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Speaker 1: This is a podcast from Minute Media.

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

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Be Serious podcasts. Ladies and gentlemen, have we got a

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show for you today. We will be talking about two murders,

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a rape, glass, coffins, and stolen shoes. And that's all

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in the first two songs.

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Speaker 3: You think he's kidding, he is not kidding. It's incredible

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the stories involved in this album.

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Speaker 2: Yes, it really is. It's I mean, it's something special

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that we get to do when we go into an

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album that is by quote unquote various artists because we

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were exploring all kinds of stories. But this is this

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is one for the ages. I'm excited to get into it.

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Here we go with the Shirley You Can't Be Serious Podcast.

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Speaker 3: We hope that you'll join us and have the time

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of your life. Just be our baby, be our little bit, okay,

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d Before we get into it track by track, some

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people might feel like the Dirty Dancing soundtrack, Why are

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you cover the Dirty Dancing soundtrack? That's not really kind

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of in our sweet spot. But listen, this is a

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top five selling album of the nineteen eighties. It is

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one of the best selling Albums of All Time. It

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was released in the eighties. It has multiple hits from

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the eighties, including the best song of the year. I

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mean it's it's definitely our wheelhouse. It's just that you

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might not realize it's our wheelhouse. That's true.

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Speaker 2: So you pick up the Dirty Dancing soundtrack and you're

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going to think, well, okay, this is going to be

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all songs from the late fifties early sixties, because that's

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the time period of the movie. But in fact, especially

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when you got the first part of the album, it's

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mostly brand new songs.

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Speaker 3: Yeah it is. Here's the thing that blew me away? Okay,

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So I knew this was a big thing. I heard

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it on the radio every time I turned it on.

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I mean, Dirty Dancing was a force in eighty seven

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and eighty eight. Yeah, undeniable. Yeah right, but this is

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the thing that blew me away. Okay. Here's the top

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five selling albums of the decade. Yes, number one thriller

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No Surprise There, Yeah right, which we have done track

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by track, Yes episode one. Yes number two is Back

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in Black.

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Speaker 2: Which we've done track by track.

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Speaker 3: Yes, No Surprise There, No Surprise. Go back to that episode.

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Great episode number three was Bad by Michael Jackson, which

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we covered track by track. Yes, number four is Dirty Dancing.

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Here we are, we're checking this one off the box,

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clicking this box today. We've got several others on this list.

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And number five was Appetite for Destruction.

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Speaker 1: Bang.

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Speaker 3: We matched up one versus three, two versus five. And

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the funny thing is is that the Dirty Dancing Soundtrack

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is the number four selling album of the nineteen eighties.

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Saturday Night Fever is the number four selling album of

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the nineteen seventies.

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Speaker 2: See that's important. If you are just tuning into us

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for the first time. Welcome aboard Shirley fan anew. We

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have in the last two episodes covered Dirty Dancing the

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movie versus Saturday Night Fever the movie, and now we

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are covering Dirty Dancing the soundtrack versus Saturday Night Fever

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the soundtrack. And at the end, I think we'll probably

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rank them all one, two, three, four.

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Speaker 3: Yeah. Absolutely.

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Speaker 2: When we said which of these albums that we're going

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to cover first, I said to you, well, let's do

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Dirty Dancing first because it's got the older songs, and

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then we move into the seventies and that kind of

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makes sense that way. But as it turns out, it's

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kind of a back and forth ping pong thing because

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you've got songs from the fifties and sixties, and you've

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got songs from the eighties, and then when we cover

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Saturday Night Fever, we're gonna have songs from the seventies.

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So we're covering four decades of music all in two

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podcasts episodes.

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Speaker 3: Literally, when we do this matchup, this will be the

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first time we venture into the fifties, the first time

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we venture into the sixties. Next week we're going to

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venture into the seventies for the first time. Yeah, So anyway,

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it's gonna be fun. This album was so successful that

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they literally created a sequel album that was released in

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March of nineteen eighty eight.

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Speaker 2: With a very creative title More Dirty Dancing This is Okay.

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The original Dirty Dancing soundtrack was number one for eighteen weeks.

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On May seventh, nineteen eighty eight, Dirty Dancing and the

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soundtrack was number one. More Dirty Dancing was number three.

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It's crazy, best selling album. That is crazy.

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Speaker 3: People were nuts for this music.

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Speaker 2: And it doesn't make any sense. We're talking about nineteen

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eighty seven. What were the albums and the bands that

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we were listening to in nineteen eighty seven.

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Speaker 3: It dislodged Bruce Springsteen from the number one spot. YEP,

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George Michael knocked it out a couple of times. But

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we're talking about Appti for destruction. We're talking about hysteria,

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We're talking about Kick.

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Speaker 2: We're talking about girls, Girls, Girls. We're talking about White Snake,

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White Snake, big albums, big albums that are hard rock albums.

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And what we have is a soundtrack from a low

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budget movie starring two people who were largely unknown at

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the time, topping the charts and becoming one of the

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best selling albums in history thirty two million albums sold.

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Do you know that this is the all time greatest

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selling album in Germany all time? This is the thriller

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of Germany. So the popularity of this album actually caught

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the producers by surprise. The album had one million copies

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on back order before a single had even been released.

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What Yeah eighteen weeks at number one one on the

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Billboard two hundred album Sales charts and went platinum eleven times.

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Speaker 3: One Thing I Want You to Put a Pin in?

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Speaker 2: Okay Yeah.

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Speaker 3: The album was released July eighteenth, nineteen eighty seven. Yeah,

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the movie was released August twenty first, nineteen eighty seven.

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Uh huh so almost, well a little over a month later. Yeah,

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put a pin in that because one of the singles

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was dangling out there for a month, unhelped by the movie. Wow, okay, Yeah,

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put a pin in that.

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Speaker 2: Yeah. And it's interesting when you think about Mike Footloose

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in comparison to that, where they released the soundtrack before

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the soundtrack was already a huge success by the time

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the movie had come out. This is an entirely different scenario.

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So we talked earlier about how important the soundtrack was

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in all of the movie. We talked about how Eleanor Bergstein,

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the writer of the movie, went to her old forty five's,

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her old finals and made herself a mixtape. And this

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was the way that she pitched the movie to people.

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She would give them a copy of this mixtape, give

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the producer a copy of the mixtape, and say here's

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my idea for the movie. And she was rejected and

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rejected and rejected. But then years would go by and

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the producers would call her back up and say, hey,

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I've worn out that Ebe's dirty dancing tape. You gave me.

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Could you give me another copy? You realize you said

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no no on the movie.

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Speaker 3: Loved the soundtrack.

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Speaker 2: So this soundtrack, this tape that she had, she used

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it as her guiding light as she wrote the script.

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The soundtrack came first, then she wrote the script.

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Speaker 3: Are you ready?

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Speaker 2: Yeah, let's jump in.

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Speaker 3: All right, let's dive in.

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Speaker 2: Before we get going on the music, let me just

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say this. We talked in our last episode about how

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it was so difficult to get the rights to this music,

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and I brought up the fact that they got rid

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of one guy and brought in another guy. The guy

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they brought in was a guy named Jimmy Heiner. That

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name's gonna come up a few times as we're talking today.

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I just want to say Einer and his brother, Don

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Heiner founded the publishing house cam Usa in the seventies.

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Don Heiner is a name you may have heard of before.

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He wanted to become the president of Columbia Records and

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the president of Sony Music. So not too shabby, right,

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But at this time in the eighties, Jimmy Ironn was

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really he was a record producer. He had been in

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a band, of course on his own, but he was

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kind of a guy who was able to do both things.

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He was able to handle business side things and also

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a very proficient producer, and he's been responsible for some

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of the remixing of some of these songs. But he's

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the guy that I said last episode he went and

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kissed Phil Spector's big toe. Yes, yes, in order to

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get the rights to some of these songs. And had

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he not done that, we would not have the movie

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that we had, and we would not have this soundtrack.

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Speaker 3: It's gonna be amazing. Yeah, it's fascinating stuff. Okay, we ready, Yeah,

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all right? Diving into our first song on the album, yeah,

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be my Baby.

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Speaker 2: Oh wait, wait wait, I feel like we're forgetting something now,

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never mind, let's just keep on going. Be my Baby,

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Be my Baby. Let's hear it.

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Speaker 4: Okay, hear this first drum beat.

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Speaker 3: It's unmistakable, it's huge. It was an accident. Okay.

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Speaker 2: So the guy who did the drum beat on this

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one is Hal Blaine and he was a member of

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the Wrecking Crew. The Wrecking Crew was Phil Spector's studio

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band that became Brian Wilson's studio band for pet Sounds,

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which is regarded as one of the best albums of

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all time. They were the most proficient musicians. It included

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Glenn Campbell, which we talked about back in our Toto episode,

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and Hal Blaine was the drummer and he said that

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famous drum intro was an accident. I was supposed to

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play the snare on the second beat as well as

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the fourth, but I dropped the stick. Being a faker,

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I left the mistake in and it became bah bah boom,

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and so everyone wanted that beat.

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Speaker 3: That's amazing story.

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Speaker 2: Drop my stick and faked it.

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Speaker 3: I asked our buddy James Buckley. I'm like, hey, you're

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the drummer. I'm not the drummer. Does this have a name?

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He goes, no, but it's like the most famous phrase

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in drum history. Yeah, there's no.

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Speaker 2: Real name for it. It's just the accident that happened

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and everybody loved right. So that phrase has been used

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by Billy Joel, by Taylor Swift, by meat Loaf, by

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the Carpenters, by Amy Winehouse and I even sent him

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the first song on Poisons Look with the Cat Drag

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Da album.

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Speaker 3: I said, this is it too right? And He's like, yep, yep,

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that's it.

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Speaker 2: That's awesome. So this song was performed by the Ronettes. Yes,

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and we mentioned Phil Spector earlier, and man, is there

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a host of stories here.

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Speaker 3: Oh my gosh, we could spend a week here.

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Speaker 2: Yeah. So the Ronettes started with for Ronica Bennett, who

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became Ronnie Spector. Yes, three females who were black and

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sang harmony together were the end thing at this time, right,

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And so here was their plan. She had her, her

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sister and their cousin all dress in the same dress,

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wear their hair the same and go stand in a

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line outside of a famous club. And as they're standing

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in line, sure enough, their plan works and some guy

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opens the door and he's like, hey, you're late, get

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in here. And they got in by mistake. Somebody thought

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they were the band. They were not the band.

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Speaker 3: Oh wow.

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Speaker 2: They got out there, they had practiced singing before, and

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they did a whole lot of fun dancing for everybody

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in the crowd. And it was that that led to

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them becoming the Rawnettes.

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Speaker 3: That is an incredible story. Yeah, those of you who

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don't remember, this was used during the opening scene of

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Dirty Dancing. It's that sort of cepia toned slow motion

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introduction of the dirty dancing to this song.

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Speaker 2: Yeah, the preview so that you're not so shocked when

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you see it later on in the movie of the

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dirty beat, there was a clear distinction. There was clean teen,

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which is what Baby listened to before the night in

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the basement, and then the dirty dancing, which was her rhythm.

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Speaker 3: We talked about how that scene had to be her

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going into oz. They didn't have enough money to film

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an opening scene for dirty Dancing, so they had to

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kind of create something out of the footage that they had,

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So they came up with that CPIA tone dirty dancing scene,

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the intro to dirty Dancing, like we talked about. But

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emil Ardlino, Eleanor Bergstein, and Linda Gottlie watched that scene

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and we're trying to figure out the perfect song to

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play over that scene. They played four hundred songs.

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Speaker 2: Oh my gosh.

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Speaker 3: When they finally hit be My Baby, all three in

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Unison were like, this is it.

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Speaker 2: It wasn't until we started studying this that I realized

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how big a song this was. I just I mean,

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it was just in that group of cool do wopie

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kind of sixty songs that I knew I didn't realize

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what kind of megaton bomb this thing was.

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Speaker 1: Right.

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Speaker 3: The song was so perfect that they had to go

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battle for it. Linda Gottlief said they paid seventy five

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thousand dollars for the use of that song. Yeah, it

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was played for thirty seconds. And when you think, oh,

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seventy five thousands not that much, well it is when

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your budget's four point five million dollars. Yeah, the higher movie,

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right for our thirty seconds worth of.

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Speaker 2: Song, Right, and you've also got eleven other songs that

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you're trying to get exactly, And actually it was more

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like twenty other songs that you're trying to get.

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Speaker 3: That's right. I talked to my dad about this song,

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and I played two songs for him. Be My Baby

258
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was released August of nineteen sixty three, and it reached

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number two on the charts. And I'm like, what song

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is better than Be My Baby?

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Speaker 5: Right?

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Speaker 2: Yeah?

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Speaker 3: You know you know I like you this right, I

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love it.

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Speaker 2: I love it? What is it?

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Speaker 3: So I played for him the song sugar Shack by

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Jimmy Gilmer and the Fireballs. Yeah, and to me, it's

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kind of a it's kind of a goofy song. Anyway,

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I played it for him. I'm like, which are these

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two songs? Is the bigger song? And he's like, be

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my baby? And now he knew both.

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Speaker 2: Right.

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Speaker 3: It's just interesting though, for whatever reason that at that

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moment in time, sugar Shack was the hot song.

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Speaker 2: It's the difference between hot now and hot forever?

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Speaker 1: Right?

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Speaker 2: You ready to talk about Ronnie Spector and Phil Spector,

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Phil Spector and the madness that ensued. Yes, okay, So

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Ronnie Spector is part of the ron Ets. Was heard

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by Phil Spector and he thought, this is this is

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the band I want to hang my hat on. And

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this really this song is where he truly built his

283
00:13:04,519 --> 00:13:08,639
wall of sound style of producing. He and the Wrecking

284
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crew spent hours and hours and hours playing the song

285
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before they ever hit the record button. So he was

286
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an absolute perfectionist. As we know, he was also completely mental. Right,

287
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convicted murderer Phil Spector, Right, he wasn't convicted at this time,

288
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was well before all of that. But but yes, that's

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a story that we definitely need to talk about. So

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he's got this music and he's also he's the one

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who wrote this song. I mean him and a couple

292
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of other guys. But you think about the words of

293
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this song, it's kind of almost foreshadowing as to what

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his life's going to be like with Ronnie. Of this,

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I'm going to infantilize you as well as completely dedicate

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my life to you. And so anyway, he's he's got

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this music. He finally a forty fifth take, they finally

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record the one that they're going to use, and then

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they bring Ronnie in to record the vocals, and she

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spent three days practicing the vocals, all of which she

301
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spent in the bathroom of the gold Star recording studio.

302
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She's like, they're supposed to have this amazing sound in

303
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gold Star Wars studios. Well, I can tell you the

304
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bathroom sounds even better because of the echo.

305
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Speaker 3: Wow.

306
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Speaker 2: It was because of that echo that I had all

307
00:14:20,440 --> 00:14:23,399
my oo oohs and uhah wahs and all of those

308
00:14:23,440 --> 00:14:26,440
things that came from me practicing in there. She said.

309
00:14:26,440 --> 00:14:29,519
When I went in there and laid down the vocal track,

310
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everybody in the band was like telling me how wonderful

311
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I was and I was going to be the next

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Billie Holiday.

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Speaker 3: Wow. Fantastic.

314
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Speaker 2: So obviously this gets them noticed and on the charts.

315
00:14:52,440 --> 00:14:54,799
They go out to London and start touring. You know

316
00:14:54,840 --> 00:14:58,360
who Their opening band was, the Rolling Stones. The Rolling

317
00:14:58,399 --> 00:15:02,720
Stones were opening for the Wow. While they were out there,

318
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they met the Beatles. This was before Beatlemania, This was

319
00:15:05,720 --> 00:15:09,000
before nineteen sixty four, and everybody went crazy. And she'll say,

320
00:15:09,120 --> 00:15:11,480
Beatlemania is what killed that doop sound?

321
00:15:11,679 --> 00:15:12,120
Speaker 3: Okay?

322
00:15:12,240 --> 00:15:14,559
Speaker 2: You know, like everybody was about the British invasion and

323
00:15:14,639 --> 00:15:18,720
nobody cared about groups snapping their fingers anymore. Sure, but

324
00:15:18,840 --> 00:15:21,320
at the time she made friends with them. They weren't

325
00:15:21,480 --> 00:15:25,200
super famous, and so they're touring England. They're a band

326
00:15:25,240 --> 00:15:28,120
in England, so they become friends. She even went on

327
00:15:28,159 --> 00:15:30,799
a few dinner dates with John Lennon when the Beatles

328
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eventually came to the States.

