1 00:00:00,080 --> 00:00:02,839 Speaker 1: This is Cason Grover and you're listening to the You 2 00:00:02,919 --> 00:00:06,000 Can't Be Serious Podcast. I call it that because you 3 00:00:06,080 --> 00:00:28,160 told me to stop calling you Shirley. 4 00:00:28,359 --> 00:00:30,839 Speaker 2: All right, everybody, welcome back to the Shirley you Can't 5 00:00:30,839 --> 00:00:34,520 Be Serious Podcast. Today we're going to continue our study 6 00:00:34,520 --> 00:00:36,880 of the summer of nineteen eighty four. We are working 7 00:00:36,880 --> 00:00:40,280 our way track by track today through the Footloose album. 8 00:00:40,679 --> 00:00:42,840 My name is Jason Colvin, and let's hear it from 9 00:00:42,840 --> 00:00:44,200 my boy d Graves. 10 00:00:44,200 --> 00:00:48,079 Speaker 3: My boy, my boy. Okay, listen, man, I realize this 11 00:00:48,119 --> 00:00:50,560 is almost paradise, but I'm not holding out for a 12 00:00:50,600 --> 00:00:56,399 hero here. Okay. I'm free. I'm footloose and fancy free. 13 00:00:56,920 --> 00:00:57,280 Speaker 4: All Right. 14 00:00:57,280 --> 00:00:59,479 Speaker 2: We're gonna go track by track today through one of 15 00:00:59,479 --> 00:01:01,359 the biggest albums in nineteen eighty four. 16 00:01:01,439 --> 00:01:03,520 Speaker 3: Okay. So I just want to talk real quick about 17 00:01:03,719 --> 00:01:06,239 nineteen eighty four and leading up to the summer of 18 00:01:06,319 --> 00:01:07,159 nineteen eighty four. 19 00:01:07,280 --> 00:01:07,560 Speaker 4: Okay. 20 00:01:07,719 --> 00:01:10,400 Speaker 3: This album came out in January of that year. The 21 00:01:10,480 --> 00:01:12,560 movie came out in February of that year. A couple 22 00:01:12,640 --> 00:01:16,920 months later, Breaking comes out, and I was a breakdancing 23 00:01:17,120 --> 00:01:20,439 fool in second grade. I had my own sheet of 24 00:01:20,480 --> 00:01:24,159 cardboard I'd go dance in the streets, literally dancing the 25 00:01:24,159 --> 00:01:28,040 streets doing the dolphin and the centipede and the wave, 26 00:01:28,239 --> 00:01:31,040 and had my own move called the electric Shock, where 27 00:01:31,040 --> 00:01:33,640 I laid down and shook like I was electrocuted. It 28 00:01:33,760 --> 00:01:36,200 was a big crowd pleaser for the little second grader. 29 00:01:36,560 --> 00:01:38,439 Speaker 2: You know you're serious when you have your own sheet 30 00:01:38,480 --> 00:01:39,079 of cardboard. 31 00:01:39,200 --> 00:01:43,400 Speaker 3: Yeah, well you got to do your heads. When I 32 00:01:43,439 --> 00:01:45,680 went to watch this movie, I was in love. I'm like, 33 00:01:45,799 --> 00:01:48,159 this is so up my alley. I wasn't super big 34 00:01:48,200 --> 00:01:50,239 into the kind of I'm free dance that he was 35 00:01:50,280 --> 00:01:53,040 doing in the warehouse. That was a little too ballet 36 00:01:53,200 --> 00:01:55,840 and gymnastics for me. But some of those guys, the 37 00:01:55,920 --> 00:02:00,439 dances that they were doing were rock on cool a breakdancing. 38 00:02:00,000 --> 00:02:02,319 Speaker 2: You know the last scene where they're dancing at the prom. Yep, 39 00:02:02,519 --> 00:02:04,280 they actually went I think we talked about this in 40 00:02:04,280 --> 00:02:07,239 our previous episode. They went to LA clubs, found guys 41 00:02:07,280 --> 00:02:09,280 that were really cool dancers, pulled them out, put them 42 00:02:09,280 --> 00:02:11,800 in a corny tuxedo and said you're a high school kid, 43 00:02:11,800 --> 00:02:12,479 now break dance. 44 00:02:12,639 --> 00:02:14,759 Speaker 3: Loved it and it was a big craze back then. 45 00:02:14,800 --> 00:02:18,120 I mean, like Parashue peas and bandanas and all that 46 00:02:18,159 --> 00:02:21,520 good stuff. I had my boombox. My break dancing name 47 00:02:21,560 --> 00:02:27,800 was doctor Fresh. I still use that, like when I've 48 00:02:27,800 --> 00:02:29,280 got it when kids are like dad, when you want 49 00:02:29,319 --> 00:02:37,719 your name to be on the xbox, and like doctor Fresh. 50 00:02:34,360 --> 00:02:36,919 Speaker 2: Cool mood. Right, okay, go awesome. 51 00:02:37,080 --> 00:02:39,360 Speaker 3: All right, So we got to jump into this album 52 00:02:39,400 --> 00:02:42,080 because there's so many awesome songs, so many awesome artists 53 00:02:42,080 --> 00:02:44,599 that we've got to talk about. But before we do that, 54 00:02:44,759 --> 00:02:48,039 let's just talk about the name of the song, which 55 00:02:48,120 --> 00:02:51,199 is the name of the movie, of course. Yeah, okay, okay. 56 00:02:51,240 --> 00:02:54,960 So Footloose was, as we mentioned in our last episode, 57 00:02:55,080 --> 00:02:57,800 written by Dean Pitchford, Right, Yeah, this was his first 58 00:02:57,840 --> 00:03:00,840 screenplay and he had no idea what to call it. 59 00:03:00,840 --> 00:03:02,800 He had, like you mentioned, he had called it cheek 60 00:03:02,840 --> 00:03:04,879 to cheek, but that was not really anything he ever 61 00:03:04,919 --> 00:03:08,000 intended to call it. And so he had a bunch 62 00:03:08,039 --> 00:03:10,280 of names that he liked, but he was like, I'm 63 00:03:10,280 --> 00:03:12,479 just gonna write down everything I can, and so he would. 64 00:03:12,840 --> 00:03:15,479 He'd fill the pages with potential names of the movies. 65 00:03:15,840 --> 00:03:20,280 Footloose came up on day two. Wow, And so he has, 66 00:03:20,520 --> 00:03:23,520 you know, these pages and pages of names he looks 67 00:03:23,520 --> 00:03:26,479 over them all and picks out four that are his favorites. 68 00:03:26,960 --> 00:03:29,719 But at that point, Footloose was what he wanted to 69 00:03:29,759 --> 00:03:31,960 call the movie. But he takes it and he puts 70 00:03:32,000 --> 00:03:35,400 Footloose by Dean Pitchford, and then he takes three other 71 00:03:35,520 --> 00:03:39,639 names and he takes those names to the producers and 72 00:03:39,680 --> 00:03:42,280 he puts Footloose at the bottom of the stack. Okay, 73 00:03:42,680 --> 00:03:45,439 And this is all deliberate, right yeah, And so they're 74 00:03:45,479 --> 00:03:49,199 looking at it and they're like, okay, first name, second name, okay, 75 00:03:49,240 --> 00:03:53,599 all right, third name okay, gets to Footloose by Dean Pitchford, 76 00:03:53,680 --> 00:03:56,240 and they say, we love it. And he was so 77 00:03:56,319 --> 00:03:59,199 excited because that was it. And there's something about the word. 78 00:03:59,240 --> 00:04:01,639 I mean, it doesn't mean anything, but it's. 79 00:04:01,400 --> 00:04:04,719 Speaker 2: Still well it comes from footloots and fancy free right now, 80 00:04:04,879 --> 00:04:08,400 tell me exactly where did Elmore City prom fall in 81 00:04:08,439 --> 00:04:09,719 the title options. 82 00:04:10,039 --> 00:04:12,719 Speaker 3: I don't think that was sang it. I think he 83 00:04:12,840 --> 00:04:15,960 just was excited about all of those o's. It looks great, 84 00:04:16,040 --> 00:04:19,079 it does, it looks jumps out at you, it leaps 85 00:04:19,079 --> 00:04:21,879 off the billboard or the album or whatever. So he 86 00:04:21,959 --> 00:04:24,800 had the name of the movie before there was ever 87 00:04:24,839 --> 00:04:26,839 a movie, and before there was ever a song. 88 00:04:27,120 --> 00:04:30,439 Speaker 2: And it's actually interesting he's creating a movie around the 89 00:04:30,480 --> 00:04:33,519 idea of great songs. Yeah, if you don't have great songs, 90 00:04:33,519 --> 00:04:34,319 you don't have a movie. 91 00:04:34,360 --> 00:04:35,319 Speaker 3: Should we jump in now? 92 00:04:35,360 --> 00:04:36,920 Speaker 2: Well, the one thing I wanted to cover before we 93 00:04:36,959 --> 00:04:39,959 get into track by track, Yeah, Footloose was one of 94 00:04:39,959 --> 00:04:42,480 the only five albums of nineteen eighty four to hit 95 00:04:42,560 --> 00:04:45,680 number one. So you had Thriller, you had Footloose, yep, 96 00:04:46,000 --> 00:04:49,120 you had Huey Lewis's Sports Yep, you had Bruce Bringsteen's 97 00:04:49,160 --> 00:04:51,399 Born in the USA. And then you had Purple Rain, 98 00:04:51,439 --> 00:04:52,000 of course. 99 00:04:51,759 --> 00:04:53,199 Speaker 3: Which we're going to be covered next week. 100 00:04:53,319 --> 00:04:55,319 Speaker 2: Come back next week. As we go track by track 101 00:04:55,639 --> 00:04:57,319 through Purple Rain. 102 00:04:57,279 --> 00:05:00,439 Speaker 3: And everybody knows how iconic Purple Rain is. Keep in 103 00:05:00,480 --> 00:05:04,120 mind this album held the number one spot for ten 104 00:05:04,519 --> 00:05:06,959 weeks in that year of those big hitters. 105 00:05:07,560 --> 00:05:08,959 Speaker 2: If you were to tell me that this was one 106 00:05:08,959 --> 00:05:11,959 of the best soundtracks of the nineteen eighties or maybe ever, 107 00:05:12,439 --> 00:05:13,480 I wouldn't argue with you. 108 00:05:13,519 --> 00:05:17,399 Speaker 3: No song after song after song, this is an incredible album. 109 00:05:17,439 --> 00:05:19,800 Speaker 2: It's pop gold, all right. Were ready to dive in? 110 00:05:19,879 --> 00:05:20,720 Speaker 3: Yeah, let's dive in. 111 00:05:20,920 --> 00:05:24,279 Speaker 2: Dive in. First track, kick off your sund issues. 112 00:05:24,879 --> 00:05:25,959 Speaker 3: This is footlos. 113 00:05:47,040 --> 00:05:50,360 Speaker 2: Dude. That is a slamming hit right out of the gates. 