Tears For Fears "Songs from the Big Chair" (1985): Track by Track!

<v Speaker 1>This is Jeff from the thirty something Movie Podcast, and
<v Speaker 1>you are listening to Jason and d on what is
<v Speaker 1>currently considered to be the most recent episode of the
<v Speaker 1>Shirley You Can't Be Serious Podcast.
<v Speaker 2>Hello everybody, and welcome back to Shirley You Can't Be
<v Speaker 2>Serious Podcast. We are here to talk about the Tears
<v Speaker 2>for Fears album Songs from the Big Chair, released thirty
<v Speaker 2>nine years ago this month. Jason, isn't it funny how
<v Speaker 2>time live? Yes?
<v Speaker 3>Yes, I love this album. I can't wait to dive
<v Speaker 3>into it. I owned it. It really ruled the summer
<v Speaker 3>of nineteen eighty five.
<v Speaker 2>This album for me was, well, I put it this way.
<v Speaker 2>I have said this to you before. I think I
<v Speaker 2>may even mentioned it last episode. This album was like
<v Speaker 2>that girl in high school that you thought was kind
<v Speaker 2>of cute and kind of forgettable, and then you come
<v Speaker 2>back for your thirty nine year old class reunion or whatever,
<v Speaker 2>and you're like, oh my gosh, I'm in love with her. Right,
<v Speaker 2>So I got to, you know, we dive in. I
<v Speaker 2>re listened to this thing and I'm like, holy cow,
<v Speaker 2>how did I not know how good this entire album is?
<v Speaker 3>You know, I had the same kind of experience because
<v Speaker 3>when you're a little kid. When I was twelve when
<v Speaker 3>this came out, Yeah, I'm like, oh, these songs are great,
<v Speaker 3>They're fun, they're they're catchy. You know, you don't realize
<v Speaker 3>how complex and how deep they are at twelve years old.
<v Speaker 2>Yeah. We were having a conversation with our Shurly fans
<v Speaker 2>that we have a text group with. By the way, guys,
<v Speaker 2>if you want to join our group, go to patreon
<v Speaker 2>dot com backslash Shirly Podcast, and if you just want
<v Speaker 2>to follow us, it doesn't cost a thing to follow us.
<v Speaker 2>You can see what our Patreon episodes are and decide
<v Speaker 2>whether you want to join or not cheap to join.
<v Speaker 2>If you do decide and you get access to those episodes.
<v Speaker 2>But also we have a continuing text exchange with almost
<v Speaker 2>all of our Patreon members. And today we were talking
<v Speaker 2>about this thing that seems to happen now with songs
<v Speaker 2>that you don't have guitar solos or piano solos or
<v Speaker 2>drum solos or saxophone solos or any.
<v Speaker 3>Of those things, or long intros rright.
<v Speaker 2>Or long intros, and you go back and you listen
<v Speaker 2>to the songs of thirty nine years ago nearly forty
<v Speaker 2>years ago, and at that era, all of them had
<v Speaker 2>it like you didn't have a song that didn't have
<v Speaker 2>a guitar solo in it. And the problem is is
<v Speaker 2>that all of the people making music now thinking that
<v Speaker 2>the gen z doesn't have the attention span to sit
<v Speaker 2>through a musical solo. Well, let me to tell you, guys,
<v Speaker 2>the songs of these albums are favorite songs for my
<v Speaker 2>sixteen year old and my fourteen year old and my
<v Speaker 2>twelve year old, and for us. I mean, I'm gonna
<v Speaker 2>go down a limb here, but Shout was the song
<v Speaker 2>of this album, right like for you and me, Like
<v Speaker 2>Shout was the big hit in nineteen eighty five, right
<v Speaker 2>for them. Literally before we came to record Tonight, I
<v Speaker 2>was like, avery, of these three songs shout, everybody wants
<v Speaker 2>to rule the world, head over heels, which one is
<v Speaker 2>the best. And She's like, I don't think I know shout.
<v Speaker 2>And Caleb's next to her and he's like, what you
<v Speaker 2>don't have a shout? Are you crazy? I'm like, dude,
<v Speaker 2>she doesn't know what. She doesn't know. It's okay, But
<v Speaker 2>even he was like, it's head over heels And she
<v Speaker 2>was like I like them both a lot, but it's
<v Speaker 2>probably everybody wants to rule the world. Sixteen year old
<v Speaker 2>Cole one percent. Everybody wants to rule the world. Didn't
<v Speaker 2>know shout. But the fact is is that these guys
<v Speaker 2>have the attention span. My kids have the attention span
<v Speaker 2>to listen to these songs with long intros, great sax solos,
<v Speaker 2>great guitar solos, and they prefer it. So wake up
<v Speaker 2>music producers of the day. Give some credit to our
<v Speaker 2>listening audience, and let's put some music talent behind the
<v Speaker 2>songs we're making today.
<v Speaker 3>I've got to tease up for you on this. So
<v Speaker 3>you mentioned the length of the songs. Yeah, there is
<v Speaker 3>a lyric in one of the songs that you know
<v Speaker 3>well that makes a reference to the length of the
<v Speaker 3>songs on this album.
<v Speaker 2>I mean, the fact is that even in the eighties,
<v Speaker 2>the record producers were like, Eh, we don't have this
<v Speaker 2>is too long, we got to cut it short, and
<v Speaker 2>they do. They totally reference it in one of these
<v Speaker 2>other songs.
<v Speaker 3>I almost fell down when I heard that.
<v Speaker 2>So, guys, we're talking about an album that's nearly forty
<v Speaker 2>years old at this point, and it is still incredible.
<v Speaker 2>This is a great album to listen to with your kids.
<v Speaker 2>There's all kinds of history behind the band. But I
<v Speaker 2>really just want to jump right in. Before we do that,
<v Speaker 2>we have to briefly talk about how we got the
<v Speaker 2>title of this album.
<v Speaker 3>I have wondered this for thirty nine years now, right.
<v Speaker 3>So the title of the album is called Songs from
<v Speaker 3>the Big Chair. Yep, what the heck is the Big Chair?
<v Speaker 2>Well, lay down and we can talk about it.
<v Speaker 3>That's Have you seen the nineteen seventy six TV movie
<v Speaker 3>starring Sally Field called Sybyl.
<v Speaker 2>No, I have not, but I am well aware of
<v Speaker 2>what it's about. I know it's the multi personality. The
<v Speaker 2>actual woman's name was not Sybil, it was Suirley Ardell Mason.
<v Speaker 2>But there's a lot of skepticism about whether she had
<v Speaker 2>as many multiple persons as she did or not.
<v Speaker 3>Right, So it's about this woman who has multiple personalities.
<v Speaker 3>Which part of the reason why they chose this title
<v Speaker 3>is because each song on this album has a different personality.
<v Speaker 2>Ah, that's oh, that's great, that's great. And so just
<v Speaker 2>as it relates to the movie, the idea was that
<v Speaker 2>with all of these multiple personalities that she had, she's
<v Speaker 2>being psychoanalyzed by the psychiatrist, and the only way that
<v Speaker 2>she can prevent herself from using her different personalities is
<v Speaker 2>when she's sitting in her big chair. That's a share
<v Speaker 2>that she talks to the psychoanalyst from.
<v Speaker 3>She only feels safe when she's sitting in the big chair.
<v Speaker 2>Yeah.
<v Speaker 3>Now, this album, just for the record, went five times
<v Speaker 3>platinum in the US alone, sold ten million copies worldwide.
<v Speaker 3>Released February twenty fifth, nineteen eighty five. We talked about
<v Speaker 3>and was the album of nineteen eighty five, with maybe
<v Speaker 3>only one exception, which we'll talk about next week.
<v Speaker 2>Yeah, we are here to compare this album to the
<v Speaker 2>Wham album Make It Big.
<v Speaker 4>Wake Me Bye, Don't Change not the jo.
<v Speaker 2>Guys. We'll cover that one next week, But for now,
<v Speaker 2>we are jumping in song number one on the album, Shout.
<v Speaker 4>Shot, Shout Jump.
<v Speaker 2>What an iconic, unmistakable intro. You love those bells that
<v Speaker 2>come in with the strong chorus at the beginning of
<v Speaker 2>the song fan freaking tastic right out of the gate.
<v Speaker 4>Yeah.
<v Speaker 3>So this song was one of the ones that went
<v Speaker 3>to number one hit number one in the US August third,
<v Speaker 3>nineteen eighty five. Here's the interesting thing. The release schedule
<v Speaker 3>in the United States is different than the one in
<v Speaker 3>the UK. Right, So in the UK, hey, this is
<v Speaker 3>like the third single. In the US it's the second single.
<v Speaker 3>If you're listening to the UK, you're gonna be like,
<v Speaker 3>wait a minute, what summer of nineteen eighty five?
<v Speaker 2>What are you talking about.
<v Speaker 3>Well, in the US it was big in the summer
<v Speaker 3>of eighty five.
<v Speaker 2>Yeah. Huge. It wasn't just big, it was huge. This
<v Speaker 2>is a tidal wave of a song as far as
<v Speaker 2>the US is concerned.
<v Speaker 3>I bet they played this video once an hour on MTV.
<v Speaker 2>I couldn't I couldn't stop singing this song at ten
<v Speaker 2>years old. It's like I just couldn't do it. I mean,
<v Speaker 2>it was too intoxicating not to do it. And then
<v Speaker 2>I got it into my head. Why doesn't shout the
<v Speaker 2>fabric detergent? Use THISAA shout shout, get the stains out.
<v Speaker 4>Yeah.
