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Speaker 1: Hello, and welcome to the Surely You Can't Be Serious

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Podcast with Jason Colvin and James Steve Graves. This is

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Melissa Mingle, friend of the show and Patreon member. Quite

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certain that today, as always, they will give us a

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bit of a laugh and blow all minds. One quick

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secret not really British, but sometimes after I listen to

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the show, I feel like I could be Thanks guys.

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Speaker 2: Hello everybody, and welcome back to the Surely you Can't

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Be Serious Podcast. And the music you are hearing might

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make you dance with yourself. You could be dancing with me,

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you could be dancing with Jason. But either way, as

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long as you're dancing, we've done our job here.

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Speaker 3: That's right. I just want everybody to know it's a

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nice day to start again.

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Speaker 2: Yeah, well, I'm starting with black leather. I went ahead

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and bleached my hair completely blonde, spiked it up, I

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grew the beard out for this easy top episode. I'm

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now full punk rock.

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Speaker 3: I like the peroxide. You gotta go on it nice.

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Do you know that was accidental, by the way, Yeah,

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I did. Actually, yeah, you sent me that clip. I

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could not believe that they were gonna do blue. It

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was gonna be blue, right, you gotta bleach it all

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the way to add the blue coloring. And his girlfriend,

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whoever it was that was gonna do that for him,

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she bleached it white and then looked at her. Person's like,

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oh crap, I forgot the blue. I guess you'll just

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have to be white for a couple of days, and

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he's like, you know, what's kind of works. I kind

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of like it.

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Speaker 2: Well, he went to band practice like he was. He

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had started with Generation X at that point and they

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had a different lead singer, and the lead singer immediately

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came over. He's like, you're not gonna leave it like that, right,

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your hair is He's like, no, it's gonna He's like really,

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because you can't leave it like that. He's like, no,

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I'm gonna He's like it's important they did not stay

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like that, and he's like, okay, I'll change it. But

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by the time the conversation was over, he was like,

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he's worried about me stealing the thunder. That's it, And

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sure enough he'd done did steal the thunder because he

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took over his lead singer not too long after that, like,

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I am changing this, no way, no how it provokes

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a reaction even by all of the radio stations of

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the early eighties. Sure.

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Speaker 3: Sure, today we're covering Billy Idol and we're going through

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his second album, Rebel Yell.

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Speaker 2: Okay, yeah, yeah, I love the yells. I love that

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he's got a great sneer and a great yell. So

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I'm excited to talk about this. This is one of

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those pivotal albums of my youth. Nineteen eighty three, big time,

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This was all over MTV. He was as much of

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an icon as the Zzy Top guys, I mean their

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beards and sunglasses. He had that kind of image logo

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just as much with his bleached spiked hair and his

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leather punk style.

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Speaker 3: Let me ask you this, so we both agree that

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image for both of these groups that we're talking about

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last week this week was huge, especially on early MTV.

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So are they the same band without the image.

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Speaker 2: In this time period in history, There's no way to say.

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Because image became synonymous with sound.

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Speaker 3: It was everything.

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Speaker 2: It was everything, And then in the nineteen eighties, with

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the birth of MTV, if you had an unimpressive image,

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you were not going to do as well, even if

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your music was better. Just ask John Oates. That's true,

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you know, I mean, that's just and he I can

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still remember the interview where he was complaining about it

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and Madonna was sitting next to him and she's like, listen,

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we put on stage shows. This has always been a

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visual medium as well as a sound medium. This is

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the way it is now. You need to just buck

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it up.

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Speaker 3: It sure is. You know Nikki six talked about this

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when we did our Girls Girls Girls episode. There was

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a time period from about nineteen late nineteen eighty one,

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I would say until about eighty five eighty six when

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every kid in America listened to the exact saying, quote

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unquote radio station and that was MTV.

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Speaker 2: Okay, before we get going on Rebel Yell, track by track,

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we are going to talk about our top three songs

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that are not on Rebel Yell. All right, yeah, yeah, okay,

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So we'll treat these like our top five episodes. Guys,

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if you haven't heard those episodes, there are some of

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our most fun episodes to do. But what the way

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we do it is we tease it up a little bit.

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See if we can get the other guy to guess

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what we're thinking. All right, and I can't wait, I'm

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starting this one. I'm not gonna let you steal the

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thunder from Okay you ready? Yeah, Okay. This video for

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this song was directed by David Fincher.

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Speaker 3: I love that nugget. Let's punt that one down the

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road for a minute.

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Speaker 2: I'm gonna keep going and you just tell me when

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it comes up because I don't have the Okay, So

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for the for the people out there who don't know yet.

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Speaker 3: The clips from the movie Ford Fair Lane were.

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Speaker 2: Used in this movie, but they didn't have any of

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Andrew dice Clay because he had been banned from MTVS.

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Speaker 3: Right he had been.

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Speaker 2: The young lady who appeared in this video was eighteen

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or nineteen, so you don't have to feel quite as

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bad about how you might have felt about her when

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you watch this video. Yeah, and the clips of Billie

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idol Well were all on picture frames from the waist

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up because he was still suffering the effects of the

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motorcycle accident he had.

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Speaker 3: Had earlier that year, Shining from the waist up.

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Speaker 2: The song, of course, is credit of love.

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Speaker 3: Yeah.

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Speaker 2: So this one came off the Charmed Life album in

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nineteen ninety. Man nineteen ninety I'm fifteen years old. I

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could not get enough of this video.

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Speaker 3: This girl was basically my age and I was like, man,

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this girl is smoken hot yep. And I think it

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got an award at the MTV Music Awards, like Sexiest

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Video or something like that.

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Speaker 2: It was the best Video from It was nominated for

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several things, one Best Video for Music from a Movie.

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But Billy Idol and the actress her last name is

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George Betsy George Betsy Lynn, George Betsy Lynn, George Betsy

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lynz God.

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Speaker 3: She was in Point Break. She was a party girl,

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girl at party. Yeah.

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Speaker 2: But they recreated the sexy scene for the MTV Video

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Music Awards.

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Speaker 3: My number three go four all right, So this video

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has people slapping their butts to the beat. You have

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a bloody ring, and of course you have longtime girlfriend

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Perry Lister as the bride.

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Speaker 2: Not only was Perry Lister the bride in this one,

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and not only was it really her finger actually getting cut,

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which they edited out of the MTV video because they

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didn't want to see that, but she also switched clothes

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and she was one of the black leather butt slappers.

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Speaker 3: If you will. This of course is white wedding.

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Speaker 4: You had a no s day or a wide wedding.

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It's a nicety to stop again.

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Speaker 3: Okay, number two.

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Speaker 2: Okay, this is the last one left for me because

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I had white wedding on my list as well.

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Speaker 3: Let shoot.

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Speaker 2: Okay, it's probably a foregone conclusion since we haven't mentioned

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it yet. But the idea for this video came about

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when Generation X was touring over in Japan and they

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saw some of the young residents of Tokyo at a

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disco dancing in front of mirrors, looking at mirrors.

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Speaker 3: They were, in fact dancing with themselves. Got its.

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Speaker 5: Sha dance little with my set, no one else.

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Speaker 4: I'm a crowd. Well it's so long, I'm.

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Speaker 3: Dance little with my set. Okay. My number two is different?

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Oh whoa we got yeah, we got we got one

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stray here. Now I will tell you this. This came

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out in nineteen eighty seven. I think it hit number

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one in nineteen eighty seven. Okay. It was played at

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all my junior high dances, right.

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Speaker 2: Okay, So this is of course Mony Moony. You know

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why he Redidy Mooney?

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Speaker 3: I do? I tell me that story. So when he

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was fifteen years old and he was losing his virginity

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to some unknown girl in the back of a warehouse.

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The song playing in the background was Mony Mooney by

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Tommy James and the Chardells in the charts, which, by

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the way, I don't know if you know this or

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not money money, you know what that is. When Tommy

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James wrote this song, he was driving past a billboard

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that said Mutual of New York. True story Wow, Mony

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Mony Wow. And then my number one, of course, is

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Creditle of Love.

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Speaker 2: All right, you need to jump into the album track

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by track dive in. Okay, ladies and gentlemen, we were

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about to begin the story of young William Michael Albert Broad,

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a literature student studying at University at Sussex.

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Speaker 3: His parents were devout Anglicans, you know, and a very

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nice British folk. I didn't know we're going to slip

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into the actions. I'm trying.

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Speaker 2: But before we go into all of the historical details,

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let's just jump into the song. But normally we play

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a little bit and then we talk about it, but

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I got to say something on this one. Yeah, before

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the music starts here. This song began with the beat

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that a boom boom at the beginning, it didn't have

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that little intro though that Steve Stevens does, and the

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manager of the band said, we need to kind of

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give them a hey, here's what's coming feel And it's

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very small, but if you listen, it's just like the

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army is approaching, you know, here it comes.

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Speaker 3: Get ready for it.

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Speaker 6: Bu boom.

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Speaker 3: That's my lip curls up just listening to this song.

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My fist goes up. I'm pumping, I'm jumping. This is

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an incredible song from the early eighties. Right here, this

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is iconic.

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Speaker 2: You can't help but like start bobbing your head because

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this is an incredibly great intro to an incredibly great album.

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Speaker 4: Ala Wore the Rabble.

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Speaker 3: Okay, So before we get into the making of this song,

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Keith Force was the producer on this album. Yes, he's

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kind of like the third member of the band here

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hundred percent.

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Speaker 2: We've talked about Keith Forcy several times now, big in

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the making of Top Gun soundtrack and also our Patreon

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episode that we had on Don't You Forget About Me.

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Speaker 3: We got to talk a little bit about Keith Forcy.

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So Keith Forcy was Giorgio Moroder's drummer and if you

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remember he played drums and all the Donna summer stuff,

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all the disco stuff. He wrote the Irene Karra song

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for Flash Dance. Keith Forcy wanted Billy Idol to do

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Don't you Forget About Me because he had just produced

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his album a couple of years before me. By the way,

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do you remember who Keith Forcey's wife is? I've lost that,

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I don't remember. Okay, he married Karen Elaine Morton, who

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played Jenny in eight six seven, five three oh nine.

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Speaker 2: Oh that's right, Okay, yes, that's right. Well Patreon episode.

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Speaker 3: Another Patreon episode that we talked about, and.

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Speaker 2: She's famous for being Playboy Playmate.

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Speaker 3: With the Smallest Oops. Yep, that's a miss. July nineteen

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seventy eight.

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Speaker 2: Yeah, guys, if you haven't checked out our Patreon page yet,

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we cover all kinds of one hit wonders there for

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our Patreon members. You can become a Patreon member and

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join our happy little community for as little as five

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bucks a month and get access to all of those

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episodes that we've done and all the ones that are

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coming up. And it is a great family that we

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are a part of. Those guys, we communicate with them

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all and it's just great fun to have our Patreon members.

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So if you're interested, go to patreon dot com, backslash

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Shirley podcast that's s U R E l Y podcast

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and join up, join the fun.

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Speaker 3: Steve Stevens, who we haven't talked about yet, was the

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guitar player for Billy Idol they got together. He was

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a vital part of the success because he brought in

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that rocker edge to this pop punk thing that they

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had going on. They bring it all together. You have

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these wonderful punk rop pop songs. Okay, So here's the

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interesting thing about Rebel Yell. So Billy is over at

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Ronnie Wood's house, Ronnie Wood of the Rolling Stones, Yes,

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and it's his birthday party, and he's there with Mick

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Jagger and Keith Richards and they're all sharing swigs off

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of a bottle of Rebel Yell whiskey.

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Speaker 2: That is where the name of the song and the

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album come from.

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Speaker 3: So they had been working on this song, but they

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didn't have any lyrics. They're just working on the beat

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and working on music. And it came back the next

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day and ran into Steve Stevens. He's like a dude,

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I got the title. I got it, and Steve was like,

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what is it?

