Dirty Dancing Soundtrack (1987): Track by Track!

<v Speaker 1>This is a podcast from Minute Media.
<v Speaker 2>Hello everybody, and welcome back to the Shirley You Can't
<v Speaker 2>Be Serious podcasts. Ladies and gentlemen, have we got a
<v Speaker 2>show for you today. We will be talking about two murders,
<v Speaker 2>a rape, glass, coffins, and stolen shoes. And that's all
<v Speaker 2>in the first two songs.
<v Speaker 3>You think he's kidding, he is not kidding. It's incredible
<v Speaker 3>the stories involved in this album.
<v Speaker 2>Yes, it really is. It's I mean, it's something special
<v Speaker 2>that we get to do when we go into an
<v Speaker 2>album that is by quote unquote various artists because we
<v Speaker 2>were exploring all kinds of stories. But this is this
<v Speaker 2>is one for the ages. I'm excited to get into it.
<v Speaker 2>Here we go with the Shirley You Can't Be Serious Podcast.
<v Speaker 3>We hope that you'll join us and have the time
<v Speaker 3>of your life. Just be our baby, be our little bit, okay,
<v Speaker 3>d Before we get into it track by track, some
<v Speaker 3>people might feel like the Dirty Dancing soundtrack, Why are
<v Speaker 3>you cover the Dirty Dancing soundtrack? That's not really kind
<v Speaker 3>of in our sweet spot. But listen, this is a
<v Speaker 3>top five selling album of the nineteen eighties. It is
<v Speaker 3>one of the best selling Albums of All Time. It
<v Speaker 3>was released in the eighties. It has multiple hits from
<v Speaker 3>the eighties, including the best song of the year. I
<v Speaker 3>mean it's it's definitely our wheelhouse. It's just that you
<v Speaker 3>might not realize it's our wheelhouse. That's true.
<v Speaker 2>So you pick up the Dirty Dancing soundtrack and you're
<v Speaker 2>going to think, well, okay, this is going to be
<v Speaker 2>all songs from the late fifties early sixties, because that's
<v Speaker 2>the time period of the movie. But in fact, especially
<v Speaker 2>when you got the first part of the album, it's
<v Speaker 2>mostly brand new songs.
<v Speaker 3>Yeah it is. Here's the thing that blew me away? Okay,
<v Speaker 3>So I knew this was a big thing. I heard
<v Speaker 3>it on the radio every time I turned it on.
<v Speaker 3>I mean, Dirty Dancing was a force in eighty seven
<v Speaker 3>and eighty eight. Yeah, undeniable. Yeah right, but this is
<v Speaker 3>the thing that blew me away. Okay. Here's the top
<v Speaker 3>five selling albums of the decade. Yes, number one thriller
<v Speaker 3>No Surprise There, Yeah right, which we have done track
<v Speaker 3>by track, Yes episode one. Yes number two is Back
<v Speaker 3>in Black.
<v Speaker 2>Which we've done track by track.
<v Speaker 3>Yes, No Surprise There, No Surprise. Go back to that episode.
<v Speaker 3>Great episode number three was Bad by Michael Jackson, which
<v Speaker 3>we covered track by track. Yes, number four is Dirty Dancing.
<v Speaker 3>Here we are, we're checking this one off the box,
<v Speaker 3>clicking this box today. We've got several others on this list.
<v Speaker 3>And number five was Appetite for Destruction.
<v Speaker 1>Bang.
<v Speaker 3>We matched up one versus three, two versus five. And
<v Speaker 3>the funny thing is is that the Dirty Dancing Soundtrack
<v Speaker 3>is the number four selling album of the nineteen eighties.
<v Speaker 3>Saturday Night Fever is the number four selling album of
<v Speaker 3>the nineteen seventies.
<v Speaker 2>See that's important. If you are just tuning into us
<v Speaker 2>for the first time. Welcome aboard Shirley fan anew. We
<v Speaker 2>have in the last two episodes covered Dirty Dancing the
<v Speaker 2>movie versus Saturday Night Fever the movie, and now we
<v Speaker 2>are covering Dirty Dancing the soundtrack versus Saturday Night Fever
<v Speaker 2>the soundtrack. And at the end, I think we'll probably
<v Speaker 2>rank them all one, two, three, four.
<v Speaker 3>Yeah. Absolutely.
<v Speaker 2>When we said which of these albums that we're going
<v Speaker 2>to cover first, I said to you, well, let's do
<v Speaker 2>Dirty Dancing first because it's got the older songs, and
<v Speaker 2>then we move into the seventies and that kind of
<v Speaker 2>makes sense that way. But as it turns out, it's
<v Speaker 2>kind of a back and forth ping pong thing because
<v Speaker 2>you've got songs from the fifties and sixties, and you've
<v Speaker 2>got songs from the eighties, and then when we cover
<v Speaker 2>Saturday Night Fever, we're gonna have songs from the seventies.
<v Speaker 2>So we're covering four decades of music all in two
<v Speaker 2>podcasts episodes.
<v Speaker 3>Literally, when we do this matchup, this will be the
<v Speaker 3>first time we venture into the fifties, the first time
<v Speaker 3>we venture into the sixties. Next week we're going to
<v Speaker 3>venture into the seventies for the first time. Yeah, So anyway,
<v Speaker 3>it's gonna be fun. This album was so successful that
<v Speaker 3>they literally created a sequel album that was released in
<v Speaker 3>March of nineteen eighty eight.
<v Speaker 2>With a very creative title More Dirty Dancing This is Okay.
<v Speaker 2>The original Dirty Dancing soundtrack was number one for eighteen weeks.
<v Speaker 2>On May seventh, nineteen eighty eight, Dirty Dancing and the
<v Speaker 2>soundtrack was number one. More Dirty Dancing was number three.
<v Speaker 2>It's crazy, best selling album. That is crazy.
<v Speaker 3>People were nuts for this music.
<v Speaker 2>And it doesn't make any sense. We're talking about nineteen
<v Speaker 2>eighty seven. What were the albums and the bands that
<v Speaker 2>we were listening to in nineteen eighty seven.
<v Speaker 3>It dislodged Bruce Springsteen from the number one spot. YEP,
<v Speaker 3>George Michael knocked it out a couple of times. But
<v Speaker 3>we're talking about Appti for destruction. We're talking about hysteria,
<v Speaker 3>We're talking about Kick.