<v Speaker 3>So it's interesting when it was created, Rolandor's bole just
<v Speaker 3>he kind of came up with the words and thought, well,
<v Speaker 3>this is just it's kind of a chorus for people
<v Speaker 3>to sing along. It's not really a song, just something
<v Speaker 3>we can use in our concerts.
<v Speaker 2>Yeah. I remember as a kid talking to my brother
<v Speaker 2>about this, and he was like, these guys did this
<v Speaker 2>scream therapy and that's where they got this idea for
<v Speaker 2>this song. Right. So, you know, speaking of psychoanalysts and
<v Speaker 2>Sybil and all that, Right, there's this psychoanalyst from the
<v Speaker 2>late sixties early seventies called Arthur Jenoff. Right, he does
<v Speaker 2>what he calls primal therapy, where he with his patients
<v Speaker 2>dives into their childhood pain. And so he comes out
<v Speaker 2>with this book called The Primal Scream. Sounds like, oh, hey,
<v Speaker 2>my brother was right. These guys are tapping into this
<v Speaker 2>we know, and we'll talk about it in a little bit.
<v Speaker 2>Where the name of the band comes from and it
<v Speaker 2>is straight from Arthur Jenoffah, but this book, he writes
<v Speaker 2>this book about his primal therapy, and he sends a
<v Speaker 2>couple of like preview copies to some famous people, including
<v Speaker 2>John Lennon. John Lennon totally buys in. A couple of
<v Speaker 2>other famous celebrities buy in, and all of a sudden
<v Speaker 2>he is a world renowned guy. Well this is early seventies,
<v Speaker 2>like nineteen seventy basically, okay, and we know that Tears
<v Speaker 2>for Fears gets together I mean they become Tears for
<v Speaker 2>Fears in nineteen eighty one, but before that they were
<v Speaker 2>devotees of Arthur Jenoff.
<v Speaker 3>Yeah, so I was telling you I read this article.
<v Speaker 3>Roland R'sbal said, we were evangelical about Arthur Jenoff. He said,
<v Speaker 3>the only band I could really compare ourselves to would.
<v Speaker 2>Be like you two.
<v Speaker 3>So you two took pop rock and combined it with
<v Speaker 3>the teachings of Jesus right their Christian faith, whereas Tears
<v Speaker 3>for Fears took pop rock, synth rock and combine it
<v Speaker 3>with the teachings of Jenoff. And here you go Tears
<v Speaker 3>for Fears primal scream therapy shout right.
<v Speaker 2>And then part two is Roland Oserbaal says, No, that's
<v Speaker 2>actually not what it's about. It's not about the scream therapy, right,
<v Speaker 2>He's like, this is about rebellion and all this. I'm like, really,
<v Speaker 2>are you sure?
<v Speaker 4>Yeah?
<v Speaker 2>But here's the other here's the part too of that.
<v Speaker 2>There could be the reason that he could be saying
<v Speaker 2>that is that they actually got to meet Arthur Jenoff
<v Speaker 2>in the mid eighties. Okay, they met him, And this
<v Speaker 2>goes back to you're in my experience with Lu Frigno,
<v Speaker 2>don't meet your heroes.
<v Speaker 4>Oh no.
<v Speaker 2>Yeah. So they met him and they were completely disillusioned.
<v Speaker 2>They said he had just become completely Hollywood. He was
<v Speaker 2>not interested in talking to them about psychosis or psychoanalysis
<v Speaker 2>or any of that stuff. What he wanted them to
<v Speaker 2>do was write a musical for him. Oh no, yeah,
<v Speaker 2>I was with you when you.
<v Speaker 3>Met lou Fregno. By the way, I felt I was
<v Speaker 3>bad for you.
<v Speaker 2>Yeah.
<v Speaker 3>So here's the interesting thing. When roland Orzibal wrote this chorus,
<v Speaker 3>just a simple shout protest chorus, he went over and
<v Speaker 3>he sang it to Ian Stanley. Ian Stanley is the
<v Speaker 3>keyboardist and another kind of the guys in the band. Yeah,
<v Speaker 3>And it took weeks for Ian Stanley to convince roland
<v Speaker 3>Oor's that it was any good. When he first heard
<v Speaker 3>he said, that's a worldwide smash, and Rolan's like, I
<v Speaker 3>don't know, man, it's just like a chorus, like I
<v Speaker 3>want people to kind of chant it during a concert.
<v Speaker 3>He's like, yeah, dude, that chorus is a worldwide smash.
<v Speaker 3>Took weeks to convince him. It was the second to
<v Speaker 3>last song added to the album, and because the song
<v Speaker 3>is complex, it pushed them over time and over budget,
<v Speaker 3>but gave us the gift of one more song that
<v Speaker 3>we'll talk about here in just a minute.
<v Speaker 2>Yeah, the studio didn't like how long the song was.
<v Speaker 3>Should we talk about that now or in two songs?
<v Speaker 2>Let's talk about it.
<v Speaker 3>Let's talk about now.
<v Speaker 2>And we'll just we'll tee it up that it's gonna
<v Speaker 2>come up a little bit later. We'll just tell them
<v Speaker 2>what happened now, and then we'll tell them about the lyrics.
<v Speaker 2>Next song.
<v Speaker 3>Sounds good, sounds good. So this song the average length
<v Speaker 3>of the songs on these albums over five minutes the
<v Speaker 3>average length.
<v Speaker 2>They're long.
<v Speaker 3>They're long songs, including Shout.
<v Speaker 2>Yeah.
<v Speaker 3>So David Bates is a record guy, and he wants
<v Speaker 3>them to reduce this song shout by thirty seconds. He
<v Speaker 3>wants them to fade out.
<v Speaker 2>That's a huge reduction in a song.
<v Speaker 3>Thirty seconds.
<v Speaker 2>That's a long time time.
<v Speaker 3>Yes, And they're like, we don't want to, like, no,
<v Speaker 3>you guys are doing it.
<v Speaker 2>They do. They do, and they're not happy about it.
<v Speaker 2>They're sad about it, and they're going to protest it
<v Speaker 2>a little bit later. They're so sad that they had
<v Speaker 2>to fade it all right, So we talked about how
<v Speaker 2>this song reached number one in August of eighty five.
<v Speaker 3>Okay, here's your top five August third, nineteen eighty five.
<v Speaker 2>We're already here. I'm so happy. Hey.
<v Speaker 3>Number one is Shout. Number two is every Time You
<v Speaker 3>Go Away by Paul Young.
<v Speaker 2>Okay, that's a decent song. It's good song, right.
<v Speaker 3>Number three if you love Somebody set Them Free by Sting.
<v Speaker 2>I like that song, yeah, face, I like that song. Okay,
<v Speaker 2>free you set Them Free? Yeah, I dig that song.
<v Speaker 3>Yeah, okay, all right. Number four You Give Good Love
<v Speaker 3>by Whitney Houston.
<v Speaker 2>Yeah.
<v Speaker 3>And number five Glory Days by Bruce Springsteen.
<v Speaker 2>I love that one. It's a good one.
<v Speaker 4>Right.
<v Speaker 2>He has one of my favorites. Yeah.
<v Speaker 3>So this video was directed by Nigel Dick.
<v Speaker 2>Oh, I'm so glad that you were talking about Nigel Dick.
<v Speaker 3>Okay, I was wondering if you would remember who that was.
<v Speaker 2>So yeah, we totally talked about him when we talked
<v Speaker 2>about get Ready for This, Ladies and Gentlemen, Guns and Roses.
<v Speaker 3>I know, he's like either Tears for Fears or Guns
<v Speaker 3>n' roses.
<v Speaker 2>Right, It's it's crazy. I mean, he's got he's one
<v Speaker 2>of those guys that has directed a ton of videos. Yes,
<v Speaker 2>but but the most iconic Guns and Roses videos are hit.
<v Speaker 2>So he's got patience, he's got Paradise City, he's got
<v Speaker 2>Sweet Child of Mine.
<v Speaker 3>I mean, he's come to the jungle.
<v Speaker 2>He's the man.
<v Speaker 3>He also did Rocket by Duff Leppard, Down in a
<v Speaker 3>Hole by Alice in Chains. Yep, he did Wonderwall and
<v Speaker 3>Champagne Supernova by Oasis, and Hit Me Baby One More Time.
<v Speaker 2>Yeah, he had a few Britney spears and he did
<v Speaker 2>this too. Yeah, he did Nigel Dick.
<v Speaker 3>Yep, what a name, terribly unfortunate name. I did see
<v Speaker 3>an interview with Kurt Smith how he's got kind of
<v Speaker 3>a little braided tail in the video.
<v Speaker 2>That his hair style choice in the eighties was unfortunate
<v Speaker 2>and several different occasions.
<v Speaker 3>So apparently his children thinks it's hilarious that he had
<v Speaker 3>a braid in this video.
<v Speaker 2>A rattail.
<v Speaker 5>Brain.
<v Speaker 3>Yeah, like, dad, look your braid. Oh my gosh.
<v Speaker 2>Speaking of his children, he's got a couple of little girls,
<v Speaker 2>one of whom has an incredible voice, an incredible musical ability.
<v Speaker 2>And we've been watching this it was like an Instagram
<v Speaker 2>kind of We're just gonna make this song real quick
<v Speaker 2>from COVID, Like they were stuck inside the house and
<v Speaker 2>she's in her early twenties. I mean she looks like
<v Speaker 2>she's fifteen. She's a super sweet looking little girl. Yep.
<v Speaker 2>And they're both she's playing guitar, he's playing bass, and
<v Speaker 2>they start singing mad It's so great.
<v Speaker 4>A famillion fais Warner place, says Worner fass fredonly pull
<v Speaker 4>the dailyais go going going now and it is a
<v Speaker 4>feeling up bag classes no expression, no wexpression.
<v Speaker 3>Have my head. I want to dramas ut Ah's cool?