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Speaker 6: What is it?

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Speaker 3: He's like rebel yell, and they were like, oh yeah,

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it's perfect.

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Speaker 2: It's a great one. It's perfect for the album. It's

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perfect for the song.

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Speaker 3: Yeah.

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Speaker 2: Apparently Billy Idol and Ronnie Wood became fast friends. Everybody

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liked to party hard at that time in history, and

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those were two party buddies, if you will. I think

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Ronnie Wood did like a port like he's a painter too,

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you know, he's not just a musician. Yeah, he had

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done a portrait of Billy Idol, because well, Billy's pretty man.

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Speaker 3: He's a good looking dude, and from what I can tell,

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he seems like a really genuinely fun to hang out with. Yeah,

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you and I both agree. He's super smart, he's creative,

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he's funny, he's happy. Have you ever seen a punk

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guy more happy in your life? Okay, I don't know

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if you know this or not. Steve Stevens combined with

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Ronnie Wood created an album in the eighties. Oh yeah,

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that has never seen the light of day.

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Speaker 2: Yeah, well, you never know, given what they were into

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in the eighties, whether that's a good thing or about right.

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So I loved just back to the song, listening to

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the intro guitar piece to the song. I love listening

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to Billy. Id'll talk about this because of course he

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didn't start with Steve Stevens. He had Tony James in

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Generation X, which I want to talk about here in

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a little bit, and then they split ways, and then

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ultimately he ended up with Steve Stevens, and then ultimately

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he and Steve split ways for.

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Speaker 3: A while any long time. Yeah, And I.

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Speaker 2: Love listening to Billy talk because you know, he talks

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about the other guitarists he had after Steve Stevens, and

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he's complimentary. He's like, they're they're very good, but right,

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Steve Stevens is a step above.

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Speaker 3: We love the way he put it.

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Speaker 2: He goes, if you listen to the beginning of Rebel Yell,

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it's just Steven a guitar, and any other time I

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have to perform that live, it has to be two guitarists,

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two guitars.

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Speaker 3: Steve Stevens is like having two guitar players at once. Yeah.

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Speaker 2: I mean he is an unsung hero in the rock

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god world.

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Speaker 3: Yeah, for sure. We talked about Steve Stevens when we

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discussed Dirty Diana by Michael Jackson. We also talked about

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him in our Top Gun soundtrack episode YEP, where he

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plays the top Gun anthem once again. I mean, Georgi

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err Moroder has had his hands all over that album.

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He knows Keith Force, He Keith Force, he knows Steve Stevens,

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and you can see how that just slides right into place.

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Steve Stevens talks about how that beginning part of Rebel Yell.

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He says, I can go anywhere in the world. I

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play that little intro before the song even starts. People

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recognize it, and as an instrumentalist, it's like my proudest moment.

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Speaker 2: It's awesome.

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Speaker 3: This only reached number forty six on the Hot one hundred.

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Speaker 2: Can't I can't believe what? Well again, though, when we

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keep going back and we look at these and I

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mean I realized that we just do it when the

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in like the top ten or whatever.

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Speaker 3: Sure, but by way, wait, do you want the top

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forty five real quick? Do you have it? No? Okay?

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By the way, I was texting with Chris Webber the

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other day when we did our Zezy Top episode, and

315
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I said, give me all your love and only reached

316
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number forty five or whatever. He's like, I really thought

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you were gonna go through the top forty five. Sorry

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to disappoint you, Chris.

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Speaker 2: But this time in history was the biggest, Like you

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had the best songs of all time. Yeah, right, I

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mean you've got you've got great stuff for the twentieth century,

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for sure, But I mean the amount of money that

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the record companies had at this point, the encyclopedic volumes

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that musicians had to pull from from the rock and

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roll catalog at this point, I mean, it results in

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some of the best music in all of history.

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Speaker 6: Yeah.

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Speaker 2: So yeah, okay, it only got forty six. Yeah, probably

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should have gotten higher. I bet if we looked at

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the other forty five, we're gonna go.

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Speaker 3: Yeah.

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Speaker 2: A lot of these are old and forgotten. Sure, and

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this one lasts.

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Speaker 3: This one lasts, huge staple early MTV.

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Speaker 2: We didn't talk about the video on this Oh yeah,

336
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so the video is like a live performance, right, And

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they got the director from the guy who did some

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of the Who videos. What they did was they put

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an ad in the paper in New York and they

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were like, hey, there's going to be a concert. If

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you're a Billy Idle fan. It's going to be a short,

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video produced thing, but come out. And so at that

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time in history, he wasn't the guy that he is now.

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He wasn't the icon. This is the album that broke

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him huge, right right, And so the people that showed

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up for that concert were the true Billy Idol fans,

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and they basically by being in that video, they set

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the stage for what Billy Idol fans should look like. Love,

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they set a style.

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Speaker 3: Yes, so everybody else looking at the video goes, that's

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how those fans act, That's how those fans dress. And

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so places like Tulsa, Glahoma, we know, Okay, you have

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the lip and the fists and that's how you do it. Yeah.

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Speaker 2: You listened to Adam Sandler, who of course put Billy

355
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Idol in one of.

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Speaker 3: His movies, The Wedding is Heer.

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Speaker 2: Yes, you listen to him, and he was like, yeah,

358
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I think like maybe one out of every thirty people

359
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at my high school had the Billie Idol fashion sense

360
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going on.

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Speaker 3: Yeah, one more thing, rebel yell whiskey is no longer

362
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called rebel yell whiskey. To me, that's just insanity because

363
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you have somebody on the radio station every ten minutes

364
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singing a commercial for you. Yeah, exactly. They changed it

365
00:18:22,839 --> 00:18:27,880
to Rebel Whiskey because they wanted to back away from

366
00:18:27,920 --> 00:18:31,200
the Confederate thing. Okay, it seems like they dropped the

367
00:18:31,200 --> 00:18:40,599
wrong word. Was that they call it yell? I don't know,

368
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So there you go. Okay, moving on to the next song.

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The next song on the album is called Daytime Drama.

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Speaker 2: All right, so this song has an awesome bassline.

371
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Speaker 3: Yeah right, I mean, it is it is.

372
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Speaker 2: It is a sweet little bassline and Steve Stevens totally.

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Speaker 3: Stolen, I know, right, tell me about it. Yeah.

374
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Speaker 2: So there's a song by the group Yes called Heart

375
00:19:23,680 --> 00:19:25,960
of the Sunrise, right, and it's got a it's got

376
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a bit of an intro to it, but then once

377
00:19:28,680 --> 00:19:32,480
you hear the bassline, once it comes in, you're like, oh, yep, same,

378
00:19:32,599 --> 00:19:46,200
same old baseline.

379
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Speaker 3: I mean, if you're gonna steal from somebody, you might

380
00:19:47,839 --> 00:19:49,039
as well steal from the best, right.

381
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Speaker 2: I mean, but seriously, think about this. You've got a

382
00:19:50,920 --> 00:19:54,559
pop producer, You've got a guy whose roots are in punk,

383
00:19:54,640 --> 00:19:56,960
but has you know he's got he's got a pretty

384
00:19:57,000 --> 00:19:59,200
big us A chategary I'll say this for Billy Idol.

385
00:19:59,319 --> 00:20:01,759
He is a very intelligent guy. Yeah, like I mean

386
00:20:02,079 --> 00:20:04,759
hedonistic and doing all the rock star stuff. But that's

387
00:20:04,759 --> 00:20:06,799
because that's what he decided he wanted to do and

388
00:20:06,839 --> 00:20:09,200
he did it. But he's a smart, smart guy. So

389
00:20:09,279 --> 00:20:11,799
his music catalog is much bigger than punk. But I'm

390
00:20:11,839 --> 00:20:13,720
a little surprised, and you got rocker.

391
00:20:13,799 --> 00:20:14,279
Speaker 3: Of course.

392
00:20:14,960 --> 00:20:18,359
Speaker 2: I love listening to Steve Stevens because he's I'm going

393
00:20:18,400 --> 00:20:19,200
to talk about it in a minute.

394
00:20:19,200 --> 00:20:21,480
Speaker 3: He's listening for ENDMC back when they were first. I

395
00:20:21,559 --> 00:20:23,559
know it was the scene in New York City if

396
00:20:23,640 --> 00:20:24,599
they have just perked.

397
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Speaker 2: Up, right, But then you pull from this progressive rock

398
00:20:28,319 --> 00:20:31,880
group like yes, a very unique sound and make it

399
00:20:31,920 --> 00:20:33,200
into a Billy Idol song.

400
00:20:33,559 --> 00:20:36,480
Speaker 3: It's awesome. It's really cool. By the way, I've watched

401
00:20:36,480 --> 00:20:38,640
a whole bunch of videos on Billy Idol. Dude is

402
00:20:38,680 --> 00:20:41,839
always having a great time. He had drugs and girls

403
00:20:41,920 --> 00:20:45,759
and motorcycles. I mean, he had one horrible accident, which

404
00:20:45,799 --> 00:20:48,319
I'm sure we'll talk about, but Motley Crue Vince Neil

405
00:20:48,440 --> 00:20:50,759
killed a guy. You know, guns n' roses. You had

406
00:20:50,759 --> 00:20:53,279
people overdose and almost die, and you had people die,

407
00:20:53,319 --> 00:20:54,839
and you know, I had strokes and it had all

408
00:20:54,880 --> 00:20:57,240
these terrible things. Billy Idol is like the greatest endorsement

409
00:20:57,240 --> 00:20:59,200
for drugs I've ever seen in my life because he

410
00:20:59,359 --> 00:21:01,799
seems like he is having a ball. Yeah.

411
00:21:01,799 --> 00:21:05,039
Speaker 2: He doesn't really apologize for it either. It was literally

412
00:21:05,119 --> 00:21:07,799
the beginning of his autobiography is just like, yeah, okay,

413
00:21:07,839 --> 00:21:10,480
so I was doing this drug called GHL or something.

414
00:21:10,559 --> 00:21:12,400
I don't remember what it was, but it was just like,

415
00:21:12,440 --> 00:21:15,319
it's a steroid that you can render you chromotose bad

416
00:21:15,440 --> 00:21:16,920
enough that your friends are going to be calling the

417
00:21:16,960 --> 00:21:18,240
morgue because they think you're dead.

418
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Speaker 7: And he was laughing the whole time he was telling

419
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about it.

420
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Speaker 3: It is great stuff. Hey, I got a nugget for you.

421
00:21:31,920 --> 00:21:35,160
I go ahead, I'm bursting at the seams. You ready

422
00:21:35,200 --> 00:21:38,720
for this? Yeah, So he's well known for During this time,

423
00:21:38,799 --> 00:21:43,920
it's an endless stream of motorcycles and girls and cocaine

424
00:21:43,920 --> 00:21:47,839
and ecstasy and heroin and quayludes and everything you can

425
00:21:47,839 --> 00:21:51,799
possibly think of. Right, So he moves into a bungalow

426
00:21:51,839 --> 00:21:55,640
at Hollywood's Chateau Merrimount. You know the story. No, and

427
00:21:55,680 --> 00:21:58,519
he was out of his mind on drugs and so

428
00:21:58,559 --> 00:22:01,319
he destroys this room. Well, here's police sirens, and he's

429
00:22:01,359 --> 00:22:03,359
like starts to panic. He's like, crap, they're coming for me.

430
00:22:03,559 --> 00:22:06,319
And he's standing there buck naked, waiting for them to

431
00:22:06,440 --> 00:22:08,839
kick in the front door, thinking they've had enough of

432
00:22:08,839 --> 00:22:10,759
this crazy rock star. They're coming to get me, throw

433
00:22:10,839 --> 00:22:13,559
me out on my butt, and I'm baar ass naked. Well,

434
00:22:13,559 --> 00:22:15,680
they run right past his door and he's like, huh,

435
00:22:15,720 --> 00:22:18,240
I wonder what they're doing. Turns out they were going

436
00:22:18,319 --> 00:22:21,200
just a few doors down where John Belushi was having

437
00:22:21,240 --> 00:22:22,400
his fatal overdose.