329
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Speaker 3: Interesting.

330
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Speaker 2: Yes, And it was at that point that Phil Spector

331
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said to her, because they got offered to tour with

332
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the Beatles, the Ronettes were going to tour with the Beatles,

333
00:15:41,480 --> 00:15:44,080
and he said, you can go on tour with them,

334
00:15:44,360 --> 00:15:46,559
or you can marry me, but you can't do both.

335
00:15:46,759 --> 00:15:49,879
And so she thought, well, he's a producer and I

336
00:15:49,919 --> 00:15:52,000
love him, and this is a way to get every

337
00:15:52,000 --> 00:15:54,559
song I want recorded. So I'm going to go with.

338
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Speaker 3: Option B terrible move.

339
00:15:55,960 --> 00:15:58,519
Speaker 2: You could say that, Yes, you could say that.

340
00:15:58,759 --> 00:16:01,399
Speaker 3: We could literally spend a week podcasting about this.

341
00:16:01,919 --> 00:16:04,159
Speaker 2: So tell me what you know about the marriage of

342
00:16:04,279 --> 00:16:05,759
Ronnie Spector and Phil Spector.

343
00:16:05,879 --> 00:16:08,600
Speaker 3: Ronnie Spector wrote a book about her life with Phil Spector.

344
00:16:08,679 --> 00:16:10,000
I haven't read the book, and I don't know a

345
00:16:10,039 --> 00:16:12,159
whole lot, but I do know that he was very abusive,

346
00:16:12,960 --> 00:16:16,279
very controlling of her, would not let her leave the house.

347
00:16:16,799 --> 00:16:17,919
Speaker 2: How did he keep her from leaving me?

348
00:16:18,120 --> 00:16:19,279
Speaker 3: He stole her shoes.

349
00:16:19,320 --> 00:16:20,600
Speaker 2: He stole her shoes.

350
00:16:21,080 --> 00:16:24,360
Speaker 3: He figured, if I have every one of her shoes,

351
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she can't leave.

352
00:16:25,879 --> 00:16:30,399
Speaker 2: This dude was obviously nuts from the outset nuts.

353
00:16:30,440 --> 00:16:32,080
Speaker 3: Now he gets a lot of credit for the Wall

354
00:16:32,120 --> 00:16:34,600
of Sound and all this other stuff. He produced, the mules,

355
00:16:34,639 --> 00:16:37,120
He did all these wonderful musical things. He was also

356
00:16:37,200 --> 00:16:40,159
a psycho, manipulative, abusive husband.

357
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Speaker 2: There is a strong overlap between psychotic and genius, and

358
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this guy was walking the line on that one.

359
00:16:47,120 --> 00:16:50,759
Speaker 3: He bought a coffin with a glass cover and told

360
00:16:50,799 --> 00:16:52,639
her if she ever liaked him, he would kill her

361
00:16:52,720 --> 00:16:55,159
and put her in it and let everybody look at

362
00:16:55,200 --> 00:16:55,720
her dead.

363
00:16:55,840 --> 00:16:58,639
Speaker 2: They tried to have children, Okay, couldn't have any children,

364
00:16:58,639 --> 00:17:02,200
so they decided to adopt. He treated their son nearly

365
00:17:02,240 --> 00:17:05,319
as badly as he treated her, kept him in his room,

366
00:17:05,400 --> 00:17:07,920
locked up, without a bathroom. It was pretty bad. Then

367
00:17:08,279 --> 00:17:12,480
a few years later he adopts twins without asking her,

368
00:17:12,640 --> 00:17:16,799
without her consent, without her knowledge, he goes and adopts twins.

369
00:17:17,079 --> 00:17:22,160
What it's crazy. It is really really crazy. And I

370
00:17:22,160 --> 00:17:26,200
mean she literally has to escape by running away and

371
00:17:26,240 --> 00:17:28,839
her mother has to protect her from this crazy man.

372
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Speaker 3: Okay, I mean, we could spend a lot of time here,

373
00:17:31,279 --> 00:17:33,759
but here's the thing that blew me away. Okay, So

374
00:17:34,519 --> 00:17:36,799
set Ronnie Spectro aside for just a second. And I

375
00:17:36,880 --> 00:17:38,599
know we don't really want to get into this, but

376
00:17:39,200 --> 00:17:42,519
one of my eighties guilty pleasure movies is a John

377
00:17:42,559 --> 00:17:47,720
Landis movie that has Steve Guttenberg, Rosanna arkent Our, Cindeo Hall,

378
00:17:48,119 --> 00:17:51,119
Andrew dice Clay. He's got all these bit parts in it.

379
00:17:51,119 --> 00:17:54,400
It's called Amazon Women on the Moon, Okay, and it's funny.

380
00:17:54,880 --> 00:17:57,279
It's just a lot of fun. There's a scene in

381
00:17:57,319 --> 00:17:59,680
the movie where they actually go and visit the moon

382
00:18:00,039 --> 00:18:03,160
as a woman there. Her name is Lana Clarkson. She's

383
00:18:03,319 --> 00:18:07,000
actually the woman that Phil Spector killed and later went

384
00:18:07,039 --> 00:18:09,799
to jail for. So Lana Clarkson was a struggling actress.

385
00:18:09,799 --> 00:18:12,960
She had been in some sort of sword and sorcery movies.

386
00:18:13,000 --> 00:18:14,599
She had been in Amazon Women in the Moon, She

387
00:18:14,640 --> 00:18:17,119
had been on Three's company, and she was working as

388
00:18:17,160 --> 00:18:19,680
a waitress. She wasn't giving him the time of day,

389
00:18:19,720 --> 00:18:22,240
but the management said, hey, that's Phil Spector. Go take

390
00:18:22,279 --> 00:18:23,920
good care of him and got to treat him like gold.

391
00:18:24,400 --> 00:18:26,000
And he said, hey, you want to take a ride

392
00:18:26,000 --> 00:18:28,160
in my limo, and she's like okay, I guess, took

393
00:18:28,200 --> 00:18:31,720
her back to his house, propositioned her, she refused, and

394
00:18:31,759 --> 00:18:34,160
he blew her head off. He said she kissed the

395
00:18:34,160 --> 00:18:37,000
barrel and the gun went off. Jerry didn't buy that.

396
00:18:37,160 --> 00:18:40,559
Speaker 2: No, they did not. Man, I kind of want to

397
00:18:40,559 --> 00:18:42,559
know more about Phil Spector, but since this is not

398
00:18:42,640 --> 00:18:44,759
a true crime podcast, right, we're gonna move on. I'm

399
00:18:45,039 --> 00:18:46,960
I'm gonna circle it back over to the song because

400
00:18:46,960 --> 00:18:50,359
I'm gonna hopefully blow your mind speak a piece of information.

401
00:18:50,400 --> 00:18:51,160
Speaker 3: Okay, let's go.

402
00:18:51,240 --> 00:18:55,480
Speaker 2: Yes, So they are recording be My Baby. Phil Spector

403
00:18:55,519 --> 00:18:58,079
has a friend of his over and his girlfriend and

404
00:18:58,119 --> 00:19:01,200
they're waiting for the backup singers show up. Backup's fingers

405
00:19:01,200 --> 00:19:04,559
supposed to be darlinge love. She doesn't show up. Okay,

406
00:19:04,680 --> 00:19:06,759
maybe she's scared of Phil. I don't know what it is.

407
00:19:06,799 --> 00:19:09,319
But she didn't show up. And so Phil is not

408
00:19:09,359 --> 00:19:11,680
the guy who likes to be kept waiting. And so

409
00:19:11,839 --> 00:19:13,920
he's like, hey, man, I heard your girl can sing?

410
00:19:13,920 --> 00:19:16,480
Can she sing? And he's like, well, yeah, she can sing.

411
00:19:16,519 --> 00:19:18,839
And the girl tries to explain what her level of

412
00:19:18,880 --> 00:19:21,880
expertise is and Phil says, I don't care. Just go

413
00:19:21,960 --> 00:19:25,079
in there. I just need some noise. The guy the

414
00:19:25,160 --> 00:19:26,119
Sonny Bono.

415
00:19:27,759 --> 00:19:31,559
Speaker 3: Share, Let's go. Where are you gonna get that information

416
00:19:31,720 --> 00:19:33,119
other than the Shirley podcast?

417
00:19:33,519 --> 00:19:34,440
Speaker 2: Thank you ladies and gentlemen.

418
00:19:34,480 --> 00:19:35,240
Speaker 3: That is fantastic.

419
00:19:35,240 --> 00:19:37,839
Speaker 2: We'll be here all man, wait to go.

420
00:19:37,880 --> 00:19:39,880
Speaker 3: You blow my mind, Man, you blow my mind. I

421
00:19:39,920 --> 00:19:42,559
got something for you. Okay. Do you know the song

422
00:19:42,640 --> 00:19:47,799
that plays while David and Maddie consummate their relationship on Moonlighting?

423
00:19:47,920 --> 00:19:49,319
Speaker 2: Could it be Be My Baby?

424
00:19:49,359 --> 00:19:50,519
Speaker 3: It is Be my Baby.

425
00:19:51,400 --> 00:19:53,440
Speaker 2: We like to throw it back to Moonlighting whenever we can.

426
00:19:54,039 --> 00:19:56,359
Speaker 3: We love Moonlight. We got to talk about moonlighting with basically,

427
00:19:56,920 --> 00:20:15,839
let's talk just briefly about the song take Me Home Tonight.

428
00:20:17,559 --> 00:20:20,680
Speaker 2: Okay, Eddie Money, Yeah, so I can remember. I don't.

429
00:20:20,720 --> 00:20:22,279
I don't like that song. I never have. It was

430
00:20:22,319 --> 00:20:24,359
annoying to me. It was on all the time and

431
00:20:24,480 --> 00:20:28,680
annoyed me crazy. And my Little Baby that kept I

432
00:20:28,759 --> 00:20:32,079
was like, ah, this is so annoying. I had no

433
00:20:32,759 --> 00:20:37,160
idea that, just like Ronnie says, meant it was Ronnie

434
00:20:37,160 --> 00:20:39,640
and that being my Little Baby was from the sixties.

435
00:20:39,640 --> 00:20:43,119
Speaker 3: Song had a direct reference to that song about fifty

436
00:20:43,160 --> 00:20:44,440
times in that song take Me.

437
00:20:44,440 --> 00:20:46,119
Speaker 2: Over Tonight, and that's her singing, and she's in the

438
00:20:46,200 --> 00:20:50,680
video she's doing the Oh she looked pretty good.

439
00:20:50,319 --> 00:20:53,440
Speaker 3: She looked great. Yeah, she looked fantastic in eighty six.

440
00:20:53,759 --> 00:20:56,000
Speaker 2: Yeah. I saw an interview with her on Letterman in

441
00:20:56,039 --> 00:20:58,920
eighty three, and you could tell that she was probably

442
00:20:59,599 --> 00:21:04,119
self medicating in order to get past the life that

443
00:21:04,200 --> 00:21:06,240
she had experienced with Phil Spector.

444
00:21:06,440 --> 00:21:07,279
Speaker 3: Well, so, at.

445
00:21:07,160 --> 00:21:10,519
Speaker 2: One point she's complimenting Paul and she says, I love

446
00:21:10,599 --> 00:21:12,400
him so much. He's like the Woody Allen of rock

447
00:21:12,400 --> 00:21:12,799
and roll.

448
00:21:16,359 --> 00:21:20,759
Speaker 3: It's a little cute. Okay, we got to talk Brian

449
00:21:20,799 --> 00:21:23,319
Wilson for just a second. Oh, yeah, I don't want

450
00:21:23,319 --> 00:21:25,880
to derail the whole podcast My Baby, but we have

451
00:21:25,920 --> 00:21:27,160
to talk about Brian Wilson.

452
00:21:27,440 --> 00:21:32,359
Speaker 2: So without this song, we might not have had pet Sounds.

453
00:21:32,759 --> 00:21:34,240
It's insane, right, Yeah.

454
00:21:34,279 --> 00:21:36,119
Speaker 3: So Brian Wilson was driving his car one day with

455
00:21:36,160 --> 00:21:38,839
his girlfriend, ye, and he's driving down the road mine

456
00:21:38,839 --> 00:21:41,839
in his own business, and on the radio comes be

457
00:21:41,960 --> 00:21:42,359
my Baby.

458
00:21:42,480 --> 00:21:42,640
Speaker 2: Yep.

459
00:21:43,079 --> 00:21:47,000
Speaker 3: He literally is thunderstruck. He has to pull the car

460
00:21:47,119 --> 00:21:52,079
over and it's like psychologically jacked his brain, right, he

461
00:21:52,119 --> 00:21:54,359
has to pull it over and like analyze the song,

462
00:21:54,480 --> 00:21:57,480
like what's going on here? Because this is blowing my mind.

463
00:21:58,200 --> 00:22:00,960
The vocals, the guitars, the all the sound, all that

464
00:22:01,079 --> 00:22:03,720
is just blown him away. Yeah, and it literally affected

465
00:22:03,759 --> 00:22:05,640
him for decades afterwards.

466
00:22:05,839 --> 00:22:07,880
Speaker 2: It is an amazing song. Let's just say that. We

467
00:22:07,880 --> 00:22:10,000
didn't really even talk about the music and the song itself,

468
00:22:10,039 --> 00:22:12,079
but it is an amazing song if you listen to

469
00:22:12,160 --> 00:22:15,079
the strings that are behind it. I mean, the engineer

470
00:22:15,119 --> 00:22:18,559
said he wept as he was mixing the strings in

471
00:22:18,599 --> 00:22:21,279
with the rest of the song, and it is truly amazing.

472
00:22:21,319 --> 00:22:23,279
But I think it may have hit Brian Wilson harder

473
00:22:23,279 --> 00:22:25,519
than it hit any other human being in the world.

474
00:22:25,799 --> 00:22:30,200
He would obsess over the song like a Islamic convert

475
00:22:30,559 --> 00:22:32,839
obsesses over the Koran. It's one of the things that

476
00:22:32,920 --> 00:22:36,359
I read he was mesmerized by. He would be like,

477
00:22:36,720 --> 00:22:39,799
listen to this. It sounds like the beating of a

478
00:22:39,880 --> 00:22:42,920
branch in the wind and a baby's rattle and the

479
00:22:42,960 --> 00:22:46,119
call of the mockingbird. I mean just it was affecting

480
00:22:46,160 --> 00:22:49,079
him in a significant and severe way, but in a

481
00:22:49,119 --> 00:22:52,279
real and practical way. He went, Okay, who are the

482
00:22:52,359 --> 00:22:55,400
musicians on this album? I got to meet Phil Spector,

483
00:22:55,480 --> 00:22:57,039
I got to talk to him, and I got to

484
00:22:57,079 --> 00:22:59,799
find out who's playing this music. And it's because of

485
00:22:59,839 --> 00:23:03,720
that that we get the Wrecking Crew and their contribution

486
00:23:03,799 --> 00:23:05,799
to music history in pet sounds.

487
00:23:05,880 --> 00:23:09,319
Speaker 3: Don't Worry Baby is a sequel that he wrote for

488
00:23:09,400 --> 00:23:11,960
the Rawnets to make a sequel to be My Baby.

489
00:23:12,079 --> 00:23:27,240
Speaker 2: Let's listen to Don't Worry Baby. Roopwork awesome classic. Yeah,

490
00:23:27,279 --> 00:23:29,720
and I can totally hear the Ronettes singing that as

491
00:23:29,720 --> 00:23:31,200
a sequel, but they said no.

492
00:23:31,119 --> 00:23:32,920
Speaker 3: So the Beach Boys took it and made it an

493
00:23:32,920 --> 00:23:34,039
instant classic for them.

494
00:23:34,160 --> 00:23:34,759
Speaker 2: Absolutely.

495
00:23:35,279 --> 00:23:38,160
Speaker 3: I thought it was interesting. The DJ who played the

496
00:23:38,160 --> 00:23:41,799
song when he got thunderstrucked in his car Yeah, wink Martindale, Okay,

497
00:23:41,920 --> 00:23:44,720
he's the game show host from like Tic Tac Doe

498
00:23:44,720 --> 00:23:48,359
and Oh my gosh, wenk Martindale, Oh my gosh. Wow.