<v Speaker 4>Is that?
<v Speaker 3>Man? That's just so sweet?
<v Speaker 4>It is.
<v Speaker 2>It is incredibly sweet. And her voice, I mean her
<v Speaker 2>harmony with her dad is a beautiful blend. It is great.
<v Speaker 3>Well, that's true. I could sing with Kurt Smith and
<v Speaker 3>it was singing halfway awesome, So well, she does better
<v Speaker 3>than that's true. That's true. I do like how in
<v Speaker 3>some of the lyrics of the song, you still have
<v Speaker 3>some of the remnants of nuclear tension, right. Oh yeah,
<v Speaker 3>So the line I hope we live to tell the
<v Speaker 3>tale nuclear tension between the world and the USSR and
<v Speaker 3>that type of thing.
<v Speaker 2>It was nineteen eighty five, right in the middle of
<v Speaker 2>Reagan and Gorbachop. I mean it was Cold War at
<v Speaker 2>tension peak, no.
<v Speaker 3>Doubt, one of the biggest songs of the summer of
<v Speaker 3>nineteen eighty five.
<v Speaker 2>The song is amazing. It never gets old to me,
<v Speaker 2>and I think for guys our Age it defines the album.
<v Speaker 3>Okay, were we ready to move on to the next one.
<v Speaker 2>Let's move on to song number two?
<v Speaker 3>Song number two. That song is called the Working Hour.
<v Speaker 2>So talk about songs with different personalities. Yeah, I mean
<v Speaker 2>this sounds like Jon Hammer. This song could be playing
<v Speaker 2>while Crockett is angry driving in the Ferrari after he
<v Speaker 2>accidentally shot the drug dealer.
<v Speaker 3>Yeah, for sure. So you got that long, really long intro,
<v Speaker 3>sweet saxe, sexy say, and then you got that kind
<v Speaker 3>of shuffle beat and then the song really takes off.
<v Speaker 3>I love it. It's a great song.
<v Speaker 2>This was really good. This was not on my radar
<v Speaker 2>before we came back and revisited this album. This is
<v Speaker 2>not one that was that what I was listening to
<v Speaker 2>back in the eighties, but it definitely has a distinct sound.
<v Speaker 2>I wouldn't have you play until Roland Oors the Ball
<v Speaker 2>starts singing and I don't know who this is initially, right,
<v Speaker 2>does not sound like my Tears for Fears. When you
<v Speaker 2>play that sexy sacks intro and you compare it to
<v Speaker 2>the beginning of shout, sounds like two different bands. So
<v Speaker 2>speaking of two different bands, let's talk about the different
<v Speaker 2>bands that became Tears for Fears. How about that?
<v Speaker 4>Right?
<v Speaker 2>Sounds good? Okay, So the key members of Tears for Fears,
<v Speaker 2>the guys who are on the album cover are Roland
<v Speaker 2>oors Ball and Kurt Smith. Right, They actually played in
<v Speaker 2>a band when they were fourteen years old, the little
<v Speaker 2>youth band called Ducks like duck with a Z at
<v Speaker 2>the end.
<v Speaker 3>Ducks.
<v Speaker 2>Okay, Yeah, I don't know what they did, but they
<v Speaker 2>split up, I guess eventually or moved on to other projects.
<v Speaker 2>And then Roland Orzabal joins up with this guy and
<v Speaker 2>forms a duo and they call themselves the Baker Brothers.
<v Speaker 2>The other guy is John Baker, So that makes sense,
<v Speaker 2>except that they weren't brothers, so that's a little weird.
<v Speaker 3>We have no relationship.
<v Speaker 2>But they would play in pubs. They're like sixteen years old.
<v Speaker 2>They would play in pubs. This around nineteen seventy seven,
<v Speaker 2>and they always opened with the song Missus Robinson by
<v Speaker 2>Simon and Garfink.
<v Speaker 3>Oh cool.
<v Speaker 2>And so ultimately they change their name to Graduate. Yes,
<v Speaker 2>and by this time they've brought Kurt Smith back on
<v Speaker 2>on bass. They release an album called Acting My Age
<v Speaker 2>and they have a video and a relatively decent hit
<v Speaker 2>called Elvis Should Play Scott that hits number one in Spain.
<v Speaker 4>Yeah.
<v Speaker 2>I heard the song a couple of different times, and
<v Speaker 2>then I learned that they're not talking about Elvis Presley,
<v Speaker 2>were talking about Elvis Costello.
<v Speaker 3>Oh you are kidding me?
<v Speaker 2>Oh yeah, they're talking about Elvis Costello. And I don't disagree.
<v Speaker 2>I would disagree on Elvis Presley should have played Scott.
<v Speaker 2>That would not make Elvis Costello. Absolutely, I'm on board
<v Speaker 2>have him play Scott. That would be great.
<v Speaker 3>Okay, So I got a question for you. Yeah, how
<v Speaker 3>do they get the name Tears for Fearce?
<v Speaker 2>Okay? Before we get there, Graduate goes on this grueling
<v Speaker 2>tour of Europe. I mean they're up in the UK,
<v Speaker 2>but they're touring down in Spain and other places in Europe.
<v Speaker 2>They don't even have roadies, like they're carrying their own equipment.
<v Speaker 2>They're setting up their own equipment. Yeah. Nice for the
<v Speaker 2>other guys in the band, But Roland and Kurt are like,
<v Speaker 2>this sucks yah, And they decide, we'd really like to
<v Speaker 2>just do studio work, like we would prefer to work
<v Speaker 2>in the studio. We hate being on the road, we
<v Speaker 2>hate having to do all this crap. And so they're out.
<v Speaker 2>They move on and they decide to form their own band,
<v Speaker 2>and initially they call the band and a History of Headaches.
<v Speaker 2>What they initially called the band A History of Headaches.
<v Speaker 2>But then they come across another one of Arthur Jenoff's books,
<v Speaker 2>and they come up with a different name. You know,
<v Speaker 2>the name of the book.
<v Speaker 3>The book's name is Prisoner of Pain.
<v Speaker 2>Yeah. And so what a part of this book is
<v Speaker 2>is about children having nightmares. They come in, they're crying
<v Speaker 2>about their nightmares. And what Arthur Jenoff says is many
<v Speaker 2>parents are like, don't cry, It's okay, don't worry about that.
<v Speaker 2>And what he says is what you should be saying
<v Speaker 2>is go ahead, cry it out. Let them have their
<v Speaker 2>tears for tears, love it now real quick before I
<v Speaker 2>jump back into that, there was a brief period before
<v Speaker 2>Tiers for Fears that they were studio musicians. Do you
<v Speaker 2>know this?
<v Speaker 1>No?
<v Speaker 2>I didn't. Yeah, they were studio musicians and they played
<v Speaker 2>in a band called Neon. Okay, now Neon didn't really
<v Speaker 2>do anything, but the guys they played with were a
<v Speaker 2>guy named Pete Burn and Rob Fisher. Well, when they
<v Speaker 2>split up, Burn and Rob Fisher form a band called
<v Speaker 2>Naked Eyes. What do you know this band?
<v Speaker 3>Always something there to remind me.
<v Speaker 2>Got it? Brother, Always something there to remind me, and promises,
<v Speaker 2>promises what yep? Kurt and Roland played with the guys
<v Speaker 2>from Naked Eyes before they formed Tears for Fears, and
<v Speaker 2>then those guys went on to record those two songs.
<v Speaker 3>Wow, that is a fantastic nugget, great dig right there.
<v Speaker 2>Yeah. And while they were in Neon, they played with
<v Speaker 2>the guitarist named Neil Taylor, who is the guitarist on
<v Speaker 2>Songs from the Big Chair.
<v Speaker 3>Oh Sweet.
<v Speaker 2>Okay, So anyway, we've we've gone far straight from the
<v Speaker 2>working hour. As we've said, this is a completely different personality.
<v Speaker 2>You've got jazz, you've got sacks. Sure, you got all
<v Speaker 2>kinds of complexity that's not in their other songs. And
<v Speaker 2>that's really truly amazing stuff. Did you have experience with
<v Speaker 2>a song when you were a kid?
<v Speaker 3>I listened to side one of this album on repeat.
<v Speaker 2>Okay.
<v Speaker 3>It was that time of my life where I was
<v Speaker 3>still kind of playing with transformers. I had one foot
<v Speaker 3>in toys and one foot in MTV. Okay, okay, so
<v Speaker 3>it got me through that little little period of time.
<v Speaker 2>I don't really know what this song is about.
<v Speaker 3>Well, I'll tell you what we do know. We know
<v Speaker 3>that these songs came out during the decade and eighties,
<v Speaker 3>and that Roland Oorsball is just kind of an old
<v Speaker 3>school hippie. Yeah, he's kind of a cleaned up hippie.
<v Speaker 2>He really is. We'll talk about his growing up here
<v Speaker 2>in a song or two. And it's unique.
<v Speaker 3>It is, it's different.
<v Speaker 2>It's fascinating. Yeah, Okay, that does it for the working hour.
<v Speaker 3>Let's get to it.
<v Speaker 2>We've got to get to this next song, maybe maybe.
<v Speaker 3>A mount Rushmore song of the eighties. This song's called
<v Speaker 3>Everybody Wants to Rule the World.
<v Speaker 2>So this intro goes on for thirty solid seconds before
<v Speaker 2>he comes in with the vocal.
<v Speaker 3>Thirty solid seconds of amazingness.
<v Speaker 2>I know, But what song plays thirty seconds of music?
<v Speaker 2>Before the voice starts today in nobody anymore, No, nobody
<v Speaker 2>does it right. Plus you get that really.
