort to win her back,

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is going to blow the doors off singing Happy Birthday

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to her, right. Yeah, He's trying to impress her. So

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here comes Happy Birthday. But Vernon Reid catches him later

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and says, hey, man, I'm putting together a band, and

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you have a very strong singing voice.

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Speaker 3: How would you like to make music with me?

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Speaker 2: Yeah. When he came to audition for the band, there

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was another guy who was there also auditioning for the band, right,

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that's true. Yeah, And they said, okay, so we'll think

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about this. We'll give you guys a call back. And

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he was expecting to hear something, you know, a day

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or two later, and nothing for several weeks, and so

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like after several weeks, he's like, I didn't get the job.

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He was right, he didn't get the job. But then

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they had set a gig. Whoever the guy was that

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they had hired to be their lead singer bailed on them,

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and so they called him up and said, can you

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come to the song Phil, we have this gig, and

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it was he was ready. He was ready to go.

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He had for those first several days he'd been learning

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the song and sees he thought, I got this, I

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got this. It paid off because ultimately he was able

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to slide in there.

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Speaker 3: That's good.

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Speaker 1: So after that they added Will Calhoun, who was an

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award winning Berkeley College.

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Speaker 3: Of Music graduate.

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Speaker 4: Yeah, Will Calhoun, he's one of those guys up until

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when I first heard him in the late eighties. He

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really opened my eyes what you could do within a

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rock drumming context. Will came from a jazz background as well.

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I think he'd won the Buddy Rich Award. Why was

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it Burkeley, which I'm pretty sure they don't just hand out.

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When he joined Living Color, oh man, it was like

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they put John Bonham, gave him a little bit of

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musical steroids and threw in some of his jazz fusion influences.

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And Will Calhoun is just a monster. He still amazes

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me to this day.

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Speaker 3: Yeah.

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Speaker 1: Plus he looks cool. I love he's always wearing a

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tank top. He's muscled up, and he looks like he's

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on the way to the gym like he does.

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Speaker 2: He looks fierce.

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Speaker 3: He does look fierce. That's right, Hey, I'm on the

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way of the gym.

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Speaker 1: I guess I can stop and play drums for you

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and a culture personnel.

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Speaker 4: He does lots of cool little jazz influenced licks, but

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he does them in a way it sounds like a

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rock player playing. He doesn't sound like a jazz player

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trying to play rock.

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Speaker 1: After that they added muzz skillings.

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Speaker 4: Yeah, a bass player. He was another. All these guys

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are from the New York Queens area, even though Vernon

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was born in England, which I guess explains why they

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have the OU in color.

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Speaker 3: And really blame them for putting OU and anything.

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Speaker 2: But keep going.

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Speaker 4: I apologize. I see, yeah, Muzz was just an on. One

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of these guys had a jazz background. He played around

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town with some few people, and he played in some

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rock bands I think, some jazz, some funk bands, And

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I tell you, I was listening to the album closely

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this week, and he is a phenomenal player. He really

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throws in some really great bass licks.

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Speaker 2: So they had a relationship with a bass player named

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Doug Wimbush before this, and he didn't he didn't play

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with this original setup of the band, but was still

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friends with them right ultimately in nineteen ninety two, whenever

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Muzz Skilling sleeves, he comes in to become the BA player.

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But he is a key ingredient to the reason we

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know this band. He's the guy that got Rolling Stones

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Mick Jagger to come to CBGB's and listen to these

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guys play.

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Speaker 1: So I've heard a couple of different versions, but Mick

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Jagger was looking for musicians to play on his second

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solo album that was called Primitive Cool, and he invited

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Vernon Reed to come an audition for that. Corey Glover

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wasn't doing anything, so he just tagged along. Up to

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that point, Corey Glover was working as a security guard

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at Tower Records undercover, and his job was to keep

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people from shoplifting. He said, I was terrible at it

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because I let people steal records all the time.

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Speaker 2: You go ahead and take them bananas. I brought Damon

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Waims back into it Color.

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Speaker 3: Yeah.

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Speaker 1: But when they got there, Vernon Reed and Corey Glover

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standing there and they said, well, I'm here to audition

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for your band, but we also have our own band.

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Speaker 3: It's called Living Color.

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Speaker 1: And Mick Jagger said, I've heard of you guys, and

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they said, really, you've heard of us, and he said, dude, yeah,

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i've heard you were great. They're like, well, guess what,

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we got a gig next weekend. Why don't you come?

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And so he says, I'll be there and they were like,

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oh my gosh, Mick Jagger is coming to hear his play.

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So they actually had to rope off a table for him.

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He came to CBGB's to hear him play, and he said, wow,

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we need to get you on an album.

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Speaker 2: If Mick Jagger comes to Epic and says these guys

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are good, They're really really good, Epic is going to say,

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all right, well let's get him on the let's get

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him on the Parrol.

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Speaker 3: Well, here's the thing. It didn't quite go that easy.

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Speaker 1: Yeah, they actually so Mick Jagger produced two demos for them.

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He produced Which Way to America and he produced the

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demo for Glamour Boys. When they started shopping those around,

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every record company in town said no, this is and

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this is with Mick Jagger.

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Speaker 3: Hitting them up.

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Speaker 2: Yeah.

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Speaker 3: They even had one A and R guy.

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Speaker 1: Their manager went to one AIR and R guy and

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he said, Mick Jagger, what's he done lately?

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Speaker 3: Are you kidding me?

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Speaker 2: Wow?

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Speaker 1: So they ended up signing with Epic and Ed Stacium

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is the guy who produced this album. He had done

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albums with the Ramones, Talking Heads, and he was actually

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the producer for Permanent Cool for Mick Jagger, and so

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they recorded this album late in nineteen eighty seven.

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Speaker 4: It's Staceyum. It's an interesting choice because you mentioned the

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talking Heads. That'll come up later, but ed it also

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in a couple of years he would produce my favorite

286
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Motorhead album, nineteen sixteen. I think the people he recorded

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pretty much reflects what you hear in Living Color Sounds.

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You got the kind of weird alternative stuff, you got

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the pop rock, and you've got heavy metal all thrown in.

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So Ed may have been the perfect choice.

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Speaker 1: So this article that I read that you sent me

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this morning, James, I had no idea Corey Glover was

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actually I mean it kind of started off as an actor.

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I almost fell out of my chair when I realized

295
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that he was in the movie Platoon.

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Speaker 2: Well, and he was also in an army recruitment commercial

297
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where he's sitting in a little diner with some friend.

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They're like, well, what are you going to do after school?

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I don't know what are you going to any He's like,

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do something special, you know, join the army. Oh something special, Vietnam.

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I'm gonna do something specially.

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Speaker 1: Well, I'm gonna come out with this rock anthem that's

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gonna blow people's socks off, called Court of Personality.

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Speaker 3: Are you ready to dive in?

305
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Speaker 1: Track by track on this album, This is the Time,

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This is the time, Okay, first song out of the

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Gate is a song called Cult of Personality.

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Speaker 6: You want to talk right down to the language is

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everybody here can understand.

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Speaker 2: All I gotta say right now is I wish you

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guys could see what we can see, because there is

312
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a Louisian, a lawyer in a suit and tie with

313
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drumsticks swinging at the screen. It is absolutely fantastic.

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Speaker 4: If that opening, like I was saying, if that opening

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doesn't get your blood boiling and your pulster racing, you

316
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may as well just go back to your favorite swift

317
00:14:13,879 --> 00:14:17,799
albums again. And I'll do apologies to the Swifties. I

318
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know there are a lot of you out there.

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Speaker 1: But this is the power anthem. This is the best

320
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song on the album. This is one of the best

321
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songs of the eighties. You had it on your list

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00:14:24,200 --> 00:14:26,159
of eighty eight. I think you had it on your

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list of eighty eight.

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Speaker 2: You have so many new and different things going on here.

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Like we talked about the ability of these musicians to

326
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take different influences and shove them all together. But not

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only do you have that, you have a band that

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looks completely different than all of the other bands that

329
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we're seeing on MTV at the time. They are not

330
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only a band completely composed of African Americans versus all

331
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of these white guy bands that we're seeing, but instead

332
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of leather and chains, they're in like these bright spandex

333
00:15:15,039 --> 00:15:18,600
body glove style clothing, and it's just it's like, what

334
00:15:18,639 --> 00:15:20,879
the heck is going on? And then they're playing music,

335
00:15:21,000 --> 00:15:24,759
which is I mean, that opening riff is so led

336
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Zeppelin ish, but even more powerful because they're they're throwing

337
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those jazz influences in there and then coming with those

338
00:15:33,679 --> 00:15:37,679
crashing drums I mean, holy Cow. And then they put

339
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in hyper intellectual lyrics to the song, right, I mean,

340
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I didn't know what cult of personality was before I

341
00:15:44,039 --> 00:15:47,000
heard this song. I had to go find this stuff out, right,

342
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So and then once I learned about it, I'm like,

343
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holy Cow, this is an amazing phenomenon. So it comes

344
00:15:52,799 --> 00:15:57,240
from a Nikita kruzh Chef report on Stalin. The name

345
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of the report is on the cult of personality and

346
00:16:00,399 --> 00:16:04,600
its consequences, but Stalin is kind of that key definitive

347
00:16:04,679 --> 00:16:08,279
cult of personality guy, cult of personality being where you

348
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have this greater than life image, right, you know, creating

349
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an icon out of a human being, and that's what

350
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the song is all about. And not only do they

351
00:16:17,600 --> 00:16:20,440
talk about that that side of things, but then they

352
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also throw in, hey, this isn't just the bad guy Kamis.

353
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They're throwing in Kennedy right and Gandhi right. You know,

354
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it's this idea that, hey, we can take these mortal

355
00:16:31,480 --> 00:16:35,039
men and turn them into superheroes or super villains, no

356
00:16:35,080 --> 00:16:37,440
matter who they might be, because they've got some sort

357
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of charisma that, like, in our mind, creates a bigger

358
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and more powerful character.

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Speaker 3: So let's do the list.

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Speaker 1: You got Mussolini, you got Kennedy, yep, you got Gandhi,

361
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You've got Martin Luther King, you've got Malcolm X, you've

362
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got Jesus Christ alluded to you give them power in

363
00:16:57,200 --> 00:16:59,879
your God's name. But the one that they had to nick,

364
00:17:00,200 --> 00:17:01,799
they actually cut this one out.

365
00:17:01,879 --> 00:17:03,159
Speaker 2: Yeah. I was gonna say, you may have to spell

366
00:17:03,200 --> 00:17:06,279
it because you know, the software out there picks up.

367
00:17:06,440 --> 00:17:08,359
We're talking about H I T L E R.

368
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Speaker 3: And they're gonna like, thank you mix something I know

369
00:17:11,039 --> 00:17:11,519
right again.

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Speaker 2: Hyper It's it's so I mean. And that's the reason

371
00:17:14,000 --> 00:17:15,759
they took it out is that it was they were

372
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worried that it was going to become too controversial. I

373
00:17:19,240 --> 00:17:22,279
can remember listening to the solo on this song and

374
00:17:22,359 --> 00:17:25,519
saying to myself, there is no rhyme or reason, there's

375
00:17:25,559 --> 00:17:28,519
no logic to what this guy is playing. And it's

376
00:17:28,559 --> 00:17:32,160
still blowing my freaking mind. Like it's all over the place.

377
00:17:32,400 --> 00:17:35,039
It doesn't follow any kind of you know, what you

378
00:17:35,079 --> 00:17:38,200
would expect as a pattern or scale, and it's still

379
00:17:38,400 --> 00:17:39,480
absolutely singable.