438
00:22:22,759 --> 00:22:29,880
Speaker 2: Oh wow, that is the mind blowing fact of the episode, sir,

439
00:22:30,119 --> 00:22:31,640
Wow Wow.

440
00:22:32,000 --> 00:22:34,519
Speaker 3: By the way Steve Stevens talks about I mean, he's

441
00:22:34,559 --> 00:22:36,920
well known. He does all these guitar effects in his songs,

442
00:22:37,000 --> 00:22:38,880
and he got it kind of from Jimmy Hendrix, right.

443
00:22:38,960 --> 00:22:41,640
Speaker 2: Well, the idea, I mean, Jimmy Henders kind of invented

444
00:22:41,680 --> 00:22:44,160
a lot of sounds, but the idea was, if you're

445
00:22:44,200 --> 00:22:47,519
going to use an effect, use it go all the way, man,

446
00:22:47,400 --> 00:22:48,559
don't don't twiddle with it.

447
00:22:48,599 --> 00:22:51,160
Speaker 3: Every time I hear Dirty Diana, I'm like, somebody is

448
00:22:51,200 --> 00:22:53,960
really tweaking that mixing board on that Yeah, Like Yep,

449
00:22:54,400 --> 00:22:55,680
I put in a guitar effect.

450
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Speaker 2: You're going to know it.

451
00:23:01,000 --> 00:23:01,319
Speaker 3: All right.

452
00:23:01,440 --> 00:23:06,039
Speaker 2: Next track on the album Big One Eyes without a Face.

453
00:23:34,119 --> 00:23:36,640
Speaker 3: Best song on the album. D I love this song.

454
00:23:36,759 --> 00:23:40,319
Speaker 2: It is too beautiful and the title comes from a

455
00:23:40,440 --> 00:23:44,039
French horror movie. Yeah, okay, let's talk about the inception

456
00:23:44,119 --> 00:23:44,519
of the song.

457
00:23:44,680 --> 00:23:44,880
Speaker 6: Yeah.

458
00:23:45,000 --> 00:23:48,160
Speaker 2: Steve Stevens, as big of a rock god as he was,

459
00:23:48,279 --> 00:23:50,440
literally was living in his parents' basement when they were

460
00:23:50,440 --> 00:23:53,599
recording this stuff, right, Yeah, And he says, the only

461
00:23:53,759 --> 00:23:55,480
radio station that I could get down there was like

462
00:23:55,519 --> 00:23:58,759
the CBS mainstream radio station, which was just playing old

463
00:23:58,799 --> 00:24:01,319
fifties stuff. So I'm listening to all these do wop

464
00:24:01,400 --> 00:24:04,000
and other fifty style songs. But I'm thinking, oh, these

465
00:24:04,039 --> 00:24:06,680
are actually some kind of pretty cool little chord progressions.

466
00:24:06,759 --> 00:24:09,440
And so he one night, you know, listens to that,

467
00:24:09,480 --> 00:24:11,720
figures out a few of them, comes back in. He says,

468
00:24:11,759 --> 00:24:14,559
it's a simple song. So he took those chord progressions

469
00:24:14,680 --> 00:24:17,000
and he you know, augmented him a little bit mad,

470
00:24:17,319 --> 00:24:19,200
you know, made it a seven or a minor seven

471
00:24:19,279 --> 00:24:21,440
or something like that. And he said he's playing with

472
00:24:21,759 --> 00:24:24,200
it whenever Billy comes in, and he's like, let me

473
00:24:24,240 --> 00:24:25,599
see what you think of this, And he played it

474
00:24:25,599 --> 00:24:27,000
in such a way that he wasn't telling him that

475
00:24:27,079 --> 00:24:30,079
this is do wop music, you know sure? And Billy's like, oh,

476
00:24:30,200 --> 00:24:32,720
I like that. I Actually I've got something in my notebook.

477
00:24:32,720 --> 00:24:37,200
And Billy keeps a lyrics notebook with him and he's like,

478
00:24:37,480 --> 00:24:40,119
this is the music that needs to go behind this

479
00:24:40,359 --> 00:24:42,480
idea of eyes without a face from this movie that

480
00:24:42,480 --> 00:24:42,880
I've seen.

481
00:24:42,960 --> 00:24:45,680
Speaker 3: Do you know the plot of this movie just in passing?

482
00:24:45,720 --> 00:24:48,880
Speaker 2: I mean, there's a woman whose face is horribly damaged.

483
00:24:48,920 --> 00:24:50,319
That's part of what the plot line so here.

484
00:24:50,359 --> 00:24:53,200
Speaker 3: It is there's a plastic surgeon and his daughter is

485
00:24:53,240 --> 00:24:57,240
horribly disfigured, and so the plastic surgeon murders people and

486
00:24:57,400 --> 00:24:59,839
like takes part of their face in order to try

487
00:24:59,839 --> 00:25:03,240
and reconstruct her face. But in the end, all she's

488
00:25:03,319 --> 00:25:06,640
left with originally is her eyes, and it's like this

489
00:25:06,720 --> 00:25:25,559
horrible Frankenstein type of thing. By the way, I called

490
00:25:26,039 --> 00:25:30,440
Melissa Mingle Perry Lister is singing background vocals on this song.

491
00:25:30,519 --> 00:25:31,920
That's her in the back.

492
00:25:31,799 --> 00:25:34,559
Speaker 2: Billy Idol's girlfriend and baby Mama if we're if we're

493
00:25:34,559 --> 00:25:35,279
not keeping track.

494
00:25:35,200 --> 00:25:38,680
Speaker 3: Here, yes, and Burless Dancer and she's the bride and

495
00:25:38,680 --> 00:25:40,880
white wedding and she's all over the place, but she

496
00:25:41,039 --> 00:25:45,319
is saying, le's us sans visage. You got that from

497
00:25:45,359 --> 00:25:47,160
Melissa Mingle? Ha I did I called?

498
00:25:47,240 --> 00:25:49,079
Speaker 2: I did there any way we can get her to

499
00:25:49,079 --> 00:25:50,640
send in the sound clip on that one, because I'd

500
00:25:50,720 --> 00:25:51,640
like to hear her say it's.

501
00:25:52,759 --> 00:25:55,119
Speaker 3: To her phonetically. I'm like, am I saying this right?

502
00:25:55,960 --> 00:25:59,119
And that is French for eyes without a face. That's

503
00:25:59,160 --> 00:26:12,759
awesome for you. I want to talk about the middle

504
00:26:12,759 --> 00:26:15,319
part of this song. So you have this beautiful ballad

505
00:26:15,480 --> 00:26:18,640
and then you have this really crunchy, heavy rock riff

506
00:26:18,680 --> 00:26:21,319
that comes in in the middle, and then you add rappit.

507
00:26:22,920 --> 00:26:26,759
So this part I think it makes another appearance in

508
00:26:26,799 --> 00:26:29,039
the top gun anthem. They have the same breakdown kind

509
00:26:29,039 --> 00:26:32,119
of it sounds very similar. And because they had gone

510
00:26:32,119 --> 00:26:34,400
to they had seen rundi em seeing concert, they had

511
00:26:34,440 --> 00:26:36,920
seen great master Flash, the Londie had done her thing.

512
00:26:37,079 --> 00:26:38,920
Speaker 2: Let me give you the story on that. Okay, So

513
00:26:38,960 --> 00:26:42,039
Steve Stevens is in a guitar store, he's getting his

514
00:26:42,240 --> 00:26:45,720
he's getting his guitar fixed, and there's some other dude

515
00:26:45,759 --> 00:26:48,799
there playing guitar, and I mean Steve Stevens is who

516
00:26:48,799 --> 00:26:50,640
he is. But here's this guy. He's like, dang, this

517
00:26:50,680 --> 00:26:53,480
guy's good. He's really good, and so he goes and

518
00:26:53,559 --> 00:26:56,240
introduces himself. The guy's name is Eddie Martinez.

519
00:26:56,319 --> 00:26:56,440
Speaker 6: Ok.

520
00:26:56,799 --> 00:27:00,200
Speaker 2: Eddie Martinez played the guitar on virtually all of the

521
00:27:00,519 --> 00:27:04,200
run DMC songs before they pulled in the guy from Slayers.

522
00:27:03,839 --> 00:27:04,799
Speaker 3: Right, Kerry King.

523
00:27:05,200 --> 00:27:08,519
Speaker 2: Yes, So Eddie is kind of the guy that's like, hey,

524
00:27:08,519 --> 00:27:11,119
you should come see because he said back then, you know,

525
00:27:11,200 --> 00:27:12,839
I would go in and I'd see a show and

526
00:27:12,880 --> 00:27:14,960
it was the first time I was seeing turntables on

527
00:27:15,039 --> 00:27:17,440
the stage. But they still had a drum player, they

528
00:27:17,519 --> 00:27:20,160
still had a guitarist, and he was the guy who's

529
00:27:20,160 --> 00:27:22,400
playing guitar. He would go on, this is for you.

530
00:27:22,640 --> 00:27:24,759
He would go on to be the guitarist for the

531
00:27:24,759 --> 00:27:27,200
big Robert Palmer songs of the late eighties.

532
00:27:27,839 --> 00:27:28,720
Speaker 3: Sweet Yes.

533
00:27:28,960 --> 00:27:31,960
Speaker 2: But Steve Stephens said after he saw that first run

534
00:27:32,000 --> 00:27:35,559
DMC concert, he immediately bought tickets to the show the

535
00:27:35,599 --> 00:27:37,480
next night because he needed to come back and see him.

536
00:27:37,599 --> 00:27:39,960
He said, seeing those guys in the uniform of the

537
00:27:40,039 --> 00:27:42,200
leather that they had it was like seeing the Beatles

538
00:27:42,200 --> 00:27:42,799
for the first time.

539
00:27:42,839 --> 00:27:46,160
Speaker 3: There you Go, Run DMC flashback to our Run DMC

540
00:27:46,599 --> 00:27:48,920
versus Beastie Boys episode we do a Deaf Dave. By

541
00:27:48,960 --> 00:27:51,240
the way, I've got a killer story for you, Okay,

542
00:27:51,440 --> 00:27:53,519
But before I get there, I have to tell you.

543
00:27:53,680 --> 00:27:55,640
This song reached number four in the Hot one hundred,

544
00:27:55,640 --> 00:27:57,599
and I told you last week that I thought Legs

545
00:27:57,720 --> 00:27:59,559
at number eight may have been on the best top

546
00:27:59,599 --> 00:28:03,519
ten of the eighties. Yeah, well, I changed my answer.

547
00:28:03,759 --> 00:28:06,039
Oh okay, I think we've got an improvement, but it's

548
00:28:06,400 --> 00:28:10,240
virtually the same. Tis like one week off. Okay. So

549
00:28:10,279 --> 00:28:13,000
here's the top ten on July fourteenth, nineteen eighty four,

550
00:28:13,039 --> 00:28:15,000
where everybody in the entire country is listening to the

551
00:28:15,000 --> 00:28:18,480
same radio station MTV. Here you Go. Number ten is Legs.

552
00:28:18,599 --> 00:28:20,640
Number nine is Hard of Rock and Roll by Huey Lewis,

553
00:28:20,720 --> 00:28:24,640
number eight Ghostbusters. Number seven almost Paradise by Mike Rino

554
00:28:24,799 --> 00:28:28,119
and Ann Wilson from Footloose. Number six is self Control

555
00:28:28,279 --> 00:28:30,559
by Laura Brannigan, which was a big song in nineteen

556
00:28:30,599 --> 00:28:30,960
eighty four.