114 00:05:50,720 --> 00:05:53,000 Speaker 3: Okay, so the first drum beat, I gotta say this 115 00:05:53,439 --> 00:05:55,519 totally reminds me of Hey, Mickey, you'r's the fine. 116 00:05:55,639 --> 00:05:56,680 Speaker 2: Yeah, okay, I can see that. 117 00:05:56,720 --> 00:05:58,879 Speaker 3: And it was I mean that came out eighty two, 118 00:05:59,279 --> 00:06:01,160 that was right, I mean it was big on the 119 00:06:01,240 --> 00:06:03,399 charts right around the time that this song was getting written. 120 00:06:03,560 --> 00:06:05,120 Which let's talk about that. 121 00:06:05,279 --> 00:06:06,519 Speaker 2: Yeah, yeah, that's really interesting. 122 00:06:06,600 --> 00:06:09,560 Speaker 3: Okay. So we know that this song is by Dean Pitchford, right, 123 00:06:09,639 --> 00:06:12,600 we know that he's this is the key ingredient to 124 00:06:12,680 --> 00:06:14,839 the movie that he's written that he's you know, this 125 00:06:14,920 --> 00:06:18,319 is my this is my first venture into screenwriting, and 126 00:06:18,800 --> 00:06:22,360 it almost didn't happen. Right. So Kenny Logins is big 127 00:06:22,399 --> 00:06:27,439 at this point. He's done Caddyshack. But in January January twentieth, 128 00:06:27,600 --> 00:06:33,600 nineteen eighty three, Kenny Logins is at a concert in Provo, Utah, 129 00:06:33,680 --> 00:06:35,920 and the lights get dimmed so that he can come 130 00:06:35,920 --> 00:06:39,319 out on the stage and he doesn't see where he's going, 131 00:06:39,360 --> 00:06:42,160 and he steps off the stage onto the floor and 132 00:06:42,279 --> 00:06:45,040 breaks ribs. He rescheduled the concert, but he's in the 133 00:06:45,040 --> 00:06:48,160 hospital and he's about to leave the US and go 134 00:06:48,199 --> 00:06:51,000 to Asia, and Dean Pitchford's like freaking out. It's like, 135 00:06:51,000 --> 00:06:52,959 what am I going to do? And so the guys 136 00:06:52,959 --> 00:06:55,720 are like, you should fly to him in Tahoe and 137 00:06:56,120 --> 00:06:58,480 you guys write the songs over there. He's like great, 138 00:06:58,519 --> 00:07:00,439 And he wakes up the morning he'supposed to fly out 139 00:07:00,600 --> 00:07:02,879 and he's run one hundred and one degree temperature. He's 140 00:07:02,920 --> 00:07:05,360 got strep throat, and he's like, there's no way he's 141 00:07:05,399 --> 00:07:07,360 gonna let me in his room with his wife and 142 00:07:07,399 --> 00:07:09,920 his kids and his injured body when I've got this 143 00:07:10,000 --> 00:07:12,240 strep throat. I mean, the guy's about to go perform 144 00:07:12,319 --> 00:07:16,040 concerts in China. This is you know what do? 145 00:07:16,079 --> 00:07:22,800 Speaker 2: He just lives? I feeling fine. That's hard. We should 146 00:07:22,839 --> 00:07:26,000 mention that he had previously worked with Kenny Loggins and 147 00:07:26,040 --> 00:07:29,480 Steve Perry when he wrote that song Don't Fight It Yep, 148 00:07:29,519 --> 00:07:31,680 which was kind of a modest hit number seventeen. 149 00:07:31,879 --> 00:07:34,079 Speaker 3: Yeah that's good. No, that's a great song. So let's 150 00:07:34,120 --> 00:07:36,480 talk real quick. We don't get to do a full 151 00:07:36,560 --> 00:07:38,920 history I think on Kenny Loggins in any other episode. 152 00:07:38,959 --> 00:07:41,399 So I'm going to do a quick brief one right. Okay, 153 00:07:41,480 --> 00:07:44,959 So Kenny learned to play guitar by stealing his brother 154 00:07:45,600 --> 00:07:49,800 Dan Danny's song, stealing his guitar while he was the 155 00:07:49,800 --> 00:07:52,040 way at work, he'd go practice his guitar, and that's 156 00:07:52,040 --> 00:07:54,360 how he learned to play. Decided that he would become 157 00:07:54,399 --> 00:07:57,240 a songwriter when he saw his two brothers writing songs, 158 00:07:57,399 --> 00:08:01,360 and ultimately ended up doing pretty well well. Wrote for 159 00:08:01,439 --> 00:08:04,519 Barbar streisand and a Star Is Born, which is how he. 160 00:08:04,360 --> 00:08:09,079 Speaker 2: Met the producer of Caddyshack, Peters, John Peters, and that's 161 00:08:09,079 --> 00:08:10,759 how he got involved with caddy Shack, And that's how 162 00:08:10,759 --> 00:08:12,720 he came up with the hit I'm all Right, which 163 00:08:13,040 --> 00:08:16,399 got him started down the road of movie making magic. 164 00:08:16,600 --> 00:08:18,639 Speaker 3: Yes, but before he got there, he had been a 165 00:08:18,680 --> 00:08:21,839 good songwriter for a lot of other folks. So the 166 00:08:21,839 --> 00:08:25,120 first song that he wrote was a song called House 167 00:08:25,160 --> 00:08:28,720 at Pooh Corner. Okay, back then, songwriters would get together 168 00:08:28,720 --> 00:08:30,680 that hang out. He hung out with some guys from 169 00:08:30,680 --> 00:08:33,120 the Nitty Gritty Dirt Band who weren't really even very 170 00:08:33,120 --> 00:08:36,279 big at that point either, and they liked his song. 171 00:08:36,399 --> 00:08:38,240 They had a record deal. They're going it looks like 172 00:08:38,279 --> 00:08:41,360 this thing is gonna happen. He's like, super excited. Song 173 00:08:41,399 --> 00:08:43,039 I wrote when I was seventeen is going to become 174 00:08:43,279 --> 00:08:45,759 my first recorded song until they get a call and 175 00:08:45,960 --> 00:08:47,840 like the Disney lawyers are not gonna let this happen. 176 00:08:47,879 --> 00:08:50,240 It's like ah. And so he goes out on a 177 00:08:50,360 --> 00:08:52,840 date that night with his girlfriend and she's like, what's wrong. 178 00:08:52,879 --> 00:08:56,360 And she's like, man, I thought my first big song 179 00:08:56,440 --> 00:08:59,399 was gonna get recorded, but it's got Winnie the Pooh 180 00:08:59,480 --> 00:09:01,960 and I guess, like somebody said something about copyright and 181 00:09:02,000 --> 00:09:04,320 Disney and I don't. I guess it's not going to happen. 182 00:09:04,360 --> 00:09:06,440 And she's like, oh, well, let me give daddy a call. 183 00:09:06,600 --> 00:09:10,000 Her dad was the CEO of the Walt Disney Company. 184 00:09:10,480 --> 00:09:11,360 The green light of the. 185 00:09:11,320 --> 00:09:14,480 Speaker 2: Song Wow Wow, how about that? 186 00:09:14,639 --> 00:09:18,000 Speaker 3: Yeah? It ends up on the Nitty Gritty Dirt Bands 187 00:09:18,639 --> 00:09:21,440 album Uncle Charlie and His Dog Teddy, which was the 188 00:09:22,039 --> 00:09:24,759 album that had Mister bo Jangles and of course house 189 00:09:24,799 --> 00:09:28,440 It through corner and suddenly he's meeting all kinds of people, 190 00:09:28,759 --> 00:09:32,399 including this guy who used to play for Buffalo Springsfield 191 00:09:32,480 --> 00:09:37,039 named Jim Messina. Okay, so loggins and gets together with Messina. 192 00:09:37,080 --> 00:09:39,039 Messina has been around for a year or two longer, 193 00:09:39,080 --> 00:09:41,360 so he knows the ropes and he's going to produce 194 00:09:41,480 --> 00:09:45,120 Kenny's first album. But they sound so good together and 195 00:09:45,159 --> 00:09:47,840 Messina does so much work on it. They call the 196 00:09:47,879 --> 00:09:52,080 album Kenny Loggins with Jim Messina sitting in Clive Davis, 197 00:09:52,159 --> 00:09:55,200 who we've mentioned before Aerosmith episode and a couple of others. 198 00:09:55,519 --> 00:09:58,039 He listens to this and he says, listen, you guys 199 00:09:58,039 --> 00:10:00,320 are too good to do this. Only once he goes, 200 00:10:00,360 --> 00:10:03,000 I want to sign you to a six year many 201 00:10:03,039 --> 00:10:05,559 songs as you'll give me deal, and I really think 202 00:10:05,759 --> 00:10:09,559 and they're both like hesitant, especially Messina who is wanting 203 00:10:09,559 --> 00:10:12,720 to do different stuff. He's like, just sleep on it. Well, 204 00:10:12,720 --> 00:10:15,840 he slept on it. They did it, and they produced 205 00:10:16,240 --> 00:10:20,799 gobs of good hits through the seventies, but ultimately, as 206 00:10:20,840 --> 00:10:23,879 with many young artists, they started hating each other to 207 00:10:23,879 --> 00:10:26,600 the point that they're doing a live recording, you know, 208 00:10:26,600 --> 00:10:29,679 they're doing their kind of setup, and Kenny gets so 209 00:10:29,759 --> 00:10:33,279 mad he chunks his microphone into the stands, no audience 210 00:10:33,279 --> 00:10:36,720 members there, but chunks into the stands, walks out. Jim 211 00:10:36,759 --> 00:10:38,679 comes over to him. He says, listen, I've been through 212 00:10:38,679 --> 00:10:41,000 this before and I want to end this before we 213 00:10:41,039 --> 00:10:43,000 hate each other. And it was the best thing he 214 00:10:43,000 --> 00:10:47,320 could have said, because they ended it then remained friends ultimately, 215 00:10:47,480 --> 00:10:50,679 both of them obviously super successful guys. But that's what 216 00:10:50,799 --> 00:10:54,559 leads into the soundtrack with Caddyshack, and that's what leads 217 00:10:54,559 --> 00:10:56,320 into the soundtrack with What Loose. 218 00:11:10,159 --> 00:11:13,240 Speaker 2: Okay, so the song Footloose is the biggest and only 219 00:11:13,360 --> 00:11:15,879 number one hit for Kenny Loggins. So when he hooks 220 00:11:15,960 --> 00:11:18,399 up with Kenny Loggins, you know, strep throat, broken rib, 221 00:11:18,559 --> 00:11:20,679 He's got to get this in before he flies to Asia. 222 00:11:21,200 --> 00:11:23,519 They knock out a few things. He wants to be 223 00:11:23,519 --> 00:11:25,519 able to go back to them and say, Okay, we're 224 00:11:25,559 --> 00:11:27,600 on it, We've got it, and they did. They had 225 00:11:27,639 --> 00:11:29,960 the gist of it. They finished it up later with 226 00:11:30,000 --> 00:11:33,320 the whole Milo and Ooie Murray. 227 00:11:34,559 --> 00:11:35,840 Speaker 3: Dean Pitchford's Mom's name. 228 00:11:36,480 --> 00:11:36,960 Speaker 2: Is that right? 