<v Speaker 2>We're talking about girls, Girls, Girls. We're talking about White Snake,
<v Speaker 2>White Snake, big albums, big albums that are hard rock albums.
<v Speaker 2>And what we have is a soundtrack from a low
<v Speaker 2>budget movie starring two people who were largely unknown at
<v Speaker 2>the time, topping the charts and becoming one of the
<v Speaker 2>best selling albums in history thirty two million albums sold.
<v Speaker 2>Do you know that this is the all time greatest
<v Speaker 2>selling album in Germany all time? This is the thriller
<v Speaker 2>of Germany. So the popularity of this album actually caught
<v Speaker 2>the producers by surprise. The album had one million copies
<v Speaker 2>on back order before a single had even been released.
<v Speaker 2>What Yeah eighteen weeks at number one one on the
<v Speaker 2>Billboard two hundred album Sales charts and went platinum eleven times.
<v Speaker 3>One Thing I Want You to Put a Pin in?
<v Speaker 2>Okay Yeah.
<v Speaker 3>The album was released July eighteenth, nineteen eighty seven. Yeah,
<v Speaker 3>the movie was released August twenty first, nineteen eighty seven.
<v Speaker 3>Uh huh so almost, well a little over a month later. Yeah,
<v Speaker 3>put a pin in that because one of the singles
<v Speaker 3>was dangling out there for a month, unhelped by the movie. Wow, okay, Yeah,
<v Speaker 3>put a pin in that.
<v Speaker 2>Yeah. And it's interesting when you think about Mike Footloose
<v Speaker 2>in comparison to that, where they released the soundtrack before
<v Speaker 2>the soundtrack was already a huge success by the time
<v Speaker 2>the movie had come out. This is an entirely different scenario.
<v Speaker 2>So we talked earlier about how important the soundtrack was
<v Speaker 2>in all of the movie. We talked about how Eleanor Bergstein,
<v Speaker 2>the writer of the movie, went to her old forty five's,
<v Speaker 2>her old finals and made herself a mixtape. And this
<v Speaker 2>was the way that she pitched the movie to people.
<v Speaker 2>She would give them a copy of this mixtape, give
<v Speaker 2>the producer a copy of the mixtape, and say here's
<v Speaker 2>my idea for the movie. And she was rejected and
<v Speaker 2>rejected and rejected. But then years would go by and
<v Speaker 2>the producers would call her back up and say, hey,
<v Speaker 2>I've worn out that Ebe's dirty dancing tape. You gave me.
<v Speaker 2>Could you give me another copy? You realize you said
<v Speaker 2>no no on the movie.
<v Speaker 3>Loved the soundtrack.
<v Speaker 2>So this soundtrack, this tape that she had, she used
<v Speaker 2>it as her guiding light as she wrote the script.
<v Speaker 2>The soundtrack came first, then she wrote the script.
<v Speaker 3>Are you ready?
<v Speaker 2>Yeah, let's jump in.
<v Speaker 3>All right, let's dive in.
<v Speaker 2>Before we get going on the music, let me just
<v Speaker 2>say this. We talked in our last episode about how
<v Speaker 2>it was so difficult to get the rights to this music,
<v Speaker 2>and I brought up the fact that they got rid
<v Speaker 2>of one guy and brought in another guy. The guy
<v Speaker 2>they brought in was a guy named Jimmy Heiner. That
<v Speaker 2>name's gonna come up a few times as we're talking today.
<v Speaker 2>I just want to say Einer and his brother, Don
<v Speaker 2>Heiner founded the publishing house cam Usa in the seventies.
<v Speaker 2>Don Heiner is a name you may have heard of before.
<v Speaker 2>He wanted to become the president of Columbia Records and
<v Speaker 2>the president of Sony Music. So not too shabby, right,
<v Speaker 2>But at this time in the eighties, Jimmy Ironn was
<v Speaker 2>really he was a record producer. He had been in
<v Speaker 2>a band, of course on his own, but he was
<v Speaker 2>kind of a guy who was able to do both things.
<v Speaker 2>He was able to handle business side things and also
<v Speaker 2>a very proficient producer, and he's been responsible for some
<v Speaker 2>of the remixing of some of these songs. But he's
<v Speaker 2>the guy that I said last episode he went and
<v Speaker 2>kissed Phil Spector's big toe. Yes, yes, in order to
<v Speaker 2>get the rights to some of these songs. And had
<v Speaker 2>he not done that, we would not have the movie
<v Speaker 2>that we had, and we would not have this soundtrack.
<v Speaker 3>It's gonna be amazing. Yeah, it's fascinating stuff. Okay, we ready, Yeah,
<v Speaker 3>all right? Diving into our first song on the album, yeah,
<v Speaker 3>be my Baby.
<v Speaker 2>Oh wait, wait wait, I feel like we're forgetting something now,
<v Speaker 2>never mind, let's just keep on going. Be my Baby,
<v Speaker 2>Be my Baby. Let's hear it.
<v Speaker 4>Okay, hear this first drum beat.
<v Speaker 3>It's unmistakable, it's huge. It was an accident. Okay.
<v Speaker 2>So the guy who did the drum beat on this
<v Speaker 2>one is Hal Blaine and he was a member of
<v Speaker 2>the Wrecking Crew. The Wrecking Crew was Phil Spector's studio
<v Speaker 2>band that became Brian Wilson's studio band for pet Sounds,
<v Speaker 2>which is regarded as one of the best albums of
<v Speaker 2>all time. They were the most proficient musicians. It included
<v Speaker 2>Glenn Campbell, which we talked about back in our Toto episode,
<v Speaker 2>and Hal Blaine was the drummer and he said that
<v Speaker 2>famous drum intro was an accident. I was supposed to
<v Speaker 2>play the snare on the second beat as well as
<v Speaker 2>the fourth, but I dropped the stick. Being a faker,
<v Speaker 2>I left the mistake in and it became bah bah boom,
<v Speaker 2>and so everyone wanted that beat.
<v Speaker 3>That's amazing story.
<v Speaker 2>Drop my stick and faked it.
<v Speaker 3>I asked our buddy James Buckley. I'm like, hey, you're
<v Speaker 3>the drummer. I'm not the drummer. Does this have a name?
<v Speaker 3>He goes, no, but it's like the most famous phrase
<v Speaker 3>in drum history. Yeah, there's no.