557
00:28:31,000 --> 00:28:33,039
Speaker 2: I have it downloaded. It's one of my favorites. I

558
00:28:33,079 --> 00:28:35,680
love Laura brand again, tell me more.

559
00:28:35,880 --> 00:28:39,599
Speaker 3: Number five is The Reflex by Duran Durant, number four,

560
00:28:39,640 --> 00:28:42,200
Eyes Without a Face, number three jumped from My Love,

561
00:28:42,519 --> 00:28:45,079
number two Dancing in the Dark, and number one When

562
00:28:45,119 --> 00:28:45,599
Doves Cry.

563
00:28:45,759 --> 00:28:48,039
Speaker 2: So, boys and girls, if you're listening with your parents

564
00:28:48,119 --> 00:28:50,680
right now, there was a time in history when the

565
00:28:50,720 --> 00:28:56,240
top ten albums and singles were not all by Taylor Swiftly.

566
00:28:56,920 --> 00:28:59,240
Speaker 3: Don't get me started on that, Okay.

567
00:28:59,279 --> 00:29:01,119
Speaker 2: I gotta talk talk a little bit about the music

568
00:29:01,119 --> 00:29:02,960
on this one, because it is such a beautiful song.

569
00:29:03,039 --> 00:29:04,720
If you look at the personnel on this one, they've

570
00:29:04,720 --> 00:29:07,359
got a different bass player. So Steve Webster was the

571
00:29:07,359 --> 00:29:09,839
guy that they typically used as the bass player. He

572
00:29:09,920 --> 00:29:12,119
was a bass player for Miles Davis who would be

573
00:29:12,160 --> 00:29:15,279
recording there, and they were recording at the Electric Lady

574
00:29:15,359 --> 00:29:18,480
Land studio, and so he was recording there as well.

575
00:29:18,640 --> 00:29:21,160
But for this one he wasn't. He just wasn't getting

576
00:29:21,200 --> 00:29:24,480
the right sound. And there was a guy named sal

577
00:29:24,599 --> 00:29:28,200
Quavis who had done he'd done some Broadway musical stuff,

578
00:29:28,240 --> 00:29:31,079
but he was just a different type of bass player,

579
00:29:31,200 --> 00:29:33,039
and they brought him in. He said he had big,

580
00:29:33,079 --> 00:29:36,160
old guy bass hung low and he had these big,

581
00:29:36,200 --> 00:29:38,920
old thick fingers and when he played it, they knew

582
00:29:38,920 --> 00:29:41,359
in the first two bars, this is our guy. So

583
00:29:41,400 --> 00:29:43,599
you've got a different sounding bass in this one. And

584
00:29:43,640 --> 00:29:46,480
then Steve Stevens said, and we felt like it still

585
00:29:46,519 --> 00:29:49,039
needed something else, And so you've got this. You've got

586
00:29:49,039 --> 00:29:50,039
a unique sounding.

587
00:29:49,799 --> 00:29:52,079
Speaker 3: Guitar in here. It's actually a twelve string.

588
00:29:51,799 --> 00:29:54,880
Speaker 2: But at the time, Steve Stevens didn't own a twelve string,

589
00:29:55,000 --> 00:29:57,119
so he had to get like a rented one that

590
00:29:57,640 --> 00:30:01,079
he said, the strings were all russ they were like

591
00:30:01,200 --> 00:30:03,559
two feet above the fret board. You know, I'm just

592
00:30:03,599 --> 00:30:06,359
playing this nasty old twelve string guitar, he goes, I've

593
00:30:06,359 --> 00:30:07,319
bought in one for myself.

594
00:30:07,359 --> 00:30:10,519
Speaker 3: Since then I heard him talking about that. I'm like,

595
00:30:10,799 --> 00:30:14,880
Steve Steven's freaking rock icon had to rent a guitar

596
00:30:14,960 --> 00:30:18,319
to play on this song. Yeah, it's crazy. So Kathy

597
00:30:18,359 --> 00:30:19,799
and I were listening to Eyes without a Face the

598
00:30:19,880 --> 00:30:22,400
other day, the rap in the middle. She was like,

599
00:30:22,519 --> 00:30:24,960
what is he saying there about reading murder books and

600
00:30:24,960 --> 00:30:27,720
stuff like that, And I'm like, I have no idea.

601
00:30:27,839 --> 00:30:29,559
So we looked through the lyrics. Sure enough, it talks

602
00:30:29,559 --> 00:30:32,759
about reading murder books. Steve Stephens said that he basically

603
00:30:32,960 --> 00:30:35,400
just went right off the top of his head, wrapped

604
00:30:35,400 --> 00:30:40,119
out those lyrics just ad libd it. I'm like, what, Yeah,

605
00:30:40,240 --> 00:30:42,599
that's how Billy I had rolled man, So to me

606
00:30:42,680 --> 00:30:45,599
that it's amazing that he just rolled out those lyrics

607
00:30:45,599 --> 00:30:48,200
for a rap right kind of in the middle. I've

608
00:30:48,200 --> 00:30:50,519
got a great story for you on this Okay, yep.

609
00:30:50,839 --> 00:30:55,319
So the music video it's all smoke, machines and fire

610
00:30:56,000 --> 00:30:57,839
and you know, bright lights.

611
00:30:57,519 --> 00:30:58,160
Speaker 2: And all this stuff.

612
00:30:58,200 --> 00:30:58,839
Speaker 3: Do you know the story?

613
00:30:58,920 --> 00:30:59,440
Speaker 2: No, keep going.

614
00:30:59,480 --> 00:31:02,759
Speaker 3: Okay, you have this marathon three day shoot for this

615
00:31:02,880 --> 00:31:05,279
video and it's one of the iconic videos of the time.

616
00:31:05,359 --> 00:31:08,880
During this time, Billy Idol had stayed up three days. Well,

617
00:31:08,920 --> 00:31:12,359
his contacts fused to his eyeballs, Oh my gosh, and

618
00:31:12,400 --> 00:31:13,799
he had to go to the hospital. They actually had

619
00:31:13,799 --> 00:31:16,119
to remove his contact lenses from his eyes and he

620
00:31:16,160 --> 00:31:19,000
had three days where he had bandages over his eyes

621
00:31:19,000 --> 00:31:21,880
where he couldn't use his eyes. So essentially he had

622
00:31:21,920 --> 00:31:23,240
a face with no ice.

623
00:31:23,359 --> 00:31:27,480
Speaker 2: Oh that was pretty bad.

624
00:31:29,440 --> 00:31:31,799
Speaker 3: There you go. Okay, we done with that one. Yeah,

625
00:31:31,839 --> 00:31:34,119
we gotta keep rolling. We gotta keep rolling.

626
00:31:33,839 --> 00:31:51,960
Speaker 8: Down the Blue Highway.

627
00:31:52,880 --> 00:31:55,440
Speaker 2: Talk about bringing the pop to punk, baby, this is

628
00:31:55,559 --> 00:31:57,200
pop poppy, hobbity pop pop.

629
00:31:57,319 --> 00:32:00,359
Speaker 3: Well, you get the Steve Stevens guitar in there. Eighties

630
00:32:00,440 --> 00:32:02,480
keys are really what kind of set it apart? Is

631
00:32:02,519 --> 00:32:03,480
that that pop feel.

632
00:32:03,799 --> 00:32:05,359
Speaker 2: Yeah, this song is good. This is one of the

633
00:32:05,400 --> 00:32:07,640
better songs on the album for sure. Okay, it's not

634
00:32:07,839 --> 00:32:12,160
my personal favorite, but the solo at the end is amazing.

635
00:32:12,279 --> 00:32:16,079
Speaker 6: Right, Ron.

636
00:32:25,559 --> 00:32:27,960
Speaker 3: Billy Idol and Keith Forcey said, Steve, why don't you

637
00:32:28,000 --> 00:32:30,480
just close us out with a killer guitar solo? Yeah,

638
00:32:30,640 --> 00:32:31,480
go to town Man.

639
00:32:31,880 --> 00:32:34,079
Speaker 2: And so, normally the way that it works when you're

640
00:32:34,079 --> 00:32:36,960
doing a recording, especially with a big guitar solo, is

641
00:32:37,119 --> 00:32:40,039
you're going to mic the amp, right, You're gonna you're

642
00:32:40,039 --> 00:32:42,400
gonna play through the amp, and you're putting a microphone

643
00:32:42,400 --> 00:32:44,200
in front of the amp to get the sound, because

644
00:32:44,200 --> 00:32:46,119
it's that that's the way the best sound is created.

645
00:32:46,200 --> 00:32:50,559
But for a lot of like demos and just basic recordings,

646
00:32:50,839 --> 00:32:53,759
you'll use a rock band box, which is basically you

647
00:32:53,839 --> 00:32:56,079
just plug straight in. You don't you're not going through

648
00:32:56,119 --> 00:32:58,440
the amp or whatever. Okay, And so he was just

649
00:32:58,480 --> 00:33:00,440
trying to kind of get an idea. He's kind of

650
00:33:00,440 --> 00:33:03,400
doing the Steve Luca Thar noodling at the end of

651
00:33:03,400 --> 00:33:05,519
the line of Richie song you know. So he just

652
00:33:05,640 --> 00:33:08,680
plays this rock and solo through this bandbox and he's

653
00:33:08,680 --> 00:33:10,839
happy with it, like he's good. But he's like, okay,

654
00:33:10,920 --> 00:33:13,319
so now that we've got it, let me plug the

655
00:33:13,359 --> 00:33:14,880
aamp in and I'll just replay it.

656
00:33:14,920 --> 00:33:18,920
Speaker 3: And Billy Idol's like, fuck you will. That was perfect

657
00:33:18,960 --> 00:33:21,240
and we are not we are not changing it.

658
00:33:21,319 --> 00:33:25,200
Speaker 2: So this awesome solo is like a base like it's

659
00:33:25,240 --> 00:33:27,640
a basic it's a we are plugged straight in. We

660
00:33:27,680 --> 00:33:30,119
are not using a mic damp. We are just using

661
00:33:30,400 --> 00:33:33,359
our basic thing, and it's still incredible. They use this

662
00:33:33,400 --> 00:33:36,480
solo when they perform it live. Typically we'll go into

663
00:33:36,559 --> 00:33:37,559
the top gun theme.

664
00:33:44,039 --> 00:33:46,319
Speaker 3: I know that kills. I want to see that, you know,

665
00:33:46,480 --> 00:33:50,039
to go right from this song right into Maverick throwing

666
00:33:50,200 --> 00:33:52,559
Goose's dog tags into the the ocean.

667
00:33:52,640 --> 00:33:52,799
Speaker 6: You know.

668
00:33:52,960 --> 00:33:55,200
Speaker 2: So a lot of the songs on this well, I

669
00:33:55,200 --> 00:33:57,640
mean we've said it before, it's just three guys and

670
00:33:57,799 --> 00:34:01,200
none of those guys are drummers, right, yeah, And so

671
00:34:01,279 --> 00:34:03,480
some of the songs you pretty well just have the

672
00:34:03,559 --> 00:34:06,680
lend drum track and then you've got a live drummer

673
00:34:06,720 --> 00:34:09,079
that might play over it or something from time to time.

674
00:34:09,159 --> 00:34:11,800
With this one, They're like, we really need that live

675
00:34:12,000 --> 00:34:15,280
drummer sound. And they had several guys that they went

676
00:34:15,320 --> 00:34:18,199
through that they just couldn't find the right guy. And

677
00:34:18,239 --> 00:34:20,480
then it just so happened this band named Scandal was

678
00:34:20,480 --> 00:34:21,320
playing next door.

679
00:34:26,400 --> 00:34:28,760
Speaker 3: Heck, yeah, Scandal the Warrior. Yeah.