229 00:11:37,039 --> 00:11:40,000 Speaker 3: Yeah? They threw that in Kenny Loggins like the way 230 00:11:40,000 --> 00:11:42,720 that Milo sounded. And so that's how we got Jack 231 00:11:42,799 --> 00:11:44,879 get back. We've got that list of names. 232 00:11:44,600 --> 00:11:47,679 Speaker 2: Because it's pretty cool. Yeah, there's one part in the 233 00:11:47,720 --> 00:11:49,519 song that I want to talk about. I don't know 234 00:11:49,519 --> 00:11:52,639 what to call it, but they it rises in like tension. 235 00:11:52,919 --> 00:12:21,759 Speaker 3: Okay, I'll play it right here. What's so that beetles 236 00:12:21,919 --> 00:12:25,360 all over the place. Think you think about the end 237 00:12:25,440 --> 00:12:28,320 of Ferris Buehler's Day Off when he's singing twists and shout. 238 00:12:28,600 --> 00:12:34,200 That's that that same exact build up the scale and 239 00:12:34,200 --> 00:12:37,519 everybody's the tensions rising. That's straight on beetles love it. 240 00:12:37,600 --> 00:12:40,399 Speaker 2: And then you get this great yell I'm turning it loose, 241 00:12:41,039 --> 00:12:43,200 and then right back into the the chorus, it's it's 242 00:12:43,240 --> 00:12:46,399 super good love this one. This one was released January eleventh, 243 00:12:46,480 --> 00:12:49,559 nineteen eighty four, reached number one March thirty first, nineteen 244 00:12:49,600 --> 00:12:52,399 eighty four, spent three weeks at number one, and this 245 00:12:52,519 --> 00:12:55,759 is definitely one of the songs that helped knock Thriller 246 00:12:55,919 --> 00:13:00,159 out of its number one spot for ever. Well, you 247 00:13:00,240 --> 00:13:02,840 need to talk about the video real quick, Okay, Okay. 248 00:13:03,360 --> 00:13:05,639 The video pulls straight out of the middle of the 249 00:13:05,679 --> 00:13:07,480 movie and it's the Rage Dance. 250 00:13:07,480 --> 00:13:10,039 Speaker 3: Right, and it's the same it's just the same thing 251 00:13:10,039 --> 00:13:12,440 the Purple Ran did, right. I mean, it's all kinds 252 00:13:12,559 --> 00:13:16,399 it's like a extended preview of the movie. 253 00:13:16,519 --> 00:13:18,320 Speaker 2: Yeah, and it gives you a taste. So hey, this 254 00:13:18,399 --> 00:13:20,200 movie's coming out, and this looks like a lot of fun. 255 00:13:20,440 --> 00:13:20,720 Speaker 3: Right. 256 00:13:20,840 --> 00:13:23,679 Speaker 2: Here's the weird thing. Flulus has played three times in 257 00:13:23,720 --> 00:13:26,279 the movie. Okay, the opening credits, yes, where we have 258 00:13:26,360 --> 00:13:28,480 the feet. All it is is the feet moving around, 259 00:13:28,720 --> 00:13:32,360 by the way, the gold sneakers. That's Kenny Loggins's feet, right, Okay. 260 00:13:32,960 --> 00:13:35,039 They play it in the middle when they're at the 261 00:13:35,039 --> 00:13:36,240 country bar at the country Bar. 262 00:13:36,360 --> 00:13:36,639 Speaker 3: Okay. 263 00:13:36,879 --> 00:13:38,799 Speaker 2: Then they play it at the end for the prom 264 00:13:38,840 --> 00:13:41,679 and let's dance at the party, and that whole thing 265 00:13:41,799 --> 00:13:44,639 is awesome. The problem is they don't play it during 266 00:13:44,639 --> 00:13:45,879 the rage dance scene. 267 00:13:45,639 --> 00:13:47,919 Speaker 3: Right right, right right. What you saw in the video 268 00:13:48,480 --> 00:13:50,840 on MTV was not what you were seeing whenever the 269 00:13:50,840 --> 00:13:52,600 song was playing there. So it's a complete yeah. 270 00:13:52,919 --> 00:13:54,679 Speaker 2: As a kid, I was like, wait, wait a minute, 271 00:13:54,720 --> 00:13:57,120 this wrong song. They got the wrong reel up top 272 00:13:57,240 --> 00:14:00,200 or something's messed up the wrong song. But they do 273 00:14:00,320 --> 00:14:03,039 save it for the end and it works out awesome. 274 00:14:03,159 --> 00:14:03,360 Speaker 3: Yep. 275 00:14:07,679 --> 00:14:10,159 Speaker 2: All right, So we want to point out this soundtrack 276 00:14:10,240 --> 00:14:14,200 contained six Billboard top forty hits. Yes, okay, three reached 277 00:14:14,200 --> 00:14:14,759 the top ten. 278 00:14:14,879 --> 00:14:16,080 Speaker 3: Yes to reach number one. 279 00:14:16,200 --> 00:14:17,279 Speaker 2: Yes, this is one of those. 280 00:14:17,360 --> 00:14:21,320 Speaker 3: This is one of those. Next song, Let's hear it 281 00:14:21,320 --> 00:14:27,639 for the boy. 282 00:14:24,759 --> 00:14:28,480 Speaker 5: Baby she dog Tom Sween, she ain't that much to 283 00:14:28,679 --> 00:14:37,120 save los anyway. 284 00:14:37,240 --> 00:14:38,799 Speaker 3: So this is the other number one song. 285 00:14:38,960 --> 00:14:42,679 Speaker 2: Yes, This was released February fourteenth, nineteen eighty four, reached 286 00:14:42,759 --> 00:14:45,480 number one May twenty sixth, nineteen eighty four. 287 00:14:45,639 --> 00:14:48,799 Speaker 3: So this song again was written by Dean Pitchford along 288 00:14:48,840 --> 00:14:53,240 with Tom Snow, who had written a slew of big hits. 289 00:14:53,480 --> 00:14:55,720 Tell Me She Laid on Me, She's so shy by 290 00:14:55,759 --> 00:14:57,320 the Pointer Sisters. 291 00:14:56,960 --> 00:15:02,320 Speaker 2: She's so shy, going Getting Ready for Love by Bonnie Ray, 292 00:15:02,440 --> 00:15:05,879 Loves Sneaking up on You by Leo Sayer, and I 293 00:15:06,039 --> 00:15:11,600 don't know but I love you, Oh Your Rodstad. 294 00:15:11,399 --> 00:15:15,440 Speaker 3: Yeah, little Aaron Neville. So they work together to write 295 00:15:15,480 --> 00:15:17,879 the song, and then of course Denise Williams is the 296 00:15:17,879 --> 00:15:18,919 one that sang the. 297 00:15:18,879 --> 00:15:23,000 Speaker 5: Song every time he pulls me launch. 298 00:15:37,120 --> 00:15:39,879 Speaker 2: Here's what I know about Denise Williams. She was a 299 00:15:39,919 --> 00:15:42,720 gospel singer, she's a soul singer. So she was the 300 00:15:42,720 --> 00:15:45,840 backup singer for Stevie Wonder on the song Wonderlove Yep. 301 00:15:46,080 --> 00:15:49,879 Speaker 3: Also sang back up for ROBERTA. Flax nineteen seventy five 302 00:15:50,080 --> 00:15:52,039 album I Feel Like Making Love? 303 00:15:52,879 --> 00:15:54,360 Speaker 2: Do You Like Making. 304 00:15:56,240 --> 00:15:58,320 Speaker 3: That one. I think that was a different version. 305 00:15:58,399 --> 00:16:04,600 Speaker 2: That's a vacans Okay. So the Day I Die baby, Okay. 306 00:16:04,639 --> 00:16:06,720 One of the things I forgot to mention to you, 307 00:16:06,840 --> 00:16:10,120 Denise Williams actually sang on a song that is kind 308 00:16:10,120 --> 00:16:13,120 of close to your in my Heart. You may recognize 309 00:16:13,120 --> 00:16:16,159 her from this song right here, What would we Do? 310 00:16:20,879 --> 00:16:21,639 What would we Do? 311 00:16:26,120 --> 00:16:27,919 Speaker 3: Yes? So Family Ties, it's awesome. 312 00:16:28,000 --> 00:16:32,039 Speaker 2: Yeah, Denise Williams sang that song with Johnny Mathis. It's 313 00:16:32,120 --> 00:16:36,600 the theme song for Family Ties. The backup singers for 314 00:16:36,720 --> 00:16:40,360 Denise Williams on this song are a guy named George 315 00:16:40,399 --> 00:16:43,120 Merrill and a woman named Shannon Rubicin, and they had 316 00:16:43,200 --> 00:16:46,120 one giant hit in the late eighties called Waiting for a. 317 00:16:46,159 --> 00:17:00,720 Speaker 3: Strong So Dean Pitchford and Tom snow So. For the 318 00:17:00,759 --> 00:17:04,359 scene that Let's hear it for the boy comes Up, 319 00:17:04,559 --> 00:17:06,960 they had written a song but it was called Somebody's 320 00:17:07,000 --> 00:17:09,119 Eyes and when Herber Ross heard it, he was like, 321 00:17:09,240 --> 00:17:12,160 this is not the right song for this scene. 322 00:17:12,240 --> 00:17:14,039 Speaker 2: We're going to talk about that song here in. 323 00:17:13,960 --> 00:17:16,440 Speaker 3: Just a minute. Yes, it's still in the soundtrack, but 324 00:17:16,480 --> 00:17:18,960 it's not. It was not the song that was supposed 325 00:17:18,960 --> 00:17:22,319 to be in that scene. And so they said, okay, well, 326 00:17:22,400 --> 00:17:24,440 let's get back together. Let's try to write something, and 327 00:17:24,480 --> 00:17:26,720 they came up with the line, first, let's hear it 328 00:17:26,720 --> 00:17:30,920 for the boy. They write this upbeat song around that title, 329 00:17:30,960 --> 00:17:32,279 and that's how we get this song. 330 00:17:32,519 --> 00:17:36,480 Speaker 2: It's amazing. That's why this song and Somebody's Eyes the 331 00:17:36,680 --> 00:17:39,799 drum beat is exactly the same because every time they 332 00:17:39,799 --> 00:17:41,480 did the dance montage at the end of the day 333 00:17:41,519 --> 00:17:43,720 with Kevin Bacon and Chris Penn, it was set to 334 00:17:44,240 --> 00:17:47,720 Somebody's Eyes. But when they realized that that tone didn't fit, 335 00:17:48,119 --> 00:17:50,599 they just swapped him out. And this was the last 336 00:17:50,759 --> 00:17:54,279 song added to the album. And in fact, they were like, crap, 337 00:17:54,359 --> 00:17:56,839 we need to write another song really quick because we're 338 00:17:56,839 --> 00:17:58,799 ready to go. We need to plug and play here. 339 00:17:58,920 --> 00:18:01,359 And so it was like pressure, pressure, pressure, Ray Parker 340 00:18:01,440 --> 00:18:03,000 Junior's Ghostbusters type. 341 00:18:02,880 --> 00:18:06,240 Speaker 3: Of thing, right and or or some sugar on me right, 342 00:18:06,440 --> 00:18:08,599 or we need another song hurry. It looks like a 343 00:18:08,680 --> 00:18:11,759 Lady or a hundred other songs. But that's awesome that 344 00:18:11,960 --> 00:18:15,599 I didn't realize that they had been using one song 345 00:18:16,000 --> 00:18:17,799 and had to change it out, but they kept the 346 00:18:17,839 --> 00:18:21,839 beat the same. That's brilliant. My mind is blown. Great awesome, awesome. 