<v Speaker 3>Cool arpeggio, which I've learned since doing this podcast. You
<v Speaker 3>get it right at the top of the song. Yeah,
<v Speaker 3>they play it one more time, but if you played
<v Speaker 3>that or peggio for me, I'd be like, that's Tears
<v Speaker 3>for Fears.
<v Speaker 2>And it's a simple but beautiful mixture of sounds of
<v Speaker 2>different instruments and techniques that encapsulates what was beautiful about
<v Speaker 2>eighties music.
<v Speaker 3>It's so good.
<v Speaker 2>So the verse of the song is two chords, but
<v Speaker 2>it's almost not even really two chords. It's almost one chord.
<v Speaker 2>It is D one with an A bass and one
<v Speaker 2>with a G bass. That's it. It's D. It's basically
<v Speaker 2>the same chord with a different bass note for it.
<v Speaker 2>And amazing they built this song, and what is crazy
<v Speaker 2>is they didn't want to do this song.
<v Speaker 3>Not only did they not want to do it, the
<v Speaker 3>producer made them finish it, and when they finished it,
<v Speaker 3>they still didn't like it. They had three songs laying
<v Speaker 3>around They're like, which one are we going to pick
<v Speaker 3>out of these three? And the producers like, you're taking
<v Speaker 3>this one and They're like, I don't know, and so
<v Speaker 3>it barely made the cut. Yeah, so we talked about
<v Speaker 3>how Deaf Leppard created Pour Some Sugar on Me. Joelliott
<v Speaker 3>was just playing with the guitar. Mu Lang was walking
<v Speaker 3>by and said, what the heck are you working on?
<v Speaker 3>And he said, it's just something I'm working, you know,
<v Speaker 3>just filling around with He's like, no, that's a song.
<v Speaker 3>Same thing happened on this song, Rollandor's ball was messing
<v Speaker 3>around and played two chords that duh, duh.
<v Speaker 2>Okay. So the producer that you're talking about is Christopher Hughes,
<v Speaker 2>just Hughes, that's right. But his middle name was Marrek.
<v Speaker 2>Everybody called him Marrick. Oh okay. Yeah. So he was
<v Speaker 2>the drummer for Adam and the Ants. What Yes, Like,
<v Speaker 2>he and Adam Ant were in a band together before
<v Speaker 2>he and he produced some of their albums and then
<v Speaker 2>he started focusing on producing instead of being a drummer.
<v Speaker 2>He was the producer on The Herding, which is the
<v Speaker 2>album I mean this is. We didn't mention that this
<v Speaker 2>is Tears for Fear's second out, second album, and the
<v Speaker 2>first album was The Hurting, which is where you get
<v Speaker 2>mad World and Change and some of these other just
<v Speaker 2>incredible songs. I didn't even realize, like this is how
<v Speaker 2>out of touch with Tears for Fears I was. I
<v Speaker 2>didn't realize that Mad World was a Tears for Fear song.
<v Speaker 2>I know it from like the Gray's Anatomy, the new
<v Speaker 2>version that's out right new, the twenty year old versus
<v Speaker 2>I got thirty year old version right right. But Merrik
<v Speaker 2>cused Christopher Hughes. He co wrote Everybody Wants to Rule
<v Speaker 2>the World. That's why he's pushing it. That end the
<v Speaker 2>fact that it is an amazing, amazing song, right, as
<v Speaker 2>you mentioned I think before with some other guys. He
<v Speaker 2>had worked with def Leppard. Really yep, he worked with
<v Speaker 2>def Leppard. He worked with Robert Plant, Paul McCartney, Rick Okasik,
<v Speaker 2>Peter Gabriel, John bon Jovi.
<v Speaker 4>What.
<v Speaker 2>Yes, he was a huge producer and he is the
<v Speaker 2>guy who was playing drums on Shout. Now Manny Elias
<v Speaker 2>played drums on all of the rest of the songs,
<v Speaker 2>but the drums on Shout are Christopher Merrick Hughes, the
<v Speaker 2>producer in this song who convinced them and helped them
<v Speaker 2>co write Everybody Wants to Rule the world.
<v Speaker 3>Okay, so let's get into it a little bit. Because
<v Speaker 3>he walks by, here's the two chords. He's like, guys,
<v Speaker 3>turn that into a song. That's fantastic, and they're like,
<v Speaker 3>what are you talking about. We were finishing up the album.
<v Speaker 3>We were working on Shout it's the song.
<v Speaker 2>Yeah, we're done.
<v Speaker 3>He's like, no, you're turning that into a song. Takes
<v Speaker 3>them two weeks to finish it out. But Roland didn't
<v Speaker 3>like it. He didn't feel like it a fit the album.
<v Speaker 3>Felt like it was too light, and let's let's be honest.
<v Speaker 3>It's not light, but it's very radio friendly. I mean
<v Speaker 3>you can hear that right off the bat. So this
<v Speaker 3>song was influenced by the song Waterfront by Simple Minds.
<v Speaker 3>The drums were flat out stolen. They were stolen from
<v Speaker 3>this song.
<v Speaker 2>Oh okay, no, no, it's for real, Like they didn't
<v Speaker 2>sample it, it did, they didn't go that far, but
<v Speaker 2>they programmed their drums with just a minor tweet. Let's
<v Speaker 2>listen to it. Let's listen to the Waterfront and see
<v Speaker 2>what you think.
<v Speaker 3>Okay, yeah, it's that kind of shuffle right yeah.
<v Speaker 2>Boom to boom chat. But I mean I heard Kurt
<v Speaker 2>Smith talk about it. He didn't, he didn't try to
<v Speaker 2>deny it. He was like, we love that drumbeat. It
<v Speaker 2>catches you, it entrances you, and we flat out program
<v Speaker 2>the drum so that it would sound like that.
<v Speaker 3>Well here's they didn't just steal from that song. They
<v Speaker 3>stole from another song too, huh.
<v Speaker 2>Okay.
<v Speaker 3>So they're working on the chorus and they're writing it,
<v Speaker 3>and Roland's like, Okay, I knew that I had it
<v Speaker 3>worked out to where it was everybody dad, right, And
<v Speaker 3>so he knew it was everybody something. And for a
<v Speaker 3>while it was everybody wants to go to war?
<v Speaker 2>Yeah, well another Cold war deal, right right?
<v Speaker 3>And so he's like, it just didn't work. Let me
<v Speaker 3>play the first part of a song from the Clash
<v Speaker 3>called Charlie Don't Surf. Yeah, stole it right from that song.
<v Speaker 2>Well, yeah, I heard I heard the story on this.
<v Speaker 2>So did did you hear the rest of the story?
<v Speaker 4>I did?
<v Speaker 2>I love it, yeah, Kelly, this is well, after Everybody
<v Speaker 2>Wants to Rule the World has come out.
<v Speaker 3>It's like the number one world smash, right.
<v Speaker 2>Right, And and Joe Strummer and Kurt Smith end up
<v Speaker 2>in the same pub together and Joe Strummer like sees
<v Speaker 2>him across the room and Kurt Smith sees him, and
<v Speaker 2>he sees him like walking towards him, and he's like,
<v Speaker 2>you owe me a drink.
<v Speaker 3>Yeah.
<v Speaker 2>Smith is like, okay, yeah, I could do that.
<v Speaker 3>See I heard it. I heard that it was you
<v Speaker 3>owe me a fiver for stealing the lyrics to my song.
<v Speaker 3>And so he reached his pocket, pulled out a five
<v Speaker 3>and handed it to him. But still a great story.
<v Speaker 3>Right right now, you mentioned Kurt Smith. Kurt Smith is
<v Speaker 3>actually the one lead singing this song.
<v Speaker 2>Yeah, even though he didn't write it, right, Yeah, even.
<v Speaker 3>Though I can tell the difference. They both have kind
<v Speaker 3>of these full throaty vocals.
<v Speaker 2>You know, these guys were made to be in a
<v Speaker 2>band together. Their their voices are so well matched that
<v Speaker 2>they're almost you almost can't tell who's singing from song
<v Speaker 2>to song. But they definitely do trade off quite a bit. Now,
<v Speaker 2>Roland Arsbal had written most of their stuff, and he
<v Speaker 2>does sing a large part of what they have, but
<v Speaker 2>Kurt Smith has definitely contributed. I mean, Kurt Smith wrote
<v Speaker 2>Mad World, which is one of their best songs ever,
<v Speaker 2>right right, I mean it's and in several others, several others.
<v Speaker 2>But it's funny. I saw a meme because there's all
<v Speaker 2>kinds of pictures of these two guys and they're always
<v Speaker 2>staring off into some other direction. And somebody was like,
<v Speaker 2>Tears for Fears always looks like a couple who just
<v Speaker 2>had a fight.
<v Speaker 3>Yeah, yeah, I love it. I love it, And like,
<v Speaker 3>you know, we talked about how they didn't really like
<v Speaker 3>the song. They didn't think it fit and I love
<v Speaker 3>this line. So the producer, you know, Chris, he has
<v Speaker 3>made them work on this, right, he made them work
<v Speaker 3>on it. And so they started to play it again
<v Speaker 3>and again and again, and Roland said it didn't really
<v Speaker 3>take until we had to quote unquote wear it. And
<v Speaker 3>that's when they were like, Okay, this song's pretty good.
<v Speaker 3>It's still all didn't make the album. That summer, when
<v Speaker 3>it hit number one, they got a call from the manager.
<v Speaker 3>It said, congratulations, you guys are number one in America.
<v Speaker 3>You know what, Kurt said, Wow, that was quite easy.