680
00:34:28,840 --> 00:34:30,960
Speaker 2: They hear those guys play and they're like, hey, who's

681
00:34:30,960 --> 00:34:32,320
playing the drums over there?

682
00:34:32,679 --> 00:34:32,880
Speaker 3: Right?

683
00:34:32,960 --> 00:34:35,480
Speaker 2: Who is that guy? Because he was loud and he

684
00:34:35,599 --> 00:34:38,480
was good, and once again brought him in. They said,

685
00:34:38,480 --> 00:34:40,840
play over this. They said two bars, we knew this

686
00:34:40,880 --> 00:34:42,199
is our guy had.

687
00:34:42,199 --> 00:34:44,719
Speaker 3: Guy's name is Tommy Price. Tommy Price. This sounds a

688
00:34:44,760 --> 00:34:47,280
little repetitive for me. I like it, but we go

689
00:34:47,320 --> 00:34:50,480
through the blue highways, you know, several times.

690
00:34:50,719 --> 00:34:52,679
Speaker 2: To me, this is like him trying to give a

691
00:34:52,719 --> 00:34:55,599
little bit of a departure from the punk stuff and

692
00:34:55,679 --> 00:34:58,400
speed stuff that had come before, which I think was

693
00:34:58,440 --> 00:35:00,800
probably good at the time, but I think probably hasn't

694
00:35:00,840 --> 00:35:03,119
aged as well as a lot of these other tracks.

695
00:35:03,440 --> 00:35:05,800
Speaker 3: Sure this was added way late, and where they were

696
00:35:05,800 --> 00:35:08,360
working on this song, it's a small rehearsal studio. This

697
00:35:08,440 --> 00:35:10,320
guy held the elevator for him and when he got

698
00:35:10,320 --> 00:35:12,199
on the elevator, he looked over its Miles Davis.

699
00:35:14,039 --> 00:35:16,519
Speaker 2: Yeah, hello sir, Hey.

700
00:35:16,320 --> 00:35:19,639
Speaker 3: You're Miles Davis. Hit stop on your tape player, kick

701
00:35:19,679 --> 00:35:22,119
it out, flip it over. But before you do, d

702
00:35:22,440 --> 00:35:24,719
do you know that if you had the vinyl copy

703
00:35:24,760 --> 00:35:28,280
of this album, huh, side one was actually side three

704
00:35:29,519 --> 00:35:33,920
and side two was side four. Okay why I don't know? Okay,

705
00:35:33,960 --> 00:35:36,559
because you know Billy idol, that's why. All right, well,

706
00:35:37,360 --> 00:35:39,800
hit stop on your tape player, kick it out, flip

707
00:35:39,840 --> 00:35:42,920
it over, side four, and we started off with Flesh

708
00:35:42,920 --> 00:35:44,519
for Fantasy.

709
00:35:45,400 --> 00:36:00,360
Speaker 4: Oh, there's a change way of fantasy.

710
00:35:58,039 --> 00:36:03,559
Speaker 2: I love this song. I really really I love the

711
00:36:04,280 --> 00:36:07,639
cool intro. I mean, this is an obvious drum machine

712
00:36:07,639 --> 00:36:10,280
that we've got playing here, but then that cool slide.

713
00:36:10,400 --> 00:36:14,159
It's very Genesis sounding to me. Okay, I did it.

714
00:36:14,199 --> 00:36:15,039
Speaker 3: I think this is great.

715
00:36:15,159 --> 00:36:17,519
Speaker 2: Another song title that comes from an old movie. This

716
00:36:17,559 --> 00:36:20,559
is from an old nineteen forty three movie called Flesh

717
00:36:20,599 --> 00:36:26,079
and Fantasy, starring We're Gee Robinson and Barbara Stanwick. I

718
00:36:26,119 --> 00:36:27,039
think Edward G.

719
00:36:27,199 --> 00:36:29,039
Speaker 3: Robinson. If you've ever watched Bugs Bunny, he's the gun

720
00:36:30,239 --> 00:36:35,440
yeahy man, Yeah.

721
00:36:33,440 --> 00:36:55,159
Speaker 5: Yeah, crash posh.

722
00:36:49,760 --> 00:36:50,039
Speaker 6: Rash.

723
00:36:54,000 --> 00:36:56,000
Speaker 3: Here's a little trivia tidbit for you on this one.

724
00:36:56,039 --> 00:36:58,480
When he was recording the vocal for this, he was

725
00:36:58,480 --> 00:37:02,159
holding a copy of the book Venus in Furs. Okay, yeah,

726
00:37:02,320 --> 00:37:05,480
that's how the Velvet Underground got their name. Yeah, that's right.

727
00:37:05,599 --> 00:37:07,679
I know nothing about this book. But we talked about

728
00:37:07,719 --> 00:37:11,360
how Billy Iile's super intelligent. I mean he majored in literature. Yeah,

729
00:37:11,400 --> 00:37:13,559
so obviously a very well read guy. And he was

730
00:37:13,599 --> 00:37:15,639
reading Venus in Furs while he was recording.

731
00:37:15,760 --> 00:37:17,480
Speaker 2: Well, and we haven't really talked about that, you know,

732
00:37:17,559 --> 00:37:20,800
like he's always he's for his whole life been the

733
00:37:20,840 --> 00:37:23,599
guy who's like breaking the rules, like kicked out of

734
00:37:23,599 --> 00:37:26,280
the boy Scouts for making out with a girl in

735
00:37:26,320 --> 00:37:27,360
front of the Scout troop.

736
00:37:29,159 --> 00:37:29,679
Speaker 3: Sure, why not?

737
00:37:29,880 --> 00:37:33,119
Speaker 2: Also a guy who, though he didn't wasn't a particularly

738
00:37:33,320 --> 00:37:36,199
admired student by his teachers, which is, by the way,

739
00:37:36,480 --> 00:37:36,960
where he.

740
00:37:36,920 --> 00:37:38,840
Speaker 3: Got his name. And we got to talk about that.

741
00:37:38,920 --> 00:37:45,119
Speaker 2: He the teacher wrote Billy is Idol id l E,

742
00:37:45,679 --> 00:37:47,920
so that kind of was a bit of an inspiration

743
00:37:48,039 --> 00:37:50,960
for him. But of course you've got the money python actor,

744
00:37:51,159 --> 00:37:53,519
Eric I that was a little too bit too close.

745
00:37:53,559 --> 00:37:54,920
But hey, if I want to be an idol, I

746
00:37:55,000 --> 00:37:57,079
might as well call myself an idol, and so that's

747
00:37:57,119 --> 00:37:58,920
that's where he got the name. And then of course

748
00:37:59,280 --> 00:38:02,000
he's gone. His dad was a salesman and kind of

749
00:38:02,000 --> 00:38:05,159
had his own company. They lived in the suburbs. Nice

750
00:38:05,599 --> 00:38:09,360
not for life, you know. Tony James, his guitarist, said

751
00:38:09,360 --> 00:38:10,920
the same thing. Were both kids who had a good

752
00:38:10,920 --> 00:38:12,559
life from the suburbs. She decided we wanted to be

753
00:38:12,599 --> 00:38:15,679
in a rock band. But he's up at university in

754
00:38:15,719 --> 00:38:19,679
Sussex and I think it's the drummer. The guy friend

755
00:38:19,679 --> 00:38:22,559
of his basically gets in tune with the punk scene

756
00:38:22,639 --> 00:38:25,400
and sends him this article and he says, I think

757
00:38:25,400 --> 00:38:27,079
this is it. I think this is the wave of

758
00:38:27,119 --> 00:38:30,400
the future, and Billy sees his opportunity to go this

759
00:38:30,480 --> 00:38:31,519
is how I can dive.

760
00:38:31,360 --> 00:38:33,800
Speaker 3: Into my rock and roller dream. Yeah, he said that

761
00:38:33,840 --> 00:38:35,559
when he had the conversation with his dad that he

762
00:38:35,639 --> 00:38:37,480
was going to drop out of college and go be

763
00:38:37,519 --> 00:38:40,000
in a punk rock band. His dad never heard the

764
00:38:40,119 --> 00:38:43,800
term punk rock before. Yeah, that's how early on this was.

765
00:38:43,920 --> 00:38:44,599
It really was.

766
00:38:44,719 --> 00:38:48,239
Speaker 2: And they I mean punk rock was more than.

767
00:38:48,119 --> 00:38:49,639
Speaker 3: Just a sound. It was an attitude.

768
00:38:49,679 --> 00:38:52,880
Speaker 2: It was a reaction, it was a rebellion. But what

769
00:38:52,920 --> 00:38:54,840
he wanted to do is absolutely what he did with it.

770
00:38:54,920 --> 00:38:58,159
He wanted to give it a more appealing sound and

771
00:38:58,199 --> 00:39:01,840
a more appealing look, So he had developed that punk style.

772
00:39:02,039 --> 00:39:05,320
But like the Police, he was like, I have guys

773
00:39:05,360 --> 00:39:07,559
who can play their instruments, and I am an intelligent

774
00:39:07,679 --> 00:39:10,800
enough guy to write lyrics that are meaningful beyond just

775
00:39:11,039 --> 00:39:13,880
you know, rebel against the man. And so that's how.

776
00:39:13,960 --> 00:39:17,400
And he also had a dance disability and a good look,

777
00:39:17,599 --> 00:39:20,199
which meant that you had girls showing up. So it

778
00:39:20,239 --> 00:39:22,880
was an entirely different feel. But can I tell this

779
00:39:22,920 --> 00:39:23,480
story now?

780
00:39:23,679 --> 00:39:26,800
Speaker 3: Sure, go ahead. We're the gen X generation you and

781
00:39:26,840 --> 00:39:27,960
I yes, tell me.

782
00:39:28,239 --> 00:39:32,760
Speaker 2: But for Billy Idol, we probably wouldn't have that name.

783
00:39:33,039 --> 00:39:36,119
Speaker 3: He coined that name. No, okay, this is how it goes.

784
00:39:36,159 --> 00:39:39,719
Speaker 2: This is this is such a weird kind of coincidence

785
00:39:39,800 --> 00:39:43,360
of events, right, Okay. So they're just starting the band

786
00:39:43,480 --> 00:39:45,880
and they're trying to figure out a name for a band,

787
00:39:46,079 --> 00:39:49,280
and there is a book came out in nineteen sixty four.

788
00:39:49,440 --> 00:39:53,280
The authors are a couple of journalists, one named Jane Deverson,

789
00:39:53,320 --> 00:39:55,960
the other one named Charles Hamblett, and the name of

790
00:39:56,039 --> 00:39:59,400
their book is called Generation X. And it was a

791
00:39:59,400 --> 00:40:02,119
bunch It was a series of interviews with like the

792
00:40:02,280 --> 00:40:05,360
Mad Generation, the really the Baby Boomers. This was a

793
00:40:05,400 --> 00:40:08,320
book about the Baby Boomers called they just called it

794
00:40:08,519 --> 00:40:12,400
Generation X. Okay, Well, as it turned out, Billy's mother

795
00:40:12,639 --> 00:40:15,079
bought a copy of that book. So as they've been

796
00:40:15,119 --> 00:40:17,920
going to band practice and such, they all the band

797
00:40:17,960 --> 00:40:20,719
members come back to Billy's house to grab a sandwich

798
00:40:20,800 --> 00:40:24,480
or whatever, and Tony James sees that book on the

799
00:40:24,480 --> 00:40:26,639
shelf and he's like, what about this? Why don't we

800
00:40:26,719 --> 00:40:30,199
use this as our name? Like perfect, So naming the

801
00:40:30,239 --> 00:40:35,079
band Generation X happened fifteen years or so before they

802
00:40:35,159 --> 00:40:39,039
started calling our actual generation gen X. But here's the

803
00:40:39,079 --> 00:40:41,559
rest of the story. The reason that we're called gen

804
00:40:41,760 --> 00:40:45,039
X is based on a book that came out called

805
00:40:45,440 --> 00:40:49,280
Generation X. Tales from an Accelerated Culture came out in

806
00:40:49,400 --> 00:40:52,559
nineteen ninety one, and the book was by a guy

807
00:40:52,800 --> 00:40:57,639
named Doug Copeland, and he specifically said Generation X. The

808
00:40:57,719 --> 00:41:00,480
name of his book is taken from the aim of

809
00:41:00,559 --> 00:41:03,599
Billy Idol's punk band of the late seventies.