499
00:23:48,720 --> 00:23:51,680
So his daughter Carne Wilson, Yeah, from Wilson Phillips.

500
00:23:51,759 --> 00:23:52,079
Speaker 2: Yes.

501
00:23:52,160 --> 00:23:57,200
Speaker 3: She said that during her childhood she awoke every single

502
00:23:57,279 --> 00:24:02,960
morning to boom boom boom.

503
00:24:03,039 --> 00:24:03,440
Speaker 2: Wow.

504
00:24:03,759 --> 00:24:06,960
Speaker 3: He compared it to Einstein's theory of relativity. We could

505
00:24:06,960 --> 00:24:08,400
spend all day here. We probably knew.

506
00:24:08,640 --> 00:24:12,680
Speaker 2: I think the fact that Brian Wilson had some psychological

507
00:24:12,720 --> 00:24:16,960
issues and Phil Spector had some psychological issues meant that

508
00:24:17,000 --> 00:24:20,480
there was a meeting of the unstable minds on this one.

509
00:24:21,119 --> 00:24:22,599
Speaker 3: Hey, you know what one thing I got to bring

510
00:24:22,680 --> 00:24:25,519
up before we move on. When Phil Spector was in jail,

511
00:24:25,680 --> 00:24:28,000
he still had control of this song and he would

512
00:24:28,039 --> 00:24:30,880
not allow Ronnie Spector to play it at her concerts.

513
00:24:31,119 --> 00:24:34,240
Speaker 2: Talk about freaking man. Yeah, and both of them passed

514
00:24:34,240 --> 00:24:34,839
away last.

515
00:24:34,759 --> 00:24:37,480
Speaker 3: Year, right, I believe that's right? Yes, man. Dick Clark

516
00:24:37,519 --> 00:24:39,920
called it the record of a century when he introduced

517
00:24:40,000 --> 00:24:43,279
him Wow on American Bandstand, and now they use it

518
00:24:43,319 --> 00:24:47,000
in Sealis commercials.

519
00:24:49,720 --> 00:24:52,039
Speaker 2: That's the best segue I've ever heard. What's what's our

520
00:24:52,079 --> 00:24:52,480
next song?

521
00:24:52,599 --> 00:24:57,319
Speaker 3: Next song on the album, song number three is She's

522
00:24:57,359 --> 00:24:58,200
like the Wind.

523
00:24:59,119 --> 00:24:59,480
Speaker 5: She's not.

524
00:25:02,440 --> 00:25:07,960
Speaker 2: Too much, she run to night.

525
00:25:09,960 --> 00:25:10,680
Speaker 1: Next to Me.

526
00:25:13,960 --> 00:25:16,319
Speaker 3: D This song is by Patrick Swayze.

527
00:25:16,400 --> 00:25:20,759
Speaker 2: Patrick sways born in Houston, Texas, second child of Patsy Swayzee,

528
00:25:20,920 --> 00:25:25,400
a dancer, choreographer, dance instructor, and like the dance person

529
00:25:25,480 --> 00:25:26,079
in Texas.

530
00:25:26,160 --> 00:25:26,640
Speaker 3: That's right.

531
00:25:26,759 --> 00:25:29,599
Speaker 2: His dad was an engineer and draftsman, but while he

532
00:25:29,640 --> 00:25:32,839
was in school he developed skills in ice skating, ballet dancing,

533
00:25:32,880 --> 00:25:36,759
classical ballet. Acted in the school place. Was a football

534
00:25:36,759 --> 00:25:39,960
player hoping for a scholarship until he injured his knee

535
00:25:40,119 --> 00:25:42,319
and wasn't able to play anymore, which.

536
00:25:42,119 --> 00:25:45,119
Speaker 3: Is why he had no dancing on his acting resume.

537
00:25:45,359 --> 00:25:47,359
Speaker 2: That and he wanted to be known as an actor,

538
00:25:47,480 --> 00:25:50,200
not a dancer, but he did keep dancing. He also

539
00:25:50,519 --> 00:25:54,039
did martial arts, which came into play later on for Roadhouse.

540
00:25:54,119 --> 00:25:56,720
Yes it did, few other beautiful movies that he made,

541
00:25:56,799 --> 00:25:59,799
Yes it did, he said. He used it to channel

542
00:25:59,839 --> 00:26:01,480
his self deprecating rage.

543
00:26:01,720 --> 00:26:02,599
Speaker 3: Okay, all right.

544
00:26:02,759 --> 00:26:07,720
Speaker 2: So he met in nineteen seventy a lady named Lisa Neeman. Okay.

545
00:26:07,920 --> 00:26:11,720
She was a student in his mom's dance classes, and

546
00:26:12,279 --> 00:26:14,960
seventy two he went to New York City to complete

547
00:26:14,960 --> 00:26:18,839
his formal dance training at the Parkness Ballet and Jeoffrey

548
00:26:18,880 --> 00:26:23,319
Ballet Schools. And then in nineteen seventy five he married Lisa.

549
00:26:23,680 --> 00:26:25,960
Speaker 3: Yeah. They stayed married until his death.

550
00:26:26,240 --> 00:26:30,440
Speaker 2: Yeah. He said that she was the inspiration for this song.

551
00:26:30,640 --> 00:26:33,799
Speaker 3: Oh that's sweet. Yeah, that's sweet. Here's the interesting thing

552
00:26:33,839 --> 00:26:36,799
about why this song got on this album. Okay, they

553
00:26:36,799 --> 00:26:37,920
would desperate for songs.

554
00:26:37,960 --> 00:26:39,519
Speaker 2: They were trying. They had a lot of songs that

555
00:26:39,559 --> 00:26:42,400
they wanted, but they needed originals because the ones that

556
00:26:42,440 --> 00:26:45,960
were already popular were too expensive and too hard to get.

557
00:26:46,119 --> 00:26:48,759
Speaker 3: So Patrick's standing there and he's like, hey, guess what,

558
00:26:48,839 --> 00:26:49,799
I've got a song.

559
00:26:50,039 --> 00:26:50,240
Speaker 6: Yeah.

560
00:26:50,240 --> 00:26:52,240
Speaker 3: So it turns out he wrote a song for the

561
00:26:52,319 --> 00:26:55,759
movie Grandview USA. He wrote it for the character that

562
00:26:55,839 --> 00:26:57,400
Jamie Lee Curtis played in that movie.

563
00:26:57,519 --> 00:26:57,759
Speaker 2: Yeah.

564
00:26:57,759 --> 00:27:00,079
Speaker 3: Well, they didn't accept it, right, so he tried. I

565
00:27:00,079 --> 00:27:02,039
had to get it put in on the Young Blood

566
00:27:02,119 --> 00:27:03,480
soundtrack in nineteen eighty six.

567
00:27:03,559 --> 00:27:05,720
Speaker 2: So you've been turned down twice. At this point, when

568
00:27:05,920 --> 00:27:07,960
they are filming Dirty Dancing.

569
00:27:07,799 --> 00:27:09,960
Speaker 3: So they're like, well, yeah, we'll bring it in, dude.

570
00:27:10,000 --> 00:27:10,799
Let me. Let's hear it.

571
00:27:10,880 --> 00:27:13,759
Speaker 2: You know, Lisa got Leeb listens and says, I love it.

572
00:27:14,039 --> 00:27:14,720
Let's put it down.

573
00:27:16,200 --> 00:27:18,039
Speaker 7: Number I have anything.

574
00:27:18,200 --> 00:27:28,200
Speaker 3: She's not the weird, it's cheap, it's available. He's standing

575
00:27:28,279 --> 00:27:31,000
right here. It sounds good, Let's do it. It reached

576
00:27:31,079 --> 00:27:32,839
number three on the Hot one hundred deep. You want

577
00:27:32,839 --> 00:27:35,960
to hear the two better songs? Sure? Yes, yeah, okay.

578
00:27:36,440 --> 00:27:38,160
The only reason I bring it up is because they're

579
00:27:38,160 --> 00:27:40,599
fairly notable songs. All right, all right, yeah, so this

580
00:27:40,680 --> 00:27:43,559
reached number three on February twenty seventh, nineteen eighty eight.

581
00:27:43,960 --> 00:27:47,160
The Dirty Dancing soundtrack is still extremely hot at this time.

582
00:27:47,240 --> 00:27:47,599
Speaker 2: Okay.

583
00:27:48,279 --> 00:27:50,400
Speaker 3: The songs that were number one and number two. Number

584
00:27:50,400 --> 00:27:53,720
one was Father Figure by George Michael, Yeah, okay. Number

585
00:27:53,720 --> 00:27:55,599
two was What Have I Done to Deserve This? By

586
00:27:55,599 --> 00:27:56,480
the Pet Shop Boys?

587
00:27:56,759 --> 00:27:57,599
Speaker 2: Okay yeah.

588
00:27:57,640 --> 00:28:00,240
Speaker 3: And then the next week She's Like the Win dated

589
00:28:00,240 --> 00:28:11,559
at number three and got leap frogged Bye, Never Going

590
00:28:11,640 --> 00:28:12,799
to Give You Up? By Rick Astley.

591
00:28:14,279 --> 00:28:16,799
Speaker 2: Well he got Rick Roll, he did get rig Roll.

592
00:28:16,880 --> 00:28:17,480
That's tragic.

593
00:28:18,519 --> 00:28:20,359
Speaker 3: All right. We got to talk about the music video

594
00:28:20,400 --> 00:28:22,960
for She's Like the Wind really quick, okay, nothing fancy.

595
00:28:23,279 --> 00:28:25,599
Lots of clips from the movie Patrick swayzeye all over

596
00:28:25,640 --> 00:28:25,960
the place.

597
00:28:26,039 --> 00:28:26,240
Speaker 2: Yeah.

598
00:28:26,480 --> 00:28:28,759
Speaker 3: Do you know who the director of the She's Like

599
00:28:28,799 --> 00:28:29,720
a Wind video is?

600
00:28:30,079 --> 00:28:31,799
Speaker 2: I did not look that one up.

601
00:28:31,839 --> 00:28:36,680
Speaker 3: Sir David freaking Fincher, Get the heck out of town.

602
00:28:36,799 --> 00:28:38,039
David Fincher is the.

603
00:28:37,960 --> 00:28:40,480
Speaker 2: Director Oh my Gosh.

604
00:28:40,079 --> 00:28:45,880
Speaker 3: Seven, Fight Club, Panic Room, Gone Girl, Zodiac, The Social Network.

605
00:28:46,000 --> 00:28:48,319
Oh my gosh, David Fincher is one of the best

606
00:28:48,359 --> 00:28:49,759
directors in Hollywood right now.

607
00:28:49,880 --> 00:28:53,079
Speaker 2: Wow, and he's cutting his teeth on a Patrick swayze

608
00:28:53,240 --> 00:28:54,720
love song. That's fantastic.

609
00:28:54,799 --> 00:28:55,799
Speaker 3: What do you think of this one?

610
00:28:56,440 --> 00:28:58,799
Speaker 2: I love this song. It's beautiful, right, He's beautiful. And

611
00:28:58,839 --> 00:29:01,519
I was, you know, amazed when I first learned that

612
00:29:01,559 --> 00:29:03,079
it was him that was singing. I was just like, oh,

613
00:29:03,079 --> 00:29:05,400
this doesn't sound like him to me. Now, once I

614
00:29:05,480 --> 00:29:07,960
know that he's singing, I'm like, Okay, I can hear

615
00:29:08,000 --> 00:29:10,240
his voice in it, but he's got a very distinct

616
00:29:10,880 --> 00:29:13,640
singing style compared to what he sounds like speaking.

617
00:29:13,960 --> 00:29:16,960
Speaker 3: Yeah, this reach number one on the Adult Contemporary chart.

618
00:29:17,079 --> 00:29:20,599
And because it's Patrick swayzey, it's literally one of the

619
00:29:20,720 --> 00:29:24,200
most high profile one hit wonders of all time.

620
00:29:24,440 --> 00:29:27,480
Speaker 2: Yeah, it's a beautiful song and I'm glad that he

621
00:29:27,519 --> 00:29:29,720
finally found somebody who said, yes, let's put it in

622
00:29:29,759 --> 00:29:30,200
our movie.

623
00:29:30,599 --> 00:29:31,279
Speaker 3: Yeah, me too.

624
00:29:31,400 --> 00:29:32,079
Speaker 2: Yeah, all right.

625
00:29:32,240 --> 00:29:44,680
Speaker 3: Next song on the album is a song called Hungry Eyes.

626
00:29:50,720 --> 00:29:54,160
Speaker 2: Okay, so the music on this is awesome. I gotta

627
00:29:54,200 --> 00:29:57,200
tell you. I didn't dive into the intricacies of the

628
00:29:57,279 --> 00:30:00,160
music on these songs. I just like listening to them,

629
00:30:00,160 --> 00:30:02,359
not rushing out to learn how to play the guitar

630
00:30:02,400 --> 00:30:05,119
solo on this particular song. It's just these are kind

631
00:30:05,160 --> 00:30:08,279
of adult contemporary style of music, and for me, I

632
00:30:08,319 --> 00:30:09,960
just want to listen to it and I enjoy it.

633
00:30:09,960 --> 00:30:11,759
Speaker 3: It is adult contemporary, but it's fun.

634
00:30:11,920 --> 00:30:13,759
Speaker 2: Yeah. And I used to slow dance to it when

635
00:30:13,799 --> 00:30:15,079
I was a kid in the eighties too.

636
00:30:15,279 --> 00:30:17,279
Speaker 3: Yeah. I bet this is on the Makeout List of

637
00:30:17,279 --> 00:30:17,720
eighty eight.

638
00:30:18,880 --> 00:30:23,519
Speaker 2: Absolutely. This song was written by Frankie Privett and John D. Nicola. Yes,

639
00:30:23,720 --> 00:30:26,400
they also wrote another song on this album, which we'll

640
00:30:26,400 --> 00:30:29,240
cover in a little while, and it was sung by

641
00:30:29,400 --> 00:30:32,480
Eric Carmon. I got to issue a formal apology, Okay.

642
00:30:32,720 --> 00:30:36,000
When we covered Footloose, I talked about Eric Carmon, and

643
00:30:36,039 --> 00:30:39,039
I talked about the fact that he had written this song.

644
00:30:39,400 --> 00:30:48,960
He did not write this song. Right, he only performed it.

645
00:30:50,119 --> 00:30:50,400
Speaker 3: Okay.

646
00:30:50,720 --> 00:30:52,799
Speaker 2: He happened to be one of the guys that Jimmy Einer,

647
00:30:52,799 --> 00:30:56,000
who I talked about earlier, produced, and so he got

648
00:30:56,000 --> 00:30:58,240
a call from Jimmy that said, hey, I got a

649
00:30:58,279 --> 00:30:59,680
song I'd like you to come sing it.

650
00:31:00,039 --> 00:31:03,039
Speaker 3: This is a remake. Frankie Privett released this song and

651
00:31:03,240 --> 00:31:05,759
was a mild hit in nineteen eighty four. It's off

652
00:31:05,799 --> 00:31:22,440
their album making the point. Ok So this is an

653
00:31:22,480 --> 00:31:23,359
actual remake.

654
00:31:23,599 --> 00:31:23,880
Speaker 2: Okay.

655
00:31:23,960 --> 00:31:26,119
Speaker 3: You know we've talked a few times before where a

656
00:31:26,200 --> 00:31:28,240
song is released and it just doesn't quite hit, but

657
00:31:28,279 --> 00:31:30,039
people think, you know, this is a good song. We

658
00:31:30,079 --> 00:31:33,680
need to give this another life. Yeah, so they asked

659
00:31:33,759 --> 00:31:35,920
Eric Carmen to sing it, and they re recorded it,

660
00:31:36,160 --> 00:31:37,799
reput it out there, and it made it to number

661
00:31:37,799 --> 00:31:38,759
four on the Hot one hundred.

662
00:31:38,799 --> 00:31:40,480
Speaker 2: Now, Eric Carmon, I'll just tell you this. I didn't

663
00:31:40,480 --> 00:31:43,160
get into his history last time we talked about Footloose, right.