380
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Speaker 3: Yeah, it's like somebody.

381
00:17:40,680 --> 00:17:43,200
Speaker 1: Spilled a box of belts, you know. It Just it's

382
00:17:43,279 --> 00:17:45,839
all over the place. It's chaotic and it's awesome.

383
00:17:45,920 --> 00:17:49,200
Speaker 4: It's controlled chaos, and you look at Vernon's musical background

384
00:17:49,599 --> 00:17:51,279
you figure out where someone that came from. But like

385
00:17:51,319 --> 00:17:53,599
you guys said, it doesn't really make any melodic sense,

386
00:17:53,680 --> 00:17:55,880
but it somehow it works from the top of the

387
00:17:55,880 --> 00:17:57,440
guitar songs of all time, I think.

388
00:17:57,960 --> 00:17:58,400
Speaker 2: Yeah.

389
00:17:58,480 --> 00:18:01,400
Speaker 1: I heard the producer talking about it, said that Vernon

390
00:18:01,440 --> 00:18:04,440
Reed did it one time, hailed it. He said, he

391
00:18:04,440 --> 00:18:06,839
didn't give him any directions. He said, you don't f

392
00:18:07,200 --> 00:18:08,440
with art, right.

393
00:18:08,640 --> 00:18:10,519
Speaker 2: They caught lightning in a bottle for sure. Yeah.

394
00:18:10,559 --> 00:18:11,759
Speaker 3: So here's the interesting thing.

395
00:18:11,880 --> 00:18:16,480
Speaker 1: They discovered this riff when they were trying to practice

396
00:18:16,519 --> 00:18:19,119
another song like they stumbled upon it.

397
00:18:19,200 --> 00:18:22,720
Speaker 2: Yeah, it actually came from Corey Glover humming something and

398
00:18:22,759 --> 00:18:25,680
then Vernon Reid hearing something in what he hummed and

399
00:18:25,720 --> 00:18:29,000
trying to recreate that on the guitar. That's where it hits.

400
00:18:29,160 --> 00:18:32,039
And then they're like, okay, well you know what are

401
00:18:32,039 --> 00:18:35,000
the lyrics? And Vernon Red opens up this little notebook

402
00:18:35,000 --> 00:18:37,960
that he has, first page that he comes to says,

403
00:18:38,400 --> 00:18:40,759
look in my eyes, what do you see? They called

404
00:18:40,759 --> 00:18:41,519
the personality?

405
00:18:41,839 --> 00:18:43,599
Speaker 4: Reid said that that riff, he said it had a

406
00:18:43,680 --> 00:18:46,119
Zeppelin vibe, but it also had what he called a

407
00:18:46,160 --> 00:18:49,240
Mahavish New Orchestra vibe. Mahavish New Orchestra one of those

408
00:18:49,279 --> 00:18:51,960
crazy jazz fusion acts from the seventies who would play

409
00:18:52,000 --> 00:18:54,240
in Life one thirty seven eight times, gen for time

410
00:18:54,319 --> 00:18:56,920
signature and stuff like that. So once again there's this

411
00:18:57,000 --> 00:18:59,839
hard rock in his jazz influences getting slammed together and

412
00:19:00,000 --> 00:19:01,799
I'm up with one of the great risks of all time.

413
00:19:02,000 --> 00:19:05,839
Speaker 1: By the way, in the studio, Ed Staceyum rearranged the song.

414
00:19:05,920 --> 00:19:08,279
So they had been playing this for years, right, they'd

415
00:19:08,279 --> 00:19:10,880
played this like thousands of times at CBGB's and stuff

416
00:19:10,920 --> 00:19:13,480
like that. Vernon Reid said, what you guys hear on

417
00:19:13,519 --> 00:19:15,960
the record is not what we had been playing for

418
00:19:16,039 --> 00:19:17,240
those first thousand times.

419
00:19:17,319 --> 00:19:19,359
Speaker 3: He made us put the hook at the beginning of

420
00:19:19,440 --> 00:19:19,799
the song.

421
00:19:19,920 --> 00:19:21,519
Speaker 1: When we look back on it, we're like, how did

422
00:19:21,559 --> 00:19:23,160
we not start with that great hook?

423
00:19:23,559 --> 00:19:25,519
Speaker 3: Yeah, that's what a good producer will do for you.

424
00:19:25,599 --> 00:19:27,519
Speaker 4: There's just a lot going on in the song. Man,

425
00:19:27,599 --> 00:19:28,400
it's all awesome.

426
00:19:28,599 --> 00:19:32,640
Speaker 1: Let's talk about the importance of Michael Jackson's smooth Criminal

427
00:19:32,759 --> 00:19:33,839
on Curlt's personality.

428
00:19:35,119 --> 00:19:37,160
Speaker 2: This is a story I've been waiting to hear. I

429
00:19:37,240 --> 00:19:39,440
deliberately did not go and look this up because you

430
00:19:39,519 --> 00:19:41,279
mentioned it. I'm like, this is a story. I want

431
00:19:41,319 --> 00:19:43,599
to just sit down and sit by the campfire and

432
00:19:43,599 --> 00:19:44,480
hear the story. Give out.

433
00:19:44,440 --> 00:19:45,960
Speaker 3: Okay, all right, So here's the deal.

434
00:19:46,440 --> 00:19:49,480
Speaker 1: Here's what we have to understand is that this album

435
00:19:49,599 --> 00:19:52,640
was released in May of nineteen eighty eight. It basically

436
00:19:52,759 --> 00:19:57,279
did nothing in the United States until April of eighty nine. Okay,

437
00:19:58,079 --> 00:20:00,559
so what's going on within that year, Well, they had

438
00:20:00,599 --> 00:20:03,960
released a couple of singles in Britain, but it hadn't broken,

439
00:20:04,440 --> 00:20:07,960
hadn't done anything in the US, and so Epic basically

440
00:20:08,039 --> 00:20:11,799
said to MTV, we will not give you Michael Jackson's

441
00:20:11,799 --> 00:20:15,440
smooth criminal video until you put Cult of Personality in

442
00:20:15,519 --> 00:20:16,240
heavy rotation.

443
00:20:16,440 --> 00:20:17,039
Speaker 2: Wow.

444
00:20:17,079 --> 00:20:19,559
Speaker 1: And at that moment when the King of Pop holds

445
00:20:19,599 --> 00:20:23,960
his video back, MTV is like, okay, deal heavy rotation

446
00:20:24,039 --> 00:20:26,720
for Cult Personality and that causes it to go through

447
00:20:26,720 --> 00:20:30,720
the room. So Michael Jackson and Mick Jagger have a

448
00:20:30,960 --> 00:20:34,880
huge impact on this success of Believing Color Awesome. By

449
00:20:34,920 --> 00:20:37,519
the way, they won the Grammy for Best Hard Rock

450
00:20:37,559 --> 00:20:41,599
Performance for this song. I watched the actual presentation. It

451
00:20:41,640 --> 00:20:44,000
was presented by Cindy Lauper and the B fifty twos.

452
00:20:44,519 --> 00:20:47,960
They also won the MTV Music Award for Best New

453
00:20:48,079 --> 00:20:52,440
Artist and Best Group Video. This was actually presented by

454
00:20:52,559 --> 00:20:57,000
Mick Jagger on stage because they opened. They opened for

455
00:20:57,039 --> 00:21:00,440
the Rolling Stones during the Steel Wills tour in September

456
00:21:00,519 --> 00:21:03,200
of eighty nine. Now listen, on this tour you had

457
00:21:03,440 --> 00:21:06,759
Living Color, Guns N' Roses and the Rolling Stones and

458
00:21:06,880 --> 00:21:08,319
James you just said your wife was.

459
00:21:08,519 --> 00:21:09,799
Speaker 3: She just came out and told us.

460
00:21:09,680 --> 00:21:11,039
Speaker 2: She was, that she was there.

461
00:21:11,279 --> 00:21:13,160
Speaker 4: She saw it down in New Orleans.

462
00:21:13,440 --> 00:21:17,480
Speaker 1: That would have been one amazing concert, especially at that moment,

463
00:21:17,720 --> 00:21:21,759
and actually Living Color kind of got in a war

464
00:21:21,799 --> 00:21:25,720
of words with Axel Rose over the lyrics.

465
00:21:25,720 --> 00:21:26,519
Speaker 3: To one in a million.

466
00:21:26,640 --> 00:21:28,920
Speaker 4: Yeah, Axel, Yeah. He I think he had a daily

467
00:21:28,960 --> 00:21:31,000
list of people to tick off, and Vernon and the

468
00:21:31,039 --> 00:21:33,200
boys just happened to make it that day. The video

469
00:21:33,359 --> 00:21:35,559
blew away a lot of folks and opened up a

470
00:21:35,599 --> 00:21:37,960
lot of ears and eyes. I found that great quote

471
00:21:37,960 --> 00:21:40,240
from Tom Morello for Rage against the Machine.

472
00:21:40,640 --> 00:21:41,680
Speaker 3: Yes, he said that.

473
00:21:41,720 --> 00:21:44,440
Speaker 4: I was absolutely blown away that queerly there were other

474
00:21:44,480 --> 00:21:48,000
African Americans who unapologetically love led Zeppelin and wanted to

475
00:21:48,000 --> 00:21:48,319
shrew it.

476
00:21:48,519 --> 00:21:48,680
Speaker 2: You know.

477
00:21:48,759 --> 00:21:51,960
Speaker 1: De mentioned the body glove that Corey Glover wears in

478
00:21:51,960 --> 00:21:54,400
that video. He said when he was shopping, he was like,

479
00:21:54,480 --> 00:21:56,359
you know, I want something kind of splashy.

480
00:21:56,400 --> 00:21:57,160
Speaker 3: I want to look cool.

481
00:21:57,440 --> 00:22:00,000
Speaker 1: Well, body Glove took notice of that, and they started

482
00:22:00,160 --> 00:22:02,640
sending him stuff to wear for his concert. He said,

483
00:22:02,720 --> 00:22:06,480
everything that sent me looked more and more like superheroes. Okay,

484
00:22:06,640 --> 00:22:10,200
the Billboard Hot one hundred for May sixth, nineteen eighty nine. Okay,

485
00:22:10,240 --> 00:22:11,960
I've got to roll through this real quick. Okay, but

486
00:22:12,119 --> 00:22:14,240
what number did this? Do we know what number? The

487
00:22:14,279 --> 00:22:16,319
shit thirteen is where it topped out.

488
00:22:16,440 --> 00:22:19,680
Speaker 3: That's nuts thirteen Okay.

489
00:22:19,319 --> 00:22:21,400
Speaker 2: So that means that people thought there were twelve songs

490
00:22:21,400 --> 00:22:21,799
better than that.

491
00:22:21,960 --> 00:22:24,720
Speaker 1: Now the twelve songs that are quote unquote better than this.

492
00:22:25,160 --> 00:22:26,799
I told you this is like a list of my

493
00:22:26,839 --> 00:22:28,680
mom's favorite songs from nineteen eighty nine.

494
00:22:28,759 --> 00:22:30,920
Speaker 3: Okay, all right, so here you go.