<v Speaker 2>Now we I mean, I was blathering on earlier about
<v Speaker 2>the fact that songs from the eighties had long introductions
<v Speaker 2>and killer guitar solos and if I say to you,
<v Speaker 2>great guitarists from the eighties or great guitar solos from
<v Speaker 2>the eighties. You probably don't immediately go to Roland hors
<v Speaker 2>Ball or Everybody wants to Rule the world, right, but
<v Speaker 2>number one rolland horse Ball is a sick guitar player.
<v Speaker 2>He is really a talent.
<v Speaker 3>He's good, no doubt, really good.
<v Speaker 2>And if you listen to the guitar solo on this
<v Speaker 2>hasty it is some fine, bluesy, jazzy, kick ass guitar playing.
<v Speaker 3>Yeah, no doubt.
<v Speaker 2>Now before the guitar got solo comes in, though, there
<v Speaker 2>is a there's a lyric.
<v Speaker 3>We gotta talk about the lyrics.
<v Speaker 2>That's what we were just talking about in a minute ago.
<v Speaker 3>Yeah, right, so let's talk about the lyric. So glad
<v Speaker 3>we almost made it. So sad they had to fade it.
<v Speaker 2>Yeah, I didn't know what that meant. I just thought
<v Speaker 2>that was just some kind of poetic thing, you know,
<v Speaker 2>put in a song. They're referencing something very specific.
<v Speaker 3>That's a direct reference to when that record label guy
<v Speaker 3>made them fade out shout too early.
<v Speaker 2>Thirty seconds early. So sad we had to fade it,
<v Speaker 2>because turns out the record producer rules the world.
<v Speaker 3>Listen This song hits number one June eighth, nineteen eighty five.
<v Speaker 3>It's number one on the Hot one hundred one on
<v Speaker 3>the Dance chart, number two on the Rock chart, and
<v Speaker 3>number one on the Adult Contemporary. That is wide spread appeal. Okay,
<v Speaker 3>I've got to give you this top five from June
<v Speaker 3>eighth of eighty five.
<v Speaker 2>Hey, two top fives in one episode. I gotta hit
<v Speaker 2>these because I love it. It's loaded with Shirley Socks apologize,
<v Speaker 2>no apologies necessary, let me hear it.
<v Speaker 3>Okay. So number one, Everybody Wants to Rule the World.
<v Speaker 3>Number two Everything she Wants by Wham.
<v Speaker 2>That's straight off of Make It Big.
<v Speaker 3>We're gonna talk about that next week.
<v Speaker 2>YEP. Number three axel f Oh, which we just talked about,
<v Speaker 2>just talked about, just talked about in our Beverly Hills
<v Speaker 2>cop soundtrack.
<v Speaker 3>Number four is Suddenly by Billy Oshan. I could skip
<v Speaker 3>that one, and I bet you love it like Billy Ocean.
<v Speaker 3>And number five is Heaven by Brian Adams.
<v Speaker 2>Oh, that's a good one. I love Brian Adams. We're
<v Speaker 2>gonna cover We're gonna cover Brian Adams a little bit
<v Speaker 2>later on this summer.
<v Speaker 3>Just a few weeks away. Yeah, okay, now then have
<v Speaker 3>you seen the movie Real Genius?
<v Speaker 2>Yes, I have love that movie. I love that movie.
<v Speaker 2>I think Top Secret was the movie that I got
<v Speaker 2>introduced to Val Kilmar. But Real Genius, yeah, Real Genius
<v Speaker 2>was a piece of gold for me, soa in the theater.
<v Speaker 3>That movie came out the summer of eighty five and
<v Speaker 3>had enough foresight to grab everybody wants to Rule the world.
<v Speaker 3>For the final laser popcorn scene.
<v Speaker 2>For those of you who don't remember it and can't
<v Speaker 2>pull up Real Genius on your streaming service, right, there
<v Speaker 2>is a laser that is shot from space to the
<v Speaker 2>evil Professor's house Jerry Hathaway. Jerry Hathaway, same guy who
<v Speaker 2>plays Dicklas on The Ghostbusters, who plays the news reporter
<v Speaker 2>on Diehard, He's the evil Professor on Real Genius. And
<v Speaker 2>they shoot a laser unbeknownst to him into his house
<v Speaker 2>that is filled with instant pop popcorn, and suddenly his
<v Speaker 2>brand new home is overflowing with popcorn while Tears for
<v Speaker 2>Fears is black your ears.
<v Speaker 3>It's so great. We got to cover Real Genius maybe
<v Speaker 3>next seven.
<v Speaker 2>Okay, I want to say one more thing before we leave.
<v Speaker 3>Everybody wants to Rule the World. I honestly believe that
<v Speaker 3>if you were making a top ten Songs of the
<v Speaker 3>nineteen eighties, if you said this song is in that
<v Speaker 3>top ten, I'd have no problem with that. It's a
<v Speaker 3>fantastic song and one of the greatest songs of the eighties.
<v Speaker 3>It is not my favorite Tears for Fear song. It's
<v Speaker 3>not my favorite eighties Tears for Fear song.
<v Speaker 2>Are we going to talk about your favorite tears.
<v Speaker 3>What is your favorite Tears for Fear's eighties song?
<v Speaker 2>It's Shout Shouts your number one. It's been shout since
<v Speaker 2>nineteen eighty five.
<v Speaker 3>Okay, yeah, Mine is Sowing the Seeds of Love.
<v Speaker 2>Oh wow, okay, eight nine eighty nine.
<v Speaker 3>It's an absolute banger to me.
<v Speaker 2>I heard that and I was like, oh, they decided
<v Speaker 2>to do the Beatles.
<v Speaker 3>Doing the Beatles is your down to the Beatles?
<v Speaker 2>And they did a great They did a great job
<v Speaker 2>of the Beatles.
<v Speaker 3>They can wear those shoes.
<v Speaker 2>Yeah, yeah they care.
<v Speaker 3>Okay, We've done with this one.
<v Speaker 2>Yep. Time to move on to song number four.
<v Speaker 3>Songs called Mother's Talk, so talk again.
<v Speaker 2>About songs with completely different personalities. The first twenty second
<v Speaker 2>of this song could be a theme from a James
<v Speaker 2>Bond episode, right.
<v Speaker 3>Yeah, yeah, bomb.
<v Speaker 2>Bomb and then twenty seconds in they completely change gears
<v Speaker 2>and it's like a dead or alive dance hit. I mean,
<v Speaker 2>it's like it's gold. I love this song.
<v Speaker 3>So the beginning strings that you mentioned that sound James
<v Speaker 3>Bond themish, They sampled that from Barry Manilow beautiful yep
<v Speaker 3>of it, and then it kind of jumps into this
<v Speaker 3>sort of dance rock thing.
<v Speaker 2>Yeah.
<v Speaker 4>I know.
<v Speaker 3>Our good friend Melissa Mingle, this is her favorite. Here's
<v Speaker 3>her first song.
<v Speaker 2>Nice.
<v Speaker 3>This was the first single released in the UK, but
<v Speaker 3>the fourth single released in the US reached number twenty
<v Speaker 3>seven on the US charts.
<v Speaker 2>Yep this again. This was one of the songs that
<v Speaker 2>flew under my radar. I was not I was hearing
<v Speaker 2>the three big hits off of this album, and that
<v Speaker 2>was that was it.
<v Speaker 3>I've got a story I want to tell you about
<v Speaker 3>Roland Orsbal's mom.
<v Speaker 2>I Am at your feet.
<v Speaker 3>Go ahead, all right, So mother's talk. Obviously we're talking
<v Speaker 3>about his mother here. Okay. So there's a song off
<v Speaker 3>the album Seeds of Love called Woman in Chains. Okay, okay,
<v Speaker 3>and it was written about his mother. Just like this
<v Speaker 3>song was okay. His mom was a stripper at one point.
<v Speaker 2>Okay, she wasn't just a dancer, she was a stripper.
<v Speaker 3>She was a dancer, stripper, entertainer of men. Now I
<v Speaker 3>don't know where the line was on how much entertainment
<v Speaker 3>she provided, but it's not your average mother job.
<v Speaker 2>He I saw him talk about the fact that he
<v Speaker 2>had a very unusual childhood. Yeah, Like he talked about
<v Speaker 2>how he his friends had parents that work nine to five,
<v Speaker 2>had had basically a nervous breakdown when he was very
<v Speaker 2>young and became semi bedridden, then decided to form this
<v Speaker 2>entertainment company with his mom as a dancer.
<v Speaker 3>That's right. Yeah, Apparently there were times when dad felt
<v Speaker 3>okay because his mom would go out and strip, and
<v Speaker 3>his father would send his personal driver to go spy
<v Speaker 3>on her, and if she was talking to interestingly to
<v Speaker 3>other men, he would beat her up.
<v Speaker 2>The driver or the dad, the dad. Oh my stripping
<v Speaker 2>was okay? The talking right, not okay, that's mother's talk.
<v Speaker 3>Yeah, it's it's a it's really a strange oh my
<v Speaker 3>childsh Now, you send me a reel where he's talking
<v Speaker 3>about how there were people coming into their out of
<v Speaker 3>their houses for this entertainment industry. There were conjurors and
<v Speaker 3>cat jugglers.
<v Speaker 2>He said jogging. He did say it, he said conjurers
<v Speaker 2>and cat jugglers. And I went, what did he say?
<v Speaker 2>Did he really say cat juggle? Because I told you
<v Speaker 2>I was like I thought cat juggling was like a
<v Speaker 2>completely made up thing by Steve Martin from the Jury.
<v Speaker 2>I've seen this before, cat jugglers.
<v Speaker 1>This is disgusting.
<v Speaker 2>Where cat jugglers real?
<v Speaker 3>I guess I don't really live in that world of
<v Speaker 3>cat juggling.