664
00:31:43,240 --> 00:31:45,599
He was the one that said I fing love it

665
00:31:45,839 --> 00:31:49,160
on the lyrics for the most Paramo Paradise. But anyway,

666
00:31:49,200 --> 00:31:53,720
he loved music from an early age, was classically trained

667
00:31:53,720 --> 00:31:56,279
on the piano, picked up the guitar, and taught himself

668
00:31:56,319 --> 00:31:58,160
how to play and was a member of a group

669
00:31:58,200 --> 00:32:00,720
called the Raspberries for a while and they had some

670
00:32:00,759 --> 00:32:03,519
mild success, and then he went solo. And when he

671
00:32:03,599 --> 00:32:07,920
was solo, he had a huge single called All by Myself.

672
00:32:17,920 --> 00:32:19,519
Speaker 3: I remember the song when I was young.

673
00:32:19,599 --> 00:32:21,960
Speaker 2: Oh yeah, you can't mistake this, Yes, you can't mistake this,

674
00:32:22,200 --> 00:32:24,160
and I love there's a comedy bit on this of

675
00:32:24,359 --> 00:32:26,960
when does all by Myself go from being something good

676
00:32:26,960 --> 00:32:29,400
to something bad? You know, when the little kid does something,

677
00:32:29,440 --> 00:32:32,000
they're like, look, daddy did it all by myself too?

678
00:32:32,319 --> 00:32:38,759
Speaker 8: Oh By, here's something I did not know though. Okay,

679
00:32:38,880 --> 00:32:44,000
he based this song on rock Moninov's Piano Concerto number two.

680
00:32:44,240 --> 00:32:46,039
I had no idea. I just thought this was a

681
00:32:46,039 --> 00:32:49,359
cool pop song. It is based on a classical concerto.

682
00:32:49,480 --> 00:32:52,799
Speaker 3: Okay, I gotta ask you. Have you watched the music

683
00:32:52,880 --> 00:32:55,680
video to this lately? No, you're missing out.

684
00:32:55,759 --> 00:32:58,680
Speaker 2: I have to say. I can probably imagine because Eric

685
00:32:58,680 --> 00:33:02,400
Carmon appeared on stage during the Dirty Dancing live tour

686
00:33:02,480 --> 00:33:05,359
that occurred shortly after the movie was such a big success,

687
00:33:05,559 --> 00:33:09,359
and he was in a black muscle T shirt without

688
00:33:09,400 --> 00:33:13,200
much muscles but lots of chest hair, a sequindy shoulder,

689
00:33:13,319 --> 00:33:18,000
padded jacket. Yeah, and the big hair that every girl

690
00:33:18,000 --> 00:33:19,440
that you knew in the eighth grade had.

691
00:33:19,559 --> 00:33:20,039
Speaker 3: Interesting.

692
00:33:20,200 --> 00:33:21,079
Speaker 2: Yeah, well special.

693
00:33:21,119 --> 00:33:23,400
Speaker 3: I gotta tell you, you're really missing out if you

694
00:33:23,400 --> 00:33:25,240
don't go back and watch the music videos on this

695
00:33:25,279 --> 00:33:27,880
because it's part of the package. Right, Yeah, so I

696
00:33:27,960 --> 00:33:29,000
watched the music video.

697
00:33:29,119 --> 00:33:29,400
Speaker 2: Yeah.

698
00:33:29,400 --> 00:33:31,839
Speaker 3: So you have Eric Carmon and he's watching like a

699
00:33:31,880 --> 00:33:35,240
projector version of Dirty Dancing on the wall. So you've

700
00:33:35,279 --> 00:33:38,279
got little clips of the movie in the background or whatever. Right,

701
00:33:38,720 --> 00:33:42,000
smoking hot model Okay, that he's got hungry eyes for

702
00:33:42,480 --> 00:33:44,799
They got hungry eyes for each other, all right, okay,

703
00:33:45,119 --> 00:33:47,079
but this is where the video goes off the rails

704
00:33:47,079 --> 00:33:49,720
for me. Okay, okay, So they keep staring at each

705
00:33:49,759 --> 00:33:52,519
other and nothing's really happening, and little clips of dirty Dancing,

706
00:33:52,640 --> 00:33:55,240
and then the sax solo comes and who plays the

707
00:33:55,279 --> 00:34:00,119
sax solo? The smoking hot Model, right, And then at

708
00:34:00,160 --> 00:34:03,400
the very end, like they've been making eyes at each

709
00:34:03,440 --> 00:34:06,920
other the whole time, she's with a guy that is

710
00:34:07,039 --> 00:34:11,719
like a grip for the music video. He's like a graying, short,

711
00:34:11,880 --> 00:34:15,719
balding guy who's just like standing there. So she plants

712
00:34:15,760 --> 00:34:18,880
one on him and I'm like, who is this guy?

713
00:34:18,960 --> 00:34:20,960
I mean, it just looks like she grabs somebody off

714
00:34:21,000 --> 00:34:24,039
the street, and then when her face like emerges from

715
00:34:24,079 --> 00:34:27,679
the kiss, it's a different girl. Beavis and butt heead

716
00:34:27,719 --> 00:34:29,920
would have a field day with this video.

717
00:34:30,079 --> 00:34:32,320
Speaker 2: The original girl left in the middle of the video

718
00:34:32,400 --> 00:34:34,119
to go play back up for Robert Maulin.

719
00:34:34,360 --> 00:34:37,000
Speaker 3: I yeah, exactly, exactly.

720
00:34:38,599 --> 00:34:41,239
Speaker 2: That's fantastic. Now I'll have to go check that way

721
00:34:42,199 --> 00:34:45,719
is awesome. So in the movie, this is one of

722
00:34:45,800 --> 00:34:48,559
the most memorable scenes, right This is the scene that

723
00:34:48,599 --> 00:34:52,559
we talked about where you have Johnny and Baby dancing

724
00:34:52,719 --> 00:34:56,400
and standing behind Baby guiding her is Penny, and you

725
00:34:56,599 --> 00:35:00,320
have this look of longing from Penny as she looks

726
00:35:00,360 --> 00:35:04,360
down as Johnny is starting to fall in love with Baby,

727
00:35:04,480 --> 00:35:05,760
who you know was already in.

728
00:35:05,760 --> 00:35:08,199
Speaker 3: Love with count It's the threesome dance scene montage.

729
00:35:08,239 --> 00:35:10,280
Speaker 2: They almost said we can't put this scene in yet

730
00:35:10,280 --> 00:35:12,280
because it's too early. It's given it's tipping her hand,

731
00:35:12,280 --> 00:35:15,039
But I mean, who didn't know that that was what

732
00:35:15,159 --> 00:35:15,880
was going to happen?

733
00:35:16,000 --> 00:35:18,760
Speaker 3: Of course, right, of course, great song, great song, love it.

734
00:35:18,840 --> 00:35:22,119
This song reached number four February thirteenth of eighty eight,

735
00:35:22,360 --> 00:35:26,039
So makeout song of eighty eight. On Valentine's Day, the

736
00:35:26,079 --> 00:35:28,280
same week that She's like to win hit number ten

737
00:35:28,360 --> 00:35:29,480
is rocketed up to chart.

738
00:35:29,719 --> 00:35:31,320
Speaker 2: Okay, all right, moving on, all.

739
00:35:31,320 --> 00:35:33,320
Speaker 3: Right, d So the next song on the album is

740
00:35:33,320 --> 00:35:39,920
a song called Stay.

741
00:35:41,519 --> 00:35:44,039
Speaker 2: Okay, we can't talk too long on this song because

742
00:35:44,039 --> 00:35:47,320
it's only a minute in one thirty six. The song

743
00:35:47,440 --> 00:35:51,239
was written by Maurice Williams. Yes, this performed by Maurice

744
00:35:51,280 --> 00:35:55,840
Williams and the Zodiacs. Right, he was fifteen, nineteen fifty three.

745
00:35:55,880 --> 00:35:58,119
He's fifteen. He's in the car with a girl and

746
00:35:58,159 --> 00:36:02,320
he's trying to get her to not go home. He fails,

747
00:36:02,360 --> 00:36:04,599
but he was like, man, it seemed like a good

748
00:36:04,679 --> 00:36:07,280
tagline for a song, just stay. And he said, like

749
00:36:07,320 --> 00:36:09,280
a flood, the words just came to me.

750
00:36:09,400 --> 00:36:11,880
Speaker 3: So I wrote the song when he was fifteen. He's

751
00:36:11,880 --> 00:36:13,960
with a girl. Yep, he's trying to keep her from

752
00:36:13,960 --> 00:36:18,119
going home. In the lyrics, he's like, your daddy won't mind.

753
00:36:18,320 --> 00:36:20,679
Speaker 2: Right, So he develops a couple of bands. They get

754
00:36:20,719 --> 00:36:23,840
out of high school. They start touring around, not having

755
00:36:23,880 --> 00:36:26,000
a whole lot of success at that time. They're called

756
00:36:26,000 --> 00:36:29,079
the Royal Charms. But then as they're touring, their station

757
00:36:29,199 --> 00:36:32,840
wagon breaks down in Bluefield, West Virginia, if you'd like

758
00:36:32,880 --> 00:36:35,480
to know which not too far away they would be

759
00:36:35,480 --> 00:36:39,519
recording Dirty Dancing. Twenty something years later, they come across

760
00:36:39,599 --> 00:36:44,000
a British built Ford car known as the Zodiac, and

761
00:36:44,119 --> 00:36:47,000
that is where they got their name. Maurice Williams and

762
00:36:47,079 --> 00:36:47,760
the Zodiac.

763
00:36:48,039 --> 00:36:48,519
Speaker 3: Oh cool.

764
00:36:48,599 --> 00:36:50,719
Speaker 2: Now. They had a song called Little Darling, which you

765
00:36:50,840 --> 00:36:53,360
probably heard before but not by them, got covered by

766
00:36:53,360 --> 00:36:56,480
another Canadian group called the Diamonds, and then they weren't

767
00:36:56,559 --> 00:37:01,480
really super excited about Stay this ten year old girl

768
00:37:01,599 --> 00:37:04,599
here's the song and says that song is incredible and

769
00:37:04,639 --> 00:37:06,480
it's her causes them to go, you know what, we

770
00:37:06,480 --> 00:37:08,039
should go ahead and put that on the demo tape

771
00:37:08,079 --> 00:37:10,920
that we send out, and that's how the song came famous.

772
00:37:11,119 --> 00:37:12,840
Speaker 3: The ten year old girl loved it.

773
00:37:13,000 --> 00:37:15,679
Speaker 2: Yeah. They recorded it in nineteen fifty nine in a

774
00:37:15,760 --> 00:37:18,360
Quantza hut, which, by the way, but Shirley can't be serious,

775
00:37:18,400 --> 00:37:21,000
podcast studio is also inside a Quantza hut. It's a

776
00:37:21,000 --> 00:37:22,000
great place to record.

777
00:37:23,000 --> 00:37:26,599
Speaker 3: We're Fancy, We're Fancy. This is the shortest number one

778
00:37:26,719 --> 00:37:28,159
song in Billboard history.

779
00:37:28,199 --> 00:37:31,280
Speaker 2: In history. It's so short that it was made a

780
00:37:31,440 --> 00:37:34,480
part of another longer song by Jackson Brown later on.

781
00:37:34,760 --> 00:37:37,119
Speaker 3: Yeah, Jackson Brown played it at the end of all

782
00:37:37,159 --> 00:37:38,679
of his concerts. I thought that was kind of a

783
00:37:38,719 --> 00:37:41,199
cool The Four Seasons have covered this YEP. I listened

784
00:37:41,199 --> 00:37:43,960
to Cindy Lapper's version last night. It's good. It's a

785
00:37:43,960 --> 00:37:44,440
good song.

786
00:37:44,800 --> 00:37:47,320
Speaker 2: YEP. I like the song, but it's been over for

787
00:37:47,400 --> 00:37:50,760
like three four minutes ago, so probably time to move

788
00:37:50,800 --> 00:37:58,400
on to our next song, last song on side one. Yes,

789
00:38:02,880 --> 00:38:05,360
this is obviously not a sixty song, right, this is

790
00:38:05,400 --> 00:38:09,159
a modern song. Yeah, And it was released as a single.

791
00:38:09,199 --> 00:38:11,599
I didn't know that, really, I did not know that either.

792
00:38:11,679 --> 00:38:13,320
This was one of the ones that was one of

793
00:38:13,360 --> 00:38:15,719
the four that were released as a single, because I

794
00:38:15,800 --> 00:38:17,639
remember I was like, I know that I've heard the

795
00:38:17,679 --> 00:38:20,360
song on the radio before, but because it was released

796
00:38:20,400 --> 00:38:23,599
as a single. Now it's by a lady named Mary Clayton.

797
00:38:23,840 --> 00:38:26,679
She spells her name m E r R Y.

798
00:38:26,760 --> 00:38:28,920
Speaker 3: Do you know what she was born on? Christmas Day?

799
00:38:29,159 --> 00:38:32,119
Merry Christmas, Mary freaking Christmas.

800
00:38:32,239 --> 00:38:32,440
Speaker 4: Yep.

801
00:38:41,360 --> 00:38:42,960
Speaker 2: If only she had been in Dumb and Dumber, we

802
00:38:42,960 --> 00:38:47,559
would have come full circle. Very This song is about

803
00:38:47,559 --> 00:38:50,320
deciding to have sex for the first time. Yeah, it's

804
00:38:50,360 --> 00:38:51,119
like driving around.

805
00:38:51,159 --> 00:38:55,320
Speaker 3: I don't think I know. Yes, yes, we are going

806
00:38:55,440 --> 00:38:58,559
to do it. Got her to stay. Do you know

807
00:38:58,599 --> 00:39:00,800
who the person who is originally to sing the song,

808
00:39:01,360 --> 00:39:05,000
Mary Wells Okay, okay. Now you may remember her from

809
00:39:05,000 --> 00:39:10,280
the song My Guy, Yeah, my guy. Yeah. She was

810
00:39:10,360 --> 00:39:12,360
hired to record the song, but when she came to

811
00:39:12,400 --> 00:39:14,519
the studio to cut it, she had a horrible cold

812
00:39:15,280 --> 00:39:17,679
and then she just said, forget this crap, I'm out

813
00:39:17,719 --> 00:39:21,159
of here and just left. So the producer's like sitting

814
00:39:21,199 --> 00:39:24,119
there ready to record. He's got nobody record it. Well,

815
00:39:24,119 --> 00:39:27,400
one of the backup singers is Mary Clayton okay, and

816
00:39:27,440 --> 00:39:30,079
he's like, oh god, now I'm gonna have to explain this,

817
00:39:30,280 --> 00:39:34,960
and he's like Mary Wells, Mary Clayton close enough they

818
00:39:35,000 --> 00:39:38,719
won't even notice Hi, this is Mary. Yeah. So because

819
00:39:38,760 --> 00:39:41,039
their names were the same, he didn't have to do

820
00:39:41,079 --> 00:39:43,239
any explaining and he just said, Mary Clayton, would you

821
00:39:43,360 --> 00:39:48,519
like to sing this song? She's like yes, yes, Okay.

822
00:39:48,280 --> 00:39:48,920
Speaker 2: That's awesome.

823
00:39:49,079 --> 00:39:51,159
Speaker 3: Now wait a minute, I got I got to play

824
00:39:51,199 --> 00:39:54,239
this for you. Because when I saw the name Mary Clayton,

825
00:39:54,280 --> 00:39:56,840
I know exactly who it was, and you're saying you

826
00:39:56,880 --> 00:39:59,559
don't know who this is. Yeah, okay, let me play

827
00:39:59,559 --> 00:40:01,760
this song for you. We talked about it on our

828
00:40:01,800 --> 00:40:03,239
Good Fellow's episode.

829
00:40:02,920 --> 00:40:05,480
Speaker 2: Yes we did. So this is Gimme Shelter by The Stones.

830
00:40:05,519 --> 00:40:06,039
What do you got?

831
00:40:06,079 --> 00:40:09,719
Speaker 3: Okay? So Mary Clayton in the sixties, when Gimme Shelter

832
00:40:09,960 --> 00:40:12,239
was being recorded, yep, got a call in the middle

833
00:40:12,239 --> 00:40:15,400
of the night. Her producer's like, hey, these guys are

834
00:40:15,400 --> 00:40:18,199
in from England. They're the Rolling something or others. We're

835
00:40:18,239 --> 00:40:19,440
not really sure who they are.

836
00:40:20,039 --> 00:40:24,519
Speaker 2: They're supposed to be opening up for the Ronettes exactly exactly.