495
00:22:30,960 --> 00:22:33,200
Speaker 1: I want to start at fifteen because we're getting ready

496
00:22:33,240 --> 00:22:35,480
to do rain Man here in a few months. And

497
00:22:35,559 --> 00:22:38,200
so at number fifteen you have ico Ico by the

498
00:22:38,240 --> 00:22:42,240
Bell Stars, popular from the movie rain Many. Number fourteen

499
00:22:42,359 --> 00:22:45,480
rock On by Michael Damien, soap opera star Michael Damien,

500
00:22:45,640 --> 00:22:46,440
I actually.

501
00:22:46,160 --> 00:22:46,720
Speaker 2: Liked that song.

502
00:22:46,799 --> 00:22:47,440
Speaker 3: That's a good song.

503
00:22:47,880 --> 00:22:50,599
Speaker 1: Then you have cult personality. Then you have the song

504
00:22:50,680 --> 00:22:55,279
thinking of You by Sapphire. Okay, gets number eleven Heaven

505
00:22:55,319 --> 00:22:58,960
Helped Me by dion Estes. She drives Me Crazy by

506
00:22:58,960 --> 00:22:59,920
the fine Young Cannibals.

507
00:23:00,000 --> 00:23:02,759
Speaker 2: I would rather have a nail up my foot to

508
00:23:03,119 --> 00:23:07,519
can currect me. Please, don't you have room to move?

509
00:23:07,559 --> 00:23:10,000
Speaker 1: By an emotion which we talked about last week. Right,

510
00:23:10,119 --> 00:23:12,759
you have Soldier of Love by Donnie Osmond. Oh my god,

511
00:23:12,839 --> 00:23:15,119
Donny Osmond beats out cult personality?

512
00:23:15,160 --> 00:23:16,000
Speaker 3: Are you kidding me?

513
00:23:16,559 --> 00:23:16,920
Speaker 2: Nuts?

514
00:23:17,160 --> 00:23:17,680
Speaker 3: After all?

515
00:23:17,720 --> 00:23:21,039
Speaker 1: By Peter Satara and share second Chance by thirty eight, Special,

516
00:23:21,160 --> 00:23:24,480
Forever Your Girl by Paula Abdul Funky, Cale Medina by

517
00:23:24,480 --> 00:23:27,480
Tone Loke, Real Love by Jodie Wattley, I'll Be There

518
00:23:27,519 --> 00:23:28,680
for You by Bon Jovie, and.

519
00:23:28,759 --> 00:23:30,000
Speaker 3: Like a Prayer by Madonna.

520
00:23:30,079 --> 00:23:30,640
Speaker 2: Wow.

521
00:23:30,680 --> 00:23:32,160
Speaker 3: That's a little bit of a rough list.

522
00:23:32,440 --> 00:23:34,920
Speaker 2: Some of those are decent songs, but most of them

523
00:23:34,960 --> 00:23:37,799
are not, and none of them are better than this song.

524
00:23:38,160 --> 00:23:38,799
I agree with that.

525
00:23:39,160 --> 00:23:41,519
Speaker 1: I agree with that Cult Personality is the best song

526
00:23:41,559 --> 00:23:42,680
on that list for sure.

527
00:23:42,759 --> 00:23:45,160
Speaker 2: Okay, guys, time to move on. I hate to do

528
00:23:45,240 --> 00:23:47,839
it because this is such a nuclear bomb of a song,

529
00:23:48,000 --> 00:24:02,319
but song number two on the album I want to Know.

530
00:24:08,119 --> 00:24:10,000
Speaker 4: I think it's kind of funny that you're discussing this

531
00:24:10,119 --> 00:24:13,240
album in tandem with a Poison album, because honestly, the

532
00:24:13,319 --> 00:24:15,039
riff of this song I could have seen it being

533
00:24:15,039 --> 00:24:17,160
on any a big hair metal hit. It just shows

534
00:24:17,200 --> 00:24:19,519
the variety of the band. This is more of their upbeat,

535
00:24:19,599 --> 00:24:22,480
poppy side. I love it. It's got a great riff, great solo,

536
00:24:22,640 --> 00:24:25,319
Corey Glover singing his tail off as usual. This should

537
00:24:25,319 --> 00:24:26,480
have been a massive hit as well.

538
00:24:26,960 --> 00:24:28,519
Speaker 3: I think you're right. I think it's poppy.

539
00:24:30,119 --> 00:24:30,359
Speaker 7: I know.

540
00:24:31,920 --> 00:24:40,960
Speaker 3: Side melodic, is kind of fun.

541
00:24:41,039 --> 00:24:43,519
Speaker 2: It's toe tapper, Like you said, the music is some

542
00:24:43,759 --> 00:24:46,920
very hair band ish. Honestly, it kind of it predates it,

543
00:24:46,960 --> 00:24:49,799
I know, but it kind of reminds me of the

544
00:24:50,000 --> 00:24:53,039
song from Dumb and Dumber She don't eat meat, but

545
00:24:53,079 --> 00:24:54,319
she sure likes the bone song.

546
00:24:54,359 --> 00:24:57,880
Speaker 4: What's that called? What was by a Louisiana.

547
00:24:57,279 --> 00:25:00,000
Speaker 2: Band, dig new age girl, so similar, so out of that,

548
00:25:00,039 --> 00:25:03,279
And I said, I realized it predates it. The lyrics though,

549
00:25:03,480 --> 00:25:05,720
like it's almost like a new kid's on the block

550
00:25:05,799 --> 00:25:09,079
boy band style on these lyrics. I mean it's and

551
00:25:09,119 --> 00:25:12,240
he I think they've they've doubled his or maybe even

552
00:25:12,400 --> 00:25:15,400
tripled or quadrupled his voice to give that kind of

553
00:25:15,440 --> 00:25:19,319
harmony sound to it. But it is, it's very it's

554
00:25:19,440 --> 00:25:21,279
very boy band on the lyrics side of things.

555
00:25:21,279 --> 00:25:23,400
Speaker 4: On the song, it's got an epic guitar solo at

556
00:25:23,400 --> 00:25:24,880
the end, which you know would not have been out

557
00:25:24,880 --> 00:25:27,000
of place on a darking song or something like that.

558
00:25:27,119 --> 00:25:30,079
Speaker 1: According to vernon Read, this song is about unrequited angst,

559
00:25:30,279 --> 00:25:32,400
and he says there's some lyrics in this song.

560
00:25:32,200 --> 00:25:33,720
Speaker 3: That he would take back today.

561
00:25:33,920 --> 00:25:36,559
Speaker 1: So there's some things even when you talk about like

562
00:25:36,799 --> 00:25:39,519
a male crushing on a female. Some things he wrote

563
00:25:39,519 --> 00:25:43,000
in there, like I'm standing in the shadows baby, he

564
00:25:43,079 --> 00:25:45,519
said with the me Too movement, he's not as comfortable

565
00:25:45,559 --> 00:25:48,240
with those lyrics as he once was, and so he

566
00:25:48,240 --> 00:25:49,519
would probably change those today.

567
00:25:49,519 --> 00:25:51,359
Speaker 3: But I don't care. I think this is a great song.

568
00:25:51,799 --> 00:25:54,359
I love it, or two for two right out of

569
00:25:54,400 --> 00:25:54,880
the gate for me.

570
00:25:55,160 --> 00:25:57,680
Speaker 4: Well, I mean standing in the metaphorical shadows doesn't really

571
00:25:57,720 --> 00:26:00,680
quite have the same do it.

572
00:26:00,799 --> 00:26:03,559
Speaker 2: So there's a Police song from nineteen eighty three that'll

573
00:26:03,599 --> 00:26:06,200
put this on the day, that's true.

574
00:26:06,279 --> 00:26:08,519
Speaker 4: I do not skip a single track on this album,

575
00:26:08,880 --> 00:26:10,759
and I think almost any one of them could have

576
00:26:10,759 --> 00:26:13,720
been a hit. So this is clearly proves my point.

577
00:26:13,839 --> 00:26:14,519
Speaker 3: I totally agree.

578
00:26:14,599 --> 00:26:17,480
Speaker 2: Okay, moving on to song number three on the album,

579
00:26:17,960 --> 00:26:40,559
Middleman all Right, another Jimmy Page influenced click to start

580
00:26:40,559 --> 00:26:44,359
this song out the guitar on this is so freaking awesome.

581
00:26:44,359 --> 00:26:47,000
I love it. He's got a phaser in there giving

582
00:26:47,000 --> 00:26:50,960
it this kind of lanngee wah sound. I dig it.

583
00:26:51,279 --> 00:26:57,720
I like this song a lot.

584
00:27:06,880 --> 00:27:08,319
Speaker 4: Was this one released as a single.

585
00:27:08,519 --> 00:27:09,359
Speaker 3: This was released.

586
00:27:09,400 --> 00:27:12,359
Speaker 1: This was the first single released in May of eighty

587
00:27:12,400 --> 00:27:13,160
eight in the.

588
00:27:13,160 --> 00:27:15,319
Speaker 3: UK, not in the US, though.

589
00:27:15,640 --> 00:27:17,759
Speaker 4: I can't understand this one not being a smash shit

590
00:27:17,880 --> 00:27:20,799
either mean lyrically, it's very deep. The music is it

591
00:27:20,960 --> 00:27:24,839
called fantastic music. Will Calhoun plays some incredible drums on

592
00:27:24,880 --> 00:27:27,640
the s Vernon plays another ethic solo. I mean, all

593
00:27:27,640 --> 00:27:29,119
the Living Color trademarks are here.

594
00:27:29,720 --> 00:27:30,079
Speaker 3: Okay.

595
00:27:30,519 --> 00:27:32,960
Speaker 1: The most amazing thing about this song is how we

596
00:27:33,000 --> 00:27:36,559
got the lyrics to it. This comes from the suicide

597
00:27:36,640 --> 00:27:39,279
note that Corey Glover wrote from when he was a teenager.

598
00:27:39,440 --> 00:27:42,279
Speaker 2: Gosh, you know this story, Oh tell me more.

599
00:27:42,359 --> 00:27:44,559
Speaker 1: So Corey Glover, I guess, had kind of had it

600
00:27:44,599 --> 00:27:46,759
with everybody. He was caught in the middle of everybody's

601
00:27:46,799 --> 00:27:50,079
mess and sort of the tug of life, and he

602
00:27:50,119 --> 00:27:53,240
wrote out a suicide letter, I'm sick of this. I'm

603
00:27:53,279 --> 00:27:54,640
tired of being in the middle. I don't want to

604
00:27:54,640 --> 00:27:56,799
be caught in this anymore, tired to be in the middleman.

605
00:27:57,039 --> 00:27:59,640
So when Vernon Reied writes the music to this, he

606
00:27:59,680 --> 00:28:07,920
pulls out that letter and that becomes song Middleman.

607
00:28:04,400 --> 00:28:17,599
Speaker 2: But wow.

608
00:28:18,000 --> 00:28:20,519
Speaker 1: Actually he was talking about this during an interview and

609
00:28:20,640 --> 00:28:23,440
Vernon reed this is the first song they collaborated on together.

610
00:28:23,640 --> 00:28:25,920
And Vernon Reed's sitting there He's like, what are you

611
00:28:26,039 --> 00:28:30,160
talking about? He had no idea they had written it,

612
00:28:30,359 --> 00:28:32,359
they had recorded it, they put it on the album,

613
00:28:32,519 --> 00:28:33,799
and he had no idea that it.

614
00:28:33,759 --> 00:28:34,960
Speaker 2: Was written form a suicide note.

615
00:28:35,160 --> 00:28:35,640
Speaker 4: Wow.

616
00:28:36,079 --> 00:28:37,240
Speaker 3: I thought that was fantastic.