<v Speaker 2>Real name for it. It's just the accident that happened
<v Speaker 2>and everybody loved right. So that phrase has been used
<v Speaker 2>by Billy Joel, by Taylor Swift, by meat Loaf, by
<v Speaker 2>the Carpenters, by Amy Winehouse and I even sent him
<v Speaker 2>the first song on Poisons Look with the Cat Drag
<v Speaker 2>Da album.
<v Speaker 3>I said, this is it too right? And He's like, yep, yep,
<v Speaker 3>that's it.
<v Speaker 2>That's awesome. So this song was performed by the Ronettes. Yes,
<v Speaker 2>and we mentioned Phil Spector earlier, and man, is there
<v Speaker 2>a host of stories here.
<v Speaker 3>Oh my gosh, we could spend a week here.
<v Speaker 2>Yeah. So the Ronettes started with for Ronica Bennett, who
<v Speaker 2>became Ronnie Spector. Yes, three females who were black and
<v Speaker 2>sang harmony together were the end thing at this time, right,
<v Speaker 2>And so here was their plan. She had her, her
<v Speaker 2>sister and their cousin all dress in the same dress,
<v Speaker 2>wear their hair the same and go stand in a
<v Speaker 2>line outside of a famous club. And as they're standing
<v Speaker 2>in line, sure enough, their plan works and some guy
<v Speaker 2>opens the door and he's like, hey, you're late, get
<v Speaker 2>in here. And they got in by mistake. Somebody thought
<v Speaker 2>they were the band. They were not the band.
<v Speaker 3>Oh wow.
<v Speaker 2>They got out there, they had practiced singing before, and
<v Speaker 2>they did a whole lot of fun dancing for everybody
<v Speaker 2>in the crowd. And it was that that led to
<v Speaker 2>them becoming the Rawnettes.
<v Speaker 3>That is an incredible story. Yeah, those of you who
<v Speaker 3>don't remember, this was used during the opening scene of
<v Speaker 3>Dirty Dancing. It's that sort of cepia toned slow motion
<v Speaker 3>introduction of the dirty dancing to this song.
<v Speaker 2>Yeah, the preview so that you're not so shocked when
<v Speaker 2>you see it later on in the movie of the
<v Speaker 2>dirty beat, there was a clear distinction. There was clean teen,
<v Speaker 2>which is what Baby listened to before the night in
<v Speaker 2>the basement, and then the dirty dancing, which was her rhythm.
<v Speaker 3>We talked about how that scene had to be her
<v Speaker 3>going into oz. They didn't have enough money to film
<v Speaker 3>an opening scene for dirty Dancing, so they had to
<v Speaker 3>kind of create something out of the footage that they had,
<v Speaker 3>So they came up with that CPIA tone dirty dancing scene,
<v Speaker 3>the intro to dirty Dancing, like we talked about. But
<v Speaker 3>emil Ardlino, Eleanor Bergstein, and Linda Gottlie watched that scene
<v Speaker 3>and we're trying to figure out the perfect song to
<v Speaker 3>play over that scene. They played four hundred songs.
<v Speaker 2>Oh my gosh.
<v Speaker 3>When they finally hit be My Baby, all three in
<v Speaker 3>Unison were like, this is it.
<v Speaker 2>It wasn't until we started studying this that I realized
<v Speaker 2>how big a song this was. I just I mean,
<v Speaker 2>it was just in that group of cool do wopie
<v Speaker 2>kind of sixty songs that I knew I didn't realize
<v Speaker 2>what kind of megaton bomb this thing was.
<v Speaker 1>Right.
<v Speaker 3>The song was so perfect that they had to go
<v Speaker 3>battle for it. Linda Gottlief said they paid seventy five
<v Speaker 3>thousand dollars for the use of that song. Yeah, it
<v Speaker 3>was played for thirty seconds. And when you think, oh,
<v Speaker 3>seventy five thousands not that much, well it is when
<v Speaker 3>your budget's four point five million dollars. Yeah, the higher movie,
<v Speaker 3>right for our thirty seconds worth of.
<v Speaker 2>Song, Right, and you've also got eleven other songs that
<v Speaker 2>you're trying to get exactly, And actually it was more
<v Speaker 2>like twenty other songs that you're trying to get.
<v Speaker 3>That's right. I talked to my dad about this song,
<v Speaker 3>and I played two songs for him. Be My Baby
<v Speaker 3>was released August of nineteen sixty three, and it reached
<v Speaker 3>number two on the charts. And I'm like, what song
<v Speaker 3>is better than Be My Baby?
<v Speaker 5>Right?
<v Speaker 2>Yeah?
<v Speaker 3>You know you know I like you this right, I
<v Speaker 3>love it.
<v Speaker 2>I love it? What is it?
<v Speaker 3>So I played for him the song sugar Shack by
<v Speaker 3>Jimmy Gilmer and the Fireballs. Yeah, and to me, it's
<v Speaker 3>kind of a it's kind of a goofy song. Anyway,
<v Speaker 3>I played it for him. I'm like, which are these
<v Speaker 3>two songs? Is the bigger song? And he's like, be
<v Speaker 3>my baby? And now he knew both.
<v Speaker 2>Right.
<v Speaker 3>It's just interesting though, for whatever reason that at that
<v Speaker 3>moment in time, sugar Shack was the hot song.
<v Speaker 2>It's the difference between hot now and hot forever?
<v Speaker 1>Right?
<v Speaker 2>You ready to talk about Ronnie Spector and Phil Spector,
<v Speaker 2>Phil Spector and the madness that ensued. Yes, okay, So
<v Speaker 2>Ronnie Spector is part of the ron Ets. Was heard
<v Speaker 2>by Phil Spector and he thought, this is this is
<v Speaker 2>the band I want to hang my hat on. And
<v Speaker 2>this really this song is where he truly built his
<v Speaker 2>wall of sound style of producing. He and the Wrecking
<v Speaker 2>crew spent hours and hours and hours playing the song
<v Speaker 2>before they ever hit the record button. So he was
<v Speaker 2>an absolute perfectionist. As we know, he was also completely mental. Right,
<v Speaker 2>convicted murderer Phil Spector, Right, he wasn't convicted at this time,
<v Speaker 2>was well before all of that. But but yes, that's
<v Speaker 2>a story that we definitely need to talk about. So
<v Speaker 2>he's got this music and he's also he's the one
<v Speaker 2>who wrote this song. I mean him and a couple
<v Speaker 2>of other guys. But you think about the words of
<v Speaker 2>this song, it's kind of almost foreshadowing as to what
<v Speaker 2>his life's going to be like with Ronnie. Of this,
<v Speaker 2>I'm going to infantilize you as well as completely dedicate
<v Speaker 2>my life to you. And so anyway, he's he's got
<v Speaker 2>this music. He finally a forty fifth take, they finally
<v Speaker 2>record the one that they're going to use, and then
<v Speaker 2>they bring Ronnie in to record the vocals, and she
<v Speaker 2>spent three days practicing the vocals, all of which she
<v Speaker 2>spent in the bathroom of the gold Star recording studio.