837
00:40:24,880 --> 00:40:26,880
Speaker 3: So they're recording the song and they want a woman

838
00:40:26,920 --> 00:40:29,760
to sing this part, and so she's laying in bed

839
00:40:29,880 --> 00:40:34,000
like crap, she's pregnant, like major pregnant. And her husband's like,

840
00:40:34,039 --> 00:40:35,559
you need to get down there and sing that. She's like,

841
00:40:35,599 --> 00:40:38,840
I'm not going. He's like, guess you are. She's like fine,

842
00:40:39,039 --> 00:40:41,239
So she's stomping around. She says she was really mad.

843
00:40:41,320 --> 00:40:45,119
She gets down there, they introduced themselves. She's like, okay, hi, Mick,

844
00:40:45,360 --> 00:40:48,440
you know Keith, you know who are you guys? Like, oh,

845
00:40:48,559 --> 00:40:52,480
the Rolling Stones? Okay, great, and Mick had written this

846
00:40:52,519 --> 00:40:54,559
part in the song that he really wanted to be

847
00:40:54,639 --> 00:40:59,679
sung by a female, and the words were rape and

848
00:41:01,280 --> 00:41:04,559
it's just a shot away. So she sings it with

849
00:41:04,639 --> 00:41:07,239
a lot of personality and mixed like, yeah, that's perfect.

850
00:41:07,280 --> 00:41:09,519
Could you do it one more time? And she's kind

851
00:41:09,519 --> 00:41:11,599
of pissed because it's the three o'clock in the morning,

852
00:41:12,199 --> 00:41:15,400
and so she says, yeah, I'll do it, and in

853
00:41:15,400 --> 00:41:17,719
her head she's like, I'm gonna sing this next version

854
00:41:17,760 --> 00:41:20,719
and I'm gonna blow them out of this room. And

855
00:41:20,760 --> 00:41:48,719
that's where you get this part right here.

856
00:41:32,960 --> 00:41:53,800
Speaker 6: It's unmistakable.

857
00:41:54,159 --> 00:41:58,159
Speaker 3: She is singing so hard, her voice is cracking and breaking,

858
00:41:58,239 --> 00:41:59,519
and it's so passionate.

859
00:41:59,719 --> 00:42:04,159
Speaker 2: So we get this incredible piece of this incredible song.

860
00:42:04,480 --> 00:42:06,039
But it has a tragic ending.

861
00:42:05,960 --> 00:42:08,400
Speaker 3: Yeah, it does. The next day she has a miscarriage.

862
00:42:08,679 --> 00:42:09,280
Speaker 2: It's terrible.

863
00:42:09,320 --> 00:42:11,480
Speaker 3: I thought that was urban legend. I heard her say

864
00:42:11,519 --> 00:42:14,440
that right from her very mouth. Yeah, that the stress

865
00:42:14,519 --> 00:42:18,000
and strenuous nature of this song she believes cause that miscarriage.

866
00:42:18,119 --> 00:42:21,880
Speaker 2: Yeah. She's been a backup singer for literally dozens and

867
00:42:21,960 --> 00:42:26,400
dozens of amazing acts. She sang with Clyde King, she

868
00:42:26,519 --> 00:42:30,199
sang with Lenyard Skinnyard Sweet Home Alabama. That's her. You're

869
00:42:30,239 --> 00:42:33,639
listening to you sing in the background. She co starred

870
00:42:33,639 --> 00:42:36,480
with Ali Sheety and Made to Order, Oh my gosh,

871
00:42:36,480 --> 00:42:38,719
he's seriously yeah and a little bit. Same year, she

872
00:42:38,880 --> 00:42:41,599
was a major character in the final season of Cagney

873
00:42:41,639 --> 00:42:46,039
and Lacy. Oh and you Ready Yep. In nineteen eighty nine,

874
00:42:46,400 --> 00:42:49,760
she recorded a cover version of the song Almost Paradise

875
00:42:50,119 --> 00:42:50,920
with part Carmon.

876
00:42:51,079 --> 00:42:54,400
Speaker 3: WHOA, that's a deep cut right there. Good job, I

877
00:42:54,400 --> 00:42:55,920
had no idea about that, Okay.

878
00:42:56,000 --> 00:43:00,880
Speaker 2: So one final tragedy though. Twenty fourteen, she was in

879
00:43:00,920 --> 00:43:04,599
a car crash in Los Angeles, California, and both of

880
00:43:04,599 --> 00:43:06,480
her legs had to be amputated. Tragic.

881
00:43:07,119 --> 00:43:09,960
Speaker 3: When she woke up, the doctor was checking on her

882
00:43:10,159 --> 00:43:13,679
mental state and he said, I just want you to

883
00:43:13,760 --> 00:43:17,199
know I had to take your legs. She said, can

884
00:43:17,199 --> 00:43:20,800
I still sing? And he said yeah, and she said

885
00:43:20,840 --> 00:43:21,480
that I'm okay.

886
00:43:22,159 --> 00:43:27,039
Speaker 2: That's fantastic, That's that's amazing. What a great Yeah, that's

887
00:43:27,039 --> 00:43:27,599
a great one.

888
00:43:27,639 --> 00:43:30,119
Speaker 3: All right. It's stop on your tape player, kick it out,

889
00:43:30,159 --> 00:43:34,079
flip it over side to dirty Dances, sontre.

890
00:43:53,039 --> 00:43:56,840
Speaker 2: This this song is one that I recognized but it's

891
00:43:56,960 --> 00:43:59,280
not the group that I was expected. It's not the

892
00:43:59,320 --> 00:44:00,800
singer that I was expecting.

893
00:44:01,000 --> 00:44:01,719
Speaker 3: Right, I looked.

894
00:44:01,760 --> 00:44:03,679
Speaker 2: I can't figure out where the song is in them.

895
00:44:03,760 --> 00:44:05,519
Speaker 3: I don't remember. Yeah, I don't remember.

896
00:44:05,840 --> 00:44:08,960
Speaker 2: I'm not really sure. And obviously there was something where

897
00:44:09,000 --> 00:44:11,119
they had to get a different group to sing the

898
00:44:11,159 --> 00:44:13,719
song because this is not the sixties version of the song.

899
00:44:13,760 --> 00:44:15,800
But so on the album, we're going to talk about it. Okay,

900
00:44:15,880 --> 00:44:19,480
let's go all right. So this song was originally recorded

901
00:44:19,519 --> 00:44:23,360
by a female singer named Leslie Gore. She recorded it

902
00:44:23,400 --> 00:44:25,480
when she was only seventeen years old, but she had

903
00:44:25,519 --> 00:44:29,519
already had two mega hits before that tell Me. At sixteen,

904
00:44:29,960 --> 00:44:32,519
she had had It's My Party, which was a number

905
00:44:32,559 --> 00:44:35,360
one hit in nineteen sixty three, Yes, followed up by

906
00:44:35,400 --> 00:44:38,599
another top forty hit called Judy's Turn to Cry, and

907
00:44:38,639 --> 00:44:40,519
then she comes out with you Don't Own Me as

908
00:44:40,599 --> 00:44:42,960
her third big hit. All by the time that she's

909
00:44:43,000 --> 00:44:43,760
turned seventeen.

910
00:44:43,880 --> 00:44:44,679
Speaker 3: That's incredible.

911
00:44:44,800 --> 00:44:49,320
Speaker 2: This song is like women's power song before you had

912
00:44:49,360 --> 00:44:54,119
this real big feminist movement that occurred, expresses like emancipation

913
00:44:54,360 --> 00:44:57,280
and says, hey, you don't own me, I get to

914
00:44:57,280 --> 00:44:59,079
do what I want. To do, and you don't tell me,

915
00:44:59,119 --> 00:45:00,000
and you don't put me in a.

916
00:45:00,320 --> 00:45:02,920
Speaker 3: I wonder Phil Spector wrote this song.

917
00:45:02,840 --> 00:45:04,440
Speaker 2: I don't know. I think somebody came up to her

918
00:45:04,440 --> 00:45:06,360
and says, nobody puts baby in the corner. She said,

919
00:45:06,360 --> 00:45:06,679
you're right.

920
00:45:08,519 --> 00:45:12,239
Speaker 3: This song reached number two February first, nineteen sixty four. Yeah,

921
00:45:12,320 --> 00:45:15,119
the number one song that could not overcome I Want

922
00:45:15,119 --> 00:45:16,320
to Hold Your Hand by the Beatles.

923
00:45:16,800 --> 00:45:17,320
Speaker 1: There you go.

924
00:45:18,400 --> 00:45:20,920
Speaker 2: So this song was covered by a group called the

925
00:45:20,960 --> 00:45:23,800
blow Monkeys. I'm not familiar with these guys. They are

926
00:45:23,840 --> 00:45:26,159
a UK band and they've had a few hits.

927
00:45:26,320 --> 00:45:28,199
Speaker 3: I remember one song that they had in the eighties

928
00:45:28,199 --> 00:45:31,199
that was pretty big. Yeah, in eighty six called Digging

929
00:45:31,239 --> 00:45:31,639
Your Scene.

930
00:45:31,800 --> 00:45:52,480
Speaker 2: Yeah, that was on their second album, Animal Magic, which

931
00:45:52,599 --> 00:45:55,159
got to number twenty one on the UK Album's chart.

932
00:45:55,239 --> 00:45:58,519
It got attention because it was talking about the backlash

933
00:45:58,559 --> 00:46:02,800
against gay people, with AIDS being a pandemic at the time. Okay,

934
00:46:02,920 --> 00:46:05,960
So January of eighty seven, before Dirty Dancing comes out,

935
00:46:06,119 --> 00:46:08,719
they released their third album called She Was Only a

936
00:46:08,760 --> 00:46:11,719
Grocer's Daughter, which is a reference to the Prime Minister

937
00:46:11,800 --> 00:46:14,599
Margaret Thatcher at the time. Okay, it got to number

938
00:46:14,599 --> 00:46:17,039
twenty in the UK, and then it got to number

939
00:46:17,119 --> 00:46:20,039
five in the UK and number twenty eight in Italy.

940
00:46:20,360 --> 00:46:22,880
Wasn't released in the United States and so it didn't

941
00:46:22,960 --> 00:46:26,840
chart there, but it was featured in a movie, Police

942
00:46:26,880 --> 00:46:29,119
Academy four Citizens on Patrol.

943
00:46:29,480 --> 00:46:34,400
Speaker 3: Oh, I love the Police Academy movies. That's fantastic. Ye Hey,

944
00:46:34,440 --> 00:46:35,599
I tell you who did cover this?

945
00:46:35,840 --> 00:46:36,079
Speaker 2: Yeah?

946
00:46:36,159 --> 00:46:38,840
Speaker 3: Jone Jet released a cover of this song as her

947
00:46:38,920 --> 00:46:43,039
first solo single in nineteen seventy nine, which is kind

948
00:46:43,039 --> 00:46:46,360
of cool in itself. But the B side of that single,

949
00:46:46,559 --> 00:46:48,880
uh huh was an early version of I Love rock

950
00:46:48,920 --> 00:46:49,320
and Roll?

951
00:46:49,440 --> 00:46:51,199
Speaker 2: Nice? How about that? That's awesome.

952
00:46:51,239 --> 00:46:52,760
Speaker 3: Hey, I'll tell you where I know this song from.

953
00:46:52,800 --> 00:46:55,039
And this is gonna be weird. Maybe it's just me. Yeah,

954
00:46:55,400 --> 00:46:59,159
But the NFL released a commercial a couple of years

955
00:46:59,159 --> 00:47:03,519
ago dedicated to their line of clothing, and Alyssa Milano

956
00:47:03,679 --> 00:47:04,039
sang the.

957
00:47:04,119 --> 00:47:10,679
Speaker 2: Song wow video Wow, Alyssa Milana, Yes of who's the

958
00:47:10,719 --> 00:47:11,239
boss fan?

959
00:47:13,440 --> 00:47:14,599
Speaker 3: Okay, we've done with this one.

960
00:47:14,679 --> 00:47:16,559
Speaker 2: Yep, all right, I'm in the moon for some country.

961
00:47:16,639 --> 00:47:18,000
You got any country on this album?

962
00:47:18,039 --> 00:47:19,760
Speaker 3: Well, let's see if we can oblige you here.

963
00:47:41,800 --> 00:47:44,679
Speaker 2: This song is unmistakable. I don't know that. I've heard

964
00:47:44,760 --> 00:47:47,440
very many songs sound anywhere near the song, but it

965
00:47:47,599 --> 00:47:50,519
is one that people just know. You just know, Hey Baby.

966
00:47:50,639 --> 00:47:51,079
Speaker 3: Yeah.

967
00:47:51,159 --> 00:47:52,639
Speaker 2: This song is by Bruce Channel.

968
00:47:52,719 --> 00:47:53,079
Speaker 3: Okay.

969
00:47:53,360 --> 00:47:56,599
Speaker 2: He originally was a performer for a radio program called

970
00:47:56,639 --> 00:48:01,400
Louisiana Hayride. Then he joined up with a harmonica player

971
00:48:01,800 --> 00:48:03,400
which you can hear in this song. His name is

972
00:48:03,440 --> 00:48:07,159
Delbert McClinton and they were doing country music together and

973
00:48:07,400 --> 00:48:10,519
Bruce wrote the song Hey Baby with Margaret Cobb in

974
00:48:10,599 --> 00:48:14,480
nineteen fifty nine, performed the song for two years before

975
00:48:14,519 --> 00:48:18,199
they recorded it, recorded it in Fort Worth with producer

976
00:48:18,239 --> 00:48:21,159
Bill Smith, and the song went to number one in

977
00:48:21,199 --> 00:48:24,960
the US in March nineteen sixty two, held that position

978
00:48:25,360 --> 00:48:30,599
for three weeks. Now this country singer gets to go

979
00:48:30,679 --> 00:48:31,559
tour Europe.

980
00:48:31,960 --> 00:48:32,360
Speaker 3: Yeah.

981
00:48:32,400 --> 00:48:35,079
Speaker 2: And he was assisted at one of the gigs by

982
00:48:36,039 --> 00:48:40,119
the Beatles Oh Wow, who were unknown at the time.

983
00:48:40,480 --> 00:48:43,559
John Lennon, who had heard Hey Baby, actually had it

984
00:48:43,639 --> 00:48:47,920
on his own jew Box, was amazed by mcclinton's harmonica playing,

985
00:48:48,199 --> 00:48:51,840
and legend is that Lennon got taught how to play

986
00:48:51,840 --> 00:48:54,320
the harmonica, or at least how to play it better

987
00:48:54,480 --> 00:48:57,800
by McClinton. And if you listen to the song love Me.

988
00:48:57,880 --> 00:49:00,679
Do you can hear those skills for you real quick?

989
00:49:08,320 --> 00:49:09,440
Speaker 3: Dude? You blow in my mind?

990
00:49:09,440 --> 00:49:09,880
Speaker 2: There you go.

991
00:49:10,000 --> 00:49:13,119
Speaker 3: That's fantastic. So this is the first number one hit

992
00:49:13,480 --> 00:49:16,039
on the Hot one hundred with an exclamation point in

993
00:49:16,119 --> 00:49:18,599
the title fantastic. There you go, love it. And this

994
00:49:18,840 --> 00:49:21,679
was used in the movie when they were on top

995
00:49:21,719 --> 00:49:25,360
of the log and they're working on their dancing in balance. Yes, yeah,

996
00:49:25,440 --> 00:49:27,760
so there you go. Okay, we're done with that one. Yep,

997
00:49:28,039 --> 00:49:31,199
all right, moving on to the next song called Overload

998
00:49:31,320 --> 00:49:33,559
by Alfie Zapacosta.

999
00:49:34,000 --> 00:49:50,440
Speaker 2: Okay, this was not on my playlist in nineteen eighty seven,

1000
00:49:50,519 --> 00:49:54,559
eighty eight, or any year thereafter. Okay, you mentioned the

1001
00:49:54,599 --> 00:49:56,599
singer's name is zap Acosta.

1002
00:49:56,840 --> 00:49:57,119
Speaker 3: Yep.

1003
00:49:57,360 --> 00:50:00,559
Speaker 2: I don't know anything else that he has done except

1004
00:50:00,800 --> 00:50:03,880
for the radio commercial jingle for Pizza Nova.

1005
00:50:04,039 --> 00:50:04,960
Speaker 3: Are you serious?