347 00:18:22,119 --> 00:18:24,160 Speaker 2: How about this? Let me blow your mind some more. Okay, 348 00:18:24,559 --> 00:18:28,559 we talked earlier in our previous episodes about how Madonna 349 00:18:29,039 --> 00:18:32,640 auditioned for this role. Yeah, okay, she didn't get it. 350 00:18:32,880 --> 00:18:33,400 Speaker 3: Uh huh? 351 00:18:33,440 --> 00:18:37,319 Speaker 2: Which man, that's right before she blew up. I mean, 352 00:18:37,720 --> 00:18:41,000 if she's in this movie as Ariel, could you see 353 00:18:41,039 --> 00:18:42,160 her singing this song? 354 00:18:52,240 --> 00:18:52,559 Speaker 3: Sure? 355 00:18:53,079 --> 00:18:54,920 Speaker 2: I was talking to our buddy James Buckley and we 356 00:18:54,920 --> 00:18:58,200 were going back and forth about the eighties possibility of 357 00:18:58,200 --> 00:19:01,559 Tom Cruise and Madonna being in these roles, and then 358 00:19:01,599 --> 00:19:04,559 maybe Madonna singing a song like this. It's that fun 359 00:19:04,599 --> 00:19:08,319 alternate universe we like. I like how this movie or 360 00:19:08,359 --> 00:19:11,039 this song is about. This guy is a total schlub, 361 00:19:11,039 --> 00:19:14,759 but I love him anyway. You can't dance, he can't sing, 362 00:19:15,079 --> 00:19:18,319 he's poor, but I still like him. Yeah, okay, I 363 00:19:18,359 --> 00:19:20,799 got one more thing for you. You're ready for this, Okay. 364 00:19:21,079 --> 00:19:24,720 In the video, Denise Williams is singing with a little boy. 365 00:19:25,079 --> 00:19:26,920 He was in the corner. He had a dunce cap on. 366 00:19:27,400 --> 00:19:29,480 She removes the dunce cap and she's like, oh, you 367 00:19:29,599 --> 00:19:32,119 come with me and let's hear it from my baby, right, 368 00:19:32,599 --> 00:19:34,920 and he is in a tux. This little kid, was 369 00:19:34,920 --> 00:19:35,720 he five or six. 370 00:19:35,680 --> 00:19:36,759 Speaker 3: Or seven something like that? 371 00:19:36,799 --> 00:19:39,640 Speaker 2: He's dancing around. He's got a top hat on. That 372 00:19:39,720 --> 00:19:43,359 little boy. His name is Aaron Lore. He grows up 373 00:19:43,400 --> 00:19:45,440 to Mary Idina Menzel. 374 00:19:45,160 --> 00:19:49,759 Speaker 3: Oh wow, from Wicked and Glee and she sing let 375 00:19:49,839 --> 00:19:52,039 It Go yea and Frozen and Frozen. 376 00:19:52,160 --> 00:19:58,720 Speaker 5: Yes. 377 00:19:59,000 --> 00:20:01,559 Speaker 2: Wow, that's crazy. 378 00:20:01,720 --> 00:20:03,240 Speaker 3: Now that's some deep cuts right there. 379 00:20:03,279 --> 00:20:05,640 Speaker 2: How about that that you're not gonna hear anywhere else? 380 00:20:05,880 --> 00:20:07,359 Speaker 3: Wow? Nice job? 381 00:20:07,799 --> 00:20:12,000 Speaker 2: Yes, or, as John Ravilta calls her, the wickedly talented 382 00:20:12,279 --> 00:20:13,880 one and only a death. 383 00:20:26,200 --> 00:20:28,880 Speaker 3: She said that when she went to see this movie 384 00:20:29,400 --> 00:20:31,839 had that scene. Had she been picking the scenes that 385 00:20:31,880 --> 00:20:33,960 her song would appear in, she would have picked the 386 00:20:34,000 --> 00:20:36,640 scene because it's so perfect and it is. It is 387 00:20:37,079 --> 00:20:40,480 spot on the best song to put with that montage 388 00:20:40,519 --> 00:20:42,359 scene of Chris Pandler and How to Dance. 389 00:20:42,559 --> 00:20:45,000 Speaker 2: Yeah, eighties were great for music montages. 390 00:20:45,559 --> 00:20:50,519 Speaker 3: Yes, Straight out of Rock okay, track number three almost Paradise. 391 00:20:52,720 --> 00:20:59,920 Speaker 4: About that dreams Belong to other men? Cluse each time 392 00:21:00,279 --> 00:21:01,720 I got clues. 393 00:21:09,759 --> 00:21:11,799 Speaker 1: Beats? 394 00:21:14,000 --> 00:21:17,599 Speaker 3: Okay, So why don't we get the lead singer for 395 00:21:17,799 --> 00:21:21,759 lover Boy and the lead singer for Heart together and 396 00:21:21,799 --> 00:21:26,279 see how they sound. Holy crap, their voices blend so 397 00:21:26,799 --> 00:21:28,119 amazingly well. 398 00:21:32,319 --> 00:21:33,880 Speaker 6: Done. 399 00:21:44,680 --> 00:21:47,240 Speaker 2: There. Really, that was a home run of getting those 400 00:21:47,240 --> 00:21:50,279 two singers at that time in the eighties, Mike Reno 401 00:21:50,440 --> 00:21:52,279 lover Boy. That was the peak of their powers. 402 00:21:52,359 --> 00:21:54,640 Speaker 3: Oh absolutely, And this was kind of the beginning of 403 00:21:55,039 --> 00:21:58,880 his soundtrack career as well. I mean he also had 404 00:21:58,920 --> 00:22:01,000 a I mean talk about going along with Kenny Loggins. 405 00:22:01,200 --> 00:22:03,960 He had Heaven in Your Eyes from Top of the Gun. Yeah, 406 00:22:03,960 --> 00:22:06,799 he had Chasing the Angels on Iron Eagle two. He 407 00:22:06,920 --> 00:22:09,839 had Whenever There's a Night from Dream a Little Dream. 408 00:22:09,880 --> 00:22:12,440 I mean, he was rocking up the charts for all 409 00:22:12,480 --> 00:22:13,240 of the eighties. 410 00:22:13,359 --> 00:22:16,079 Speaker 2: This is right before Heart's revitalization. 411 00:22:16,319 --> 00:22:18,359 Speaker 3: Oh yeah, I mean they were kind of rock stations 412 00:22:18,400 --> 00:22:20,680 came along and we were hearing all kinds of heart 413 00:22:20,759 --> 00:22:21,480 on Class Girl. 414 00:22:21,599 --> 00:22:24,960 Speaker 2: You've got seventies Heart like Barracuda and Magic Man and 415 00:22:25,000 --> 00:22:27,680 all that, and then you've got eighties Heart, which is 416 00:22:27,799 --> 00:22:30,359 These Dreams and Never and Alone and all those songs. 417 00:22:30,519 --> 00:22:32,319 This was the bridge between those two. 418 00:22:32,519 --> 00:22:34,160 Speaker 3: Absolutely, and Wilson. 419 00:22:33,839 --> 00:22:36,279 Speaker 2: May have the greatest female rock voice of all time. 420 00:22:36,440 --> 00:22:39,519 Speaker 3: She is phenomenal. She's absolutely phenomenal. So this one Dean 421 00:22:39,559 --> 00:22:43,640 Pitchford wrote with Eric Carmon, who is another icon in 422 00:22:43,839 --> 00:22:48,039 the songwriting world, wrote a song on dirty Dance Dancy right, 423 00:22:48,119 --> 00:22:49,759 that the flip of this movie right. 424 00:22:49,599 --> 00:22:50,200 Speaker 2: In your eyes. 425 00:22:50,279 --> 00:22:50,480 Speaker 6: Yeah. 426 00:22:50,720 --> 00:22:53,440 Speaker 2: The song was written in one day, in one twelve 427 00:22:53,519 --> 00:22:56,119 hour sitting. So they went to visit herb Ross in 428 00:22:56,160 --> 00:22:58,799 his studio. They had a piano setup in his office 429 00:22:58,880 --> 00:23:01,119 and when they showed up this, well, we've got a song. 430 00:23:01,200 --> 00:23:03,279 We think it might be good for the love theme. 431 00:23:03,440 --> 00:23:03,680 Speaker 3: Right. 432 00:23:03,720 --> 00:23:06,880 Speaker 2: So they sat down and Eric Carmon sang the male part, 433 00:23:07,039 --> 00:23:09,359 She sang the female part, the Ann Wilson part, and 434 00:23:09,400 --> 00:23:11,880 when they were done, herb Ross took a deep breath 435 00:23:11,880 --> 00:23:19,720 and he said, I think you've written a classic. In 436 00:23:19,799 --> 00:23:22,720 nineteen eighty four, this was the song that got couples 437 00:23:22,720 --> 00:23:25,599 to the middle of the skate floor skating backwards. 438 00:23:25,119 --> 00:23:28,240 Speaker 3: With your girlfriend. Yeah, I can't skate backwards. I would 439 00:23:28,279 --> 00:23:30,240 just dance in a circle at the gymnasium. 440 00:23:31,599 --> 00:23:33,640 Speaker 2: One of the interesting things I thought is they were 441 00:23:33,680 --> 00:23:37,839 working with the idea of religion and freedom and sort 442 00:23:37,880 --> 00:23:41,039 of the wrestling of the two that's in the story Footloose, right, 443 00:23:41,519 --> 00:23:44,440 And so they thought about making a song about salvation 444 00:23:44,880 --> 00:23:47,400 or redemption you know, they're kind of working with these 445 00:23:47,400 --> 00:23:51,039 spiritual words, and that's how they landed on Almost Paradise. 446 00:23:51,160 --> 00:23:54,000 Were knocking on Heaven's door. Love It Okay. This song 447 00:23:54,079 --> 00:23:56,599 was released May of nineteen eighty four reached number seven. 448 00:23:56,839 --> 00:24:00,799 This is the third top ten hit. Third by the way, 449 00:24:00,880 --> 00:24:02,799 When they were filming the movie, the song that they 450 00:24:02,839 --> 00:24:07,079 had originally intended to plug in where Almost Paradise was 451 00:24:07,079 --> 00:24:09,440 was the foreigner song I've been Waiting for a Girl 452 00:24:09,480 --> 00:24:09,680 like You. 453 00:24:09,759 --> 00:24:09,920 Speaker 6: Oh. 454 00:24:09,960 --> 00:24:12,799 Speaker 3: I love that song. I love that song. But the 455 00:24:13,000 --> 00:24:14,039 song's the right thing. 456 00:24:14,200 --> 00:24:15,720 Speaker 2: Yeah, yeah, absolutely so. 457 00:24:15,799 --> 00:24:19,680 Speaker 3: Pitcher says he remembers there sitting there with Carmen and 458 00:24:19,720 --> 00:24:22,519 tossing out lines and coming up with I thought that 459 00:24:22,640 --> 00:24:26,400 dreams belong to other men, because each time I get close, 460 00:24:26,480 --> 00:24:28,960 they'd fall apart again. And he was like, that's great. 