810
00:41:03,800 --> 00:41:07,400
Speaker 3: Stop it. That is a gold nugget, right there, man?

811
00:41:07,559 --> 00:41:09,760
Speaker 2: Yeah, weird sequence of events.

812
00:41:09,440 --> 00:41:12,119
Speaker 3: Yep, wow, Okay, so I want to drop this in

813
00:41:12,159 --> 00:41:14,960
really quick. I know, we're still talking about Flesh for Fantasy,

814
00:41:15,000 --> 00:41:17,079
which is the third single, and it reached number twenty

815
00:41:17,159 --> 00:41:19,920
nine on the Hot one hundred, so it's a modest hit. Yeah,

816
00:41:20,199 --> 00:41:22,880
you know. Billy Idol was also an actor. Oliver Stone

817
00:41:22,920 --> 00:41:25,440
wanted him to have a prominent part in the movie

818
00:41:25,480 --> 00:41:27,639
The Doors. Yeah, if you're familiar with the movie that

819
00:41:27,719 --> 00:41:29,960
it's the Michael Mattson part. Right, But he was in

820
00:41:30,000 --> 00:41:33,199
this horrible motorcycle accident, which I mean, I guess we

821
00:41:33,239 --> 00:41:36,320
might as well talk about right now. So after he

822
00:41:36,440 --> 00:41:39,599
had completed the Charmed Life album, which had Credit of

823
00:41:39,639 --> 00:41:41,719
Love on it, he went home. Everybody wanted to have

824
00:41:41,760 --> 00:41:43,519
a party, but he was all partied out, which is

825
00:41:43,599 --> 00:41:45,800
very odd for Billy Outel because he was always the

826
00:41:45,880 --> 00:41:48,159
life of the party right right, went home, took some

827
00:41:48,239 --> 00:41:50,360
sleeping pills, okay, because he had been doing so many drugs.

828
00:41:50,400 --> 00:41:52,559
He couldn't fall astole exactly, so it took some sleeping

829
00:41:52,559 --> 00:41:54,800
pills to counteract all the drugs that he did. Well,

830
00:41:54,880 --> 00:41:57,800
it's not working. So like a wise person, he decides,

831
00:41:57,840 --> 00:41:59,360
I'm gonna go ride my motorcycle.

832
00:42:00,000 --> 00:42:01,960
Speaker 2: It's going back to the studio to listen to the album.

833
00:42:02,000 --> 00:42:04,679
Speaker 3: He wanted to hear the completed album, yeah, which I

834
00:42:04,679 --> 00:42:06,760
can't blame him for that. But as he's going back

835
00:42:06,760 --> 00:42:09,000
to the studio, he gets drilled by.

836
00:42:08,880 --> 00:42:10,599
Speaker 2: A car and runs a stop sign.

837
00:42:10,760 --> 00:42:13,679
Speaker 3: He runs a stop sign and gets hammered by a

838
00:42:13,760 --> 00:42:16,760
car and breaks his leg in three places and his

839
00:42:16,960 --> 00:42:20,000
tibious sticking out of his skin. Yeah, they almost had

840
00:42:20,000 --> 00:42:23,239
to take his leg. Yeah, it was very, very close.

841
00:42:23,400 --> 00:42:25,360
Speaker 2: I can't believe the doctor said this out loud, but

842
00:42:25,400 --> 00:42:27,800
they called him down. The specialist called him down, and

843
00:42:27,800 --> 00:42:30,719
he's like, why are you calling me down for this bum?

844
00:42:30,719 --> 00:42:31,000
Speaker 3: Whoa?

845
00:42:31,199 --> 00:42:34,880
Speaker 2: And they're like, sir, this is Billy Ida. He is

846
00:42:34,920 --> 00:42:36,559
one of the biggest rock music And he's like, oh

847
00:42:36,599 --> 00:42:39,760
all right, Well, like you're supposed to give better care

848
00:42:39,800 --> 00:42:40,599
to the rock musician.

849
00:42:41,360 --> 00:42:42,039
Speaker 3: What wow.

850
00:42:42,440 --> 00:42:44,119
Speaker 2: But yeah, I mean it was He spent a long

851
00:42:44,119 --> 00:42:47,079
time because it wasn't just the bones being broken.

852
00:42:46,760 --> 00:42:48,199
Speaker 3: It was skin grafts. It was all.

853
00:42:48,440 --> 00:42:51,000
Speaker 2: I mean, he was in serious danger of losing his leg.

854
00:42:51,360 --> 00:42:53,840
Speaker 3: I saw the hole in his leg, like where the

855
00:42:54,360 --> 00:42:58,159
skin where the bone exited his body. It looked like

856
00:42:58,159 --> 00:43:01,199
like an alien egg, you know, the flowering open of that.

857
00:43:01,719 --> 00:43:02,039
It was.

858
00:43:02,119 --> 00:43:06,079
Speaker 2: It was nasty, gross, nasty. Yeah, so he lost the

859
00:43:06,119 --> 00:43:09,079
ability to do the part in the movie. This is

860
00:43:09,119 --> 00:43:11,280
why you don't see the bottom half of him in

861
00:43:11,559 --> 00:43:14,960
Cradle of Love, right, And did you know this? He

862
00:43:15,039 --> 00:43:18,679
was supposed to be the T one thousand interminate.

863
00:43:18,639 --> 00:43:20,719
Speaker 3: Hoping to drop that bomb on you. But I want

864
00:43:20,760 --> 00:43:23,679
to go to the Alternate Universe video store and rent

865
00:43:23,840 --> 00:43:27,199
Terminator two with Billy Idols the T one thousand. Yeah,

866
00:43:27,599 --> 00:43:29,320
Cameron wanted him for that part.

867
00:43:29,519 --> 00:43:31,840
Speaker 2: But it came down to Cameron saying can you run

868
00:43:31,880 --> 00:43:35,960
and Billy going no, I can't. And I God bless

869
00:43:36,039 --> 00:43:38,000
him because when he said it, he goes But I mean, seriously,

870
00:43:38,119 --> 00:43:41,800
can you imagine the cold steel face of Robert Patrick.

871
00:43:41,840 --> 00:43:44,280
I couldn't have pulled that off, right, Like, it's better

872
00:43:44,639 --> 00:43:47,920
with him in it instead of me. So, even as

873
00:43:48,199 --> 00:43:50,480
you know he missed it. And crazy as he is,

874
00:43:50,760 --> 00:43:52,039
he's a man with some humility.

875
00:43:52,119 --> 00:43:55,079
Speaker 3: I like it. He's great man. I love I love you.

876
00:43:55,719 --> 00:43:58,760
By the way, So somewhere between when Charmed Life had

877
00:43:58,800 --> 00:44:02,159
finished recording, flew to Bangkok. This is before the accident,

878
00:44:02,199 --> 00:44:04,480
So he was in Thailand for three weeks. Okay, so

879
00:44:04,519 --> 00:44:07,199
he's in Thailand for three weeks, and he said that

880
00:44:07,280 --> 00:44:09,639
in Thailand you go the pharmacy or whatever you want.

881
00:44:09,880 --> 00:44:12,679
There's no legality. I mean you, hey, I'll take three

882
00:44:12,679 --> 00:44:14,199
of those and six of those, and nine of those

883
00:44:14,239 --> 00:44:19,360
went one night in Bangkok. So he destroyed a hotel

884
00:44:19,400 --> 00:44:22,360
penthouse cost one hundred and forty thousand. And when a

885
00:44:22,400 --> 00:44:25,159
foreign dignitary came to you know, he was next in

886
00:44:25,280 --> 00:44:28,760
line for the vacancy that Billy Idol was exiting. They

887
00:44:28,800 --> 00:44:30,480
said you need to leave, and Billy I was like,

888
00:44:30,519 --> 00:44:32,800
I'm not leaving, and they said, yes you are. He's like, no,

889
00:44:32,840 --> 00:44:34,800
I'm not. So they called the army, and the army

890
00:44:34,840 --> 00:44:36,760
tied him up, dragged him and escorted him out of

891
00:44:36,760 --> 00:44:42,559
the country on a stretcher, tied him down, strapped him up,

892
00:44:42,599 --> 00:44:47,800
man drug him off. Hannibal Idol, if you will, I

893
00:44:47,840 --> 00:44:48,920
love it. I love it.

894
00:44:49,000 --> 00:44:51,800
Speaker 2: So as they're putting together this song, it really has

895
00:44:52,159 --> 00:44:55,800
a very motown feel to it, like it's got a

896
00:44:55,800 --> 00:44:58,800
an R and B feel to it, and they were worried.

897
00:44:58,840 --> 00:45:01,039
They were like, this is not the punk or the

898
00:45:01,159 --> 00:45:03,159
rock or the pop or anything else. This is a

899
00:45:03,199 --> 00:45:04,880
different sound and I don't know that we can get

900
00:45:04,880 --> 00:45:06,360
away with it. And they said it was an A

901
00:45:06,480 --> 00:45:08,880
and R guy that came in, guy named Jeff Aldridge,

902
00:45:08,880 --> 00:45:11,280
and he said, let the song be what it is,

903
00:45:11,719 --> 00:45:14,119
and that's how they get this song. Steve Stevens, I

904
00:45:14,119 --> 00:45:16,159
haven't looked at the chords on this, but I'm Steve

905
00:45:16,159 --> 00:45:20,480
Stevens calls them very strange and complex chords. And if

906
00:45:20,519 --> 00:45:23,199
he's saying that, then they must be pretty really complex, right.

907
00:45:23,639 --> 00:45:25,840
But he said that Billy was able to find a

908
00:45:25,840 --> 00:45:28,400
melody in that and drive it through in an amazing

909
00:45:28,440 --> 00:45:31,920
way that he doesn't even understand. It is truly a

910
00:45:32,079 --> 00:45:35,760
beautiful sounding song. And then the effects that you get

911
00:45:35,800 --> 00:45:38,760
on this one. This comes from several different guys, but

912
00:45:38,840 --> 00:45:41,880
one of the key guys is Andy Summers from the Police.

913
00:45:42,159 --> 00:45:44,639
Andy Summers was doing these kind of ethereal effects on

914
00:45:44,639 --> 00:45:47,800
his stuff as well, and Steve Stevens said the song

915
00:45:47,880 --> 00:45:51,159
Driven to Tears had been a big influence on this one.

916
00:45:51,280 --> 00:45:54,400
He said he had seen Andy's playing it live so

917
00:45:54,559 --> 00:45:56,760
good bought a ticket to watch the show the next night.

918
00:45:57,239 --> 00:46:01,039
Speaker 3: Wow, that's awesome. Okay, moving on next song on the album,

919
00:46:01,159 --> 00:46:03,480
the fourth single called catch My fallt.

920
00:46:12,320 --> 00:46:13,519
Speaker 6: Uh huh, It's.

921
00:46:15,440 --> 00:46:18,719
Speaker 3: Okay. This song was written by Billy Idol by himself,

922
00:46:18,840 --> 00:46:21,400
no Steve Stevens involved at all. Billy Idol wrote this

923
00:46:21,480 --> 00:46:24,599
song on acoustic guitar, brought it to the sessions and

924
00:46:24,880 --> 00:46:27,039
it is his lone credit.

925
00:46:26,760 --> 00:46:27,239
Speaker 6: On this one.