1006
00:50:05,119 --> 00:50:08,119
Speaker 2: That's it? That's all I got, Wow, recorded in the

1007
00:50:08,159 --> 00:50:09,480
same year that he recorded this.

1008
00:50:09,920 --> 00:50:11,679
Speaker 3: Okay, Well here's what I got. I got one thing

1009
00:50:11,719 --> 00:50:12,679
on this neat it to me?

1010
00:50:12,760 --> 00:50:13,280
Speaker 2: Yeah all right.

1011
00:50:13,639 --> 00:50:16,239
Speaker 3: So obviously they had a budget for this album, and

1012
00:50:16,280 --> 00:50:19,199
once they got done paying Phil Spector, there wasn't a

1013
00:50:19,239 --> 00:50:22,800
lot left over. Right. So they needed some songs. So

1014
00:50:23,000 --> 00:50:25,920
Jimmy Einer had to look around and be creative, right, right,

1015
00:50:26,039 --> 00:50:29,239
So they found this Canadian singer guitarist named Alfie's Apacosta.

1016
00:50:29,760 --> 00:50:33,559
He agreed to write and cut Overload for two thousand

1017
00:50:33,599 --> 00:50:37,239
dollars home way. Okay, there you go, two thousand bucks

1018
00:50:37,280 --> 00:50:37,800
for this one.

1019
00:50:37,920 --> 00:50:40,079
Speaker 2: Yeah. I doubt he got anything on the back end either.

1020
00:50:40,159 --> 00:50:42,280
Speaker 3: How would you like to get two grand and no

1021
00:50:42,639 --> 00:50:44,960
royalties from an album that sold thirty two million?

1022
00:50:44,960 --> 00:50:45,320
Speaker 1: Companies?

1023
00:50:45,360 --> 00:50:47,440
Speaker 2: Who would not like that very much? Feel a little

1024
00:50:47,480 --> 00:50:52,079
bit like Vincent Price and Thriller exactly. He did get

1025
00:50:52,079 --> 00:50:53,360
twice as much as Vincent got.

1026
00:50:53,800 --> 00:50:55,719
Speaker 3: That's true. Okay, we done with this one.

1027
00:50:56,000 --> 00:50:57,920
Speaker 2: Let's be done with this one. I'd be fast forward

1028
00:50:57,960 --> 00:50:59,440
and clear this one already.

1029
00:50:59,679 --> 00:51:02,480
Speaker 3: All right. The next song is a song called Love

1030
00:51:02,559 --> 00:51:03,159
is Strange?

1031
00:51:03,440 --> 00:51:05,320
Speaker 2: Hey, Jason, how do you call your.

1032
00:51:06,960 --> 00:51:07,880
Speaker 3: Please? Do not say that?

1033
00:51:24,840 --> 00:51:27,159
Speaker 2: Okay? Tell me who this song is? Bock Mickey and

1034
00:51:27,239 --> 00:51:31,199
Sylvia Mickey and Sylvia. So Mickey is Mickey Baker born

1035
00:51:31,360 --> 00:51:34,800
in Louisville, Kentucky. His mother was black and his father,

1036
00:51:35,000 --> 00:51:38,039
who he never met, was probably white. Okay, thirty six

1037
00:51:38,159 --> 00:51:40,800
at the age of eleven, he was put into an orphanage.

1038
00:51:41,239 --> 00:51:44,000
Ran away had to be retrieved by the staff from

1039
00:51:44,239 --> 00:51:49,000
Saint Louis, New York City, Chicago, and Pittsburgh. This is

1040
00:51:49,719 --> 00:51:52,239
this guy has got some legs on to move at

1041
00:51:52,239 --> 00:51:55,119
eleven or twelve or whatever he is. Eventually the orphanage

1042
00:51:55,320 --> 00:51:58,159
quit looking for him. At the age of sixteen. He

1043
00:51:58,320 --> 00:52:01,719
stayed in New York City. He worked as a dishwasher

1044
00:52:01,760 --> 00:52:05,119
and a laborer, but when he was hanging out in

1045
00:52:05,159 --> 00:52:08,119
the pool halls, he realized he could become a full

1046
00:52:08,159 --> 00:52:10,800
time pool shark. That lasted for a little while until

1047
00:52:10,840 --> 00:52:13,719
he decided to change his life, went back to dishwashing

1048
00:52:13,840 --> 00:52:17,679
and was determined to become a jazz musician. And he

1049
00:52:17,719 --> 00:52:19,199
was going to play the trumpet. And then he went

1050
00:52:19,239 --> 00:52:23,039
to the store with fourteen dollars and they said, well,

1051
00:52:23,119 --> 00:52:25,559
you don't have enough. Would you like a guitar? Oh,

1052
00:52:25,599 --> 00:52:28,400
my gosh, And that's how he became a guitar player.

1053
00:52:29,320 --> 00:52:33,280
By nineteen forty nine, Yeah, he had his own combo,

1054
00:52:33,480 --> 00:52:36,360
had a few paying jobs, decided to go out to California,

1055
00:52:36,480 --> 00:52:39,480
but they were not receptive to progressive jazz music in

1056
00:52:39,519 --> 00:52:43,039
California at that time, so he got stranded in California.

1057
00:52:43,159 --> 00:52:45,840
Then he saw a show by a blues guitarist named

1058
00:52:45,920 --> 00:52:48,760
pee Wee Creighton. And he saw that pee Wee Creighton

1059
00:52:48,840 --> 00:52:50,760
was driving a nice car, and he's like, hey, can

1060
00:52:50,800 --> 00:52:54,159
you actually make money playing this simple blues stuff? And

1061
00:52:54,199 --> 00:52:57,599
he's like, oh yeah, he said, So I started bending strings.

1062
00:52:57,679 --> 00:53:00,320
I was starving to death, and blues was just the

1063
00:53:00,400 --> 00:53:04,079
financial thing for me. Right then, so starts playing the blues.

1064
00:53:04,280 --> 00:53:07,119
By the mid nineteen fifties, he's a music instructor and

1065
00:53:07,280 --> 00:53:11,920
he has a student in his class named Sylvia.

1066
00:53:12,719 --> 00:53:18,400
Speaker 1: When you.

1067
00:53:21,599 --> 00:53:27,519
Speaker 3: And That's fantastic, he gets inspired by the musical duo

1068
00:53:27,559 --> 00:53:30,280
of Les Paul and Mary Ford and says, we should

1069
00:53:30,360 --> 00:53:32,639
make a duo together, and that is how the group

1070
00:53:32,880 --> 00:53:35,119
Mickey and Sylvia form.

1071
00:53:35,360 --> 00:53:38,920
Speaker 2: Okay, so they start doing tours together. They end up

1072
00:53:38,960 --> 00:53:41,159
sharing a bill with Bo Diddley.

1073
00:53:41,320 --> 00:53:41,599
Speaker 3: Okay.

1074
00:53:41,880 --> 00:53:44,320
Speaker 2: They hear Bo Diddley play the song called Love Is

1075
00:53:44,360 --> 00:53:48,280
Strange and they say, hey, can we record that? He says, sure,

1076
00:53:48,400 --> 00:53:51,400
go for it. Single was released in November fifty six.

1077
00:53:51,519 --> 00:53:53,960
It became their biggest hit topp to the US R

1078
00:53:54,000 --> 00:53:56,920
and B charts and was number eleven on the US

1079
00:53:56,960 --> 00:54:00,800
Pop charts In fifty seven, they recorded a seconecond version

1080
00:54:00,800 --> 00:54:03,360
of it. You know this one? No. They recorded a

1081
00:54:03,400 --> 00:54:05,920
second version of it in nineteen sixty two, and it

1082
00:54:06,039 --> 00:54:10,960
featured a drummer on his first paid session gig Okay.

1083
00:54:11,320 --> 00:54:17,119
The drummer's name was Bernard Pretty Party, who later went

1084
00:54:17,159 --> 00:54:20,719
on to develop the Pretty Shuffle, which we talked about

1085
00:54:21,280 --> 00:54:26,199
as the inspiration for the drumbeat of the Toto song Rosanna.

1086
00:54:26,599 --> 00:54:30,800
Speaker 3: It comes full circle show that is blowing my mind.

1087
00:54:30,880 --> 00:54:31,840
That is fantastic.

1088
00:54:32,079 --> 00:54:34,800
Speaker 2: They eventually broke up, but Sylvia had some success afterwards.

1089
00:54:34,880 --> 00:54:38,599
Speaker 3: So Sylvia had a song in nineteen seventy three that

1090
00:54:38,679 --> 00:54:42,679
reached number three. Okay, it's called pillow Talk. So I

1091
00:54:42,719 --> 00:54:46,519
listened to pillow Talk. She simulates an orgasm in this song.

1092
00:54:47,119 --> 00:54:49,920
In the seventies, early seventies. Oh yeah, here's the other

1093
00:54:50,000 --> 00:54:54,880
thing more important than that, uh huh. She creates sugar

1094
00:54:54,920 --> 00:54:58,599
Hill Records, which you may have heard of because they

1095
00:54:58,679 --> 00:55:01,719
put together the Sugar Hi I Gang, who had the

1096
00:55:01,840 --> 00:55:06,519
breakthrough hip hop song rappers. Delight said, did.

1097
00:55:09,239 --> 00:55:13,719
Speaker 2: You don't stop the report to the rhythm? Go back

1098
00:55:13,840 --> 00:55:16,800
and check out our Beastie Boys versus Running You and

1099
00:55:16,840 --> 00:55:20,800
see episodes with Mister Deaf Dave David Wright. I remember

1100
00:55:20,800 --> 00:55:22,760
having sugar Hill Records when I was a kid. I

1101
00:55:22,800 --> 00:55:25,400
remember having rappers Delight off the sugar Hill label.

1102
00:55:25,440 --> 00:55:27,679
Speaker 3: When I saw that, I nearly fell out of my chair.

1103
00:55:27,800 --> 00:55:28,039
Speaker 1: Yeah.

1104
00:55:28,079 --> 00:55:32,000
Speaker 2: Her her maiden name was Vanderpool, but she married a

1105
00:55:32,039 --> 00:55:36,079
guy named Joe Robinson and so she was Sylvia Robinson

1106
00:55:36,280 --> 00:55:40,599
and he and she formed sugar Hill Records together in

1107
00:55:40,639 --> 00:55:41,360
seventy nine.

1108
00:55:41,639 --> 00:55:44,199
Speaker 3: That's fantastic. So I got just a couple of things

1109
00:55:44,199 --> 00:55:44,679
for you here.

1110
00:55:44,760 --> 00:55:45,079
Speaker 2: Okay.

1111
00:55:45,559 --> 00:55:47,840
Speaker 3: So it's the from the famous scene in the movie

1112
00:55:47,840 --> 00:55:51,599
where Patrick Swayze and Jennifer Gray are actually like lip

1113
00:55:51,599 --> 00:55:53,360
syncing the words to each other.

1114
00:56:00,159 --> 00:56:02,159
Speaker 2: How you call your love a boy?

1115
00:56:02,880 --> 00:56:08,239
Speaker 3: Comeyer o love boy?

1116
00:56:08,360 --> 00:56:17,559
Speaker 9: And if it's still doesn't dancer, I simply say, And

1117
00:56:17,599 --> 00:56:20,000
they're crawling around on the floor and it's super sexy,

1118
00:56:20,199 --> 00:56:21,360
little air guitar going on.

1119
00:56:21,519 --> 00:56:24,320
Speaker 3: Yes, So eleanor Birsty watched it. She's like, Wow, this

1120
00:56:24,400 --> 00:56:26,280
is fantastic. This has to stay in the movie. The

1121
00:56:26,280 --> 00:56:28,280
problem is we don't have the budget for this song.

1122
00:56:28,360 --> 00:56:31,039
Worse than that, they can't just pluck it out like

1123
00:56:31,199 --> 00:56:33,800
plug and play with something else because they lip scen too.

1124
00:56:33,880 --> 00:56:35,760
Speaker 2: Yeah, it's the best part of the scene.

1125
00:56:35,519 --> 00:56:38,199
Speaker 3: And so everybody's watching it going oh crap, what are

1126
00:56:38,199 --> 00:56:42,280
we gonna do? And so luckily they managed to get

1127
00:56:42,320 --> 00:56:45,199
the music authorized, but they were really nervous for a

1128
00:56:45,239 --> 00:56:46,679
little bit that they were gonna have to cut this

1129
00:56:46,719 --> 00:56:48,000
scene for financial reasons.

1130
00:56:48,159 --> 00:56:48,559
Speaker 2: Awesome.

1131
00:56:49,000 --> 00:56:51,119
Speaker 3: You know what other movie this? Uh, this song appears

1132
00:56:51,159 --> 00:56:57,880
in tell Me I'm Not Kidding Deep Throat. In fact,

1133
00:56:57,960 --> 00:57:01,559
it caused a second surgeons of this song.

1134
00:57:01,440 --> 00:57:03,000
Speaker 2: The fact that it was in Deep Through Yeah. Well,

1135
00:57:03,039 --> 00:57:04,800
I mean it was a very popular movie. There you go,

1136
00:57:04,960 --> 00:57:07,199
keep cut. How about that Deep something?

1137
00:57:07,760 --> 00:57:12,639
Speaker 3: Okay, okay, onto the next song. This next song is

1138
00:57:12,679 --> 00:57:17,400
called where are You Tonight? Where where are You?

1139
00:57:17,440 --> 00:57:19,199
Speaker 2: Oh? That's he haw, I'm sorry, wrong song?

1140
00:57:19,639 --> 00:57:29,519
Speaker 3: Where you all right?

1141
00:57:29,559 --> 00:57:32,360
Speaker 2: This is a new song, another eighties hit because it's

1142
00:57:32,360 --> 00:57:36,199
a new song. This is by Charles Thomas Johnson, who

1143
00:57:36,559 --> 00:57:39,199
was one of the founding members of the Doobie Brothers.

1144
00:57:39,400 --> 00:57:41,719
Speaker 3: Yeah. That blew me away. Those guys are the Doobie Brothers.

1145
00:57:41,800 --> 00:57:44,320
Speaker 2: Yeah, he went on and had his own solo career afterwards,

1146
00:57:44,440 --> 00:57:48,280
and that includes him getting a call from Jimmy Er saying, hey,

1147
00:57:48,360 --> 00:57:50,760
we need another song for this album.

1148
00:57:50,880 --> 00:57:53,119
Speaker 3: Yeah what Jimmy Iner called him. He said he had

1149
00:57:53,159 --> 00:57:56,000
to go to a remote studio in Louisiana mm hmm.

1150
00:57:56,760 --> 00:57:58,719
And he said it was just a paper mill town.

1151
00:57:58,760 --> 00:58:01,239
It smelled bad and he's like, well, who cares, that's

1152
00:58:01,280 --> 00:58:03,960
fine whatever. So he cut this song. When he turned

1153
00:58:04,000 --> 00:58:06,320
it in, had never seen the movie, didn't know anything

1154
00:58:06,360 --> 00:58:10,119
about it, and then found out later. Of course the

1155
00:58:10,159 --> 00:58:14,000
soundtrack was this massive sensation. Yeah, he said he got

1156
00:58:14,000 --> 00:58:15,360
a new BMW out of the deal.

1157
00:58:15,800 --> 00:58:19,039
Speaker 2: Nice. So it's got It's the field. Though it's an

1158
00:58:19,079 --> 00:58:22,159
eighty song, it has a feel very much like the

1159
00:58:22,239 --> 00:58:24,320
older songs that are on this album. I agree, it's

1160
00:58:24,360 --> 00:58:28,519
got a doopy, fingersnapping R and B feel too. Yeah, sure, yeah,

1161
00:58:28,599 --> 00:58:30,320
moving on now, we're moving on to a song that

1162
00:58:30,360 --> 00:58:32,760
actually was an R and B song, maybe the R

1163
00:58:32,840 --> 00:58:35,360
and B song, this do wop song of all do

1164
00:58:35,480 --> 00:58:36,280
wop songs.

1165
00:58:36,760 --> 00:58:39,360
Speaker 3: This song is called in the Still of the Night.

1166
00:58:43,320 --> 00:58:46,159
Speaker 2: I was waiting for it. I was waiting for I'm like,

1167
00:58:46,199 --> 00:58:49,320
if you don't play White Snake right now, I'm going

1168
00:58:49,360 --> 00:58:50,320
to not forgive you.