<v Speaker 2>Well, if they were real and real and olders of
<v Speaker 2>all was not just making up a story. Part of
<v Speaker 2>the story was that there were also musicians who would
<v Speaker 2>come in, and that is where he learned to pick
<v Speaker 2>up the music, pick up the guitar, and start playing.
<v Speaker 3>Okay, I've got a story for you. I don't know
<v Speaker 3>where it fits, but it's too interesting not to tell us.
<v Speaker 3>I'm just gonna drop it right here.
<v Speaker 2>Okay.
<v Speaker 3>So, after Tears for Fears had been touring in support
<v Speaker 3>of this album for over a year, they turn the world.
<v Speaker 3>They're all over the place, They're on each other's nerves,
<v Speaker 3>and they finally have a break. So they had five
<v Speaker 3>days off where they planned to go vacation in Hawaii.
<v Speaker 3>Well that just so happened to be the same time
<v Speaker 3>that Bob Geldolf had planned Live Aid. Well, he announces
<v Speaker 3>that Tears for Fears is going to play Live AID
<v Speaker 3>without asking them. Okay, he thought that he could just
<v Speaker 3>pressure them and do showing up by announcing it. Well,
<v Speaker 3>that pissed him off. So they said, screw you, buddy,
<v Speaker 3>We're going to Hawaii, and they went. And that's why
<v Speaker 3>they weren't a lively Oh wow.
<v Speaker 2>Now, just as a tip of the hat to our
<v Speaker 2>next episode, yep, this song. Middle of the song are
<v Speaker 2>the lyrics wake me.
<v Speaker 3>Up, nice hit. Stop on your tape player, kick it out,
<v Speaker 3>flip it over for side two, and we start off
<v Speaker 3>with a song called I Believe.
<v Speaker 5>They Okay, so we start off with this reverse drum beat, right,
<v Speaker 5>this this is obviously a drum played in reverse.
<v Speaker 2>And then you come in with Roland Orizibal singing this
<v Speaker 2>like jazz of a nightclub, smooth, slow, sweet, jazzy. George
<v Speaker 2>Michael feels it's like kissing a fool, right, But of
<v Speaker 2>course kissing a fool didn't come along until later eighty eight.
<v Speaker 3>Yeah, that's right, but it is that sort of crooner
<v Speaker 3>you know, tip your waitresses, jazzy nightclub smoky feel.
<v Speaker 2>This is what I know. This song was influenced by
<v Speaker 2>the songwriting of Robert Wyatt. Can you tell me about this?
<v Speaker 3>Here's what I know about Robert Wyatt. So, Robert Whitatt
<v Speaker 3>was a drummer and singer for two bands, one called
<v Speaker 3>Caravan and one called Soft Machine. Soft Machine had a
<v Speaker 3>song called dedicated to You but you Weren't listening. In
<v Speaker 3>the liner notes in this album, it says this song
<v Speaker 3>in particular is dedicated to Robert Wyatt if he's listening.
<v Speaker 3>Uh huh, because it's a direct reference to that song.
<v Speaker 3>Here's the deal. Robert Wyatt was a good guy, kind
<v Speaker 3>of a non drinker before and then he got swept
<v Speaker 3>up in that lifestyle and became like an instant alcoholic,
<v Speaker 3>like couldn't handle it, became a heavy drinker and was
<v Speaker 3>out of control instantly. Well, while at a party and
<v Speaker 3>clearly heavily inebriated, fell out of a fourth story window,
<v Speaker 3>broke his spine, didn't die, but was paralyzed from the
<v Speaker 3>waist down, and he credits that accident as saving his life.
<v Speaker 3>He said that if he had not fallen out that window,
<v Speaker 3>he would have continued down a path and died from
<v Speaker 3>his drinking, but that caused him to change his life
<v Speaker 3>and therefore live.
<v Speaker 2>Wow.
<v Speaker 3>Okay, I have to talk to you about the music video.
<v Speaker 2>Oh there's a seen the video.
<v Speaker 3>Okay, So this was released as a single in the UK.
<v Speaker 3>They actually made a music video for it, so you
<v Speaker 3>haven't seen it right now. No, so let me describe
<v Speaker 3>it for you. Then I want you to watch it,
<v Speaker 3>then you'll react to it. Okay, Okay. So in the
<v Speaker 3>music video, he's shirtless and it's like he's in you know,
<v Speaker 3>buttonfly jeans, but he's actually kind of uncomfortably muscular. When
<v Speaker 3>I watched this musical, it makes me feel like back
<v Speaker 3>to the junior high days where you're sitting in the
<v Speaker 3>back seat with somebody right into the movies and then
<v Speaker 3>you look over your two friends are making out and
<v Speaker 3>you're trapped back there, you know, like uncomfortably coming into
<v Speaker 3>a situation. Roland Orsibal singing shirtless. I'm like, I feel
<v Speaker 3>like weird watching this video. But here's the deal. So
<v Speaker 3>he's singing without a shirt on, and then out of nowhere,
<v Speaker 3>Kurt Smith drops in out of the blue just to
<v Speaker 3>tap the triangle just and then disappears again. You have
<v Speaker 3>got to watch this video. Okay, all right, okay, dde,
<v Speaker 3>Now you've seen the video. What do you think he
<v Speaker 3>was uncomfortably muscular? He's not like, it's not Krim Simsworth.
<v Speaker 3>But I mean when you see Roland Orsible and all
<v Speaker 3>of the other Tears for Fears video, you think a
<v Speaker 3>dainty man. Right, Just to be frank, you don't think
<v Speaker 3>you don't think of a guy who's in shape.
<v Speaker 2>And he he is in these in decent shape. Sure.
<v Speaker 2>Now the jeans, the buttonfly jeans, top button wasn't buttons, okay,
<v Speaker 2>number one, how button wasn't But that's okay because they
<v Speaker 2>were definitive mom jeans. I mean they went all the
<v Speaker 2>way up to well above his belly button, I mean
<v Speaker 2>nearly to the sternum. And then yes, he didn't like
<v Speaker 2>just walk in and walk out. It was like he
<v Speaker 2>faded in and faded out Kurt Smith with.
<v Speaker 3>The little ting of the triangle, just like a peer
<v Speaker 3>out of nowhere.
<v Speaker 2>And then you get when you get the sax solo,
<v Speaker 2>you get him saying William William, So do you know
<v Speaker 2>who that is? No? Okay, So that's William Gregory played.
<v Speaker 2>I mean, his biggest probably claim to fame was playing
<v Speaker 2>saxophone for Tears for Fears. But later on he was
<v Speaker 2>a part of a duo called Goldfrap. But before that
<v Speaker 2>and after Tears for Fears, he played with Peter Gabriel. Okay,
<v Speaker 2>played with the Cure. He played with Portishead, which is
<v Speaker 2>one of my favorites. I think James Buckley's a big
<v Speaker 2>fan of Port'shead as well. Okay, and then he played
<v Speaker 2>obo for Torri.
<v Speaker 3>Well, how about that.
<v Speaker 2>There you go, there's William in his classes. He's the
<v Speaker 2>nerdiest saxophone in the world.
<v Speaker 3>He looked like worms are from Revenge of the Nerds,
<v Speaker 3>a little kid. All right, let's move on to the
<v Speaker 3>next one. That next song is called broken. Okay, So
<v Speaker 3>this song goes well over halfway through the song before
<v Speaker 3>there's any singing.
<v Speaker 2>Yeah. This this song is about two and a half
<v Speaker 2>minutes long, and it's a minute and forty before you
<v Speaker 2>hear any stuff.
<v Speaker 3>Thought it was an instrumental When I first listened to it.
<v Speaker 2>To percent, I thought it was a jam session. I mean,
<v Speaker 2>this is when you go and see a concert. I
<v Speaker 2>love these moments where the band just jams out and
<v Speaker 2>they're just playing and having fun and doing some crazy stuff.
<v Speaker 2>And that's totally what's happening in this song to me.
<v Speaker 2>Then all of a sudden, you're like, oh, whoa, there
<v Speaker 2>are lyrics to this song.
<v Speaker 3>Well not only that, but the first time I'm listening
<v Speaker 3>to it, I'm like, oh, they're jamming out, they're having
<v Speaker 3>a good time, they're playing music. Hey, that's head over Heels.
<v Speaker 3>Oh wait, now we're back to a jam session.
<v Speaker 2>Fifty five seconds and you get done. No, no, no,
<v Speaker 2>and then it's over and it's like, what I know that.
<v Speaker 3>A jab to the gut. I'm like, wait a minute.
<v Speaker 4>What.
<v Speaker 3>So this song was written by Ian Stanley. This was
<v Speaker 3>his baby on the album.
<v Speaker 2>Uh huh.
<v Speaker 3>They loved that little piano piece at fifty five seconds,
<v Speaker 3>and so they later go on to build that into
<v Speaker 3>the song head over Heels, which we'll talk about here
<v Speaker 3>in just a moment.
<v Speaker 2>So Ian Stanley, because we haven't mentioned his name before,
<v Speaker 2>he's the guy playing keyboards. I mean this for the band.
<v Speaker 2>For songs from the Big Chair, you obviously have You've
<v Speaker 2>you've got Roland, and you've got Kurt, You've got Manny
<v Speaker 2>Elias who played the drums on songs two through seven.
<v Speaker 2>Who was there? I mean, they had been their drummer
<v Speaker 2>from neon. And then you have Ian Stanley playing keyboards,
<v Speaker 2>doing the Lynn drum programming, and he also did the
<v Speaker 2>arrangements for Listen, which we'll talk about here in just
<v Speaker 2>a minute.
<v Speaker 3>I've got a great Ian Stanley story for Are you
<v Speaker 3>ready for this?
<v Speaker 1>Yeah?