461 00:24:29,079 --> 00:24:31,200 I was really really good. And he's sitting there and 462 00:24:31,240 --> 00:24:34,400 he says, oh, how about this. I feared my heart 463 00:24:34,480 --> 00:24:38,240 would beat in secrecy, And Carmen jumps up from the keyboard, 464 00:24:38,720 --> 00:24:45,359 runs over, hugs him and says, that's great. That's one 465 00:24:45,400 --> 00:24:48,400 of the most brilliant lines I've ever heard. And he says, 466 00:24:48,480 --> 00:24:50,559 We've got a lot to do more We've got to 467 00:24:50,599 --> 00:24:52,839 do a lot more of this writing. And it was 468 00:24:52,839 --> 00:24:56,599 that line I feared my heart would beat in secrecy. 469 00:24:56,720 --> 00:24:58,519 That was sort of the thing that joined them at 470 00:24:58,519 --> 00:24:59,359 the hip after that point. 471 00:24:59,400 --> 00:25:01,319 Speaker 2: All right, done with almost Paradise. 472 00:25:02,039 --> 00:25:06,680 Speaker 3: Well, couple's move back. All right? 473 00:25:06,680 --> 00:25:07,799 Speaker 2: Doing you ready for the next song? 474 00:25:07,839 --> 00:25:23,200 Speaker 3: I've been holding out for it? No serious, I have. 475 00:25:23,319 --> 00:25:25,720 This is my favorite song, I mean an entire album. 476 00:25:25,799 --> 00:25:26,720 Let's play, all. 477 00:25:26,720 --> 00:25:30,000 Speaker 2: Right, this song is breaking awesome. 478 00:25:30,039 --> 00:25:31,880 Speaker 3: Okay, listen to the bild, Listen to the bill, Listen 479 00:25:31,880 --> 00:25:35,920 to the build, Listen to the harmonies coming in, build harmony, 480 00:25:35,920 --> 00:25:39,519 build harmony, and then the drums. Oh my gosh, now 481 00:25:39,680 --> 00:25:41,680 this song. I remember talking to you and you were like, 482 00:25:41,680 --> 00:25:43,359 I don't know how many of these songs hold up, 483 00:25:43,400 --> 00:25:45,400 you know, hold up for I'm like holding out for 484 00:25:45,480 --> 00:25:47,799 a hero. If you turn this on in my house, 485 00:25:48,160 --> 00:25:51,440 every member of my household from nine years old up 486 00:25:51,480 --> 00:25:54,759 to me at forty five will be on the floor 487 00:25:54,880 --> 00:25:58,400 singing and dancing along with the song and losing our minds. 488 00:25:58,759 --> 00:25:59,680 It is so good. 489 00:26:11,359 --> 00:26:14,920 Speaker 2: This song's amazing. It's on the tight roll to being 490 00:26:15,039 --> 00:26:17,759 over the top. It's wonderful, and it plays so well 491 00:26:17,759 --> 00:26:20,480 in the movie. Yes, it's during the tractor scene right 492 00:26:20,839 --> 00:26:24,359 where they're playing chicken with the tractors and Wren his 493 00:26:24,559 --> 00:26:32,720 shoelaces caught. He can't get his foot loose, but I 494 00:26:32,799 --> 00:26:36,000 love it. This song was written by Jim Steinman and 495 00:26:36,079 --> 00:26:37,000 the Patrick. 496 00:26:36,880 --> 00:26:40,160 Speaker 7: Right, who we've talked about before in the def Leffard episode. 497 00:26:40,640 --> 00:26:43,119 Jim Steinman was the guy that they hired when Mutt 498 00:26:43,160 --> 00:26:45,960 Lang couldn't do it, and he was the one that there. 499 00:26:46,000 --> 00:26:48,359 He was like, all right, that sounds good, and they're like, wait, 500 00:26:48,400 --> 00:26:50,839 we haven't even warmed up yet. He had done Bad 501 00:26:50,839 --> 00:26:53,519 out of Hell, which we talked about back then, and 502 00:26:53,839 --> 00:26:56,079 he had done a lot of stuff with Bonnie Tyler 503 00:26:56,160 --> 00:26:57,240 faster than the Speed of Night. 504 00:26:57,319 --> 00:27:00,480 Speaker 3: I mean that's huge, absolutely. I mean she was an 505 00:27:00,680 --> 00:27:03,799 icon of the eighties as well, who I love. I 506 00:27:03,880 --> 00:27:05,759 love her her voices killer. Yeah. 507 00:27:05,799 --> 00:27:07,920 Speaker 2: Okay, here's something you may not know. When they brought 508 00:27:07,960 --> 00:27:10,000 in Jim Steinman and they were writing the song, he 509 00:27:10,079 --> 00:27:11,880 started saying, Hey, I got something to show you. On 510 00:27:11,880 --> 00:27:15,720 the keyboard, he's pounding it out right and he literally 511 00:27:16,079 --> 00:27:19,240 was playing so hard that his fingers started to bleed. 512 00:27:19,559 --> 00:27:22,559 Oh wow, And so he's just Dean Pitcher say he's 513 00:27:22,599 --> 00:27:25,200 just pounding the crap out of the keyboard and there's 514 00:27:25,240 --> 00:27:28,079 blood all over the keyboard and Dean pictures like this 515 00:27:28,119 --> 00:27:29,359 guy's freaking awesome. 516 00:27:39,680 --> 00:27:41,519 Speaker 3: Yeah, that's I mean, I can see it. I mean 517 00:27:41,519 --> 00:27:44,480 with this song is so intense. It's like the galloping 518 00:27:44,559 --> 00:27:47,359 of a horse, right. It's it's the White Night riding 519 00:27:47,440 --> 00:27:50,440 up to save the day. It's the Superman too good. 520 00:27:50,559 --> 00:27:51,240 Speaker 2: It's good good. 521 00:27:51,279 --> 00:27:54,839 Speaker 3: This song is well. The lyrics are awesome, the music 522 00:27:54,920 --> 00:27:57,279 is awesome, and it lasts. I mean, you put this 523 00:27:57,359 --> 00:27:59,400 song out right now, Well, I don't listen. 524 00:27:59,559 --> 00:28:01,079 Speaker 2: They showed her of the movie because they wanted her 525 00:28:01,160 --> 00:28:03,440 to sing it with a sense of urgency, and I 526 00:28:03,480 --> 00:28:04,400 think that comes across. 527 00:28:04,440 --> 00:28:19,200 Speaker 3: Oh yeah, totally. The immediacy of the song is perfect 528 00:28:19,359 --> 00:28:20,119 in everything. 529 00:28:20,359 --> 00:28:22,680 Speaker 2: Okay, I've got to play you something. This blew me 530 00:28:22,720 --> 00:28:25,720 away in the same way that we talked about during 531 00:28:25,720 --> 00:28:30,000 our bon Jovie episode, when Desmond Child had written parts 532 00:28:30,000 --> 00:28:32,200 of Living on a Prayer, but he plucked them from 533 00:28:32,240 --> 00:28:35,960 other songs that he had done previously. So Jim Steinman 534 00:28:36,039 --> 00:28:39,200 had a solo album called Bad for Good, and there's 535 00:28:39,240 --> 00:28:42,519 a song on there called Stark Raving Love. Ready for This, Yes, 536 00:28:42,599 --> 00:28:43,720 all right, here's the beginning. 537 00:29:03,640 --> 00:29:08,599 Speaker 3: Okay, well, identical, identical, identical, until you get to the voice, 538 00:29:08,839 --> 00:29:09,279 until you. 539 00:29:09,200 --> 00:29:11,240 Speaker 2: Get meet loafing. You can take a right turn right there. 540 00:29:11,400 --> 00:29:14,519 Speaker 3: Oh my gosh. Wow. Yeah, that's fun. And that came 541 00:29:14,559 --> 00:29:17,359 out in eighty one, so just I mean, they're recording 542 00:29:17,400 --> 00:29:20,119 the songs to this in eighty three, so that was 543 00:29:20,200 --> 00:29:22,559 just two years before that he had put that out. 544 00:29:22,720 --> 00:29:24,880 Speaker 2: Yeah, but we talked about how you know, you think 545 00:29:24,920 --> 00:29:27,079 you've got a good idea and maybe it doesn't hit 546 00:29:27,119 --> 00:29:30,039 for whatever reason, and you think, I don't care. This 547 00:29:30,160 --> 00:29:33,640 is still good, like this is better than it received, 548 00:29:33,799 --> 00:29:35,680 and so he pulls it out again, dusts it off 549 00:29:35,720 --> 00:29:38,319 and says, I'm gonna try this again with Bonnie Tyler. 550 00:29:38,440 --> 00:29:41,200 Speaker 3: Yeah, and they tried the song again only four years 551 00:29:41,240 --> 00:29:44,319 later in the movie Short Circuit Too. No, right, I 552 00:29:44,279 --> 00:29:47,160 everybody remember that, right, I mean, the movie is so 553 00:29:47,200 --> 00:29:52,160 bad that Steve Gutenberg wouldn't even do it. 554 00:29:48,920 --> 00:29:54,240 Speaker 2: It was also in Shrek too. 555 00:29:54,920 --> 00:29:56,960 Speaker 3: Yeah, that's right now. That one actually was pretty good. 556 00:29:56,960 --> 00:29:59,000 I liked that they had a different singer. It was 557 00:29:59,079 --> 00:30:02,720 Jennifer Sonders. But you know, having kids in the early 558 00:30:02,759 --> 00:30:05,720 two thousands, I was very familiar with that and yeah, 559 00:30:05,720 --> 00:30:06,279 she did a good. 560 00:30:06,240 --> 00:30:06,799 Speaker 6: Job with that one. 561 00:30:06,920 --> 00:30:09,119 Speaker 2: This Yeah, that was good, very good. This song was 562 00:30:09,160 --> 00:30:12,119 released April thirteenth, nineteen eighty four. This only reached number 563 00:30:12,160 --> 00:30:14,119 thirty four in the US. Are you kidding me? 564 00:30:14,319 --> 00:30:19,000 Speaker 3: That's nuts? Okay, that is nuts. I am just spiking 565 00:30:19,039 --> 00:30:22,799 the football, as you say, best song, Shorter Footloo's best 566 00:30:22,880 --> 00:30:23,599 song in a while. 567 00:30:23,720 --> 00:30:26,200 Speaker 2: Okay, all right, Hey, I've got deep cuts for you. 568 00:30:26,240 --> 00:30:27,359 Speaker 3: Okay, okay, all right. 569 00:30:27,400 --> 00:30:29,720 Speaker 2: There's a cover version of this song that was made 570 00:30:29,759 --> 00:30:32,400 for the TV series Cover Up in nineteen eighty four. 571 00:30:32,519 --> 00:30:36,160 It was sung by Miss eg Daily, she played Dottie 572 00:30:36,200 --> 00:30:39,680 in Pee Wee's Big Adventure. Oh okay, okay, we done. 573 00:30:39,440 --> 00:30:41,039 Speaker 3: With this one. Yep, all right everyone. 