<v Speaker 2>She's like, they're supposed to have this amazing sound in
<v Speaker 2>gold Star Wars studios. Well, I can tell you the
<v Speaker 2>bathroom sounds even better because of the echo.
<v Speaker 3>Wow.
<v Speaker 2>It was because of that echo that I had all
<v Speaker 2>my oo oohs and uhah wahs and all of those
<v Speaker 2>things that came from me practicing in there. She said.
<v Speaker 2>When I went in there and laid down the vocal track,
<v Speaker 2>everybody in the band was like telling me how wonderful
<v Speaker 2>I was and I was going to be the next
<v Speaker 2>Billie Holiday.
<v Speaker 3>Wow. Fantastic.
<v Speaker 2>So obviously this gets them noticed and on the charts.
<v Speaker 2>They go out to London and start touring. You know
<v Speaker 2>who Their opening band was, the Rolling Stones. The Rolling
<v Speaker 2>Stones were opening for the Wow. While they were out there,
<v Speaker 2>they met the Beatles. This was before Beatlemania, This was
<v Speaker 2>before nineteen sixty four, and everybody went crazy. And she'll say,
<v Speaker 2>Beatlemania is what killed that doop sound?
<v Speaker 3>Okay?
<v Speaker 2>You know, like everybody was about the British invasion and
<v Speaker 2>nobody cared about groups snapping their fingers anymore. Sure, but
<v Speaker 2>at the time she made friends with them. They weren't
<v Speaker 2>super famous, and so they're touring England. They're a band
<v Speaker 2>in England, so they become friends. She even went on
<v Speaker 2>a few dinner dates with John Lennon when the Beatles
<v Speaker 2>eventually came to the States.
<v Speaker 3>Interesting.
<v Speaker 2>Yes, And it was at that point that Phil Spector
<v Speaker 2>said to her, because they got offered to tour with
<v Speaker 2>the Beatles, the Ronettes were going to tour with the Beatles,
<v Speaker 2>and he said, you can go on tour with them,
<v Speaker 2>or you can marry me, but you can't do both.
<v Speaker 2>And so she thought, well, he's a producer and I
<v Speaker 2>love him, and this is a way to get every
<v Speaker 2>song I want recorded. So I'm going to go with.
<v Speaker 3>Option B terrible move.
<v Speaker 2>You could say that, Yes, you could say that.
<v Speaker 3>We could literally spend a week podcasting about this.
<v Speaker 2>So tell me what you know about the marriage of
<v Speaker 2>Ronnie Spector and Phil Spector.
<v Speaker 3>Ronnie Spector wrote a book about her life with Phil Spector.
<v Speaker 3>I haven't read the book, and I don't know a
<v Speaker 3>whole lot, but I do know that he was very abusive,
<v Speaker 3>very controlling of her, would not let her leave the house.
<v Speaker 2>How did he keep her from leaving me?
<v Speaker 3>He stole her shoes.
<v Speaker 2>He stole her shoes.
<v Speaker 3>He figured, if I have every one of her shoes,
<v Speaker 3>she can't leave.
<v Speaker 2>This dude was obviously nuts from the outset nuts.
<v Speaker 3>Now he gets a lot of credit for the Wall
<v Speaker 3>of Sound and all this other stuff. He produced, the mules,
<v Speaker 3>He did all these wonderful musical things. He was also
<v Speaker 3>a psycho, manipulative, abusive husband.
<v Speaker 2>There is a strong overlap between psychotic and genius, and
<v Speaker 2>this guy was walking the line on that one.
<v Speaker 3>He bought a coffin with a glass cover and told
<v Speaker 3>her if she ever liaked him, he would kill her
<v Speaker 3>and put her in it and let everybody look at
<v Speaker 3>her dead.
<v Speaker 2>They tried to have children, Okay, couldn't have any children,
<v Speaker 2>so they decided to adopt. He treated their son nearly
<v Speaker 2>as badly as he treated her, kept him in his room,
<v Speaker 2>locked up, without a bathroom. It was pretty bad. Then
<v Speaker 2>a few years later he adopts twins without asking her,
<v Speaker 2>without her consent, without her knowledge, he goes and adopts twins.
<v Speaker 2>What it's crazy. It is really really crazy. And I
<v Speaker 2>mean she literally has to escape by running away and
<v Speaker 2>her mother has to protect her from this crazy man.
<v Speaker 3>Okay, I mean, we could spend a lot of time here,
<v Speaker 3>but here's the thing that blew me away. Okay, So
<v Speaker 3>set Ronnie Spectro aside for just a second. And I
<v Speaker 3>know we don't really want to get into this, but
<v Speaker 3>one of my eighties guilty pleasure movies is a John
<v Speaker 3>Landis movie that has Steve Guttenberg, Rosanna arkent Our, Cindeo Hall,
<v Speaker 3>Andrew dice Clay. He's got all these bit parts in it.
<v Speaker 3>It's called Amazon Women on the Moon, Okay, and it's funny.
<v Speaker 3>It's just a lot of fun. There's a scene in
<v Speaker 3>the movie where they actually go and visit the moon
<v Speaker 3>as a woman there. Her name is Lana Clarkson. She's
<v Speaker 3>actually the woman that Phil Spector killed and later went
<v Speaker 3>to jail for. So Lana Clarkson was a struggling actress.
<v Speaker 3>She had been in some sort of sword and sorcery movies.
<v Speaker 3>She had been in Amazon Women in the Moon, She
<v Speaker 3>had been on Three's company, and she was working as
<v Speaker 3>a waitress. She wasn't giving him the time of day,
<v Speaker 3>but the management said, hey, that's Phil Spector. Go take
<v Speaker 3>good care of him and got to treat him like gold.