<v Speaker 3>Okay. So in June of nineteen eighty five, this is
<v Speaker 3>the peak of Tears for Fir's power.
<v Speaker 2>Yeah, they're true in the world.
<v Speaker 3>Whatever, And they end up in Kansas City for a
<v Speaker 3>two night stopover. So they end up for whatever reason,
<v Speaker 3>Ian Stanley goes to the Peppercorn Duck Club at the
<v Speaker 3>Hyatt Hotel.
<v Speaker 2>In Kansas City. Okay, Peppercorn, Peppercorn Duck Dot Club, now
<v Speaker 2>think with me.
<v Speaker 1>Yeah.
<v Speaker 3>In June of nineteen eighty five, Tears for Vere's is huge,
<v Speaker 3>and he goes to listen to a local singer at
<v Speaker 3>a bar in a hotel. Okay, okay with me Hyatt
<v Speaker 3>at the Hyatt. Her name is Olita Adams.
<v Speaker 2>Okay.
<v Speaker 3>He listens to her perform and he is blown away.
<v Speaker 3>So the next night he invites the rest of the
<v Speaker 3>guys in the band to come, like Kurt Smith and
<v Speaker 3>Rolandosble to come join him and listen to this lady sing.
<v Speaker 3>So they come down and they listen and they're blown away.
<v Speaker 3>So they go up to her afterwards and they're like, hey,
<v Speaker 3>guess what. We're Tears for Fears. We're worldwide known, We've
<v Speaker 3>got a number one hit in the world right now.
<v Speaker 3>We would love for you to sing on our next album.
<v Speaker 2>I know who this is. Oh okay, yes, yeah, she's
<v Speaker 2>big on that album.
<v Speaker 3>So she says, of course, I would love to. She
<v Speaker 3>doesn't really believe that Tears for Fears is going to
<v Speaker 3>remember her, let alone call her in two or three
<v Speaker 3>years whenever they do this. So guess what, two years later,
<v Speaker 3>when they start working on their follow up album, they
<v Speaker 3>call her and she's like, yes, of course. So she
<v Speaker 3>sings in a duet with them on the song Woman
<v Speaker 3>in Chains, which we talked about when we talked about
<v Speaker 3>Mother's Talk. She also agreed to open for them on
<v Speaker 3>the Seeds of Love tour, and she stays on stage
<v Speaker 3>and sings back up the entire time.
<v Speaker 2>I remember the video, She's a huge part of the
<v Speaker 2>video from that.
<v Speaker 3>Oh man, they discovered her in Kansas City at a
<v Speaker 3>bar at the Hyatt.
<v Speaker 2>That's crazy. How about that. That's great story, man, fantastic.
<v Speaker 2>That's worth the price of admission right there.
<v Speaker 3>I love stories like that.
<v Speaker 2>Right, Absolutely, that's fantastic.
<v Speaker 3>Okay, we ready to move on to another big hitter.
<v Speaker 2>Absolutely, three songs I know from the era. This is
<v Speaker 2>song number three, song number seven on the album, which
<v Speaker 2>is a slash song. This is a head over heels
<v Speaker 2>slash broken. Before we start the song, Before we start
<v Speaker 2>the song, I just I want everybody just to think
<v Speaker 2>about this as this intro plays beautiful piano and you
<v Speaker 2>get this ethereal synthesizer coming in behind it. Then suddenly
<v Speaker 2>the guitar takes over for the synthesizer, Then the drums
<v Speaker 2>pound in, and then it crescendos at thirty seconds, and
<v Speaker 2>well the ball starts singing, what a incredible build that was.
<v Speaker 3>I love this song, man, Oh it's so good. I
<v Speaker 3>love it. How in the world did this song not
<v Speaker 3>hit number one? It only went to number three.
<v Speaker 2>We have a third top five for this episode.
<v Speaker 3>Would you like it? We love to hear it because
<v Speaker 3>we've talked about it already. We've talked about this very
<v Speaker 3>top five.
<v Speaker 2>Okay, yeah, So when did we talk about.
<v Speaker 3>It on our Miami Vice soundtrack episode?
<v Speaker 2>Okay? Okay, episodes ago? Right? Got Yeah?
<v Speaker 3>So this song tops out at number three November ninth
<v Speaker 3>of eighty five. Okay, how it does not hit Number
<v Speaker 3>one is a Crime against Humanity?
<v Speaker 2>Okay?
<v Speaker 3>So number five this week is We Built This City
<v Speaker 3>by Starship Okay. Number four is You Belong to the
<v Speaker 3>City by Glenn Frye off the Miami Vice soundtrack. Number
<v Speaker 3>three is Head Over Heels. Number two it's Part Time
<v Speaker 3>Lover by Stevie Wonder.
<v Speaker 2>Oh, that's got to hit you deep heart in your soul.
<v Speaker 4>It does.
<v Speaker 3>It makes me hurt. And then number one is Undeniable.
<v Speaker 3>It's a Miami Vice theme, but Head over Heels.
<v Speaker 2>Beats it every day, all day and twice.
<v Speaker 3>I agree, I agree. Yeah, this song is amazing, absolutely amazing.
<v Speaker 2>Can I just read to you the poetry of these lyrics? Sure,
<v Speaker 2>and read it to me. I wanted to be with
<v Speaker 2>you alone and talk about the weather, But traditions I
<v Speaker 2>can trace against the child in your face won't escape
<v Speaker 2>my attention. You keep your distance via the system of
<v Speaker 2>touch and gentle persuasion, and I'm lost in admiration. Could
<v Speaker 2>I need you this much? Oh? You're just wasting my time,
<v Speaker 2>Just just wasting my time.
<v Speaker 3>That's great.
<v Speaker 2>I love it. Wow.
<v Speaker 3>Okay, now we're sitting in awe of this song. Yes,
<v Speaker 3>but both Kurt and Roland didn't particularly like this song
<v Speaker 3>very much.
<v Speaker 4>What come on?
<v Speaker 3>Guys? Orsbo called it one of the simplest tracks Tears
<v Speaker 3>and Fairs ever produced, the simple love song. He didn't
<v Speaker 3>really like it that much.
<v Speaker 2>He's so wrong.
<v Speaker 3>He's way out of as on this one.
<v Speaker 2>Yeah, this is this is gold.
<v Speaker 3>This is the only track with Kurt as a co
<v Speaker 3>writer and the mix of their two voices they harmonize
<v Speaker 3>in this. It's just it's just beautiful.
<v Speaker 2>I love it.
<v Speaker 4>Ye.
<v Speaker 3>Can we talk about the music video for a second.
<v Speaker 2>Let's do it.
<v Speaker 3>It's a ridiculous eighties music video that we saw every
<v Speaker 3>five minutes on MTV. He's walking around a library. He's
<v Speaker 3>got a stack of books and he's talking to the
<v Speaker 3>librarian who is disinterested in him. Another video by Nigel Dick.
<v Speaker 3>Here's the funny part about this. So in the music
<v Speaker 3>video we have card catalog trouble right. It's a very
<v Speaker 3>eighties thing.
<v Speaker 2>Are you telling me roland Or's bald does not know
<v Speaker 2>the Dewey decimal system.
<v Speaker 3>He has trouble and if I were to, if I
<v Speaker 3>was a bettied man, I bet they got that part
<v Speaker 3>of the music video from Ghostbusters well because the cards
<v Speaker 3>in the card catalog and the are flying off the shelf. Right, Okay,
<v Speaker 3>So he goes up to talk to the library and
<v Speaker 3>her name is Joan Dinsmore. Here's the thing.
<v Speaker 2>She was a model.
<v Speaker 3>Okay, Nigel Dick when he hired her, there was two girls.
<v Speaker 3>One was nice, one was mean and nasty, and he
<v Speaker 3>hired the mean and nasty girl because he wanted her
<v Speaker 3>to be indifferent to Roland's advances in the video. Okay,
<v Speaker 3>so when you watch the video, you're like, she's not
<v Speaker 3>very nice. That was intentional and obviously true. Exactly.
<v Speaker 2>Yeah, I don't know.
<v Speaker 3>There's not too much to say about this one other
<v Speaker 3>than it's just a fantastic.
<v Speaker 2>It is a baller song, beautiful music, beautiful arrangement. The
<v Speaker 2>dynamics are incredible and the lyrics are poetry. We like
<v Speaker 2>I said, it lasts to today. It lasts too where
<v Speaker 2>my fourteen year old football playing son says this is
<v Speaker 2>his favorite tears for Fear song.
<v Speaker 3>I can't fault him at all. No, And they built
<v Speaker 3>this off of one little thing from the song Broken,
<v Speaker 3>which had been around since nineteen eighty two. He took
<v Speaker 3>that little piano piece and built it into a number
<v Speaker 3>three hit.
<v Speaker 2>Yeah.
<v Speaker 3>Have you seen the movie Donnie Darko? No, I haven't
<v Speaker 3>seen it either. But at the beginning, there's this big
<v Speaker 3>intro where there's no dialogue in for like four minutes,
<v Speaker 3>you get nothing but the Tears for Fear song ahead
<v Speaker 3>of a Hearless And so I watched this piece of
<v Speaker 3>the of the movie. So they're walking through the hall
<v Speaker 3>their you know, high school students intermingling, and it kind
<v Speaker 3>of sets the tone for the movie. Here's the interesting part.
<v Speaker 3>When the movie was being made, they did not have
<v Speaker 3>permission to use the song yet, so they went all
<v Speaker 3>in on the song in the hopes that they could
<v Speaker 3>get the rights to it. So this big opening scene
<v Speaker 3>all set to this song, the Tears for Fears. Guys
<v Speaker 3>weren't going to allow them to use it, but it
<v Speaker 3>took a personal phone call from Drew Barrymore to Kurt
<v Speaker 3>Smith that sealed the deal.