574 00:30:41,240 --> 00:30:43,519 Speaker 2: That's it for holding down for a hero. Hit stop 575 00:30:43,559 --> 00:30:46,079 on your tape player, kick it out, flip it over, 576 00:30:46,599 --> 00:31:01,480 first song on side two, dancing in the sheets. 577 00:31:02,680 --> 00:31:04,960 Speaker 3: Okay. So it's interesting that, I mean, you've said this 578 00:31:05,359 --> 00:31:08,079 on almost every episode that we've had. It's musical, but 579 00:31:08,240 --> 00:31:11,519 I can remember hitting stop on my tape player and 580 00:31:11,559 --> 00:31:14,519 flipping it over to hear this song. And I love 581 00:31:14,799 --> 00:31:18,559 dancing doing my break dancing to this song right here, 582 00:31:18,720 --> 00:31:22,640 which is why it's the perfect song for the prohibited 583 00:31:22,720 --> 00:31:25,640 dancing that's going on at the local drive in. That's 584 00:31:25,680 --> 00:31:29,519 the scene from the movie where Ariel puts the tape 585 00:31:29,519 --> 00:31:33,240 in and everybody starts dancing a long while they're playing 586 00:31:33,279 --> 00:31:37,039 video games or eating French fries or whatever to this 587 00:31:37,279 --> 00:31:38,359 incredibly good song. 588 00:31:38,440 --> 00:31:40,400 Speaker 2: Yeah, she pulls out the boom box in the movie, 589 00:31:40,799 --> 00:31:43,920 hits play under tape player on the boom box, and 590 00:31:43,960 --> 00:31:46,160 the whole place, including the girls in the bathroom or 591 00:31:46,240 --> 00:31:48,599 jamming out to this song. And it's a little bit naughty. 592 00:31:48,640 --> 00:31:52,599 You've got the dancing in the sheets that implies not 593 00:31:52,680 --> 00:31:59,640 just dancing's going on. This is exactly why dance song 594 00:31:59,680 --> 00:32:02,720 about fornication. And then and that scene is great because 595 00:32:02,880 --> 00:32:06,119 John Litzko's character, Reverend Shawn Moore, shows up and he 596 00:32:06,279 --> 00:32:09,000 hits stop on the tape player. He doesn't say anything. 597 00:32:09,319 --> 00:32:12,599 She's just odd and shocked. Oh my dad is here. 598 00:32:12,640 --> 00:32:14,640 I'm gonna be in big trouble. And he says, your 599 00:32:14,680 --> 00:32:17,079 mom thought you'd run out of money, so here's some 600 00:32:17,240 --> 00:32:19,400 cash for you. And it's almost like. 601 00:32:21,119 --> 00:32:25,079 Speaker 3: It's more. It doesn't yell at her, he doesn't say 602 00:32:25,279 --> 00:32:29,559 any condemnation of her, but you see it in his face. 603 00:32:29,680 --> 00:32:39,400 Speaker 2: Yeah, it's a heart ranging scene. Yeah, it's always all right. 604 00:32:39,440 --> 00:32:41,960 Here's what I know about Shalamar. Okay, I've got I've 605 00:32:41,960 --> 00:32:44,680 got a little bit some just very few facts on Shalamar. 606 00:32:44,880 --> 00:32:46,440 Speaker 3: Well, there aren't very many facts that I have. 607 00:32:46,920 --> 00:32:49,119 Speaker 2: Here's the one thing that I found interesting about Shalamar, 608 00:32:49,119 --> 00:32:52,160 all right. Jody Wattley used to be in Shallamar. 609 00:32:52,359 --> 00:32:52,559 Speaker 3: Right. 610 00:32:52,799 --> 00:32:54,880 Speaker 2: She had a bunch of big hits in the late eighties, 611 00:32:54,920 --> 00:32:58,359 including looking for a New Love and Don't You Want Me? 612 00:32:58,440 --> 00:32:59,799 And some kind of Lover. I mean, she was a 613 00:32:59,799 --> 00:33:03,079 bit big player, but she left Shalamar right before they 614 00:33:03,119 --> 00:33:06,200 recorded the song. Do you know who Shallamar's number one 615 00:33:06,279 --> 00:33:11,039 fan was, no, the thriller himself, mister Michael Jackson. Wow, 616 00:33:11,200 --> 00:33:12,559 he was a big fan of Shallamar. 617 00:33:12,880 --> 00:33:18,160 Speaker 3: Well, okay, So the producer Dean Pitchford, you know, wrote 618 00:33:18,160 --> 00:33:22,680 the song with Bill Wolfer. Bill Wolfer is the guy 619 00:33:22,759 --> 00:33:26,599 who played the keyboard and synthesizer on Billy Jean. 620 00:33:27,440 --> 00:33:29,160 Speaker 2: Yeah, there's some connection there. 621 00:33:29,319 --> 00:33:34,559 Speaker 3: Yeah. So Shalamar was one of those executive creations, not 622 00:33:34,680 --> 00:33:37,279 quite a boy band, but in that kind of same vein. 623 00:33:37,519 --> 00:33:41,440 There was a concert promoter named Dick Griffy and he 624 00:33:41,519 --> 00:33:44,680 decided to put together some studio musicians who are really good, 625 00:33:45,319 --> 00:33:47,720 and then he got together with a guy named Don 626 00:33:47,799 --> 00:33:51,400 Cornelius who had created Soul Training, and they had some 627 00:33:51,480 --> 00:33:54,559 good dancers. And you put these dancers who are really 628 00:33:54,559 --> 00:33:57,240 good with these musicians who are really good, and that's 629 00:33:57,240 --> 00:33:58,200 how you get Shallamar. 630 00:33:58,440 --> 00:34:02,119 Speaker 2: Yeah, it's danger close to Millie Vanilli, although these guys 631 00:34:02,119 --> 00:34:06,279 do sing their own stuff. One of the guys I 632 00:34:06,279 --> 00:34:08,280 mentioned that Michael Jackson was a big fan of Shallamar. 633 00:34:08,920 --> 00:34:10,960 One of the original members of Shalamar. His name is 634 00:34:11,000 --> 00:34:13,519 Jeffrey Daniel. They got to be on the British Top 635 00:34:13,559 --> 00:34:16,079 of the Pop show and that's when Michael Jackson saw him, like, man, 636 00:34:16,119 --> 00:34:18,639 this guy's awesome. I need to get him as my choreographer. 637 00:34:18,760 --> 00:34:22,199 And that's how he got the job as the choreographer 638 00:34:22,199 --> 00:34:23,840 for Michael Jackson's Bad video. 639 00:34:24,000 --> 00:34:33,119 Speaker 6: Oh wow, all right, let's move on to the next song, 640 00:34:33,599 --> 00:34:35,039 the second by Kenny Loggins. 641 00:34:35,239 --> 00:34:38,320 Speaker 2: It's a song called I'm Free Heaven Helped the Man. 642 00:34:38,519 --> 00:34:39,280 Speaker 3: It's a good beginning. 643 00:34:41,119 --> 00:34:43,960 Speaker 2: Dude, I'm spiking the football on this one. You're saying 644 00:34:44,000 --> 00:34:47,039 this is my favorite song on the entire album. 645 00:34:47,119 --> 00:34:48,840 Speaker 3: Oh wow, that's solid, bro. 646 00:34:49,000 --> 00:34:51,239 Speaker 2: Man, I love all the songs, but this one just 647 00:34:51,360 --> 00:34:54,639 has that energy and that great chorus and the children 648 00:34:54,719 --> 00:35:01,000 chorus singing I'm free. I love it. 649 00:35:17,960 --> 00:35:19,079 Speaker 3: And it'd be interesting. 650 00:35:19,119 --> 00:35:19,280 Speaker 8: You know. 651 00:35:19,320 --> 00:35:23,119 Speaker 3: You pointed out last episode that in Purple Rain, you 652 00:35:23,159 --> 00:35:25,920 don't go more than ten minutes without a song coming in. 653 00:35:26,000 --> 00:35:28,039 It'd be interesting to check that out as far as 654 00:35:28,039 --> 00:35:31,320 Footloot goes. Yeah, because you've got a couple of different 655 00:35:31,360 --> 00:35:35,280 montage scenes of things happening and there's always music behind it, 656 00:35:35,320 --> 00:35:37,559 and we know the song was built on the soundtrack, 657 00:35:37,960 --> 00:35:40,880 so it'd be interesting to see how long you go 658 00:35:41,039 --> 00:35:43,159 in the movie without here in music. I bet it's 659 00:35:43,199 --> 00:35:43,679 not very long. 660 00:35:43,719 --> 00:35:46,119 Speaker 2: I bet it's kind of the same thing. Yeah, Yeah, 661 00:35:46,199 --> 00:35:49,119 And this song is actually used as that swell of 662 00:35:49,159 --> 00:35:52,599 emotion when when Wren wins the argument at the town council. 663 00:35:52,679 --> 00:35:55,800 So anyway, yes, this song was released February fourteenth, nineteen 664 00:35:55,840 --> 00:35:59,280 eighty four. Yeah, Reach number twenty two one, I mean 665 00:35:59,360 --> 00:36:00,000 another hit. 666 00:36:00,159 --> 00:36:04,039 Speaker 3: Yeah, another hit, and this one's this one is seems 667 00:36:04,039 --> 00:36:07,599 to kind of encapsulate what's going on with the movie, 668 00:36:07,639 --> 00:36:12,760 like the fact that you're the character is beaten down 669 00:36:13,119 --> 00:36:17,119 by this kind of ridiculous restrictive idea, and he breaks free, right, 670 00:36:17,199 --> 00:36:20,559 he conquers it. He conquers his fear, which leads him 671 00:36:20,559 --> 00:36:23,519 to conquer the opposition, and they get their wish and 672 00:36:23,599 --> 00:36:24,679 finally I'm free. 673 00:36:24,760 --> 00:36:26,599 Speaker 2: Let's talk about the music video this one for just 674 00:36:26,599 --> 00:36:28,920 a second, okay. And so this one's about Kenny Loggin's 675 00:36:28,920 --> 00:36:30,880 breaking out of prison and then he meets a gang, 676 00:36:30,960 --> 00:36:32,719 like a street gang, and he has a picture of 677 00:36:32,760 --> 00:36:35,159 his girlfriend. He's looking for his girlfriend. His girlfriend in 678 00:36:35,199 --> 00:36:36,599 the video of Virginia Madison. 679 00:36:36,840 --> 00:36:40,760 Speaker 3: Wow, yeah, wow. 680 00:36:39,920 --> 00:36:42,599 Speaker 2: She looks great. You know, she's young and major babe 681 00:36:42,599 --> 00:36:43,159 in the eighties. 682 00:36:43,599 --> 00:36:45,599 Speaker 3: What movie was she in that we talked about. 683 00:36:46,000 --> 00:36:48,079 Speaker 2: She was in Highlander two. 684 00:36:48,440 --> 00:36:49,039 Speaker 3: Highlander two. 685 00:36:49,119 --> 00:36:50,000 Speaker 2: That Islander two. 686 00:36:50,159 --> 00:36:51,760 Speaker 3: You said that was the best part of the movie. 