<v Speaker 3>And he said, hey, you want to take a ride
<v Speaker 3>in my limo, and she's like okay, I guess, took
<v Speaker 3>her back to his house, propositioned her, she refused, and
<v Speaker 3>he blew her head off. He said she kissed the
<v Speaker 3>barrel and the gun went off. Jerry didn't buy that.
<v Speaker 2>No, they did not. Man, I kind of want to
<v Speaker 2>know more about Phil Spector, but since this is not
<v Speaker 2>a true crime podcast, right, we're gonna move on. I'm
<v Speaker 2>I'm gonna circle it back over to the song because
<v Speaker 2>I'm gonna hopefully blow your mind speak a piece of information.
<v Speaker 3>Okay, let's go.
<v Speaker 2>Yes, So they are recording be My Baby. Phil Spector
<v Speaker 2>has a friend of his over and his girlfriend and
<v Speaker 2>they're waiting for the backup singers show up. Backup's fingers
<v Speaker 2>supposed to be darlinge love. She doesn't show up. Okay,
<v Speaker 2>maybe she's scared of Phil. I don't know what it is.
<v Speaker 2>But she didn't show up. And so Phil is not
<v Speaker 2>the guy who likes to be kept waiting. And so
<v Speaker 2>he's like, hey, man, I heard your girl can sing?
<v Speaker 2>Can she sing? And he's like, well, yeah, she can sing.
<v Speaker 2>And the girl tries to explain what her level of
<v Speaker 2>expertise is and Phil says, I don't care. Just go
<v Speaker 2>in there. I just need some noise. The guy the
<v Speaker 2>Sonny Bono.
<v Speaker 3>Share, Let's go. Where are you gonna get that information
<v Speaker 3>other than the Shirley podcast?
<v Speaker 2>Thank you ladies and gentlemen.
<v Speaker 3>That is fantastic.
<v Speaker 2>We'll be here all man, wait to go.
<v Speaker 3>You blow my mind, Man, you blow my mind. I
<v Speaker 3>got something for you. Okay. Do you know the song
<v Speaker 3>that plays while David and Maddie consummate their relationship on Moonlighting?
<v Speaker 2>Could it be Be My Baby?
<v Speaker 3>It is Be my Baby.
<v Speaker 2>We like to throw it back to Moonlighting whenever we can.
<v Speaker 3>We love Moonlight. We got to talk about moonlighting with basically,
<v Speaker 3>let's talk just briefly about the song take Me Home Tonight.
<v Speaker 2>Okay, Eddie Money, Yeah, so I can remember. I don't.
<v Speaker 2>I don't like that song. I never have. It was
<v Speaker 2>annoying to me. It was on all the time and
<v Speaker 2>annoyed me crazy. And my Little Baby that kept I
<v Speaker 2>was like, ah, this is so annoying. I had no
<v Speaker 2>idea that, just like Ronnie says, meant it was Ronnie
<v Speaker 2>and that being my Little Baby was from the sixties.
<v Speaker 3>Song had a direct reference to that song about fifty
<v Speaker 3>times in that song take Me.
<v Speaker 2>Over Tonight, and that's her singing, and she's in the
<v Speaker 2>video she's doing the Oh she looked pretty good.
<v Speaker 3>She looked great. Yeah, she looked fantastic in eighty six.
<v Speaker 2>Yeah. I saw an interview with her on Letterman in
<v Speaker 2>eighty three, and you could tell that she was probably
<v Speaker 2>self medicating in order to get past the life that
<v Speaker 2>she had experienced with Phil Spector.
<v Speaker 3>Well, so, at.
<v Speaker 2>One point she's complimenting Paul and she says, I love
<v Speaker 2>him so much. He's like the Woody Allen of rock
<v Speaker 2>and roll.
<v Speaker 3>It's a little cute. Okay, we got to talk Brian
<v Speaker 3>Wilson for just a second. Oh, yeah, I don't want
<v Speaker 3>to derail the whole podcast My Baby, but we have
<v Speaker 3>to talk about Brian Wilson.
<v Speaker 2>So without this song, we might not have had pet Sounds.
<v Speaker 2>It's insane, right, Yeah.
<v Speaker 3>So Brian Wilson was driving his car one day with
<v Speaker 3>his girlfriend, ye, and he's driving down the road mine
<v Speaker 3>in his own business, and on the radio comes be
<v Speaker 3>my Baby.
<v Speaker 2>Yep.
<v Speaker 3>He literally is thunderstruck. He has to pull the car
<v Speaker 3>over and it's like psychologically jacked his brain, right, he
<v Speaker 3>has to pull it over and like analyze the song,
<v Speaker 3>like what's going on here? Because this is blowing my mind.
<v Speaker 3>The vocals, the guitars, the all the sound, all that
<v Speaker 3>is just blown him away. Yeah, and it literally affected
<v Speaker 3>him for decades afterwards.
<v Speaker 2>It is an amazing song. Let's just say that. We
<v Speaker 2>didn't really even talk about the music and the song itself,
<v Speaker 2>but it is an amazing song if you listen to
<v Speaker 2>the strings that are behind it. I mean, the engineer
<v Speaker 2>said he wept as he was mixing the strings in
<v Speaker 2>with the rest of the song, and it is truly amazing.
<v Speaker 2>But I think it may have hit Brian Wilson harder
<v Speaker 2>than it hit any other human being in the world.
<v Speaker 2>He would obsess over the song like a Islamic convert
<v Speaker 2>obsesses over the Koran. It's one of the things that
<v Speaker 2>I read he was mesmerized by. He would be like,
<v Speaker 2>listen to this. It sounds like the beating of a
<v Speaker 2>branch in the wind and a baby's rattle and the
<v Speaker 2>call of the mockingbird. I mean just it was affecting
<v Speaker 2>him in a significant and severe way, but in a
<v Speaker 2>real and practical way. He went, Okay, who are the
<v Speaker 2>musicians on this album? I got to meet Phil Spector,
<v Speaker 2>I got to talk to him, and I got to
<v Speaker 2>find out who's playing this music. And it's because of
<v Speaker 2>that that we get the Wrecking Crew and their contribution
<v Speaker 2>to music history in pet sounds.
<v Speaker 3>Don't Worry Baby is a sequel that he wrote for
<v Speaker 3>the Rawnets to make a sequel to be My Baby.
<v Speaker 2>Let's listen to Don't Worry Baby. Roopwork awesome classic. Yeah,
<v Speaker 2>and I can totally hear the Ronettes singing that as
<v Speaker 2>a sequel, but they said no.