<v Speaker 2>Nice.
<v Speaker 3>How about that?
<v Speaker 2>That's awesome. That's interesting. When was when did When did
<v Speaker 2>Donny Darko come out in.
<v Speaker 3>Two thousand and one or two something like that.
<v Speaker 2>Wow, that's awesome, you know, speaking of time passing, time flies, Right,
<v Speaker 2>So there is a like a basically kind of a
<v Speaker 2>mini concert, a basement concert where the Tears four Fears
<v Speaker 2>guys are all together recording together in this smaller space,
<v Speaker 2>and they do I mean, they've got songs from the Herding,
<v Speaker 2>They've got songs from Songs from the Big Chair, They've
<v Speaker 2>got songs from song the Seeds of Love. Nice little concert,
<v Speaker 2>and they're I mean, this is last year these are
<v Speaker 2>they're in their sixties. They may have gotten better. Like,
<v Speaker 2>I mean, it is so freaking good. I was telling you.
<v Speaker 2>I was like, it's kind of weird because rolling oars
<v Speaker 2>the ball. He's now completely gray, almost white hair. Yeah,
<v Speaker 2>he looks like Gandalf.
<v Speaker 3>He does.
<v Speaker 2>It looks like Gandolf, but it's like he wears it better.
<v Speaker 2>He looks better now at sixty than he did when
<v Speaker 2>he was in his twenties in the eighties, right, I mean,
<v Speaker 2>he looks like I just a kick ass biker rocker stud.
<v Speaker 3>So I saw this picture on the internet, and it's
<v Speaker 3>a picture of the two guys from the songs from
<v Speaker 3>the Big.
<v Speaker 2>Chair cover right Curtain Roland here, Kurten.
<v Speaker 3>Roland, and then I saw a picture of them basically
<v Speaker 3>in the same positions, except now clearly they're much older.
<v Speaker 4>You know.
<v Speaker 3>Roland's got a white beard and white hair, Kurt's barely
<v Speaker 3>got any hair. And the caption was funny, how time lies?
<v Speaker 2>Oh, it all comes back all right? Sad to say it,
<v Speaker 2>but we are to the last song on the album.
<v Speaker 2>So I need everybody, everybody, I need you to listen, okay.
<v Speaker 2>So clearly this song spills over from the live version
<v Speaker 2>of Broken that we just listened to, from song number
<v Speaker 2>seven on the A Yes, yes, And I have a prediction.
<v Speaker 2>I have a prediction, everybody. I Jason and I have
<v Speaker 2>not talked about this song before, but my prediction is
<v Speaker 2>that Jason actually really loves this song really. Yes, you
<v Speaker 2>know why is my prediction? Why because it has got
<v Speaker 2>Phil Collins and Genesis all.
<v Speaker 4>I like it.
<v Speaker 3>Yeah, I like it. Yeah, we know each other's taste
<v Speaker 3>pretty well now we do.
<v Speaker 2>And this song. I enjoy this song. I gotta say,
<v Speaker 2>I would not have put it as the tempole end
<v Speaker 2>of the album.
<v Speaker 3>Yeah, it doesn't really fit at the end.
<v Speaker 2>No, this is a this is a great song for
<v Speaker 2>a middle an intermission. A let's just kind of live
<v Speaker 2>and soak in this moment for a little bit. But
<v Speaker 2>if you had said to me, do we put the
<v Speaker 2>song Listen last? Or do we put the song head
<v Speaker 2>over Heels last? I'd be like, head over Heels, right,
<v Speaker 2>don't fail this.
<v Speaker 3>You want to spike the football on your way out.
<v Speaker 2>Yeah, but as you mentioned, they didn't even really like
<v Speaker 2>head over Heels.
<v Speaker 3>Yeah.
<v Speaker 2>I mentioned just a bit ago that Ian Stanley, the
<v Speaker 2>guy that did their keyboards, he was the one that
<v Speaker 2>arranged this song. And this song is complex, right, There's
<v Speaker 2>no question there's a lot of a lot of jamming
<v Speaker 2>going on here. But if we're if we're saying this
<v Speaker 2>is an organized machine, Ian Stanley's the one that kind
<v Speaker 2>of put this together. How did Ian Stanley get in
<v Speaker 2>the band?
<v Speaker 3>No idea.
<v Speaker 2>He offered the guys his recording facility to record it.
<v Speaker 3>That's the way to do it, man. Yeah, that's how
<v Speaker 3>David Roth got into Van Haleen.
<v Speaker 2>Basically, He's like, I got a place you guys can
<v Speaker 2>go record over there as fine, And then, of course,
<v Speaker 2>just within very short amount of time, he had joined
<v Speaker 2>the band. Now, speaking of angry married couple, Yes, Roland
<v Speaker 2>and Kurt had an acrimonious split. It did in the
<v Speaker 2>mid late nineties, right and ninety one, Right, ninety one,
<v Speaker 2>that's right. So six years after this album they're like, fu,
<v Speaker 2>I'm not recording with you anymore. They did not like
<v Speaker 2>each other.
<v Speaker 3>Okay, so they went ten years without speaking.
<v Speaker 2>That's incredible, given how gifted they are, how well that
<v Speaker 2>they did work together. But yeah, there there must have
<v Speaker 2>been something very bad that happened.
<v Speaker 3>Roland talked about it. He goes, you know, when I
<v Speaker 3>read about our breakup, he goes, I was there, so
<v Speaker 3>I know what happened. Everybody makes it sound like we
<v Speaker 3>were having fistfive and throwing stuff at each other, because
<v Speaker 3>it wasn't like that at all. He was like, what
<v Speaker 3>happened was I would be like, I'm right, and this
<v Speaker 3>is the way we need to do it, and Kurt
<v Speaker 3>would be like, no, I'm right, and this is the
<v Speaker 3>way we do it. Need to do it, and then
<v Speaker 3>they would go stand in opposite corners of the room.
<v Speaker 3>There's no yelling, there's no screaming, there's no throwing stuff,
<v Speaker 3>there's no fu there's no, nothing.
<v Speaker 2>It was just stare into a different area exactly. Somebody
<v Speaker 2>would take a picture and it would be the next
<v Speaker 2>album cover, just exactly. But it caused a ten year rift,
<v Speaker 2>ten your rift.
<v Speaker 3>And when they got back together and made the next album,
<v Speaker 3>you know what, the album's called, Everybody Loves a Happy Ending.
<v Speaker 3>I thought that was perfect.
<v Speaker 2>It is perfect. And like I said, the stuff that
<v Speaker 2>they did just a year ago, they they're playing together
<v Speaker 2>beautifully right now, beautifully.
<v Speaker 3>I saw Roland also talk about how they compliment each
<v Speaker 3>other so well that they really can't stay apart. Yeah,
<v Speaker 3>they are intertwined and that's how it is.
<v Speaker 2>One little tidbit on that intermission period. All right, Okay,
<v Speaker 2>so I Stanley guys, that guy that are arranged and
<v Speaker 2>that we're listening, you know we're talking about right now.
<v Speaker 2>He collaborated with Roland oors a Ball on a side
<v Speaker 2>project called Ready for This. Yeah man crab Man crab
<v Speaker 2>Man crab oh, okay, man crab. They released a song
<v Speaker 2>released a single called Fish for Life, which is on
<v Speaker 2>the Karate Kid to soundtrack.
<v Speaker 3>Get Out of Here with That. That is awesome.
<v Speaker 2>Yeah, fish for Life excellent, excellent.
<v Speaker 3>Well, I do have one sort of sad story. Okay,
<v Speaker 3>So roland Oor's ball was involved with a lady named
<v Speaker 3>Caroline Johnston for many years. They were dating since they
<v Speaker 3>were teens, got married, had two sons together. She slowly
<v Speaker 3>developed an alcohol problem and she died in twenty seventeen
<v Speaker 3>due to alcohol related dementia and soirrhosis. Oh no, And
<v Speaker 3>when she passed away, he looked up and who is
<v Speaker 3>there to walk him through that? Kurtzmth Kurtz. That's what friends,
<v Speaker 3>true friends are for.
<v Speaker 2>Love it, love it. Well, here we are. We're at
<v Speaker 2>the end of the album and I loved every minute
<v Speaker 2>of it. Fantastic album. Like I said at the beginning,
<v Speaker 2>this is that girl that I didn't really pay attention
<v Speaker 2>to in high school, and we come back for their
<v Speaker 2>reunion and I'm falling in love.
<v Speaker 3>It's fantastic.
<v Speaker 2>Guys, be sure and hit that follow button, hit that
<v Speaker 2>subscribe button, whatever you need to do so that you
<v Speaker 2>can catch our next episode where we are going to
<v Speaker 2>compare songs from The Big Chair two Make It Big
<v Speaker 2>by Wham.
<v Speaker 3>Two of the biggest albums of the summer of nineteen
<v Speaker 3>eighty five.
<v Speaker 2>So be sure and join us for that if you
<v Speaker 2>would do us the honor. If you've listened this far,
<v Speaker 2>give us a five star rating, put a review out there.
<v Speaker 3>Tell us love reviews.
<v Speaker 2>We love them. They help us out so much and
<v Speaker 2>they let other people know us about us. And if
<v Speaker 2>you are even more deeply in love with with us
<v Speaker 2>than that, check out our Patreon page, where we have
<v Speaker 2>a new episode every single month where we deep dive
<v Speaker 2>into the one hit wonders of the eighties and nineties
<v Speaker 2>and some other songs too.
<v Speaker 3>I love it, Dee, we've done another one. Can't wait
<v Speaker 3>to be back here next week.
<v Speaker 2>Make it big waym