687 00:36:51,840 --> 00:36:53,199 That's it, Virginia Madden, that's it. 688 00:36:53,400 --> 00:36:53,840 Speaker 2: That's it. 689 00:36:54,079 --> 00:36:56,519 Speaker 3: So here's an interesting thing like this. Okay. So this 690 00:36:56,559 --> 00:36:59,639 movie came out in eighty four. Yes, Dean Pitchford in 691 00:36:59,679 --> 00:37:02,320 eighty six or so is going to speak at this 692 00:37:02,400 --> 00:37:05,480 film festival. He gets picked up at the airport by 693 00:37:05,559 --> 00:37:08,440 this kid who obviously you know, he's trying to work 694 00:37:08,440 --> 00:37:11,280 in the industry. So he's done his research and talking 695 00:37:11,280 --> 00:37:14,119 to him about footloose, and he's like, you know, and 696 00:37:14,199 --> 00:37:17,519 I love how it's kind of autobiographical. And Dean Pitcher's like, 697 00:37:18,599 --> 00:37:20,440 what do you mean. He goes, well, like, you know, 698 00:37:20,519 --> 00:37:23,039 you were from Honolulu and then you know, you had 699 00:37:23,039 --> 00:37:27,199 to move out to Kansas City, Missouri. And Dean Picture's like, wow, 700 00:37:27,360 --> 00:37:31,199 it was kind of autobiographical. Didn't even realize that's you 701 00:37:31,320 --> 00:37:33,719 moved from, you know, I mean, imagine the difference between 702 00:37:33,960 --> 00:37:39,079 Honolulu and Kansas City, Missouri back in the sixties. 703 00:37:39,360 --> 00:37:43,679 Speaker 2: Awesome, all right, Moving on song number seven on the album. 704 00:37:43,719 --> 00:37:45,800 This song is called Somebody's Eyes. 705 00:37:45,920 --> 00:37:48,760 Speaker 3: Okay, wait before you push play, let's listen to the 706 00:37:48,800 --> 00:37:52,920 first beat of the song, the first measure of the song. Okay, 707 00:37:52,960 --> 00:37:55,559 thinking about let's hear it for the boy and the 708 00:37:55,559 --> 00:38:19,760 fact that it's the exact same beat, and go there 709 00:38:19,760 --> 00:38:24,360 it is. That's it, that's it. That's crazy. I believe 710 00:38:24,360 --> 00:38:27,239 I never realized that before. Identical beat. 711 00:38:27,280 --> 00:38:30,480 Speaker 2: But the songs are so different, they have totally different tone. 712 00:38:30,760 --> 00:38:33,199 Speaker 3: Oh yeah, this is this is a sad song. This 713 00:38:33,320 --> 00:38:35,559 is not this is not what you want for the 714 00:38:35,599 --> 00:38:38,320 guys learning how to dance. This is you know, she's 715 00:38:38,639 --> 00:38:41,679 depressed and she's wandering the streets and such. 716 00:38:42,639 --> 00:38:43,719 Speaker 4: Got a energy. 717 00:38:53,880 --> 00:39:05,119 Speaker 8: Somebody size, somebody size. 718 00:39:05,519 --> 00:39:07,960 Speaker 2: This is a song about Ariel can't get away because 719 00:39:08,039 --> 00:39:11,239 everybody's got their eyes on her. She can't break free 720 00:39:11,360 --> 00:39:15,360 because somebody is always watching her. This is not let's 721 00:39:15,400 --> 00:39:17,400 hear it for the boy and learn how to dance. Right, 722 00:39:17,960 --> 00:39:19,079 But this is a great song. 723 00:39:19,320 --> 00:39:21,800 Speaker 3: Oh, yeah, fantastic song. I remember calling you whenever we 724 00:39:21,840 --> 00:39:24,800 first started listening to this album again and saying, I 725 00:39:24,840 --> 00:39:28,000 think this song would have been a mega hit had 726 00:39:28,000 --> 00:39:31,559 it not been surrounded by so many super ultra awesome 727 00:39:31,639 --> 00:39:34,159 mega hits. Right, Like, this is a really good song, 728 00:39:34,199 --> 00:39:37,039 but it's just it's kind of drowned out by being 729 00:39:37,039 --> 00:39:39,320 surrounded by so many good songs. Yeah. 730 00:39:39,599 --> 00:39:42,880 Speaker 2: This was also released in nineteen eighty four. It reached 731 00:39:42,960 --> 00:39:46,159 number sixteen on the Adult Contemporary chart. It's not bad, Yeah, 732 00:39:46,320 --> 00:39:50,320 a very respectable position. And this was used to pace 733 00:39:50,400 --> 00:39:51,079 the dance songs. 734 00:39:51,119 --> 00:39:53,960 Speaker 3: Like we said before, Yeah, this is a This is 735 00:39:54,000 --> 00:39:56,280 a song that I could see parents listening to more 736 00:39:56,320 --> 00:39:58,519 than the kids. Yeah, this was a skipper for me 737 00:39:58,559 --> 00:39:59,800 when I was playing the tape for sure. 738 00:39:59,800 --> 00:40:01,280 Speaker 2: Though my mom loved this song. 739 00:40:11,840 --> 00:40:13,639 Speaker 3: I like a little better now that I'm older, but 740 00:40:14,079 --> 00:40:20,440 it's still probably it's still gonna. 741 00:40:18,639 --> 00:40:22,920 Speaker 2: In the musical, this song is sung by Rusty. 742 00:40:23,159 --> 00:40:26,280 Speaker 3: Yeah, it's a different dynamic and they changed the words 743 00:40:26,280 --> 00:40:29,599 a little bit too, and it's more a plot point 744 00:40:29,800 --> 00:40:32,440 in the musical than it is in the movie. 745 00:40:32,639 --> 00:40:33,480 Speaker 2: Yeah, good song. 746 00:40:33,719 --> 00:40:37,559 Speaker 3: Song sang by Carla Bonoff. She's still doing stuff. She's 747 00:40:37,559 --> 00:40:41,159 still touring and doing stuff. She's more like I think, 748 00:40:41,199 --> 00:40:43,880 has more made more of her career being a songwriter. 749 00:40:44,000 --> 00:40:46,559 She's done a ton of work for other folks, but 750 00:40:46,679 --> 00:40:48,719 she's still performing, doing great stuff. 751 00:40:48,760 --> 00:40:50,679 Speaker 2: Okay, will be ready for the next one. 752 00:40:50,719 --> 00:40:53,119 Speaker 3: We better be all right. 753 00:40:53,679 --> 00:41:01,119 Speaker 2: The next song is called The Girl Gets Around. 754 00:41:05,199 --> 00:41:08,760 Speaker 3: And this is a rocker by the Red Rocker rockiness 755 00:41:08,880 --> 00:41:10,599 rock rock, rockety. 756 00:41:10,360 --> 00:41:13,719 Speaker 2: Rock song on the album Yeah, this was my introduction 757 00:41:13,800 --> 00:41:16,039 to Sammy Hagar. Oh really, I didn't know who he 758 00:41:16,199 --> 00:41:17,039 was before this song. 759 00:41:17,159 --> 00:41:20,000 Speaker 3: Yeah. Well this is and it's perfect. It is again perfect. 760 00:41:20,000 --> 00:41:22,280 This is the second song that you have in the movie, 761 00:41:22,639 --> 00:41:26,400 and it's the point where we're telling you Ariel is 762 00:41:26,679 --> 00:41:31,079 the wild preacher's daughter. Right at first lines of the song, Well, 763 00:41:31,119 --> 00:41:33,400 she'd like you to think she was born yesterday. With 764 00:41:33,519 --> 00:41:36,679 their innocent looks and her little town ways when she 765 00:41:36,800 --> 00:41:40,119 smiles at me. She's got angels in her eyes. But 766 00:41:40,239 --> 00:41:43,159 I've seen how she moves, and this girl really cooks. 767 00:41:43,719 --> 00:41:46,519 She taught me some tricks she can't learn and books. 768 00:41:49,119 --> 00:41:51,639 Speaker 2: This is played when she crawls out of the car 769 00:41:51,679 --> 00:41:53,760 and she's standing with her foot on one car and 770 00:41:53,800 --> 00:41:56,400 her foot on her boyfriend's car, and they're going full 771 00:41:56,440 --> 00:41:59,639 speed ahead at a semi yes right, and she's a 772 00:42:00,119 --> 00:42:02,760 psycho on wheels. At this point, I'm like, what is 773 00:42:03,039 --> 00:42:05,079 what is Ren doing chasing this girl? 774 00:42:06,519 --> 00:42:10,159 Speaker 3: And then they defy the laws of physics somehow the 775 00:42:10,280 --> 00:42:13,760 evil boyfriend manages to pull her entire body in and 776 00:42:13,840 --> 00:42:15,880 a seating position from her ankle. 777 00:42:16,800 --> 00:42:29,639 Speaker 2: He grabs her peaky towel and pulls her in. Great song, 778 00:42:29,960 --> 00:42:32,559 total rocker. I mean, the variety that we have on 779 00:42:32,599 --> 00:42:35,440 the soundtrack is really great. You've got rock songs, you've 780 00:42:35,440 --> 00:42:39,239 got dance songs, you've got ballads, you've got pop gold. 781 00:42:39,400 --> 00:42:42,480 Speaker 3: You got it all, you really do. There's all kinds 782 00:42:42,519 --> 00:42:45,800 of music to appeal to all kinds of audiences in 783 00:42:45,840 --> 00:42:49,000 this one, and it's all just hook after hook after hook. 784 00:42:49,239 --> 00:42:51,480 Now this one didn't, this one didn't get released. 785 00:42:51,719 --> 00:42:54,280 Speaker 2: This is the only one that did not get released as. 786 00:42:54,199 --> 00:42:56,039 Speaker 3: A single, which is kind of crazy. I mean, if 787 00:42:56,199 --> 00:42:58,599 if it had been, it probably would have been in 788 00:42:58,880 --> 00:43:01,440 our sites more than it is. But just the fact 789 00:43:01,480 --> 00:43:03,880 that it didn't get released probably is why we don't 790 00:43:03,920 --> 00:43:05,280 remember it from the album. Yep. 791 00:43:05,760 --> 00:43:08,400 Speaker 2: Right after this one, we have I Can't Drive fifty five, 792 00:43:08,599 --> 00:43:10,760 and then another year or so later. 793 00:43:10,840 --> 00:43:15,039 Speaker 3: The band what was that called? Yeah, Yeah, Roth something 794 00:43:15,119 --> 00:43:17,760 rather yeah. 795 00:43:16,639 --> 00:43:19,000 Speaker 2: And then of course in nineteen eighty five he joins 796 00:43:19,079 --> 00:43:23,280 van Halen flashback to our van Halen van Hagar episodes. Okay, 797 00:43:23,360 --> 00:43:25,760 another great song. I'm not skipping it, no, in fact, 798 00:43:25,800 --> 00:43:26,559 I'm turning it up. 799 00:43:26,719 --> 00:43:28,440 Speaker 3: Yeah, you're crawling out the window. 800 00:43:28,559 --> 00:43:30,840 Speaker 2: I'm crawling out the window, and I'm buying my hands 801 00:43:30,880 --> 00:43:35,239 up looking at the semi like all right. Last song 802 00:43:35,280 --> 00:43:40,760 on the album. This song is called never. 