926
00:46:27,440 --> 00:46:29,760
Speaker 3: Yeah. I heard Steve Stephens say that this was like

927
00:46:30,000 --> 00:46:35,320
Roy Orbison, like Rob Thomas of Matchbox twenty. Yeah, this

928
00:46:35,440 --> 00:46:37,199
is one of his favorite Billy Idol songs.

929
00:46:37,440 --> 00:46:39,800
Speaker 2: Wow, Okay, that's interesting, So there you go.

930
00:46:39,719 --> 00:46:42,840
Speaker 3: All right, I like it. This is like the poppyist

931
00:46:42,880 --> 00:46:47,000
of the pop about that sweet sexy sax in this song.

932
00:46:47,079 --> 00:46:49,840
Speaker 2: This song, this is how we make this a Christmas episode.

933
00:46:50,039 --> 00:46:50,400
Speaker 3: Okay.

934
00:46:50,840 --> 00:46:53,320
Speaker 2: The guy playing the saxophone on this one is a

935
00:46:53,360 --> 00:46:57,199
guy named Mars Rogers. He is a saxophonist for the

936
00:46:57,280 --> 00:47:00,519
Psychadelic First but he also played the saxophone phone on

937
00:47:00,599 --> 00:47:06,719
a very famous Christmas song by the Waitresses called Christmas Rapping.

938
00:47:16,599 --> 00:47:20,440
Merry Christmas, Everybody, Merry Christmas and God bless us everyone.

939
00:47:20,559 --> 00:47:20,840
Speaker 6: Oh.

940
00:47:20,880 --> 00:47:22,880
Speaker 3: My wife and I love this one. We seek it

941
00:47:22,920 --> 00:47:25,000
to it every time it comes out. We're like, Merry Christmas,

942
00:47:25,039 --> 00:47:28,079
Merry Christmas. Yeah, and that sacks is same played by

943
00:47:28,079 --> 00:47:30,519
the same guy who plays Sacks on Catch My Fall

944
00:47:30,639 --> 00:47:33,199
Love it nice connection to Christmas, right there. Yeah, okay.

945
00:47:33,400 --> 00:47:36,079
Next song on the album, This song is called crank Call.

946
00:47:54,719 --> 00:47:55,000
Speaker 7: Call.

947
00:47:55,480 --> 00:47:58,639
Speaker 3: This song is about crank calls, people making crank calls.

948
00:47:58,760 --> 00:48:01,119
This is a lost art for We don't have this

949
00:48:01,159 --> 00:48:03,360
anymore because of stupid caller.

950
00:48:03,400 --> 00:48:03,639
Speaker 7: I D.

951
00:48:04,079 --> 00:48:07,119
Speaker 3: You don't call places anymore. You just call. You remember

952
00:48:07,239 --> 00:48:09,719
calling like girls in your class and like waiting for

953
00:48:09,760 --> 00:48:11,480
them to answer and then like hanging up just to

954
00:48:11,519 --> 00:48:18,079
hear their voice. That was a little too nerdy for me. Yeah, yeah, sorry, buddy, Okay,

955
00:48:18,280 --> 00:48:18,920
that was just me.

956
00:48:22,639 --> 00:48:24,440
Speaker 2: Got a big t Rex influence on this one.

957
00:48:24,599 --> 00:48:27,519
Speaker 3: Yep. Yeah, they still play this live. It's a good song.

958
00:48:27,519 --> 00:48:28,079
Speaker 6: I like it.

959
00:48:27,880 --> 00:48:30,599
Speaker 3: It was fun, pretty eighties, pretty stuck in its time

960
00:48:30,880 --> 00:48:34,199
it is, but it's it's good it is. It's a

961
00:48:34,199 --> 00:48:36,000
good revisit of the eighties. I love it.

962
00:48:36,280 --> 00:48:39,800
Speaker 2: And apparently Billy was still trying to sing the lead

963
00:48:39,840 --> 00:48:43,280
track on this one the night before they delivered the tapes.

964
00:48:43,360 --> 00:48:46,480
Speaker 3: That is mind blowing. Like the record company's like, hey,

965
00:48:46,559 --> 00:48:48,679
this is due at eight am, and he's still working

966
00:48:48,679 --> 00:48:51,239
on vocals at nine thirty the night before. Yeah, or

967
00:48:51,559 --> 00:48:55,159
seven in the morning, exactly, that's right. Okay, So just

968
00:48:55,320 --> 00:48:55,880
real quick.

969
00:48:56,159 --> 00:48:58,920
Speaker 2: We didn't really talk much about Generation X, right, but

970
00:48:58,960 --> 00:49:01,039
there's there's a bit of a history. They get together,

971
00:49:01,199 --> 00:49:05,079
they do Generation X, ultimately he splits off with them.

972
00:49:05,280 --> 00:49:09,119
Chrysalis actually says we're ending your contract at that record

973
00:49:09,119 --> 00:49:14,679
company Christmas, which is famous from Rhuey Lewis Lewis, but

974
00:49:14,800 --> 00:49:17,159
they said, Billy will keep you on as a solo artist. Then,

975
00:49:17,199 --> 00:49:20,440
of course he gets introduced to Steve Stevens and ultimately

976
00:49:20,639 --> 00:49:24,039
Keith Forcy. But before that, when he's just moved to

977
00:49:24,440 --> 00:49:29,239
New York, he is living in a rat and cockroach

978
00:49:29,400 --> 00:49:33,960
infested tenement with Harry Lister. His girlfriend like it's bad, right,

979
00:49:34,079 --> 00:49:35,679
and he's like, and I would just go out at

980
00:49:35,719 --> 00:49:38,039
night and try to soak in the scene. Now, before

981
00:49:38,280 --> 00:49:41,320
this had happened, he remember Dancing with Myself was a

982
00:49:41,360 --> 00:49:42,480
Generation X song.

983
00:49:42,599 --> 00:49:45,000
Speaker 3: That blew me away. I did not remember that at all.

984
00:49:45,079 --> 00:49:48,000
Speaker 2: Right, Well, so he's it didn't do anything as a

985
00:49:48,039 --> 00:49:50,639
single when the Generation X did it, even though it's

986
00:49:50,679 --> 00:49:53,159
a fantastic song, he didn't do anything, which is why

987
00:49:53,199 --> 00:49:56,360
they contract ended. And he's got no money. He's just

988
00:49:56,880 --> 00:50:00,599
going around walking around and literally after being there for

989
00:50:00,639 --> 00:50:03,360
six months in New York City, he walks into a

990
00:50:03,440 --> 00:50:06,960
disco and they start playing his song. They start playing

991
00:50:07,039 --> 00:50:15,599
Dancing with Myself, and he's like, and it's a twenty

992
00:50:15,639 --> 00:50:18,480
minute remix, and the crowd is going crazy.

993
00:50:18,719 --> 00:50:21,480
Speaker 3: He said they were going bananas.

994
00:50:20,639 --> 00:50:26,079
Speaker 2: Bananas, and so all of a sudden, that's it. That's

995
00:50:26,159 --> 00:50:29,039
the spark that he goes. And they says, how about.

996
00:50:28,800 --> 00:50:29,880
Speaker 3: We do an EP?

997
00:50:30,360 --> 00:50:34,239
Speaker 2: And the EP has Dancing with Myself, which they said

998
00:50:34,280 --> 00:50:36,639
they label it as a remix. Yeah, no, it's the

999
00:50:36,679 --> 00:50:39,840
same song, Like, there's there is no remixing to this.

1000
00:50:39,960 --> 00:50:42,960
It is the same song, say, people argue with him.

1001
00:50:43,039 --> 00:50:46,119
Oh yeah, He's like, guys, I know it was it's

1002
00:50:46,119 --> 00:50:48,039
the same song. We didn't do it. It's the same song.

1003
00:50:48,360 --> 00:50:50,719
And then the other side of that is Money Money,

1004
00:51:02,320 --> 00:51:04,199
which when I heard that, I was like, whoa. I

1005
00:51:04,199 --> 00:51:07,639
thought Mony Mooney was like a single from the late eighties, right, Well,

1006
00:51:07,639 --> 00:51:09,760
it turns out they didn't do a lot back then,

1007
00:51:09,880 --> 00:51:11,840
but then Money Mooney became big.

1008
00:51:11,760 --> 00:51:13,559
Speaker 3: Later on when they re released it as part of

1009
00:51:13,599 --> 00:51:16,039
a new album. By the way, you talk about Perry Lister,

1010
00:51:16,199 --> 00:51:19,199
they had kind of an open relationship. Would he would

1011
00:51:19,199 --> 00:51:23,559
screw hundreds of girls? Yeah? She love how what she said.

1012
00:51:23,599 --> 00:51:26,079
Speaker 2: She's like, it's not as though I wasn't aware of

1013
00:51:26,119 --> 00:51:29,000
the other women, but they just weren't in my face.

1014
00:51:28,920 --> 00:51:31,599
Speaker 3: Right well, And so that's interesting because the way she

1015
00:51:31,679 --> 00:51:33,960
caught him having an affair. They had a son together,

1016
00:51:34,159 --> 00:51:36,800
and they were out by the swimming pool and he's like,

1017
00:51:36,800 --> 00:51:38,760
you know what, I'm gonna go check on our boy.

1018
00:51:38,960 --> 00:51:40,960
And he goes in the other room and he calls

1019
00:51:41,000 --> 00:51:43,920
his girlfriend and he forgets about the baby monitor. And

1020
00:51:43,960 --> 00:51:47,320
when he comes out, he's like, she's stark, raving mad,

1021
00:51:47,400 --> 00:51:50,440
and he's like, what just happened. There's no way she

1022
00:51:50,480 --> 00:51:55,280
could have heard me. And she's like, you're baby monitor. Whoops.

1023
00:51:55,639 --> 00:51:58,079
She took off after that. Yeah, he was like cracking

1024
00:51:58,199 --> 00:51:59,800
up every time he told this story. He's like, a

1025
00:52:00,039 --> 00:52:01,840
forgot about the stupid baby monitor.

1026
00:52:01,880 --> 00:52:03,880
Speaker 2: He is not apologetic about it at all.

1027
00:52:04,119 --> 00:52:04,599
Speaker 3: He is not.

1028
00:52:04,760 --> 00:52:06,960
Speaker 2: He's like, I mean, he will say he's in the wrong,

1029
00:52:07,320 --> 00:52:08,960
but it's not like he's got remorse about it.

1030
00:52:09,199 --> 00:52:10,960
Speaker 3: Oh my gosh. He was like, you know, they were

1031
00:52:11,039 --> 00:52:13,440
right to do it. I was terrible, but I didn't

1032
00:52:13,440 --> 00:52:15,159
blame her at all for believing exactly.

1033
00:52:15,199 --> 00:52:18,199
Speaker 2: He ultimately moved from New York, where they were they

1034
00:52:18,239 --> 00:52:20,840
were living like vampires, right, you know, sleep all day,

1035
00:52:20,960 --> 00:52:23,320
up all night. Moved out to La to you know,

1036
00:52:23,400 --> 00:52:27,320
get a little bit of a break. Well, right, come on, guys, you.

1037
00:52:27,239 --> 00:52:29,000
Speaker 3: Don't move to La to get a break for the right.

1038
00:52:29,280 --> 00:52:31,280
Speaker 2: Maybe you get a break from the drugs, but definitely

1039
00:52:31,320 --> 00:52:31,920
not from the women.

1040
00:52:32,039 --> 00:52:32,599
Speaker 3: Right.

1041
00:52:32,679 --> 00:52:35,159
Speaker 2: He had an entirely separate house that he kept. He

1042
00:52:35,239 --> 00:52:38,880
said there would just be especially after she left. It

1043
00:52:39,039 --> 00:52:43,400
was orgies like of the Roman days of old, like

1044
00:52:43,800 --> 00:52:49,760
playboy models, porn stars. Everybody comes out and just goes

1045
00:52:50,400 --> 00:52:50,920
but naked.