1169
00:58:50,559 --> 00:58:52,440
Speaker 3: I couldn't. I knew it.

1170
00:58:52,920 --> 00:58:54,840
Speaker 2: I knew it was coming, and I'm glad you did it.

1171
00:58:55,119 --> 00:58:57,840
Speaker 3: Hey, I'm glad it didn't disappoint, but we are covering

1172
00:58:57,920 --> 00:59:01,920
that song later. This summer hit from nineteen eighty seven

1173
00:59:02,119 --> 00:59:04,000
and it's the third Still of the Night.

1174
00:59:04,119 --> 00:59:06,159
Speaker 2: There was a Still of the Night by Cole Porter

1175
00:59:06,239 --> 00:59:08,400
as well. They changed the spelling of night on this

1176
00:59:08,480 --> 00:59:11,079
one so that those two songs didn't get confused.

1177
00:59:13,599 --> 00:59:15,960
Speaker 3: Soon.

1178
00:59:24,199 --> 00:59:26,480
Speaker 2: This song is by the Five Satins. They formed in

1179
00:59:26,559 --> 00:59:29,639
New Haven, Connecticut in nineteen fifty four. Started off with

1180
00:59:29,960 --> 00:59:34,079
Fred Paris and had Lewis people, Stanley Dorch, Ed Martin,

1181
00:59:34,199 --> 00:59:37,599
Jimmy Freeman and Nat Moseley. They didn't have a whole

1182
00:59:37,599 --> 00:59:39,599
lot of success, A little bit, not a whole lot.

1183
00:59:39,679 --> 00:59:42,119
This song was written by Fred Paris and they recorded

1184
00:59:42,119 --> 00:59:46,320
it in the Saint Bernadette Catholic School basement in New Haven, Connecticut,

1185
00:59:46,599 --> 00:59:48,280
February nineteen fifty six, just.

1186
00:59:48,239 --> 00:59:52,239
Speaker 3: After church one day. Can I use the basement? Sure?

1187
00:59:52,360 --> 00:59:55,039
Go ahead. This song is one of the only songs

1188
00:59:55,199 --> 00:59:59,360
to be released and charts three times as its original form.

1189
00:59:59,639 --> 01:00:03,320
Speaker 2: Yeah. It also has been released and charted by Boys

1190
01:00:03,320 --> 01:00:03,599
to Men.

1191
01:00:03,800 --> 01:00:05,599
Speaker 3: That's how I know it from the nineties version of

1192
01:00:05,599 --> 01:00:06,119
the Boys to Men.

1193
01:00:06,440 --> 01:00:08,519
Speaker 2: I knew the song. I knew the song in the

1194
01:00:08,559 --> 01:00:11,159
Still of the Night. Well before this. I actually kind

1195
01:00:11,159 --> 01:00:13,960
of listened to fifties music, even before Dirty Dancing. I

1196
01:00:14,000 --> 01:00:16,280
made it cool again. Okay, So I was familiar with it,

1197
01:00:16,360 --> 01:00:19,039
but I did not know about the Debbie Gibson.

1198
01:00:19,599 --> 01:00:21,559
Speaker 3: Yeah, David Gibson, that's cool.

1199
01:00:21,679 --> 01:00:24,320
Speaker 2: They didn't realize that how good this song was. It

1200
01:00:24,360 --> 01:00:28,960
was released originally as the B side to another single Yeah.

1201
01:00:29,000 --> 01:00:31,239
It was on a single called the Jones Girl Wow,

1202
01:00:31,320 --> 01:00:33,639
and it ended up charting at number three on the

1203
01:00:33,760 --> 01:00:35,800
R and B chart and number twenty five on the

1204
01:00:35,840 --> 01:00:36,280
pop chart.

1205
01:00:36,360 --> 01:00:37,079
Speaker 3: Wow Okay.

1206
01:00:37,159 --> 01:00:40,320
Speaker 2: In a case of painfully bad timing, the group's lead

1207
01:00:40,400 --> 01:00:44,199
singer was drafted into the Army right after the success

1208
01:00:44,519 --> 01:00:46,119
of In the Still of the Night, so they had

1209
01:00:46,119 --> 01:00:48,639
to reorganize again. But eventually he came back.

1210
01:00:49,599 --> 01:00:51,760
Speaker 3: I wrote this hit song and now I'm in the army.

1211
01:00:51,840 --> 01:00:52,119
Speaker 2: Yeah.

1212
01:00:52,159 --> 01:00:54,400
Speaker 3: I did read that Fred Paris wrote this about a

1213
01:00:54,400 --> 01:00:58,559
former girlfriend. She moved away. He tried to contact her, couldn't.

1214
01:00:58,760 --> 01:01:01,760
So it's likely that there's a woman out there who

1215
01:01:01,800 --> 01:01:04,679
doesn't even realize that this song is written about her.

1216
01:01:04,920 --> 01:01:05,199
Speaker 9: Wow.

1217
01:01:05,440 --> 01:01:08,519
Speaker 2: Iconic song, the dou wop song of all due wop songs.

1218
01:01:08,519 --> 01:01:09,320
You're ready to move on?

1219
01:01:09,519 --> 01:01:11,079
Speaker 3: Okay, wait a minute, do we forget anything.

1220
01:01:11,119 --> 01:01:13,400
Speaker 2: We've talked about eleven songs, but there's twelve songs on

1221
01:01:13,440 --> 01:01:14,280
the album. What happened?

1222
01:01:14,440 --> 01:01:16,639
Speaker 3: I guess it's time to kick in the finale and

1223
01:01:16,679 --> 01:01:17,760
have the time of our life.

1224
01:01:18,000 --> 01:01:29,440
Speaker 5: No, the time life like this people, I guess us

1225
01:01:29,480 --> 01:01:31,800
where he's such.

1226
01:01:33,320 --> 01:01:34,679
Speaker 1: And all?

1227
01:01:46,079 --> 01:01:48,880
Speaker 2: Okay, we knew that we skipped it. Everybody, we knew

1228
01:01:48,880 --> 01:01:50,599
we skipped it. But how do you not put this

1229
01:01:50,679 --> 01:01:51,519
song at the end.

1230
01:01:51,599 --> 01:01:55,039
Speaker 3: This belongs at the end. Is the finale. It is

1231
01:01:55,079 --> 01:01:57,280
the finale. You have to close with this one or

1232
01:01:57,280 --> 01:02:00,679
else people will be stampeding for the doors on our podcast.

1233
01:02:01,079 --> 01:02:03,159
So once again, this is a song that is written

1234
01:02:03,199 --> 01:02:05,320
by Frankie Privett and John Dinaicole.

1235
01:02:05,480 --> 01:02:08,079
Speaker 2: So here's how this happens. Okay, Jimmy Iner, who knows

1236
01:02:08,119 --> 01:02:10,840
Frankie Privett yep, calls him up and says, I got

1237
01:02:10,840 --> 01:02:12,679
a movie. I need you to write a song for it.

1238
01:02:13,360 --> 01:02:16,360
And he's like, what's the name of the movie, Dirty Dancing.

1239
01:02:16,599 --> 01:02:20,440
He's like, oh my gosh, Jimmy's doing porn movies again.

1240
01:02:21,000 --> 01:02:23,400
He's like, no, no, no, no, And in five minutes

1241
01:02:23,519 --> 01:02:27,000
he tells him the plot of the movie. Right, yes, girl,

1242
01:02:27,199 --> 01:02:30,440
boy love dancing, all of that good stuff sixties.

1243
01:02:30,800 --> 01:02:31,000
Speaker 3: Right.

1244
01:02:31,360 --> 01:02:34,800
Speaker 2: He says, I need this as the finale song. Right,

1245
01:02:34,880 --> 01:02:37,199
this is gonna be our finale song. I think it

1246
01:02:37,280 --> 01:02:41,199
could change your life. Frankie Privet is like okay, he goes,

1247
01:02:41,239 --> 01:02:44,199
there's just one problem. Frankie Prive is like okay. He goes,

1248
01:02:44,840 --> 01:02:47,880
it has to be seven minutes long. He said, what

1249
01:02:48,599 --> 01:02:51,360
goes well, the finale is seven minutes long, So the

1250
01:02:51,480 --> 01:02:54,920
song has to be seven minutes long. He's like, okay,

1251
01:02:55,320 --> 01:02:57,039
all right, I'll give it a try. I'll see what

1252
01:02:57,079 --> 01:02:59,280
he can do. Right, And so he comes up with

1253
01:02:59,320 --> 01:03:02,639
the music for He's got this kind of idea of

1254
01:03:02,719 --> 01:03:06,639
what it should be. He records that. He's listening to

1255
01:03:06,679 --> 01:03:10,519
it in his car. He calls Jimmy Ironer and says,

1256
01:03:10,840 --> 01:03:12,960
plays the track for him. He's like, how does this sound?

1257
01:03:13,199 --> 01:03:16,079
He goes, that's great, develop that into a full song.

1258
01:03:16,280 --> 01:03:18,360
So he's listening to it in his car. He's on

1259
01:03:18,400 --> 01:03:25,719
the Garden State Parkway exit. Okay, and he's he's got

1260
01:03:25,719 --> 01:03:29,280
this this. Jimmy Ironer said, this song could change your life.

1261
01:03:29,320 --> 01:03:31,000
And the only word that he can think of is

1262
01:03:31,039 --> 01:03:37,079
the end word, which is life, life, life. And then

1263
01:03:37,119 --> 01:03:38,039
he comes up with it.

1264
01:03:39,119 --> 01:03:43,320
Speaker 10: I had the time of my life and the rest

1265
01:03:43,400 --> 01:04:03,039
is history.

1266
01:04:03,239 --> 01:04:06,039
Speaker 3: That's fantastic. That's a great story. Yeah, I heard that

1267
01:04:06,079 --> 01:04:08,800
when Jimmy Aner called him that. He said, number one,

1268
01:04:08,840 --> 01:04:10,000
it's got to be seven minutes long.

1269
01:04:10,119 --> 01:04:10,360
Speaker 2: Yeah.

1270
01:04:10,559 --> 01:04:13,400
Speaker 3: Also, it's got to start slow, finish fast, and have

1271
01:04:13,440 --> 01:04:16,079
a Mama beat. Oh, by the way, it's got to

1272
01:04:16,079 --> 01:04:17,760
be a hit because you know, it's the most important

1273
01:04:17,800 --> 01:04:18,920
song and the entire movie.

1274
01:04:19,119 --> 01:04:22,079
Speaker 2: Right, the version that they listened to when they were

1275
01:04:22,119 --> 01:04:25,400
filming the movie was the version that Prankie Privet recorded.

1276
01:04:25,519 --> 01:04:28,119
It's his voice the demo right right. When you see

1277
01:04:28,119 --> 01:04:32,000
Patrick Swayze lip syncing the words, he's lip syncing to

1278
01:04:32,280 --> 01:04:34,559
Frankie Privet, not to Bill Medley.

1279
01:04:35,079 --> 01:04:38,119
Speaker 3: That's incredible. So Okay, when Jimmy Ironer is going around

1280
01:04:38,239 --> 01:04:41,599
trying to find people to record the vocals for this song,

1281
01:04:41,760 --> 01:04:44,360
knowing that it's the most important song, that it's the finale,

1282
01:04:44,400 --> 01:04:46,000
that you've got to knock it out of the park,

1283
01:04:46,039 --> 01:04:48,400
he goes to Donna Summer and Lionel Ritchie. You know

1284
01:04:48,400 --> 01:04:51,800
what they say, No, no, not interested. Here's this movie.

1285
01:04:51,880 --> 01:04:53,239
I mean, what are we talking about here?

1286
01:04:53,400 --> 01:04:55,559
Speaker 2: Right now? It's important to note. They weren't sure that

1287
01:04:55,639 --> 01:04:58,400
this was going to be the song. Initially, they listened

1288
01:04:58,440 --> 01:05:02,840
to multiple tape of multiple songs trying to figure out

1289
01:05:02,840 --> 01:05:06,000
what the best song for the finale was. And and

1290
01:05:06,039 --> 01:05:09,159
it's Kenny Ortega, the choreographer who's listening to the song

1291
01:05:09,239 --> 01:05:11,800
with Miranda Richardson trying to find the perfect song. And

1292
01:05:11,800 --> 01:05:13,920
they go after tape after tape after tape and they

1293
01:05:13,960 --> 01:05:16,159
can't figure it out. And they get to the very

1294
01:05:16,239 --> 01:05:18,280
last tape and he says, and I hear it. Is

1295
01:05:18,280 --> 01:05:20,000
it just because we're on the very last tape? But

1296
01:05:20,079 --> 01:05:21,920
I think that this has to be the right song, right?

1297
01:05:21,960 --> 01:05:25,239
And she's like, no, this is it, this is this

1298
01:05:25,280 --> 01:05:26,519
is the one that it has to be.

1299
01:05:26,719 --> 01:05:27,840
Speaker 1: Oh, that's better.

1300
01:05:28,599 --> 01:05:31,000
Speaker 3: They also asked Daryl Hall and Kim Karnes.

1301
01:05:31,280 --> 01:05:35,719
Speaker 2: Okay, now, interestingly, Daryl Hall had covered The Righteous Brothers.

1302
01:05:36,199 --> 01:05:37,159
Speaker 3: That's exactly right.

1303
01:05:37,280 --> 01:05:38,760
Speaker 2: Interesting, Okay, go aheady.

1304
01:05:39,239 --> 01:05:43,360
Speaker 3: So they said no as well, because Dirty Dancing, we

1305
01:05:43,400 --> 01:05:45,280
don't know the producer, we don't know the director, we

1306
01:05:45,320 --> 01:05:48,679
don't know the lead actors, right, Patrick Swayze, who's that, right,

1307
01:05:48,760 --> 01:05:50,000
Jennifer Gray never heard of her?

1308
01:05:50,199 --> 01:05:50,480
Speaker 2: Right?

1309
01:05:50,519 --> 01:05:53,239
Speaker 3: And so they went to Bill Medley and They're like, hey, Bill,

1310
01:05:53,320 --> 01:05:55,960
you're the voice of the sixties. He actually was coming

1311
01:05:56,000 --> 01:05:59,599
off a very popular moment in time, because Top Gun

1312
01:05:59,639 --> 01:06:03,519
had sort of reintroduced him to pop culture from You've

1313
01:06:03,519 --> 01:06:05,800
Lost That Love and feeling right all right. So they

1314
01:06:05,840 --> 01:06:08,039
went to him and he's like, no, my wife's getting

1315
01:06:08,039 --> 01:06:10,199
ready to have a baby. I taught promised her I'd

1316
01:06:10,199 --> 01:06:12,199
be there for the birth. I don't have time for this.

1317
01:06:12,280 --> 01:06:14,960
I'm not doing it, okay. So then they went to

1318
01:06:15,280 --> 01:06:18,639
Jennifer warrens Now she had done up where I belong

1319
01:06:19,559 --> 01:06:21,639
and right Time of the Night from the seventies.

1320
01:06:21,719 --> 01:06:22,480
Speaker 2: Yeah, okay.

1321
01:06:22,679 --> 01:06:25,599
Speaker 3: She's got a real strong voice, very strong. But she

1322
01:06:25,599 --> 01:06:28,199
she's like, you know, when I looked at it, there

1323
01:06:28,280 --> 01:06:31,239
was three writers on the song. To me, that's a

1324
01:06:31,280 --> 01:06:34,920
giant red flag. She's like, I almost just said no way,

1325
01:06:35,159 --> 01:06:38,039
but she said she started warming to the idea as

1326
01:06:38,119 --> 01:06:40,840
long as Bill Medley was seeing with her, and so

1327
01:06:41,320 --> 01:06:44,400
Jimmy kept calling him saying, did you have the baby yet?

1328
01:06:44,920 --> 01:06:46,719
Did she have the baby yet? Did she have the

1329
01:06:46,760 --> 01:06:48,679
baby yet? He's like, you have to do this. You're

1330
01:06:48,760 --> 01:06:51,280
the voice of the sixties. You have got to do this.

1331
01:06:52,320 --> 01:06:56,440
And when they finally changed the recording venue from New

1332
01:06:56,480 --> 01:07:00,199
York to La where Medley lived, Baby was born. Come

1333
01:07:00,199 --> 01:07:02,920
in to La. You gotta do this, Jennifer says, she'll

1334
01:07:02,960 --> 01:07:03,639
do it if you do it.