803 00:43:48,360 --> 00:43:48,639 Speaker 3: Okay. 804 00:43:48,679 --> 00:43:51,159 Speaker 2: This song was played during the Rage Dance. This is 805 00:43:51,199 --> 00:43:52,159 the rage Dance song. 806 00:43:52,079 --> 00:43:59,360 Speaker 3: The Punch Dance, Punch Dance. This is the scene where 807 00:43:59,400 --> 00:44:02,559 you had to have four different body doubles for Kevin 808 00:44:02,599 --> 00:44:04,880 Bacon because he's dancing better than he can dance and 809 00:44:04,960 --> 00:44:08,320 doing gymnastics better than can do gymnastics, and is physically 810 00:44:08,360 --> 00:44:13,039 stronger and better built than Kevin Bacon actually was. But again, 811 00:44:13,400 --> 00:44:18,119 huge memorable scene. It's been parodied multiple times in different places. 812 00:44:18,199 --> 00:44:20,920 The song is performed by a band called Moving Pictures. 813 00:44:21,079 --> 00:44:22,519 Speaker 2: Yeah. They're an Australian band. 814 00:44:22,679 --> 00:44:22,920 Speaker 8: Yeah. 815 00:44:23,039 --> 00:44:25,920 Speaker 3: Apparently they never got paid any money for this. 816 00:44:26,119 --> 00:44:27,360 Speaker 2: This is a really sad story. 817 00:44:27,480 --> 00:44:30,199 Speaker 3: Yeah. The lead singer, Alex Smith said, we were just 818 00:44:30,239 --> 00:44:32,519 the lowest part of the food chain. We got gobbled 819 00:44:32,559 --> 00:44:36,159 up by companies and people that suddenly stopped existing and 820 00:44:36,199 --> 00:44:39,000 when we asked where our money was the things you 821 00:44:39,039 --> 00:44:41,360 get talked into doing anyway. Yeah, we got to record 822 00:44:41,360 --> 00:44:43,480 a sound City and the record plant, but a couple 823 00:44:43,519 --> 00:44:47,079 of bucks would have been nice. Hence we never played 824 00:44:47,119 --> 00:44:47,519 this song. 825 00:45:02,920 --> 00:45:06,039 Speaker 2: They didn't get any money for this, no royalties. Are 826 00:45:06,079 --> 00:45:08,719 you Kidney on an album of this size? 827 00:45:09,000 --> 00:45:11,960 Speaker 3: Yeah? Yeah, the guitarist said, we performed it. It was 828 00:45:12,000 --> 00:45:14,360 written by the guys that made the movie and we 829 00:45:14,440 --> 00:45:16,719 got nothing from it. Someone made a lot of money 830 00:45:16,719 --> 00:45:18,760 out of the song, but it wasn't us. 831 00:45:19,440 --> 00:45:21,840 Speaker 2: It's too bad. Yeah, and I don't blame him for 832 00:45:22,039 --> 00:45:22,960 never playing the song. 833 00:45:23,079 --> 00:45:23,280 Speaker 3: Yeah. 834 00:45:23,400 --> 00:45:23,480 Speaker 2: No. 835 00:45:23,679 --> 00:45:26,719 Speaker 3: And I haven't heard other songs by this band, but 836 00:45:26,800 --> 00:45:29,960 he's got a stellar eighties sounds to his voice, and 837 00:45:30,039 --> 00:45:32,960 the beginning of the song is very very eighties with 838 00:45:33,039 --> 00:45:37,280 that synthesizer. It's a great song, and I mean the 839 00:45:37,320 --> 00:45:39,800 memorableness of the song obviously comes from the scene in 840 00:45:39,880 --> 00:45:42,519 the movie, but it's still powerful. 841 00:45:42,599 --> 00:45:46,360 Speaker 2: Yeah, it's good. In fact, there is a Japanese version 842 00:45:46,400 --> 00:45:49,159 of this song recorded by the singer m I E. 843 00:45:49,199 --> 00:45:51,159 Which apparently she's a pretty big deal. I don't know 844 00:45:51,199 --> 00:45:53,880 who she is, but so Japanese. She's Japanese, which is 845 00:45:53,920 --> 00:45:55,559 probably the reason why I don't know anything about her. 846 00:45:56,360 --> 00:45:59,440 But it was big success in Japan. It took the song, 847 00:45:59,559 --> 00:46:01,639 changed the lyrics, and made. 848 00:46:01,440 --> 00:46:02,840 Speaker 3: The Japanese cool. Okay. 849 00:46:02,880 --> 00:46:05,920 Speaker 2: So that finishes up the track list. There's a couple 850 00:46:05,960 --> 00:46:07,840 of songs that we didn't talk about that are actually 851 00:46:07,880 --> 00:46:09,480 in the movie that I think are worth mentioning. 852 00:46:09,480 --> 00:46:10,599 Speaker 3: We should at least mention them. 853 00:46:10,639 --> 00:46:15,280 Speaker 2: Okay. So You've got Hurt So Good by John Cougar Mellencamp, huge, big, 854 00:46:15,320 --> 00:46:15,880 big song. 855 00:46:16,039 --> 00:46:16,320 Speaker 3: Yeah. 856 00:46:16,400 --> 00:46:18,199 Speaker 2: I don't know why that was in the movie and 857 00:46:18,199 --> 00:46:18,480 not on. 858 00:46:18,440 --> 00:46:21,280 Speaker 3: The soundtrack, probably because it was on his album that 859 00:46:21,320 --> 00:46:23,599 he wanted to sell a lot of probably his album 860 00:46:23,679 --> 00:46:24,760 and not their album. Yep. 861 00:46:25,239 --> 00:46:27,239 Speaker 2: Then you also have I've been waiting for a Girl 862 00:46:27,320 --> 00:46:30,280 like You. Yeah by Foreigner Right, which we talked about, 863 00:46:30,400 --> 00:46:33,079 was originally kind of slotted where the almost Paradise song 864 00:46:33,119 --> 00:46:33,760 was supposed to go in. 865 00:46:34,000 --> 00:46:34,400 Speaker 3: Huh. 866 00:46:34,719 --> 00:46:38,519 Speaker 2: Then you have Bang your Head by Quiet Riot Metal Health. Yes, 867 00:46:39,000 --> 00:46:41,119 they take the tape away from Rin and give him 868 00:46:41,119 --> 00:46:43,960 a flip in the chin, telling me better watch his attitude. 869 00:46:44,760 --> 00:46:47,559 That song is not on the soundtrack anywhere. Quiet Riot 870 00:46:47,599 --> 00:46:49,239 was huge in nineteen eighty four. 871 00:46:49,360 --> 00:46:51,400 Speaker 3: Yeah, I can remember having that album, having the LP 872 00:46:51,559 --> 00:46:52,039 on that one. 873 00:46:52,119 --> 00:46:53,159 Speaker 2: Oh nice the LP. 874 00:46:53,400 --> 00:46:56,840 Speaker 3: Yeah, him in a leather stray jacket with the metal 875 00:46:57,440 --> 00:46:58,480 doctor Doom face on. 876 00:46:58,599 --> 00:47:00,320 Speaker 2: Okay, I'm gonna throw this at you is going to 877 00:47:00,360 --> 00:47:00,840 blow your mind. 878 00:47:00,840 --> 00:47:01,320 Speaker 3: Okay. 879 00:47:01,880 --> 00:47:04,639 Speaker 2: So I listened to the audio commentary and I felt like, 880 00:47:04,679 --> 00:47:07,559 this is like the evil Stepchild that they locked in 881 00:47:07,559 --> 00:47:09,719 the basement they don't tell anybody about. But there was 882 00:47:09,760 --> 00:47:11,280 a footloose rap song. 883 00:47:11,639 --> 00:47:11,920 Speaker 3: Okay. 884 00:47:11,920 --> 00:47:15,280 Speaker 2: We talked about the diversity on this album. Okay, So 885 00:47:15,679 --> 00:47:19,519 there was a rap that Kevin Bacon actually performs in 886 00:47:19,559 --> 00:47:22,440 the movie and you can see him do it. Okay, 887 00:47:22,719 --> 00:47:25,199 now you got to look closely. But it's right after 888 00:47:25,360 --> 00:47:27,480 the town council meeting. So they have the victory at 889 00:47:27,519 --> 00:47:31,000 the town council and the next scene is they're riding motorcycles. 890 00:47:31,079 --> 00:47:33,239 Speaker 3: Okay, okay, and you can see if. 891 00:47:33,239 --> 00:47:36,639 Speaker 2: You look closely, Kevin Bacon is clearly mouthing words. That 892 00:47:36,800 --> 00:47:39,159 was where that rap was gonna be. But the producer 893 00:47:39,239 --> 00:47:42,480 and Dean Pitchford watched the movie and they hated it 894 00:47:42,639 --> 00:47:46,039 so much they went to Herbert Ross. You know, Herbert 895 00:47:46,119 --> 00:47:49,079 Ross is a stubborn guy, and so Herbert Ross is like, 896 00:47:49,119 --> 00:47:51,440 what's wrong. He's like, well, I don't really want to say, 897 00:47:51,480 --> 00:47:53,639 and he's like, well, go ahead, it's fine, and he's 898 00:47:53,679 --> 00:47:56,920 like the rap. I can't handle the rap. He's like, okay, well, 899 00:47:56,960 --> 00:47:59,639 then it's out. So Herbert Ross was like, okay, fine. 900 00:47:59,800 --> 00:48:01,760 But if he had gone in like pounding the fists, 901 00:48:01,800 --> 00:48:04,199 like you gotta take this wrap thing out, it sucks. 902 00:48:04,679 --> 00:48:06,239 Speaker 3: Yeah, heard Ross, No. 903 00:48:06,239 --> 00:48:08,239 Speaker 2: Way, I'm not. So they pulled it so it's out. 904 00:48:08,320 --> 00:48:10,159 I can't find it, I can't see it, I can't 905 00:48:10,199 --> 00:48:12,079 listen to it. But if you watch that part of 906 00:48:12,119 --> 00:48:14,400 the movie, you can see mouthing the words. 907 00:48:14,519 --> 00:48:17,559 Speaker 3: All right, Dear Shirley fans, Now my interest is peaked. 908 00:48:17,599 --> 00:48:20,920 If anybody out there knows the wrap that was supposed 909 00:48:20,960 --> 00:48:23,800 to go in footloose. We got to know what that is. 910 00:48:24,039 --> 00:48:24,760 Speaker 2: Lay it on us. 911 00:48:24,960 --> 00:48:28,119 Speaker 3: Yeah. You can find us on Facebook at Shirley Podcast. 912 00:48:28,159 --> 00:48:31,159 You can find us on Twitter at Shirley Podcast. Come 913 00:48:31,199 --> 00:48:33,559 back next week where we will do part two of 914 00:48:33,599 --> 00:48:38,960 this comparison, looking at possibly the best album of the 915 00:48:39,159 --> 00:48:40,719 entire decade of the eighties. 916 00:48:41,119 --> 00:48:42,920 Speaker 2: If you like the eighties, you've got to come back 917 00:48:42,960 --> 00:48:43,320 next week. 918 00:48:43,320 --> 00:48:44,440 Speaker 3: We're talking about it next week. 919 00:48:44,760 --> 00:48:46,920 Speaker 2: Purple Rain, track by track, that's a. 920 00:48:46,960 --> 00:48:48,079 Speaker 3: Mighty long time, but I'm 921 00:48:50,159 --> 00:48:50,719 Speaker 4: Just suck it.