617
00:28:37,359 --> 00:28:40,200
Speaker 1: By the way, whenever they opened for the Rolling Stones,

618
00:28:40,400 --> 00:28:42,480
this was the song they opened with. They took the

619
00:28:42,519 --> 00:28:47,279
stage and they said, hey everyone, We're a living color

620
00:28:47,599 --> 00:28:49,400
and no no, no, no, no, no no.

621
00:28:49,960 --> 00:28:50,920
Speaker 3: And that's how they started.

622
00:28:51,079 --> 00:28:53,200
Speaker 4: And then I know you liked the cross handed drum

623
00:28:53,240 --> 00:28:53,720
build up.

624
00:28:55,119 --> 00:28:55,960
Speaker 3: I did.

625
00:28:56,319 --> 00:28:58,640
Speaker 1: I text you say, hey, man, can you can you

626
00:28:58,680 --> 00:29:00,839
do that? You sent me a video about ten seconds later.

627
00:29:00,880 --> 00:29:02,440
Have you cross handed drumming?

628
00:29:02,720 --> 00:29:05,519
Speaker 4: Yeah? It looks it looks cool, but it's not that

629
00:29:05,640 --> 00:29:07,400
hard compared to the rest of the stuff he plays

630
00:29:07,440 --> 00:29:10,359
on this album. Oh my god, guys, an absolute beast.

631
00:29:10,559 --> 00:29:12,319
This song is one of my top three or four

632
00:29:12,359 --> 00:29:13,559
favorite songs on the album.

633
00:29:13,680 --> 00:29:17,279
Speaker 3: Okay, I love it, fantastic. Three for three, All right, yes,

634
00:29:17,440 --> 00:29:18,119
three for three.

635
00:29:18,400 --> 00:29:21,680
Speaker 2: We're on to number four. This song is called Desperate

636
00:29:21,720 --> 00:29:45,599
People Now. On this one, I got all kinds of

637
00:29:45,680 --> 00:29:49,480
Aerosmith going on. This is so strong on the Aerosmith

638
00:29:49,599 --> 00:29:50,559
vibe that.

639
00:29:50,680 --> 00:29:53,599
Speaker 3: Dun Dunda Dunda du du Yeah, Okay.

640
00:29:53,480 --> 00:29:56,480
Speaker 2: This is a great, great build for the beginning of

641
00:29:56,519 --> 00:29:59,319
the song, and they keep on building, they keep on building,

642
00:29:59,359 --> 00:30:01,839
and then you get that primal yell by Corey. I

643
00:30:02,000 --> 00:30:03,880
was I was just like, whoa, this is going to

644
00:30:03,920 --> 00:30:05,759
go somewhere. And then when they come in with the lyrics,

645
00:30:05,759 --> 00:30:08,240
he's got that gruff voice going on instead of his

646
00:30:08,279 --> 00:30:11,880
more melodic voice, and it's hitting all those hair metal

647
00:30:12,079 --> 00:30:15,400
feels that I needed to hear back in nineteen eighty nine.

648
00:30:15,519 --> 00:30:18,039
Speaker 4: I love it. I love how that chaotic opening sequence

649
00:30:18,119 --> 00:30:21,599
just goes straight into that monster riff and Corey's voice

650
00:30:21,640 --> 00:30:23,880
on this one. Man, I'm with d on this. I

651
00:30:24,000 --> 00:30:26,119
like he shows the more aggressive side of a singing

652
00:30:26,240 --> 00:30:28,400
and a couple of those whales he does this make

653
00:30:28,480 --> 00:30:30,640
the non existent hair stand up on the back of

654
00:30:30,680 --> 00:30:31,039
my neck.

655
00:30:33,079 --> 00:30:36,039
Speaker 1: Yeah, so you got that interesting that fast rock and start,

656
00:30:36,200 --> 00:30:48,119
and then it slows into this this power rock anthem

657
00:30:48,640 --> 00:30:52,079
You a Paper. I told Dee that I thought this

658
00:30:52,119 --> 00:30:53,480
was one of the best songs on the album. I

659
00:30:53,559 --> 00:30:56,079
love it, and I'm with you, guys, Corey's vocals on

660
00:30:56,119 --> 00:30:59,160
this song, outside of Culture Personality, may be the strongest

661
00:30:59,160 --> 00:30:59,759
on the album.

662
00:31:00,039 --> 00:31:01,400
Speaker 3: I love what he's doing on this song.

663
00:31:02,000 --> 00:31:04,640
Speaker 4: Particularly after the guitar solo that comes in, his voice

664
00:31:04,680 --> 00:31:07,200
even gets a little harsher and gruffer, and I like that.

665
00:31:07,279 --> 00:31:09,400
The intensity of the song just builds all the way

666
00:31:09,440 --> 00:31:09,880
to the end.

667
00:31:10,039 --> 00:31:10,680
Speaker 3: So interesting.

668
00:31:10,759 --> 00:31:13,240
Speaker 1: The lyrics on this song, Vernon Reed talks about how

669
00:31:13,279 --> 00:31:16,960
this song is definitely about addiction, but also about the

670
00:31:17,039 --> 00:31:20,960
people in your life that encourage addiction. He even brings

671
00:31:21,039 --> 00:31:23,559
up the old cliche that misery loves company.

672
00:31:23,720 --> 00:31:25,519
Speaker 4: There was a line where says you get your sun

673
00:31:25,599 --> 00:31:27,680
shine from a tab of paper, which I guess I

674
00:31:27,720 --> 00:31:31,119
assume that meant somebody taking someone llucinogenics or LSD or something.

675
00:31:31,119 --> 00:31:33,920
So yeah, it was definitely its abuse element to this.

676
00:31:34,240 --> 00:31:36,920
Speaker 1: There is a breakdown in the middle of this song

677
00:31:37,759 --> 00:31:39,640
that I just I love.

678
00:31:39,799 --> 00:31:41,160
Speaker 3: I think it's fantastic.

679
00:32:00,039 --> 00:32:02,880
Speaker 4: And that chunky rhythm part, Man, I love that the

680
00:32:02,960 --> 00:32:07,079
rhythm guitar in this burning is a mean. He can

681
00:32:07,160 --> 00:32:09,599
play these incredible epic solos and he can play just

682
00:32:09,640 --> 00:32:12,839
the most bad a rhythm part. You gotta love the

683
00:32:12,880 --> 00:32:15,400
guy again. I mean, we're what four for four now

684
00:32:15,920 --> 00:32:17,680
four for four not bad odds?

685
00:32:17,759 --> 00:32:20,799
Speaker 2: Okay, we are moving on to what I would say

686
00:32:20,839 --> 00:32:23,640
is my second favorite song on the album. This one

687
00:32:23,960 --> 00:32:27,079
is a little slower, a little smoother. This one's called

688
00:32:27,200 --> 00:32:28,799
Open Letter to a landboll.

689
00:32:33,039 --> 00:32:39,759
Speaker 8: Now you can terri banding down, but you canny race.

690
00:32:41,160 --> 00:32:49,759
Speaker 7: Memory. These houses made of all.

691
00:32:51,079 --> 00:33:05,039
Speaker 8: Down, but they have a vain you can't see.

692
00:33:05,880 --> 00:33:11,000
Speaker 2: So again, just amazing change and still beauty. You've got

693
00:33:11,319 --> 00:33:14,680
Vernon playing this muted guitar. It's so subtle you almost

694
00:33:14,680 --> 00:33:18,160
don't hear it, but they're doing a little harmonizing behind,

695
00:33:18,240 --> 00:33:21,079
using the os behind it. Yeah, it's so like a

696
00:33:21,720 --> 00:33:25,920
choir at a church. He comes in singing such a

697
00:33:25,960 --> 00:33:30,599
soulful beginning to this song. It is sweet and beautiful,

698
00:33:30,799 --> 00:33:32,839
and then all of a sudden they come in with

699
00:33:32,839 --> 00:33:34,519
the drums and just start cranking away.

700
00:33:34,720 --> 00:33:37,480
Speaker 4: Jason and I texting about this album, one of the

701
00:33:37,480 --> 00:33:39,960
things we both really appreciated was how they managed to

702
00:33:40,000 --> 00:33:43,680
address social issues without getting overly preachy. And this song

703
00:33:43,799 --> 00:33:46,319
was about the gentrification of some of the poor neighborhoods

704
00:33:46,319 --> 00:33:47,960
in New York at the time, how the buildings for

705
00:33:48,000 --> 00:33:50,599
people to live for generations were being torn down and

706
00:33:50,640 --> 00:33:53,039
replaced by newer buildings that the people who lived there

707
00:33:53,039 --> 00:33:56,000
previously couldn't afford and they make it to a really beautiful,

708
00:33:56,000 --> 00:33:58,279
compelling song, but it doesn't feel like they're preaching at you.

709
00:33:58,440 --> 00:34:01,240
Speaker 1: Yeah, I would say that the verse is are sad

710
00:34:01,359 --> 00:34:20,559
and angry, but the chorus is uplifting. I texted you,

711
00:34:20,639 --> 00:34:23,400
I'm like, this song is so beautiful it needs strings.

712
00:34:23,599 --> 00:34:25,760
I would love to hear this song played by the

713
00:34:25,840 --> 00:34:27,679
London Symphony or something like that.

714
00:34:27,760 --> 00:34:30,840
Speaker 3: I read how Vernon Reid was talking about how.

715
00:34:30,760 --> 00:34:34,000
Speaker 1: The Black Rock Coalition group that he helped form, was

716
00:34:34,119 --> 00:34:36,760
very concerned that some of the buildings had been torn

717
00:34:36,840 --> 00:34:38,519
down to make way for the gap.

718
00:34:38,639 --> 00:34:40,880
Speaker 4: There was a guy named Tracy Morris who was another

719
00:34:41,000 --> 00:34:43,079
member of the Black Rock Coalition. He was more a

720
00:34:43,119 --> 00:34:46,280
poet than a musician, but evidently he worked with Vernon.

721
00:34:46,360 --> 00:34:48,480
He gave Vernon some of the stanzas and lines for

722
00:34:48,559 --> 00:34:51,239
that song, and Vernon incorporated it into the overall song.

723
00:34:51,480 --> 00:34:54,000
This is another great example of what incredible musicians these

724
00:34:54,000 --> 00:34:56,639
guys are. We talked about it. The dynamics, that soft

725
00:34:56,719 --> 00:35:00,159
general opening, really crunchy choruses, and at the end that

726
00:35:00,159 --> 00:35:03,519
big fade out with all the background vocals. It's just masterpiece.

727
00:35:03,639 --> 00:35:05,840
Did they perform this one on Satday Night? Live. Maybe

728
00:35:05,880 --> 00:35:09,119
I know they performed Cult of Personality.

729
00:35:08,440 --> 00:35:11,400
Speaker 1: But it probably was this song that they did on

730
00:35:11,480 --> 00:35:12,199
Saturday Night Live.

731
00:35:12,360 --> 00:35:15,119
Speaker 4: That article I've showed you guys. It was a funny

732
00:35:15,119 --> 00:35:17,960
line in it. There's a singer named was John Witherspoon.

733
00:35:18,000 --> 00:35:20,079
It's for a heavy metal band called seven Dust.

734
00:35:20,599 --> 00:35:20,960
Speaker 2: Uh huh.

735
00:35:21,000 --> 00:35:22,840
Speaker 4: I said, they just mentioned the title of this song

736
00:35:22,880 --> 00:35:25,760
to him, an instantly he sang the first verse. That

737
00:35:25,760 --> 00:35:27,480
was a pretty big influence on him as well.