<v Speaker 3>So the Beach Boys took it and made it an
<v Speaker 3>instant classic for them.
<v Speaker 2>Absolutely.
<v Speaker 3>I thought it was interesting. The DJ who played the
<v Speaker 3>song when he got thunderstrucked in his car Yeah, wink Martindale, Okay,
<v Speaker 3>he's the game show host from like Tic Tac Doe
<v Speaker 3>and Oh my gosh, wenk Martindale, Oh my gosh. Wow.
<v Speaker 3>So his daughter Carne Wilson, Yeah, from Wilson Phillips.
<v Speaker 2>Yes.
<v Speaker 3>She said that during her childhood she awoke every single
<v Speaker 3>morning to boom boom boom.
<v Speaker 2>Wow.
<v Speaker 3>He compared it to Einstein's theory of relativity. We could
<v Speaker 3>spend all day here. We probably knew.
<v Speaker 2>I think the fact that Brian Wilson had some psychological
<v Speaker 2>issues and Phil Spector had some psychological issues meant that
<v Speaker 2>there was a meeting of the unstable minds on this one.
<v Speaker 3>Hey, you know what one thing I got to bring
<v Speaker 3>up before we move on. When Phil Spector was in jail,
<v Speaker 3>he still had control of this song and he would
<v Speaker 3>not allow Ronnie Spector to play it at her concerts.
<v Speaker 2>Talk about freaking man. Yeah, and both of them passed
<v Speaker 2>away last.
<v Speaker 3>Year, right, I believe that's right? Yes, man. Dick Clark
<v Speaker 3>called it the record of a century when he introduced
<v Speaker 3>him Wow on American Bandstand, and now they use it
<v Speaker 3>in Sealis commercials.
<v Speaker 2>That's the best segue I've ever heard. What's what's our
<v Speaker 2>next song?
<v Speaker 3>Next song on the album, song number three is She's
<v Speaker 3>like the Wind.
<v Speaker 5>She's not.
<v Speaker 2>Too much, she run to night.
<v Speaker 1>Next to Me.
<v Speaker 3>D This song is by Patrick Swayze.
<v Speaker 2>Patrick sways born in Houston, Texas, second child of Patsy Swayzee,
<v Speaker 2>a dancer, choreographer, dance instructor, and like the dance person
<v Speaker 2>in Texas.
<v Speaker 3>That's right.
<v Speaker 2>His dad was an engineer and draftsman, but while he
<v Speaker 2>was in school he developed skills in ice skating, ballet dancing,
<v Speaker 2>classical ballet. Acted in the school place. Was a football
<v Speaker 2>player hoping for a scholarship until he injured his knee
<v Speaker 2>and wasn't able to play anymore, which.
<v Speaker 3>Is why he had no dancing on his acting resume.
<v Speaker 2>That and he wanted to be known as an actor,
<v Speaker 2>not a dancer, but he did keep dancing. He also
<v Speaker 2>did martial arts, which came into play later on for Roadhouse.
<v Speaker 2>Yes it did, few other beautiful movies that he made,
<v Speaker 2>Yes it did, he said. He used it to channel
<v Speaker 2>his self deprecating rage.
<v Speaker 3>Okay, all right.
<v Speaker 2>So he met in nineteen seventy a lady named Lisa Neeman. Okay.
<v Speaker 2>She was a student in his mom's dance classes, and
<v Speaker 2>seventy two he went to New York City to complete
<v Speaker 2>his formal dance training at the Parkness Ballet and Jeoffrey
<v Speaker 2>Ballet Schools. And then in nineteen seventy five he married Lisa.
<v Speaker 3>Yeah. They stayed married until his death.
<v Speaker 2>Yeah. He said that she was the inspiration for this song.
<v Speaker 3>Oh that's sweet. Yeah, that's sweet. Here's the interesting thing
<v Speaker 3>about why this song got on this album. Okay, they
<v Speaker 3>would desperate for songs.
<v Speaker 2>They were trying. They had a lot of songs that
<v Speaker 2>they wanted, but they needed originals because the ones that
<v Speaker 2>were already popular were too expensive and too hard to get.
<v Speaker 3>So Patrick's standing there and he's like, hey, guess what,
<v Speaker 3>I've got a song.
<v Speaker 6>Yeah.
<v Speaker 3>So it turns out he wrote a song for the
<v Speaker 3>movie Grandview USA. He wrote it for the character that
<v Speaker 3>Jamie Lee Curtis played in that movie.
<v Speaker 2>Yeah.
<v Speaker 3>Well, they didn't accept it, right, so he tried. I
<v Speaker 3>had to get it put in on the Young Blood
<v Speaker 3>soundtrack in nineteen eighty six.
<v Speaker 2>So you've been turned down twice. At this point, when
<v Speaker 2>they are filming Dirty Dancing.
<v Speaker 3>So they're like, well, yeah, we'll bring it in, dude.
<v Speaker 3>Let me. Let's hear it.
<v Speaker 2>You know, Lisa got Leeb listens and says, I love it.
<v Speaker 2>Let's put it down.
<v Speaker 7>Number I have anything.
<v Speaker 3>She's not the weird, it's cheap, it's available. He's standing
<v Speaker 3>right here. It sounds good, Let's do it. It reached
<v Speaker 3>number three on the Hot one hundred deep. You want
<v Speaker 3>to hear the two better songs? Sure? Yes, yeah, okay.
<v Speaker 3>The only reason I bring it up is because they're
<v Speaker 3>fairly notable songs. All right, all right, yeah, so this
<v Speaker 3>reached number three on February twenty seventh, nineteen eighty eight.
<v Speaker 3>The Dirty Dancing soundtrack is still extremely hot at this time.
<v Speaker 2>Okay.
<v Speaker 3>The songs that were number one and number two. Number
<v Speaker 3>one was Father Figure by George Michael, Yeah, okay. Number
<v Speaker 3>two was What Have I Done to Deserve This? By
<v Speaker 3>the Pet Shop Boys?
<v Speaker 2>Okay yeah.
<v Speaker 3>And then the next week She's Like the Win dated
<v Speaker 3>at number three and got leap frogged Bye, Never Going
<v Speaker 3>to Give You Up? By Rick Astley.
<v Speaker 2>Well he got Rick Roll, he did get rig Roll.
<v Speaker 2>That's tragic.
<v Speaker 3>All right. We got to talk about the music video
<v Speaker 3>for She's Like the Wind really quick, okay, nothing fancy.