1335
01:07:03,920 --> 01:07:04,079
Speaker 9: Huh.

1336
01:07:04,239 --> 01:07:08,039
Speaker 3: He finally caved. So this is the tibt that blew meaway. Yeah,

1337
01:07:08,079 --> 01:07:09,760
and I never knew this. I've heard this song a

1338
01:07:09,840 --> 01:07:13,320
thousand times in my life. Okay. Bill Medley and Jennifer

1339
01:07:13,400 --> 01:07:17,920
Warrens are supposed to be the older versions of Johnny

1340
01:07:17,920 --> 01:07:20,280
Castle and Baby singing to each other.

1341
01:07:20,480 --> 01:07:22,880
Speaker 2: That's great about the events in the movie. Yeah, So

1342
01:07:23,199 --> 01:07:25,639
little history on Bill Medley. Okay, we all know him

1343
01:07:25,679 --> 01:07:28,800
from The Righteous Brothers, right yep. But the Righteous Brothers

1344
01:07:28,840 --> 01:07:31,760
didn't have a whole lot of success initially, Okay, he

1345
01:07:31,840 --> 01:07:34,039
had been in a couple of other groups. He ended

1346
01:07:34,440 --> 01:07:37,199
ended up forming the Righteous Brothers with Bobby Hatfield by

1347
01:07:37,800 --> 01:07:40,440
mid sixties hadn't had a whole lot of success. But

1348
01:07:40,519 --> 01:07:43,360
in nineteen sixty four they appeared in a show with

1349
01:07:43,440 --> 01:07:47,000
some other groups at the Cow Palace in San Francisco.

1350
01:07:47,280 --> 01:07:50,159
The Cow Palace, The Cow Palace. Okay, there was a

1351
01:07:50,159 --> 01:07:53,239
conductor for the band for the entire show who is

1352
01:07:53,280 --> 01:07:56,679
impressed by them and said I would like to record

1353
01:07:56,760 --> 01:08:00,880
you on my own record label. You know, the conductor was.

1354
01:08:02,840 --> 01:08:06,760
Speaker 3: David Page is dead Phil Spector, Phil Spector.

1355
01:08:07,360 --> 01:08:10,840
Speaker 2: So in sixty five with Phil Spector they have their

1356
01:08:11,079 --> 01:08:13,920
first number one hit with You've Lost That Love and Feeling,

1357
01:08:14,079 --> 01:08:17,640
which was produced by Phil Spector, and then later on

1358
01:08:17,800 --> 01:08:20,960
they had another major hit with Unchained Melody, which then

1359
01:08:21,039 --> 01:08:24,520
showed up later in Ghosts the eighties with Ghosts and

1360
01:08:24,600 --> 01:08:25,800
Patrick Swayz. Yes.

1361
01:08:26,039 --> 01:08:28,800
Speaker 3: Wow, I didn't even think about that having a Patrick

1362
01:08:28,840 --> 01:08:29,600
Swayza connection.

1363
01:08:29,760 --> 01:08:32,600
Speaker 2: Yeah. I mentioned at the outset we're going to talk

1364
01:08:32,640 --> 01:08:35,319
about two murders, and so far we've only talked about one.

1365
01:08:35,439 --> 01:08:36,319
Speaker 3: Okay, you ready.

1366
01:08:36,439 --> 01:08:39,960
Speaker 2: Yes. Bill Medley met his first wife, Karen O'Grady in church.

1367
01:08:40,399 --> 01:08:43,199
They started dating in nineteen sixty three and they were

1368
01:08:43,239 --> 01:08:46,479
married at the beginning of his music career. They had

1369
01:08:46,520 --> 01:08:49,920
a son named Darren in nineteen sixty five, but ultimately

1370
01:08:50,119 --> 01:08:53,600
they got divorced when he was about five. Okay, fast

1371
01:08:53,640 --> 01:08:58,239
forward to nineteen seventy six. His first wife, Karen had remarried.

1372
01:08:58,239 --> 01:09:00,800
At that point, her name was Karen Klass. She was

1373
01:09:00,920 --> 01:09:05,199
raped and murdered by a stranger and in seventy six

1374
01:09:05,319 --> 01:09:09,800
because of this, Medley stopped performing music to take care

1375
01:09:09,920 --> 01:09:12,720
of their ten year old son, Darren. The murder had

1376
01:09:12,760 --> 01:09:16,520
not been solved, and Medley employed a private investigator to

1377
01:09:16,560 --> 01:09:19,560
try to track down the killer. On January twenty seventh,

1378
01:09:20,119 --> 01:09:24,840
twenty seventeen, the Los Angeles County Sheriff's Department announced that

1379
01:09:24,920 --> 01:09:29,439
investigators used a controversial DNA testing method to solve the

1380
01:09:29,479 --> 01:09:32,399
murder that was at this point thirty years old. Forty

1381
01:09:32,479 --> 01:09:36,199
years old. Set, we're talking seventy six to twenty seventeen,

1382
01:09:36,399 --> 01:09:39,720
forty one years later. Whoa. They said that the case

1383
01:09:39,800 --> 01:09:43,760
was solved through the use of familial DNA, which identified

1384
01:09:43,760 --> 01:09:47,760
the killer named Kenneth Troyer, a sex offender and fugitive

1385
01:09:47,880 --> 01:09:49,880
killed by the police in nineteen eighty two.

1386
01:09:50,079 --> 01:09:52,399
Speaker 3: Oh my gosh, dude, that's incredible.

1387
01:09:52,840 --> 01:09:54,479
Speaker 2: I don't know where you came up with that. That's

1388
01:09:54,520 --> 01:09:59,680
great now, Yeah, a little lighter note, Okay. Jennifer warrens. Yes,

1389
01:10:00,000 --> 01:10:04,840
she had smiled success as a solo artist, right, uh huh.

1390
01:10:04,880 --> 01:10:07,640
She seems to do pretty well when she does duets.

1391
01:10:07,840 --> 01:10:10,960
In sixty eight, after a few years in musical theater

1392
01:10:11,039 --> 01:10:14,279
and clubs, she joined the cast of a television show

1393
01:10:14,399 --> 01:10:17,039
called The Smothers Brother's comedy Hour.

1394
01:10:17,279 --> 01:10:18,880
Speaker 3: Ha ha. We've talked about that.

1395
01:10:18,960 --> 01:10:21,359
Speaker 2: Yes, in our Toto episode, which would later be hosted

1396
01:10:21,359 --> 01:10:25,760
by Glenn Campbell Marity Page. Yes, it's all first full circle.

1397
01:10:25,800 --> 01:10:28,800
But this is the tidbit that I love. Nineteen eighty five,

1398
01:10:29,000 --> 01:10:32,039
she recorded a duet. She's great with these duets in

1399
01:10:32,079 --> 01:10:36,239
the eighties. Huh with bj Thomas. Okay, the song is

1400
01:10:36,880 --> 01:10:39,279
as long as We've Got each Other. Do you recognize

1401
01:10:39,279 --> 01:10:39,840
the title?

1402
01:10:40,279 --> 01:10:49,199
Speaker 3: Yeah, okay, let me play it for you. It's Bailey Ties,

1403
01:10:49,920 --> 01:10:51,359
It's family freaking ties.

1404
01:10:52,039 --> 01:10:53,000
Speaker 2: It's growing Pains.

1405
01:10:53,079 --> 01:10:59,119
Speaker 7: It's growing Pains. It's growing Pains. There you go, Oh

1406
01:10:59,159 --> 01:11:01,840
that's awesome. Yeah, way to go. She had a lot

1407
01:11:01,880 --> 01:11:03,640
of success with eighties duets.

1408
01:11:03,680 --> 01:11:07,560
Speaker 2: We've got the growing pains theme, we've got dirty dancing

1409
01:11:07,800 --> 01:11:11,199
and the best song off of the album. And we

1410
01:11:11,279 --> 01:11:14,880
have Joe Cocker from Officer and a Gentleman and lift

1411
01:11:14,960 --> 01:11:16,640
us Up where we belong. Man.

1412
01:11:17,199 --> 01:11:19,159
Speaker 3: Those are a big time huge. Those are a big

1413
01:11:19,159 --> 01:11:22,720
time huge. Speaking of duets, I mentioned that the album

1414
01:11:22,800 --> 01:11:25,600
came out a month before the movie Okay, and they

1415
01:11:25,720 --> 01:11:28,720
dropped the song I've Had the Time of my Life

1416
01:11:28,920 --> 01:11:32,119
a week or so before the scheduled release of the movie. Well,

1417
01:11:32,159 --> 01:11:35,159
the movie was delayed by about a month, and so

1418
01:11:35,319 --> 01:11:37,039
Time of My Life is out there, just kind of

1419
01:11:37,079 --> 01:11:41,359
hanging unboosted by the movie, right, and it's kind of floundering.

1420
01:11:41,399 --> 01:11:42,960
It's not really doing anything.

1421
01:11:42,840 --> 01:11:45,600
Speaker 2: Like it hit the charts. But then it's starting to drop.

1422
01:11:45,319 --> 01:11:48,880
Speaker 3: And nothing really happening, and kind of landed with a dud, right,

1423
01:11:48,960 --> 01:11:52,760
which blows me away until a month later when the

1424
01:11:52,760 --> 01:11:55,159
movie came out. Bill Bedley said he was actually at

1425
01:11:55,159 --> 01:11:57,840
the release party of the movie and they were already

1426
01:11:58,039 --> 01:12:00,800
already talking about this second single to drop and he's like, God,

1427
01:12:00,880 --> 01:12:04,039
I haven't even given this a chance yet, guys. Okay,

1428
01:12:04,600 --> 01:12:08,520
But so it almost fell off the charts. So once

1429
01:12:08,600 --> 01:12:11,680
the movie was released, though, the song of course took off.

1430
01:12:11,880 --> 01:12:14,479
And he had just done a duet with Gladys Knight

1431
01:12:14,520 --> 01:12:18,439
for the movie Cobra Yeah, and that song was called

1432
01:12:18,479 --> 01:12:19,560
loving on Borrowed Time.

1433
01:12:26,520 --> 01:12:50,520
Speaker 1: In the scene.

1434
01:12:42,680 --> 01:12:44,600
Speaker 3: And so he's on the road with the Whitis Brothers

1435
01:12:44,680 --> 01:12:47,119
and the DJ said, hey, man, they're playing the hell

1436
01:12:47,119 --> 01:12:50,039
out of your song right now, and he's like, which one,

1437
01:12:50,039 --> 01:12:53,000
what are you talking about? And the guy said the

1438
01:12:53,119 --> 01:12:58,319
song with that girl, right, and he's like the song

1439
01:12:58,359 --> 01:13:01,920
with that girl, I about Gladys Knight. He said, I

1440
01:13:01,920 --> 01:13:04,119
don't know, man, And so he said. By the time

1441
01:13:04,159 --> 01:13:06,119
they got off the road, about two weeks later, they

1442
01:13:06,119 --> 01:13:08,600
were the number one song all over the wheel. He

1443
01:13:08,680 --> 01:13:11,840
had no idea what was happening while he was untoured.

1444
01:13:11,920 --> 01:13:15,760
Speaker 2: It's fantastic. So with this song, they not only hit

1445
01:13:15,960 --> 01:13:18,239
number one on the Billboard Hot one hundred, they spent

1446
01:13:18,439 --> 01:13:22,239
four weeks at number one on the Adult Contemporary chart. Yep.

1447
01:13:22,439 --> 01:13:26,319
They win the Oscar for Best Original Song. That's the

1448
01:13:26,359 --> 01:13:29,399
third one, by the way, for Jennifer Warrens. They win

1449
01:13:30,039 --> 01:13:34,880
the Golden Globe same category. Yep, and they win the Grammy.

1450
01:13:35,239 --> 01:13:38,359
Speaker 3: Listen to this when they re released the movie for

1451
01:13:38,479 --> 01:13:41,720
television audiences in January of nineteen ninety one. Yeah, the

1452
01:13:41,760 --> 01:13:42,560
song charted again.

1453
01:13:43,520 --> 01:13:44,279
Speaker 2: It's a great song.

1454
01:13:44,479 --> 01:13:45,439
Speaker 3: It's a great song.

1455
01:13:46,680 --> 01:13:59,520
Speaker 11: And no, and like I said before, if you don't

1456
01:13:59,520 --> 01:14:01,720
get a little bit misty when he does the lift,

1457
01:14:02,319 --> 01:14:03,600
there's something wrong with you.

1458
01:14:03,600 --> 01:14:04,960
Speaker 3: You need to examine your heart.

1459
01:14:05,079 --> 01:14:08,199
Speaker 2: Yeah. Yeah, so I'm sorry. We tricked you everybody. We

1460
01:14:08,279 --> 01:14:10,159
took the first song and we put it last. But

1461
01:14:10,560 --> 01:14:13,119
how do you not have that song as the finale

1462
01:14:13,199 --> 01:14:14,560
and you got to Yeah.

1463
01:14:14,600 --> 01:14:17,000
Speaker 3: By the way, this is still showing up in the

1464
01:14:17,000 --> 01:14:20,399
movie Crazy Stupid Love with Ryan Gosling and Emstone. Yeah,

1465
01:14:20,520 --> 01:14:22,680
they do the lift to the song.

1466
01:14:22,840 --> 01:14:23,079
Speaker 2: Yes.

1467
01:14:23,600 --> 01:14:27,279
Speaker 3: And then in twenty eighteen, during the Super Bowl, the

1468
01:14:27,439 --> 01:14:31,000
NFL ran a spot where Eli Manning and Odell Beckham

1469
01:14:31,079 --> 01:14:32,479
Junior do the lift.

1470
01:14:32,600 --> 01:14:34,439
Speaker 2: Let's do it, Let's do it. Okay, I'm ready, I'm

1471
01:14:34,439 --> 01:14:36,359
gonna catch you. Come on one two.

1472
01:14:37,279 --> 01:14:37,479
Speaker 5: Yes.

1473
01:14:38,279 --> 01:14:45,520
Speaker 3: Oh, I knew we could do it. What a final song.

1474
01:14:45,720 --> 01:14:48,279
It's so important to the movie, and it really it's

1475
01:14:48,399 --> 01:14:50,920
the heart of the movie. It's a joyful song. I

1476
01:14:50,960 --> 01:14:54,279
feel like dancing, I feel like doing the lift. It

1477
01:14:54,279 --> 01:14:55,079
makes me feel great.

1478
01:14:55,119 --> 01:14:57,720
Speaker 2: Everybody, if you've listened to us this long, don't forget

1479
01:14:57,720 --> 01:14:59,960
to hit that follow button, don't forget to hit the

1480
01:15:00,159 --> 01:15:03,039
subscribe button. If you can write a review for us

1481
01:15:03,079 --> 01:15:05,479
that says, nobody puts baby in the corner, or time

1482
01:15:05,520 --> 01:15:08,079
of my life. Yes, well, I mean that's pretty easy

1483
01:15:08,119 --> 01:15:10,720
to put in review, So easy peasy, put time of

1484
01:15:10,800 --> 01:15:13,239
my life, or if you are feeling like a challenge,

1485
01:15:13,239 --> 01:15:15,119
nobody puts baby in the corner. Put that in a

1486
01:15:15,119 --> 01:15:17,560
five star review and you'll be entered into a contest

1487
01:15:17,840 --> 01:15:21,760
to win one of our awesome metal cups custom engrave

1488
01:15:21,840 --> 01:15:24,960
with your name and the Surely you Can't be serious logo.

1489
01:15:25,159 --> 01:15:27,680
Be sure and check out our Patreon page if you

1490
01:15:27,680 --> 01:15:31,920
feel like giving a little money to the podcast. We

1491
01:15:31,960 --> 01:15:33,920
spend hours of time to do this and we want

1492
01:15:33,960 --> 01:15:35,239
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1493
01:15:35,239 --> 01:15:37,479
feeling generous, we'd love the donation as well.

1494
01:15:37,479 --> 01:15:39,560
Speaker 3: Come back next week as we go track my track

1495
01:15:39,600 --> 01:15:42,000
through one of the biggest albums of the seventies, the

1496
01:15:42,119 --> 01:15:45,359
soundtrack to Saturday Night Fever. We're gonna be Beijian all

1497
01:15:45,399 --> 01:15:55,720
over the place. Do it up, dude. Thanks guys,