738
00:35:27,599 --> 00:35:29,679
Speaker 2: Okay, so this is one of the singles off of

739
00:35:29,719 --> 00:35:33,320
the album. Yes had a video with it. Yes video

740
00:35:33,400 --> 00:35:36,519
was directed by Drew Carolyn, who was the same guy

741
00:35:36,519 --> 00:35:39,239
who directed the Cult of Personality video. Uh huh. They

742
00:35:39,280 --> 00:35:42,000
shot a bunch of live footage at a place called

743
00:35:42,199 --> 00:35:46,239
Toad's Place in New Haven in front of a live audience.

744
00:35:46,840 --> 00:35:49,599
Adam Command. But this was right before they left on

745
00:35:49,639 --> 00:35:51,199
the Steel Wheels tour with.

746
00:35:51,719 --> 00:35:54,639
Speaker 4: And I do know that from listening to this cassette

747
00:35:54,719 --> 00:35:57,039
over and over again, back and forth to school, that

748
00:35:57,119 --> 00:35:58,800
this was the last song on side once you know

749
00:35:58,840 --> 00:35:59,400
what that means.

750
00:35:59,599 --> 00:36:02,360
Speaker 1: It's Bud your tap player, kick it out, flip it

751
00:36:02,400 --> 00:36:23,159
over for side to first song is funny Vibe.

752
00:36:25,639 --> 00:36:28,599
Speaker 2: So the beginning of this song, I'm like, ooh, this

753
00:36:28,679 --> 00:36:32,360
is like STP came and stole this stuff from them. Man,

754
00:36:32,440 --> 00:36:37,119
this is so free grunge music. I'm totally digging it.

755
00:36:37,400 --> 00:36:39,960
And then all of a sudden they totally switch gears

756
00:36:40,320 --> 00:36:44,639
and they go into this very jazzy lead going on

757
00:36:44,760 --> 00:36:48,079
lead riff and must skillings is just slapping the crap

758
00:36:48,119 --> 00:36:49,840
out of the base on the song. And then when

759
00:36:49,880 --> 00:36:52,760
the lyrics come in, I'm like, are we channeling run

760
00:36:52,840 --> 00:37:04,480
DMC here? This is like total hip hop from eighty three?

761
00:37:08,519 --> 00:37:12,119
Speaker 1: Yeah, I mean it's wrap, it's funk, it's rock.

762
00:37:12,480 --> 00:37:14,000
Speaker 3: I get Prince vibes from this one.

763
00:37:14,159 --> 00:37:15,559
Speaker 2: Yeah, yeah, that too for sure.

764
00:37:15,719 --> 00:37:18,599
Speaker 4: This is where the band's funk background really began to show.

765
00:37:18,639 --> 00:37:21,239
I mean, the guitar solo sounds like something Eddie Hazel

766
00:37:21,280 --> 00:37:23,719
from Harlam and Funkadela could have played. And of course,

767
00:37:23,760 --> 00:37:26,199
you know, we got sneak appearances by Chuck Dee in

768
00:37:26,239 --> 00:37:28,239
Flavor Flavor from Public Enemy shout out.

769
00:37:28,280 --> 00:37:30,239
Speaker 3: Oh right, how cool is that?

770
00:37:30,440 --> 00:37:33,000
Speaker 4: It sounds like it was based on more personal experiences,

771
00:37:33,079 --> 00:37:35,239
just people seeing in the streets and being threatened by

772
00:37:35,320 --> 00:37:37,199
them saying no, no, I'm just a normal guy trying

773
00:37:37,199 --> 00:37:38,920
to go about my life, not gonna hurt you, You're

774
00:37:38,920 --> 00:37:39,719
not gonna do anything.

775
00:37:39,840 --> 00:37:42,679
Speaker 1: Just well, here's the deal. Yeah, So Vernon Reid was

776
00:37:42,800 --> 00:37:45,039
in a department store. He said he was having the

777
00:37:45,079 --> 00:37:47,239
best day of his life. He was in a great mood,

778
00:37:47,360 --> 00:37:49,400
and he got on an elevator and there was an

779
00:37:49,440 --> 00:37:51,719
older woman in the elevator with him and when he

780
00:37:51,760 --> 00:37:53,559
looked at her, he kind of looked at her smiled,

781
00:37:53,719 --> 00:37:57,679
and she sort of subconsciously clutched her handbag and moved

782
00:37:57,719 --> 00:38:00,360
to the corner. And he said, it just enraged him.

783
00:38:00,519 --> 00:38:03,519
And so the lyrics from this song came out of

784
00:38:03,519 --> 00:38:05,639
that experience. No I'm not gonna rob you, No I'm

785
00:38:05,679 --> 00:38:08,519
not gonna beat you, No I'm not gonna rape you.

786
00:38:08,679 --> 00:38:13,119
I saw a video during COVID and you had the

787
00:38:13,239 --> 00:38:16,719
drummer from Anthrax, Charlie Benante. Then you had the bassis

788
00:38:16,719 --> 00:38:21,280
from Suicidal Tendencies Rodiez, and then the guitarist from Butcher Babies.

789
00:38:21,320 --> 00:38:24,039
His name is Henry Flurry, and they got together over

790
00:38:24,159 --> 00:38:27,119
Zoom and they're gonna play their version of Funny Vibe,

791
00:38:27,159 --> 00:38:29,679
and so they said, well, we need a singer. But

792
00:38:29,880 --> 00:38:31,440
if you're going to cover Living Color, you got to

793
00:38:31,440 --> 00:38:34,079
get somebody who could really sing, so they called Corey Glover,

794
00:38:34,199 --> 00:38:36,400
and Corey Glover got on there with him and they're

795
00:38:36,400 --> 00:38:39,239
doing the four way zoom thing and it is awesome.

796
00:38:39,360 --> 00:38:40,559
Speaker 3: You've got to check that out.

797
00:38:40,760 --> 00:38:43,119
Speaker 4: Unless I'm mistaken, I think that at some point in

798
00:38:43,159 --> 00:38:46,480
the late eighties and or very early nineties, Living Color

799
00:38:46,519 --> 00:38:48,079
and Anthrax may have toured together.

800
00:38:48,239 --> 00:38:49,760
Speaker 3: Oh wow, Okay, that's cool.

801
00:38:49,880 --> 00:38:53,559
Speaker 1: I showed this as the last single from Vivid, although

802
00:38:53,599 --> 00:38:58,079
their schedule of releasing singles is so messy, I can't

803
00:38:58,079 --> 00:39:00,360
tell what's first and what's last. There's also so a

804
00:39:00,400 --> 00:39:03,519
false ending in this song that's really cool. It fades out,

805
00:39:03,559 --> 00:39:05,719
fades out, fades out, you think the song is done,

806
00:39:06,440 --> 00:39:07,760
and then it crashes back in.

807
00:39:20,079 --> 00:39:20,559
Speaker 3: I love it.

808
00:39:20,719 --> 00:39:22,960
Speaker 4: I'm swear I think we're six for six now.

809
00:39:23,039 --> 00:39:24,679
Speaker 1: All right, let's move on to the next song on

810
00:39:24,719 --> 00:39:27,320
the album. This song is called Memories Can't Wait.

811
00:39:41,800 --> 00:39:42,840
Speaker 2: Okay, so this.

812
00:39:42,800 --> 00:39:43,480
Speaker 3: Is a cover?

813
00:39:43,760 --> 00:39:44,639
Speaker 4: Yeah, it is.

814
00:39:45,320 --> 00:39:49,000
Speaker 2: Is a cover of the Talking Head song Memories Can't Wait.

815
00:39:49,639 --> 00:39:53,599
It was off of their nineteen seventy nine album called

816
00:39:54,159 --> 00:39:57,719
Ear of Music. It wasn't a single off of that album.

817
00:39:57,840 --> 00:40:01,760
It wasn't some big hit. I'm not really sure why

818
00:40:01,800 --> 00:40:04,440
they chose this song. I mean, it's kind of interesting

819
00:40:04,480 --> 00:40:07,119
to listen to. Have you guys heard the Talking Heads version?

820
00:40:07,199 --> 00:40:27,280
Speaker 1: No, let's listen to it. Despite evidence to the contrary,

821
00:40:27,400 --> 00:40:28,440
these are the same song.

822
00:40:28,599 --> 00:40:30,920
Speaker 2: Yeah, the drum I can hear the song the same

823
00:40:31,000 --> 00:40:34,719
drum beat. Beyond that seems like a very different kind

824
00:40:34,760 --> 00:40:35,079
of song.

825
00:40:35,199 --> 00:40:35,480
Speaker 3: Yeah.

826
00:40:35,519 --> 00:40:39,039
Speaker 1: So interestingly, the producer on this album, Ed Stacian, had

827
00:40:39,079 --> 00:40:41,480
produced for the Talking Heads, so there's that connection.

828
00:40:41,760 --> 00:40:44,400
Speaker 4: Vernon Reed probably came up because of his age and

829
00:40:44,480 --> 00:40:46,000
the time he was in New York. I mean, they

830
00:40:46,039 --> 00:40:48,079
were a big part of the late seventies New York

831
00:40:48,239 --> 00:40:50,239
rock scenes, so I'm sure he was familiar with the

832
00:40:50,280 --> 00:40:51,239
band and their material.

833
00:40:51,360 --> 00:40:54,079
Speaker 1: Well, yeah, Talking Heads were big at CBGB's and so

834
00:40:54,239 --> 00:40:55,880
he was also a fan of post punk, and so

835
00:40:55,920 --> 00:40:58,320
he said he felt a connection to them, and so

836
00:40:58,440 --> 00:41:00,599
he wanted to cover one of their songs. This one,

837
00:41:00,719 --> 00:41:02,840
to me is a little off Bullseye.

838
00:41:03,119 --> 00:41:05,679
Speaker 4: I enjoy it just because you got those big booming

839
00:41:05,760 --> 00:41:08,719
drums that come in throughout the song. And again, I

840
00:41:08,719 --> 00:41:10,960
think Corey sings really well on It's kind of got

841
00:41:11,000 --> 00:41:13,159
a darker field than some of the other material, so

842
00:41:13,360 --> 00:41:15,480
it wouldn't be one of my top songs off the album,

843
00:41:15,480 --> 00:41:16,760
but I still enjoy it.

844
00:41:16,760 --> 00:41:18,639
Speaker 2: It's kind of interesting to listen to. But this is

845
00:41:18,639 --> 00:41:19,400
not my style of.

846
00:41:19,400 --> 00:41:21,199
Speaker 1: Music, right, Well, let's move on to the next song.

847
00:41:21,280 --> 00:41:24,639
Ladies and gentlemen, put your hands together, Broken hearts.

848
00:41:30,079 --> 00:41:30,360
Speaker 4: Joy.

849
00:41:56,079 --> 00:42:00,519
Speaker 2: Okay, So the introduction is a guy named Dennis Diamond

850
00:42:00,760 --> 00:42:04,000
saying doing the carnival barking there. Then we get a

851
00:42:04,599 --> 00:42:08,199
harmonica come in. You know who's playing the harmonica, Big Jagger?

852
00:42:08,400 --> 00:42:09,679
Speaker 1: Oh well cool.

853
00:42:09,800 --> 00:42:10,119
Speaker 6: Yeah.

854
00:42:10,239 --> 00:42:13,559
Speaker 2: He was also involved with some production on some of

855
00:42:13,559 --> 00:42:15,039
the later songs that we're gonna talk about here in

856
00:42:15,079 --> 00:42:17,239
a second, but he played the harmonica on that. This

857
00:42:17,360 --> 00:42:21,199
song is it's got a very wild horses.