1046
00:52:54,400 --> 00:52:58,039
Speaker 3: You know, we haven't really mentioned the name Heidi Flies yet. Okay,

1047
00:52:58,239 --> 00:53:00,360
he was a client. He was one of those named

1048
00:53:00,360 --> 00:53:01,440
in that little client thing.

1049
00:53:01,639 --> 00:53:05,360
Speaker 2: When you've got big, big rock musicians going. You had

1050
00:53:05,400 --> 00:53:07,920
a little bit of an obsession with sex, and you

1051
00:53:08,039 --> 00:53:08,920
know it's got to be bad.

1052
00:53:08,960 --> 00:53:10,840
Speaker 3: It's got to be bad. Yeah, Okay. Next song on

1053
00:53:10,880 --> 00:53:21,320
the album is called Do Not Stand in the Shadows.

1054
00:53:25,400 --> 00:53:27,119
So this is a good Flamenco sound.

1055
00:53:27,719 --> 00:53:31,400
Speaker 2: Steve Stevens is an incredible guitarist in so many different genres,

1056
00:53:31,719 --> 00:53:33,880
and this is that flamenco sound. This is actually the

1057
00:53:33,920 --> 00:53:35,239
first song that was written for the album.

1058
00:53:35,400 --> 00:53:37,719
Speaker 3: The Course is great on this one. This actually could

1059
00:53:37,760 --> 00:53:40,519
have gone on the previous album. Yeah, I mean it

1060
00:53:40,559 --> 00:53:42,880
was around for that long and they were like, hold

1061
00:53:42,920 --> 00:53:44,199
off and keep it for the next one.

1062
00:53:44,280 --> 00:53:46,880
Speaker 2: It's a good link between the two albums. It's got

1063
00:53:46,880 --> 00:53:49,559
a much faster beat to it. But my favorite part

1064
00:53:49,559 --> 00:53:52,960
about this one is that Steve said, this is one

1065
00:53:53,000 --> 00:53:55,039
of the rare songs that we did in the.

1066
00:53:59,639 --> 00:54:03,199
Speaker 6: Shadow Shadow.

1067
00:54:09,880 --> 00:54:12,360
Speaker 2: Because we just didn't really do songs in D because

1068
00:54:12,360 --> 00:54:16,159
it's pretty high. And he goes, I don't know why

1069
00:54:16,199 --> 00:54:18,440
we didn't think that we could just transpose it down

1070
00:54:18,480 --> 00:54:20,800
to a different key, just change the key.

1071
00:54:20,880 --> 00:54:22,480
Speaker 3: I mean people do it all the time, you know,

1072
00:54:22,800 --> 00:54:23,639
just change the key.

1073
00:54:23,800 --> 00:54:25,840
Speaker 2: For some reason that just never occurred to us. And

1074
00:54:26,559 --> 00:54:29,960
he said, for this song, Billy's nuts are really clinched.

1075
00:54:31,679 --> 00:54:34,400
Speaker 3: Okay, next song, last song on the album is called

1076
00:54:34,880 --> 00:54:45,199
the Dead next Door Watch this guy for reasons why

1077
00:54:46,119 --> 00:54:55,840
our Sunday was Okay. I love this song. Top three

1078
00:54:56,000 --> 00:54:58,679
songs on the album right here. Wow. I think it's

1079
00:54:58,719 --> 00:55:01,760
so moody. It's antique hookie. It's kind of like the

1080
00:55:01,880 --> 00:55:04,519
Chauffeur from the Durandaran album Rio we talked about. It

1081
00:55:04,559 --> 00:55:06,159
feels like it needs to be in a John Hughesman.

1082
00:55:06,719 --> 00:55:07,760
It does well.

1083
00:55:07,880 --> 00:55:10,519
Speaker 2: Part of the inspiration on this one was Steve Steven's

1084
00:55:10,599 --> 00:55:13,639
love for Tangerine Dream, which we've talked about a few times. Okay,

1085
00:55:13,719 --> 00:55:16,079
if you're not familiar, I mean, I love their stuff,

1086
00:55:16,119 --> 00:55:19,039
but the most famous thing they have is the music

1087
00:55:19,079 --> 00:55:23,039
that's behind the Risky Business Ltrain Moment, which is just

1088
00:55:23,239 --> 00:55:25,239
I mean, the name of the song is sex un

1089
00:55:25,280 --> 00:55:27,519
a Train, I think it's something like that, but it's

1090
00:55:28,400 --> 00:55:33,280
very it's a very electronic sound. And so Steve had

1091
00:55:33,320 --> 00:55:38,440
this effects box called a Lexicon PUM forty one, and

1092
00:55:38,840 --> 00:55:42,559
when he would play, it would automatically, at its own pace,

1093
00:55:43,199 --> 00:55:46,559
play the same note an octave higher and an octave lower,

1094
00:55:46,599 --> 00:55:49,559
and that's this really cool guitar sound that you're getting.

1095
00:55:50,079 --> 00:55:53,920
But you're really able to adjust the speed of how

1096
00:55:54,000 --> 00:55:56,719
quickly the echo effect of those notes happened. So on

1097
00:55:56,760 --> 00:56:00,000
this rare song, they couldn't put like a drum machine

1098
00:56:00,159 --> 00:56:03,480
to it, and nobody really knew the sound as well

1099
00:56:03,519 --> 00:56:06,320
as Steve did. So Steve is the one who's coming

1100
00:56:06,360 --> 00:56:08,760
in with those little drum beats that pop in throughout

1101
00:56:08,800 --> 00:56:12,000
the out the music of it. Yeah, great capper to

1102
00:56:12,039 --> 00:56:15,119
the album. Yeah, It's a great way to exit an album.

1103
00:56:15,199 --> 00:56:18,159
It's like a nice goodbye, so long farewell af we

1104
00:56:18,280 --> 00:56:18,639
just sing.

1105
00:56:19,159 --> 00:56:22,280
Speaker 3: See you on Whiplash smile here in a few years. Right,

1106
00:56:22,360 --> 00:56:25,559
all right, gee, that's gonna do it for Rebel Yell time.

1107
00:56:25,679 --> 00:56:28,119
Now for final judgment, you want to go first?

1108
00:56:28,639 --> 00:56:31,519
Speaker 2: Yes, So for me at this time in history in

1109
00:56:31,599 --> 00:56:35,119
nineteen eighty three, Billy Idol was more in my wheelhouse

1110
00:56:35,400 --> 00:56:38,480
for sure, Like because he was in an MTV gym

1111
00:56:38,880 --> 00:56:42,039
and because he had that kind of rocker look, I

1112
00:56:42,199 --> 00:56:45,159
was more into him than I was in Diseasy Top

1113
00:56:45,760 --> 00:56:47,960
and so that's that was a big influence on how

1114
00:56:48,000 --> 00:56:52,880
I viewed these two albums. But ultimately, over time I

1115
00:56:53,000 --> 00:56:57,039
became more familiar with the zzytops older music. Even the

1116
00:56:57,039 --> 00:56:59,719
stuff after Eliminator was not really my cup of tea,

1117
00:56:59,800 --> 00:57:02,400
but because I grew to love what they had so

1118
00:57:02,559 --> 00:57:05,800
much before, and then was really listening to Eliminator with

1119
00:57:05,840 --> 00:57:08,239
a whole new set of ears, going what are they

1120
00:57:08,239 --> 00:57:10,159
doing here mixing the blues?

1121
00:57:10,199 --> 00:57:11,840
Speaker 3: Like how how effectively are they.

1122
00:57:11,760 --> 00:57:15,119
Speaker 2: Mixing the blues sound with that eighties synth sound that

1123
00:57:15,159 --> 00:57:17,880
they were picking up from depeche Mode, And then just

1124
00:57:17,960 --> 00:57:20,000
going which one do I just like sitting down and

1125
00:57:20,039 --> 00:57:23,639
listening to more. I gotta say Eliminator wins out for

1126
00:57:23,719 --> 00:57:26,519
me in this one. I think that they're big songs

1127
00:57:26,559 --> 00:57:30,400
on Rebel Yell that are great and iconic, but I

1128
00:57:30,480 --> 00:57:34,880
think they don't quite have the stay power that the

1129
00:57:34,920 --> 00:57:36,719
songs on Eliminator have.

1130
00:57:37,280 --> 00:57:40,880
Speaker 3: And so for me, Bick is zz Top Okay, basically

1131
00:57:40,880 --> 00:57:42,519
you're still in the words right out of my mouth.

1132
00:57:42,880 --> 00:57:47,079
Billie Idol's style is look the sex drugs, rock and roll,

1133
00:57:47,159 --> 00:57:50,719
hair metal feel to Billy Idol is more in my wheelhouse.

1134
00:57:50,960 --> 00:57:53,239
I kind of felt like zz Top was like my

1135
00:57:53,360 --> 00:57:55,760
dad's era and Billy Idol is kind of my era.

1136
00:57:56,039 --> 00:57:58,880
But when you lay these tracks side by side, Eliminator

1137
00:57:59,000 --> 00:58:01,679
is the better album. Although I love some of the

1138
00:58:01,719 --> 00:58:04,360
songs off of Rebel Gal. Yeah, both of these albums

1139
00:58:04,400 --> 00:58:06,679
are awesome, but for me, it's Eliminated.

1140
00:58:06,960 --> 00:58:10,119
Speaker 2: So coming into it before we before you listen to

1141
00:58:10,119 --> 00:58:11,800
these two again for the first.

1142
00:58:11,519 --> 00:58:13,800
Speaker 3: Time, right, what were you thinking of Billy Idol all

1143
00:58:13,800 --> 00:58:14,000
the way?

1144
00:58:14,159 --> 00:58:14,400
Speaker 6: Yeah?

1145
00:58:14,519 --> 00:58:16,760
Speaker 3: Our study on this has moved the needle for me

1146
00:58:17,159 --> 00:58:17,880
to this is the top.

1147
00:58:18,119 --> 00:58:18,320
Speaker 8: Yeah.

1148
00:58:18,400 --> 00:58:20,000
Speaker 3: Well great, Well, we want to hear from you guys,

1149
00:58:20,079 --> 00:58:22,119
which one is your favorite? What are your top three

1150
00:58:22,119 --> 00:58:23,840
songs from each of one of these artists. We'd love

1151
00:58:23,880 --> 00:58:26,679
to hear from you on that. The next week, we're

1152
00:58:26,679 --> 00:58:29,639
doing the best of nineteen seventy eight.

1153
00:58:37,480 --> 00:58:40,440
Speaker 2: I cannot tell you how in love with this idea

1154
00:58:40,599 --> 00:58:41,039
I am.

1155
00:58:41,760 --> 00:58:43,639
Speaker 3: I have obsessed over.

1156
00:58:43,800 --> 00:58:46,639
Speaker 2: I mean, I have a list that is fifty songs long,

1157
00:58:46,719 --> 00:58:49,679
and I've eliminated entire albums because we talked about.

1158
00:58:49,519 --> 00:58:53,199
Speaker 3: Them for I know, right, fifty I gotta I gotta rate.

1159
00:58:53,079 --> 00:58:56,920
Speaker 2: It in from fifty down to five and two honorable mentions.

1160
00:58:57,440 --> 00:58:58,760
I don't know how I'm gonna do it. Come back

1161
00:58:58,760 --> 00:59:00,719
and next week if we can find us, by golly,

1162
00:59:00,760 --> 00:59:03,760
we'll squeeze in the top five of nineteen ninety three

1163
00:59:03,800 --> 00:59:05,119
as well this year before it's over.

1164
00:59:05,440 --> 00:59:08,159
Speaker 3: If we can't op nteen ninety three, see you guys

1165
00:59:08,199 --> 00:59:09,199
next week. Thanks guys,