<v Speaker 3>Lots of clips from the movie Patrick swayzeye all over
<v Speaker 3>the place.
<v Speaker 2>Yeah.
<v Speaker 3>Do you know who the director of the She's Like
<v Speaker 3>a Wind video is?
<v Speaker 2>I did not look that one up.
<v Speaker 3>Sir David freaking Fincher, Get the heck out of town.
<v Speaker 3>David Fincher is the.
<v Speaker 2>Director Oh my Gosh.
<v Speaker 3>Seven, Fight Club, Panic Room, Gone Girl, Zodiac, The Social Network.
<v Speaker 3>Oh my gosh, David Fincher is one of the best
<v Speaker 3>directors in Hollywood right now.
<v Speaker 2>Wow, and he's cutting his teeth on a Patrick swayze
<v Speaker 2>love song. That's fantastic.
<v Speaker 3>What do you think of this one?
<v Speaker 2>I love this song. It's beautiful, right, He's beautiful. And
<v Speaker 2>I was, you know, amazed when I first learned that
<v Speaker 2>it was him that was singing. I was just like, oh,
<v Speaker 2>this doesn't sound like him to me. Now, once I
<v Speaker 2>know that he's singing, I'm like, Okay, I can hear
<v Speaker 2>his voice in it, but he's got a very distinct
<v Speaker 2>singing style compared to what he sounds like speaking.
<v Speaker 3>Yeah, this reach number one on the Adult Contemporary chart.
<v Speaker 3>And because it's Patrick swayzey, it's literally one of the
<v Speaker 3>most high profile one hit wonders of all time.
<v Speaker 2>Yeah, it's a beautiful song and I'm glad that he
<v Speaker 2>finally found somebody who said, yes, let's put it in
<v Speaker 2>our movie.
<v Speaker 3>Yeah, me too.
<v Speaker 2>Yeah, all right.
<v Speaker 3>Next song on the album is a song called Hungry Eyes.
<v Speaker 2>Okay, so the music on this is awesome. I gotta
<v Speaker 2>tell you. I didn't dive into the intricacies of the
<v Speaker 2>music on these songs. I just like listening to them,
<v Speaker 2>not rushing out to learn how to play the guitar
<v Speaker 2>solo on this particular song. It's just these are kind
<v Speaker 2>of adult contemporary style of music, and for me, I
<v Speaker 2>just want to listen to it and I enjoy it.
<v Speaker 3>It is adult contemporary, but it's fun.
<v Speaker 2>Yeah. And I used to slow dance to it when
<v Speaker 2>I was a kid in the eighties too.
<v Speaker 3>Yeah. I bet this is on the Makeout List of
<v Speaker 3>eighty eight.
<v Speaker 2>Absolutely. This song was written by Frankie Privett and John D. Nicola. Yes,
<v Speaker 2>they also wrote another song on this album, which we'll
<v Speaker 2>cover in a little while, and it was sung by
<v Speaker 2>Eric Carmon. I got to issue a formal apology, Okay.
<v Speaker 2>When we covered Footloose, I talked about Eric Carmon, and
<v Speaker 2>I talked about the fact that he had written this song.
<v Speaker 2>He did not write this song. Right, he only performed it.
<v Speaker 3>Okay.
<v Speaker 2>He happened to be one of the guys that Jimmy Einer,
<v Speaker 2>who I talked about earlier, produced, and so he got
<v Speaker 2>a call from Jimmy that said, hey, I got a
<v Speaker 2>song I'd like you to come sing it.
<v Speaker 3>This is a remake. Frankie Privett released this song and
<v Speaker 3>was a mild hit in nineteen eighty four. It's off
<v Speaker 3>their album making the point. Ok So this is an
<v Speaker 3>actual remake.
<v Speaker 2>Okay.
<v Speaker 3>You know we've talked a few times before where a
<v Speaker 3>song is released and it just doesn't quite hit, but
<v Speaker 3>people think, you know, this is a good song. We
<v Speaker 3>need to give this another life. Yeah, so they asked
<v Speaker 3>Eric Carmen to sing it, and they re recorded it,
<v Speaker 3>reput it out there, and it made it to number
<v Speaker 3>four on the Hot one hundred.
<v Speaker 2>Now, Eric Carmon, I'll just tell you this. I didn't
<v Speaker 2>get into his history last time we talked about Footloose, right.
<v Speaker 2>He was the one that said I fing love it
<v Speaker 2>on the lyrics for the most Paramo Paradise. But anyway,
<v Speaker 2>he loved music from an early age, was classically trained
<v Speaker 2>on the piano, picked up the guitar, and taught himself
<v Speaker 2>how to play and was a member of a group
<v Speaker 2>called the Raspberries for a while and they had some
<v Speaker 2>mild success, and then he went solo. And when he
<v Speaker 2>was solo, he had a huge single called All by Myself.
<v Speaker 3>I remember the song when I was young.
<v Speaker 2>Oh yeah, you can't mistake this, Yes, you can't mistake this,
<v Speaker 2>and I love there's a comedy bit on this of
<v Speaker 2>when does all by Myself go from being something good
<v Speaker 2>to something bad? You know, when the little kid does something,
<v Speaker 2>they're like, look, daddy did it all by myself too?
<v Speaker 8>Oh By, here's something I did not know though. Okay,
<v Speaker 8>he based this song on rock Moninov's Piano Concerto number two.
<v Speaker 8>I had no idea. I just thought this was a
<v Speaker 8>cool pop song. It is based on a classical concerto.
<v Speaker 3>Okay, I gotta ask you. Have you watched the music
<v Speaker 3>video to this lately? No, you're missing out.
<v Speaker 2>I have to say. I can probably imagine because Eric
<v Speaker 2>Carmon appeared on stage during the Dirty Dancing live tour
<v Speaker 2>that occurred shortly after the movie was such a big success,
<v Speaker 2>and he was in a black muscle T shirt without
<v Speaker 2>much muscles but lots of chest hair, a sequindy shoulder,
<v Speaker 2>padded jacket. Yeah, and the big hair that every girl
<v Speaker 2>that you knew in the eighth grade had.
<v Speaker 3>Interesting.
<v Speaker 2>Yeah, well special.
<v Speaker 3>I gotta tell you, you're really missing out if you
<v Speaker 3>don't go back and watch the music videos on this
<v Speaker 3>because it's part of the package. Right, Yeah, so I
<v Speaker 3>watched the music video.