858
00:42:21,000 --> 00:42:23,119
Speaker 3: On the rolling stones alte to it.

859
00:42:23,159 --> 00:42:27,039
Speaker 2: But I think somebody forgot to tell Will Calhoun, like,

860
00:42:27,119 --> 00:42:30,039
you don't have a country honky tonk drum beat going on.

861
00:42:30,119 --> 00:42:33,880
You've got a big old boom boom boom, and I'm

862
00:42:33,960 --> 00:42:36,760
just like it works. I don't know why it works,

863
00:42:37,079 --> 00:42:40,800
but somehow we've got this steel guitar, this honky tonk sound,

864
00:42:41,119 --> 00:42:45,440
the harmonica, the doop de doo and big drums, and

865
00:42:45,519 --> 00:42:52,679
somehow they still make it work.

866
00:42:53,639 --> 00:42:55,079
Speaker 6: Then change.

867
00:43:03,880 --> 00:43:05,880
Speaker 1: Bernar Reid said this was a straight up love song

868
00:43:05,920 --> 00:43:09,119
and their attempt to mix country, blues and hip hop.

869
00:43:09,360 --> 00:43:12,440
Speaker 4: I think this song pretty much belongs to Corey and Muzz.

870
00:43:12,639 --> 00:43:15,840
Corey sings beautifully throughout it, and if you listen, Muzz

871
00:43:15,880 --> 00:43:18,400
has that burbling bass going through the whole thing. He

872
00:43:18,400 --> 00:43:20,840
even plays a bass solo and which you don't really

873
00:43:20,840 --> 00:43:22,559
hear a lot in pop radio. He plays a very

874
00:43:22,559 --> 00:43:25,159
melodic bass solo that leads right into one of Burnin's

875
00:43:25,199 --> 00:43:28,360
most beautiful solos. So, yeah, this song definitely works for me.

876
00:43:28,559 --> 00:43:31,480
Speaker 1: Berni Reid said that this song is just like Old

877
00:43:31,519 --> 00:43:34,039
Town Road just thirty years earlier.

878
00:43:36,039 --> 00:43:38,880
Speaker 2: Well, I like this song better than that song. This

879
00:43:39,000 --> 00:43:41,079
is the one. This is the song on the album

880
00:43:41,119 --> 00:43:43,599
that was like the hidden gym for me. I had

881
00:43:43,599 --> 00:43:46,880
never bought this song, bego, I didn't have this album.

882
00:43:47,280 --> 00:43:49,639
I got to this song and I'm like, wow, I

883
00:43:49,960 --> 00:43:51,639
really really dig the song.

884
00:43:51,639 --> 00:43:52,920
Speaker 3: It's great, great, it's great.

885
00:43:53,079 --> 00:43:56,360
Speaker 1: Once again, Vernar Reed talks about the similarities between country

886
00:43:56,639 --> 00:44:01,000
and hip hop because they're both story based and they're anecdotal.

887
00:44:01,360 --> 00:44:12,119
Speaker 7: Yeah, I love this song.

888
00:44:12,159 --> 00:44:15,159
Speaker 3: I think it's great, it's pretty. It's the power ballad

889
00:44:15,280 --> 00:44:16,360
of the album yep.

890
00:44:16,480 --> 00:44:18,079
Speaker 2: So is this a single? Yep.

891
00:44:18,480 --> 00:44:20,719
Speaker 4: I don't think it was, which was a huge miss

892
00:44:20,719 --> 00:44:21,639
in my estimation.

893
00:44:22,000 --> 00:44:23,079
Speaker 3: Okay, moving on.

894
00:44:23,400 --> 00:44:27,199
Speaker 2: So I mentioned before Mick Jagger involved in the producing

895
00:44:27,280 --> 00:44:29,719
side on some of these songs. This is the first

896
00:44:29,719 --> 00:44:32,920
of those songs. Another big hit off the album song

897
00:44:33,000 --> 00:44:35,239
number nine, Lammer Boys.

898
00:44:51,880 --> 00:45:03,239
Speaker 9: The Drama Boys, Well they are the Drama Boys.

899
00:45:00,639 --> 00:45:09,159
Speaker 2: The grand uncle on song all right, give me a

900
00:45:09,199 --> 00:45:13,199
killer drum beat, yep, give me a funky bass line, yep,

901
00:45:13,960 --> 00:45:18,639
give me a happy little rhythm guitar yep. Now give

902
00:45:18,760 --> 00:45:22,119
me some lyrics with a melody that are an absolute hook.

903
00:45:41,360 --> 00:45:41,800
Speaker 3: Yeah.

904
00:45:41,960 --> 00:45:44,239
Speaker 2: I don't know how the song didn't chart better than

905
00:45:44,239 --> 00:45:46,679
it did. This is like a perfect little song.

906
00:45:46,880 --> 00:45:49,039
Speaker 1: It's a great little pop song, right.

907
00:45:48,960 --> 00:45:53,800
Speaker 4: Yeah, funny, funky, great playing, funny lyrics, everything you need.

908
00:45:54,159 --> 00:45:56,199
Speaker 3: No, this is so fun. It's it's a pop song.

909
00:45:56,239 --> 00:45:58,960
It's fun, it's catchy, it's radio friendly.

910
00:45:59,000 --> 00:45:59,159
Speaker 2: You know.

911
00:45:59,280 --> 00:46:00,679
Speaker 3: I love my radio friendly hits.

912
00:46:00,960 --> 00:46:01,119
Speaker 9: Yes.

913
00:46:01,679 --> 00:46:03,239
Speaker 3: I texted James this week.

914
00:46:03,079 --> 00:46:05,039
Speaker 1: And I said, ps, I'm not a glamor boy, and

915
00:46:05,079 --> 00:46:06,400
he texted me right back, I'm.

916
00:46:06,280 --> 00:46:09,159
Speaker 2: Fierce right, and they and they kind of they come

917
00:46:09,199 --> 00:46:11,119
in with a little harder guitar right there when they

918
00:46:11,159 --> 00:46:13,559
say I'm fierce, just so that they know that, you know,

919
00:46:13,920 --> 00:46:17,159
they're not just about being radio friendly. They are fierce.

920
00:46:17,320 --> 00:46:17,960
Speaker 3: They are fierce.

921
00:46:18,360 --> 00:46:21,000
Speaker 4: It's funny, it's funky, it's got those clever lyrics. D

922
00:46:21,159 --> 00:46:23,239
what's talking about? I mean this? This could have been

923
00:46:23,239 --> 00:46:23,760
a smash.

924
00:46:23,920 --> 00:46:26,320
Speaker 1: Okay, have you guys seen the video to this song

925
00:46:26,480 --> 00:46:27,679
since nineteen eighty nine?

926
00:46:27,800 --> 00:46:27,960
Speaker 4: No?

927
00:46:28,079 --> 00:46:31,639
Speaker 1: Probably not Okay, so obviously it's it's putting down the

928
00:46:31,679 --> 00:46:34,239
sort of the party guys who spend all their money

929
00:46:34,280 --> 00:46:36,159
on clothes to get girls, but they have.

930
00:46:36,079 --> 00:46:37,760
Speaker 3: No real substance in the video.

931
00:46:37,880 --> 00:46:42,079
Speaker 1: They have these huge plastic like Kendall masks.

932
00:46:41,719 --> 00:46:42,679
Speaker 3: That they wear around.

933
00:46:42,800 --> 00:46:45,559
Speaker 1: They look ridiculous and it's funny, like there's they're really

934
00:46:45,599 --> 00:46:47,480
showing their sense of humor in this video.

935
00:46:47,320 --> 00:46:50,960
Speaker 4: Does put them in a very dubious position. I love

936
00:46:50,960 --> 00:46:54,239
this song. It wasn't it nominated for a Best Rock

937
00:46:54,360 --> 00:46:56,639
Duo Performance like in ninety or ninety one?

938
00:46:56,679 --> 00:46:59,719
Speaker 1: So I guess nominated for a Grammy for Best Rock

939
00:46:59,760 --> 00:47:03,000
Perfer Performance by a Duo or Group in nineteen ninety

940
00:47:03,199 --> 00:47:04,280
And just so.

941
00:47:04,239 --> 00:47:06,760
Speaker 2: We don't leave it out, the Oklahoma Boys have to

942
00:47:06,800 --> 00:47:08,639
say they also put the Ou and Glamour.

943
00:47:08,760 --> 00:47:09,760
Speaker 3: Yes, good job.

944
00:47:11,239 --> 00:47:12,960
Speaker 4: Maybe Vernon's a secret fan.

945
00:47:13,320 --> 00:47:13,960
Speaker 3: I think he is.

946
00:47:14,239 --> 00:47:16,320
Speaker 1: This song reached number thirty one on the Hot one hundred.

947
00:47:16,320 --> 00:47:20,719
Do you want to hear the thirty No, I'm just kidding, Okay,

948
00:47:20,760 --> 00:47:23,239
I've got to read this to you because my mind

949
00:47:23,400 --> 00:47:24,239
was blown by this.

950
00:47:24,360 --> 00:47:24,719
Speaker 3: Okay.

951
00:47:24,800 --> 00:47:28,119
Speaker 1: The music video was directed by Graham Elliott and John England.

952
00:47:28,119 --> 00:47:30,000
Both these guys went to the Royal College of Art

953
00:47:30,000 --> 00:47:32,599
in London. They were the ones who designed the album

954
00:47:32,639 --> 00:47:35,599
cover for Vivid. Okay, so, and this is after Vernon

955
00:47:35,599 --> 00:47:38,119
Reid saw a postcard that they did and asked for them.

956
00:47:38,199 --> 00:47:40,159
When they started working on it, the album did not

957
00:47:40,280 --> 00:47:42,800
have a name and the band didn't have a logo yet,

958
00:47:42,840 --> 00:47:46,079
so they sketched a placeholder logo and inserted a temporary

959
00:47:46,079 --> 00:47:49,039
positioner where the album title would go with the name

960
00:47:49,199 --> 00:47:51,960
and design house they were working under the name of

961
00:47:52,000 --> 00:47:56,760
the design house they were working under, Vivid. That is

962
00:47:56,840 --> 00:47:59,280
how the album got its name. Vernon Reeds saw the

963
00:47:59,280 --> 00:48:01,920
album cover look said, looks great. That title right there

964
00:48:02,000 --> 00:48:04,920
looks great. We're keeping it living color Vivid.

965
00:48:05,239 --> 00:48:07,360
Speaker 4: That's awesome And this is why I love you guys.

966
00:48:07,360 --> 00:48:09,199
That's a kind of deep dives you do not get

967
00:48:09,239 --> 00:48:11,320
anywhere else. All.

968
00:48:11,440 --> 00:48:12,679
Speaker 3: Right, on to the next song.

969
00:48:12,960 --> 00:48:15,800
Speaker 1: This song is called What's your Favorite Color Baby?

970
00:48:16,960 --> 00:48:17,719
Speaker 4: Living Color?

971
00:48:18,239 --> 00:48:31,719
Speaker 5: Ye, what's your favorite color baby?

972
00:48:37,639 --> 00:48:40,159
Speaker 1: Okay, I told you guys all last night I was

973
00:48:40,199 --> 00:48:41,360
walking around my house.

974
00:48:41,679 --> 00:48:43,320
Speaker 3: At the point of my daughter, I'm like, what's your

975
00:48:43,400 --> 00:48:44,760
favorite color? Baby?

976
00:48:45,800 --> 00:48:48,000
Speaker 1: She didn't know to repeat back to me Living Color?

977
00:48:48,039 --> 00:48:51,639
Speaker 3: But what's your favorite color baby?

978
00:48:53,599 --> 00:48:54,159
Speaker 7: Y color?

979
00:48:57,760 --> 00:49:01,239
Speaker 2: What's Yeah? It was still fun. This song sounds so

980
00:49:01,440 --> 00:49:04,239
much like the intro song for the series that would

981
00:49:04,239 --> 00:49:06,840
come out two years later. You had to have stolen, right.

982
00:49:06,800 --> 00:49:10,039
Speaker 1: Well, I mean it's it's like a TV theme song, right, Well.

983
00:49:09,840 --> 00:49:12,400
Speaker 2: It does. It sounds like that, but because I know

984
00:49:12,519 --> 00:49:15,719
it as a TV theme song, right, I mean, the

985
00:49:15,840 --> 00:49:19,239
guy who is the composer for in Living Color, the

986
00:49:19,320 --> 00:49:22,440
series that we reference at the beginning of the episode, right,

987
00:49:22,599 --> 00:49:25,440
is a guy named Tom Rizzo. They're not giving any

988
00:49:25,480 --> 00:49:29,519
credit to the Living Color. Oh, you guys, it's just

989
00:49:30,360 --> 00:49:32,400
seems very similar.

990
00:49:32,159 --> 00:49:34,679
Speaker 3: Very similar. Let's listen to that theme song real quick.

991
00:49:51,960 --> 00:49:53,199
Sounds awfully familiar.

992
00:49:53,559 --> 00:49:56,519
Speaker 4: Yeah, in terms of copyright law, I don't think Homie,

993
00:49:56,639 --> 00:49:57,760
I don't think Homie likes that.

994
00:49:58,199 --> 00:50:01,599
Speaker 1: Yeah, Well, Homie did not play that one.

995
00:50:01,679 --> 00:50:03,000
Speaker 2: I got a song about it. I'd like to hear

996
00:50:03,039 --> 00:50:03,480
it here go.

997
00:50:07,480 --> 00:50:09,679
Speaker 1: Bernie Ree talks about how this is their theme.

998
00:50:09,480 --> 00:50:12,800
Speaker 3: Song, right yeah, He's like Chic had a theme.

999
00:50:12,599 --> 00:50:14,840
Speaker 1: Song, you know, you know, Bad Company had a song

1000
00:50:14,880 --> 00:50:17,119
called bad Company. This is our theme song. What's your

1001
00:50:17,119 --> 00:50:17,760
favorite color?

1002
00:50:18,880 --> 00:50:19,199
Speaker 3: Color?

1003
00:50:19,639 --> 00:50:22,159
Speaker 4: And this song should almost be a joke or a filler,

1004
00:50:22,199 --> 00:50:25,119
but somehow it works. As you start off with that crunchy,

1005
00:50:25,199 --> 00:50:27,880
metallic real then you get funky with a capital f

1006
00:50:27,960 --> 00:50:30,599
u n k y. It's fun. I mean, there's no

1007
00:50:30,800 --> 00:50:33,480
great lyrical significance to it. It's just a fun song.

1008
00:50:33,559 --> 00:50:34,840
Speaker 3: But it's only two minutes long.

1009
00:50:35,199 --> 00:50:38,800
Speaker 2: Just fyi. My favorite color is green, but I'm not mean.

1010
00:50:39,079 --> 00:50:41,079
Speaker 4: Yeah. Leading up to this, I was talking to a

1011
00:50:41,119 --> 00:50:44,800
friend of mine named Jeff Bowders, who's an amazing drummer

1012
00:50:44,960 --> 00:50:49,199
in Los Angeles, and because he was also a big

1013
00:50:49,199 --> 00:50:51,719
fan of Will Calhoun's playing on this album, you know,

1014
00:50:51,760 --> 00:50:53,559
we spent a few moments of geeking out about that.

1015
00:50:53,679 --> 00:50:55,360
So hopefully you'll have a new listener out in Los

1016
00:50:55,400 --> 00:50:57,280
Angeles for this is over with awesome.

1017
00:50:57,320 --> 00:50:58,400
Speaker 3: What's up Jeff howy doing?

1018
00:50:58,400 --> 00:50:59,960
Speaker 2: Buddy? Is he a Skins hitter? As well.

1019
00:51:00,679 --> 00:51:04,920
Speaker 4: He is. Yeah, he is to a very advanced degree.

1020
00:51:05,360 --> 00:51:09,400
Speaker 2: My drummer. My favorite line from high school was somebody

1021
00:51:09,559 --> 00:51:11,920
was introducing my drummer to somebody and they said, this

1022
00:51:11,960 --> 00:51:14,760
is Kevin. You can't go five minutes without beating on something.

1023
00:51:17,119 --> 00:51:18,639
Speaker 3: Well, Jeff, it's good to have you. I hope you

1024
00:51:18,760 --> 00:51:19,519
enjoy what you're hearing.

1025
00:51:19,840 --> 00:51:21,760
Speaker 1: Hit us up on Facebook, hit us up on Twitter,

1026
00:51:22,079 --> 00:51:22,800
send us an email.

1027
00:51:23,199 --> 00:51:24,079
Speaker 3: I love to hear from you.

1028
00:51:24,119 --> 00:51:25,239
Speaker 2: Welcome to the family, Jeff.

1029
00:51:25,360 --> 00:51:27,400
Speaker 1: All right, So that brings us to the last song

1030
00:51:27,440 --> 00:51:45,159
on the album. This song is called Which Way to America?

1031
00:51:47,760 --> 00:51:50,079
Speaker 2: Muzzin will knocking it out of the park again. I

1032
00:51:50,119 --> 00:51:53,519
mean he comes in with a machine gun style on

1033
00:51:53,559 --> 00:51:56,960
the drums on this one, and then with the chorus,

1034
00:51:57,280 --> 00:52:00,000
Vernon is playing this very funky, like you would describe

1035
00:52:00,119 --> 00:52:02,840
as a Prince style rhythm. But then when they come

1036
00:52:02,840 --> 00:52:05,880
in in a chorus, it's like heavy metal, hard rock,

1037
00:52:06,000 --> 00:52:09,960
right in your face, crunchy guitar. They again, this is

1038
00:52:10,440 --> 00:52:12,280
like every other song on this album, but it really

1039
00:52:12,360 --> 00:52:14,599
kind of is the key to finish off the album

1040
00:52:14,639 --> 00:52:16,519
of You Can't Put Us in a Box.

1041
00:52:30,440 --> 00:52:33,119
Speaker 4: It's got a really heavy, propulsive feel that I love

1042
00:52:33,280 --> 00:52:35,360
and we talked to Earlie about their ability to work

1043
00:52:35,400 --> 00:52:39,119
social issues into their lyrics without becoming overly preachy, and

1044
00:52:39,239 --> 00:52:41,400
this one talking about how one person's view of the

1045
00:52:41,440 --> 00:52:43,639
American dream may be a little bit different than the other.

1046
00:52:43,760 --> 00:52:45,960
I thought they had some really deep lyrics. I changed

1047
00:52:45,960 --> 00:52:48,159
the channel your America is doing fine. I read the

1048
00:52:48,199 --> 00:52:51,000
headlines my America is doing fine. After the kind of

1049
00:52:51,000 --> 00:52:53,760
whimsical nature of Glamour Boys and what Your Favorite Color?

1050
00:52:53,840 --> 00:52:56,119
This is kind of a slightly more down song, but

1051
00:52:56,119 --> 00:52:58,920
it's got very intelligent lyrics and the music is just incredible.

1052
00:52:58,960 --> 00:53:02,119
Speaker 1: Henri says, this is the difference between the idealized America

1053
00:53:02,280 --> 00:53:04,239
home and heart and life on the streets. This is

1054
00:53:04,239 --> 00:53:06,199
a little bit off center for me. I'm more of

1055
00:53:06,199 --> 00:53:09,400
the Glamour Boys radio friendly hits, but it's impossible not

1056
00:53:09,480 --> 00:53:10,559
to tap my toe to this one.

1057
00:53:10,639 --> 00:53:13,519
Speaker 4: These guys, even when they're heavy music and heavy issues,

1058
00:53:13,559 --> 00:53:16,199
they still make it pretty. It is that funk background. Man,

1059
00:53:16,280 --> 00:53:18,679
those guys make it tap your toe even to most

1060
00:53:18,719 --> 00:53:20,039
serious songs on the album.

1061
00:53:20,440 --> 00:53:22,159
Speaker 2: I would be curious as to what they set the

1062
00:53:22,199 --> 00:53:25,519
metronome at on this one. This This tempo is so

1063
00:53:25,719 --> 00:53:28,320
freaking fast in this song, I've got to think it's

1064
00:53:28,320 --> 00:53:30,119
like one forty or one fifty or something.

1065
00:53:30,159 --> 00:53:31,320
Speaker 3: I mean, it's cook it.

1066
00:53:31,320 --> 00:53:33,639
Speaker 4: It is definitely a fast one of their faster songs

1067
00:53:33,639 --> 00:53:36,199
and share other songs they'll throw in these quick, almost

1068
00:53:36,239 --> 00:53:38,920
speed metal parts and they work it in so seamless.

1069
00:53:38,920 --> 00:53:41,320
So that's just I guess just how talented these guys are.

1070
00:53:41,400 --> 00:53:43,880
They can blend the thrash with the funk and never

1071
00:53:43,920 --> 00:53:44,559
miss a step.

1072
00:53:44,719 --> 00:53:48,320
Speaker 10: Okay, guys, So that does it for Vivid. We are

1073
00:53:48,320 --> 00:53:51,920
now going into final judgment before Jason and James and

1074
00:53:52,039 --> 00:53:55,119
I tell you what we think. We got Dale Selby

1075
00:53:55,239 --> 00:53:57,800
to give us his opinion on Open Up and say,

1076
00:53:57,840 --> 00:53:59,800
Ah versus Vivid.

1077
00:54:00,000 --> 00:54:00,880
Speaker 2: Well, what do you think, man?

1078
00:54:01,880 --> 00:54:05,880
Speaker 11: Well, we discussed it. Two very different albums. You probably

1079
00:54:05,920 --> 00:54:09,320
couldn't put them on farther sides of the spectrum. You've

1080
00:54:09,320 --> 00:54:14,960
got the one that's political, that's making a statement, very

1081
00:54:14,960 --> 00:54:18,320
different kind of music, you know, You've got the wrap

1082
00:54:18,440 --> 00:54:24,400
the rock kind of intertwined. Obviously, different types of guys

1083
00:54:24,400 --> 00:54:27,519
who are doing the albums themselves. Right, both of them

1084
00:54:27,679 --> 00:54:30,559
incredible albums from the year of nineteen eighty eight. I

1085
00:54:30,559 --> 00:54:33,760
think Vivid for me is not as fun, right, it's

1086
00:54:33,760 --> 00:54:37,360
not as rock and roll, maybe as as Open Up

1087
00:54:37,400 --> 00:54:40,079
and Say Ah was has some great tracks on it.

1088
00:54:40,320 --> 00:54:43,320
Cult of Personality was a mega hit when we were

1089
00:54:43,440 --> 00:54:46,559
fifteen years old. Great song, great great song for me.

1090
00:54:46,760 --> 00:54:49,840
I think in the end, though, when I was fifteen,

1091
00:54:50,039 --> 00:54:53,880
I was into having fun and driving with the windows

1092
00:54:53,920 --> 00:54:56,920
down and having Open Up and say Ah cranked. I'm

1093
00:54:56,920 --> 00:54:58,280
gonna go with Open Up and say Aw.

1094
00:54:59,320 --> 00:55:03,039
Speaker 2: Not surprised, fantastic, not surprised.

1095
00:55:02,800 --> 00:55:07,199
Speaker 1: James, you're our guest. Please go first between Open Up

1096
00:55:07,239 --> 00:55:11,079
and Say Ah by Poison or Vivid by Living Color.

1097
00:55:11,320 --> 00:55:14,440
Speaker 4: I had both albums. I love both albums. Open Up

1098
00:55:14,480 --> 00:55:16,599
and Say Ah. It was I thought a fairly serious

1099
00:55:16,599 --> 00:55:18,800
step forward for the band. There was some great riffs,

1100
00:55:18,880 --> 00:55:22,119
the songwriting and improved, great production, and it was pretty

1101
00:55:22,199 --> 00:55:25,280
much hop metal perfection. But over the decades, I don't

1102
00:55:25,320 --> 00:55:27,199
find myself going back to it as much, and I'll

1103
00:55:27,199 --> 00:55:29,079
hear some of the songs in the radio and enjoy it.

1104
00:55:29,079 --> 00:55:31,440
But I listened to Vivid a lot still. Every time

1105
00:55:31,480 --> 00:55:34,360
i'll listen to it, I'll get something new. It meant

1106
00:55:34,360 --> 00:55:36,440
more to me as a musician and just a music

1107
00:55:36,519 --> 00:55:38,760
lover than the other album did. I don't think there's

1108
00:55:38,760 --> 00:55:41,360
any question that if you called the members of Poison,

1109
00:55:41,400 --> 00:55:43,199
if you told them that they were glamour boys, they'd

1110
00:55:43,239 --> 00:55:46,199
be okay with that. The Living Color and Vivid, it's

1111
00:55:46,280 --> 00:55:48,159
fears and it takes the top spot for me.

1112
00:55:48,480 --> 00:55:51,559
Speaker 1: Wow, Okay, there's one vote for Vivid and one vote

1113
00:55:51,559 --> 00:55:52,079
for Poison.

1114
00:55:52,360 --> 00:55:54,199
Speaker 3: Okay, all right, I'm going first.

1115
00:55:54,400 --> 00:55:57,360
Speaker 1: So I still contend that on that Poison album, you

1116
00:55:57,440 --> 00:56:00,400
have the best party rock song of the eighties. You

1117
00:56:00,480 --> 00:56:03,199
have one of the best power ballads of the eighties,

1118
00:56:03,199 --> 00:56:06,400
the entire eighties, you have radio friendly hit after radio

1119
00:56:06,440 --> 00:56:08,760
friendly hit, and that's my bag baby.

1120
00:56:08,880 --> 00:56:10,199
Speaker 3: On Vivid, you've.

1121
00:56:10,000 --> 00:56:13,079
Speaker 1: Got one of the best hard rock songs of the eighties,

1122
00:56:13,199 --> 00:56:15,440
and then you've got a whole bunch of songs that

1123
00:56:15,480 --> 00:56:18,360
are really great. So which one am I grabbing? I

1124
00:56:18,480 --> 00:56:21,360
owned both, I love both. I could really go either

1125
00:56:21,400 --> 00:56:23,000
way on this. If I'm walking out the door, I'm

1126
00:56:23,000 --> 00:56:24,920
probably grabbing both. But if you put a gun to

1127
00:56:24,960 --> 00:56:27,639
my head and you said you can only bring one

1128
00:56:27,719 --> 00:56:31,639
album with you, I'm grabbing Vivid because there are more

1129
00:56:31,920 --> 00:56:36,239
great songs on this album than on Open Up and say, ah,

1130
00:56:36,400 --> 00:56:36,880
how about that?

1131
00:56:37,159 --> 00:56:40,320
Speaker 2: I think you are one hundred percent correct. I think

1132
00:56:40,400 --> 00:56:43,639
you and James are both one hundred percent correct. The

1133
00:56:43,719 --> 00:56:49,519
musicianship on Vivid is better, the lyrics are stronger, more intelligent.

1134
00:56:49,800 --> 00:56:53,559
The best song on the album is better than any

1135
00:56:53,559 --> 00:56:56,679
song on Open Up and Say Out, flat out better

1136
00:56:56,679 --> 00:56:59,639
than any other song on the album. My problem is

1137
00:57:00,400 --> 00:57:02,800
I did not own this album in the nineteen eighties

1138
00:57:02,880 --> 00:57:03,760
or nineteen nineties.

1139
00:57:04,039 --> 00:57:04,440
Speaker 4: Yeah.

1140
00:57:04,480 --> 00:57:08,039
Speaker 2: I did, however, by Open Up and Say Ah when

1141
00:57:08,039 --> 00:57:11,039
it came out on May third, nineteen eighty eight, and

1142
00:57:11,440 --> 00:57:15,599
I played it on heavy rotation. This album, I know

1143
00:57:15,639 --> 00:57:19,599
it's better, but it cannot overcome the memories from nineteen

1144
00:57:19,639 --> 00:57:22,719
eighty eight and nineteen eighty nine. I think I think

1145
00:57:22,760 --> 00:57:26,159
our band covered at least three different songs off Open

1146
00:57:26,239 --> 00:57:28,320
Up and Say Ah. And so I have to say,

1147
00:57:28,360 --> 00:57:31,079
I got to pick poison, and I'm picking my poison.

1148
00:57:31,119 --> 00:57:34,840
And I fully acknowledge Vivid is a better album. But

1149
00:57:35,519 --> 00:57:37,719
Walking Out the Door, just because of all the fields

1150
00:57:37,760 --> 00:57:39,280
that it gives me, I'm picking up for it.

1151
00:57:39,880 --> 00:57:44,320
Speaker 1: Don't be ashamed, man, Spike the football dude, awesome.

1152
00:57:44,440 --> 00:57:46,320
Speaker 3: Well that's fantastic. Well, we want to hear from you.

1153
00:57:46,400 --> 00:57:48,840
Speaker 1: These are two gigantic albums from the eighties.

1154
00:57:48,880 --> 00:57:51,039
Speaker 3: If you are a listener. We definitely want to hear

1155
00:57:51,039 --> 00:57:51,599
from you on this.

1156
00:57:51,800 --> 00:57:53,760
Speaker 1: If you're walking out the door, do you grab the

1157
00:57:53,760 --> 00:57:56,719
feel good, fun, glitz and glamour of poison or do

1158
00:57:56,760 --> 00:57:59,840
you grab the more serious, pounding rock of living.

1159
00:58:00,360 --> 00:58:03,000
Speaker 3: Let us hear from you. D what we got on

1160
00:58:03,039 --> 00:58:03,880
the books next week.

1161
00:58:13,199 --> 00:58:17,280
Speaker 2: So we were talking about the villain in both Rumblefish

1162
00:58:17,760 --> 00:58:21,360
and the store clerk in The Outsiders, and I was like,

1163
00:58:21,400 --> 00:58:23,840
I didn't remember who this guy was, but he looked familiar.

1164
00:58:23,840 --> 00:58:25,559
And I'm like, and it goes back to the old

1165
00:58:25,880 --> 00:58:28,800
Clint Eastwood movie and you were like, oh, I love

1166
00:58:28,880 --> 00:58:30,679
that movie. And we started talking. We didn't realize that

1167
00:58:30,719 --> 00:58:33,960
we both loved these kind of movies that people don't

1168
00:58:34,000 --> 00:58:36,639
really talk about anymore. Yeah, but we don't mind talking

1169
00:58:36,639 --> 00:58:39,400
about him. We're going to be covering Clint Eastwood's Every

1170
00:58:39,440 --> 00:58:42,039
Which Way but Loose and the second one, which is

1171
00:58:42,039 --> 00:58:44,480
called any Which Way You Can, and we're going to

1172
00:58:44,519 --> 00:58:48,039
be comparing those two movies for his birth month May.

1173
00:58:48,320 --> 00:58:52,400
He'll be turning ninety three this year. Caw, holy cow,

1174
00:58:52,559 --> 00:58:55,440
and talk about an icon. I mean, the guy was

1175
00:58:55,920 --> 00:59:01,440
megastar decade after decade after decade, and we get to

1176
00:59:01,480 --> 00:59:04,440
talk about a couple of his lesser known but really

1177
00:59:04,559 --> 00:59:06,559
great movies that we remember from our youth.

1178
00:59:06,679 --> 00:59:08,760
Speaker 1: You say lesser known, but these are two of his

1179
00:59:08,880 --> 00:59:09,599
bigger hits.

1180
00:59:09,800 --> 00:59:13,599
Speaker 2: Isn't that a crazy thing? Like most profitable movies in

1181
00:59:13,599 --> 00:59:14,880
his catalog? Yes?

1182
00:59:15,280 --> 00:59:16,400
Speaker 3: Wow, how about that?

1183
00:59:16,559 --> 00:59:20,039
Speaker 2: You guys have to join us as we discuss those movies. James,

1184
00:59:20,119 --> 00:59:22,880
you every which way, but loose any which way you can.

1185
00:59:23,000 --> 00:59:25,800
Speaker 4: Fan. I remember going to see the second one when

1186
00:59:25,800 --> 00:59:29,880
I was a boy my cousin in Junction City, Arkansas,

1187
00:59:31,320 --> 00:59:33,719
and for years afterwards, all we would say was right,

1188
00:59:33,760 --> 00:59:34,639
turn Clyde.

1189
00:59:34,360 --> 00:59:36,920
Speaker 1: Right turn Clyde. James, thanks for being here with us, man.

1190
00:59:37,000 --> 00:59:40,400
We love talking with you. We love kicking around these

1191
00:59:40,400 --> 00:59:43,880
albums with you. We appreciate your patronage and friendship over

1192
00:59:43,920 --> 00:59:45,920
the years. I hope you had a great time today

1193
00:59:45,920 --> 00:59:47,440
talking about an album that you left.

1194
00:59:47,360 --> 00:59:50,239
Speaker 4: Talking about one of my favorite albums with my favorite podcast. Man,

1195
00:59:50,280 --> 00:59:51,719
you can't beat It's a great way to spend a

1196
00:59:51,719 --> 00:59:52,519
Friday afternoon.

1197
00:59:52,559 --> 00:59:54,119
Speaker 2: I think for the next album, we're gonna have to

1198
00:59:54,119 --> 00:59:57,480
get your wife on though, because she that accent, that

1199
00:59:57,599 --> 01:00:00,079
Louisiana accent that she's got, that's gonna that's gonna to

1200
01:00:00,119 --> 01:00:00,760
melt some arts.

1201
01:00:01,079 --> 01:00:03,840
Speaker 4: Strong, but when she speaks Spanish, she sounds like she

1202
01:00:03,880 --> 01:00:06,440
just stepped across the border from Tijuana.

1203
01:00:07,679 --> 01:00:09,239
Speaker 3: All right, everybody, that's it for us.

1204
01:00:09,360 --> 01:00:11,920
Speaker 1: Come back next week where we do the Clint Eastwood

1205
01:00:12,320 --> 01:00:16,480
and Clyde The Orangutang Double Feature Way turned Clyde, what's

1206
01:00:16,559 --> 01:00:19,880
your baby colored, Baby Living Color,