<v Speaker 2>Yeah.
<v Speaker 3>So you have Eric Carmon and he's watching like a
<v Speaker 3>projector version of Dirty Dancing on the wall. So you've
<v Speaker 3>got little clips of the movie in the background or whatever. Right,
<v Speaker 3>smoking hot model Okay, that he's got hungry eyes for
<v Speaker 3>They got hungry eyes for each other, all right, okay,
<v Speaker 3>but this is where the video goes off the rails
<v Speaker 3>for me. Okay, okay, So they keep staring at each
<v Speaker 3>other and nothing's really happening, and little clips of dirty Dancing,
<v Speaker 3>and then the sax solo comes and who plays the
<v Speaker 3>sax solo? The smoking hot Model, right, And then at
<v Speaker 3>the very end, like they've been making eyes at each
<v Speaker 3>other the whole time, she's with a guy that is
<v Speaker 3>like a grip for the music video. He's like a graying, short,
<v Speaker 3>balding guy who's just like standing there. So she plants
<v Speaker 3>one on him and I'm like, who is this guy?
<v Speaker 3>I mean, it just looks like she grabs somebody off
<v Speaker 3>the street, and then when her face like emerges from
<v Speaker 3>the kiss, it's a different girl. Beavis and butt heead
<v Speaker 3>would have a field day with this video.
<v Speaker 2>The original girl left in the middle of the video
<v Speaker 2>to go play back up for Robert Maulin.
<v Speaker 3>I yeah, exactly, exactly.
<v Speaker 2>That's fantastic. Now I'll have to go check that way
<v Speaker 2>is awesome. So in the movie, this is one of
<v Speaker 2>the most memorable scenes, right This is the scene that
<v Speaker 2>we talked about where you have Johnny and Baby dancing
<v Speaker 2>and standing behind Baby guiding her is Penny, and you
<v Speaker 2>have this look of longing from Penny as she looks
<v Speaker 2>down as Johnny is starting to fall in love with Baby,
<v Speaker 2>who you know was already in.
<v Speaker 3>Love with count It's the threesome dance scene montage.
<v Speaker 2>They almost said we can't put this scene in yet
<v Speaker 2>because it's too early. It's given it's tipping her hand,
<v Speaker 2>But I mean, who didn't know that that was what
<v Speaker 2>was going to happen?
<v Speaker 3>Of course, right, of course, great song, great song, love it.
<v Speaker 3>This song reached number four February thirteenth of eighty eight,
<v Speaker 3>So makeout song of eighty eight. On Valentine's Day, the
<v Speaker 3>same week that She's like to win hit number ten
<v Speaker 3>is rocketed up to chart.
<v Speaker 2>Okay, all right, moving on, all.
<v Speaker 3>Right, d So the next song on the album is
<v Speaker 3>a song called Stay.
<v Speaker 2>Okay, we can't talk too long on this song because
<v Speaker 2>it's only a minute in one thirty six. The song
<v Speaker 2>was written by Maurice Williams. Yes, this performed by Maurice
<v Speaker 2>Williams and the Zodiacs. Right, he was fifteen, nineteen fifty three.
<v Speaker 2>He's fifteen. He's in the car with a girl and
<v Speaker 2>he's trying to get her to not go home. He fails,
<v Speaker 2>but he was like, man, it seemed like a good
<v Speaker 2>tagline for a song, just stay. And he said, like
<v Speaker 2>a flood, the words just came to me.
<v Speaker 3>So I wrote the song when he was fifteen. He's
<v Speaker 3>with a girl. Yep, he's trying to keep her from
<v Speaker 3>going home. In the lyrics, he's like, your daddy won't mind.
<v Speaker 2>Right, So he develops a couple of bands. They get
<v Speaker 2>out of high school. They start touring around, not having
<v Speaker 2>a whole lot of success at that time. They're called
<v Speaker 2>the Royal Charms. But then as they're touring, their station
<v Speaker 2>wagon breaks down in Bluefield, West Virginia, if you'd like
<v Speaker 2>to know which not too far away they would be
<v Speaker 2>recording Dirty Dancing. Twenty something years later, they come across
<v Speaker 2>a British built Ford car known as the Zodiac, and
<v Speaker 2>that is where they got their name. Maurice Williams and
<v Speaker 2>the Zodiac.
<v Speaker 3>Oh cool.
<v Speaker 2>Now. They had a song called Little Darling, which you
<v Speaker 2>probably heard before but not by them, got covered by
<v Speaker 2>another Canadian group called the Diamonds, and then they weren't
<v Speaker 2>really super excited about Stay this ten year old girl
<v Speaker 2>here's the song and says that song is incredible and
<v Speaker 2>it's her causes them to go, you know what, we
<v Speaker 2>should go ahead and put that on the demo tape
<v Speaker 2>that we send out, and that's how the song came famous.
<v Speaker 3>The ten year old girl loved it.
<v Speaker 2>Yeah. They recorded it in nineteen fifty nine in a
<v Speaker 2>Quantza hut, which, by the way, but Shirley can't be serious,
<v Speaker 2>podcast studio is also inside a Quantza hut. It's a
<v Speaker 2>great place to record.
<v Speaker 3>We're Fancy, We're Fancy. This is the shortest number one
<v Speaker 3>song in Billboard history.
<v Speaker 2>In history. It's so short that it was made a
<v Speaker 2>part of another longer song by Jackson Brown later on.
<v Speaker 3>Yeah, Jackson Brown played it at the end of all
<v Speaker 3>of his concerts. I thought that was kind of a
<v Speaker 3>cool The Four Seasons have covered this YEP. I listened
<v Speaker 3>to Cindy Lapper's version last night. It's good. It's a
<v Speaker 3>good song.
<v Speaker 2>YEP. I like the song, but it's been over for
<v Speaker 2>like three four minutes ago, so probably time to move
<v Speaker 2>on to our next song, last song on side one. Yes,
<v Speaker 2>this is obviously not a sixty song, right, this is
<v Speaker 2>a modern song. Yeah, And it was released as a single.
<v Speaker 2>I didn't know that, really, I did not know that either.
<v Speaker 2>This was one of the ones that was one of
<v Speaker 2>the four that were released as a single, because I
<v Speaker 2>remember I was like, I know that I've heard the
<v Speaker 2>song on the radio before, but because it was released
<v Speaker 2>as a single. Now it's by a lady named Mary Clayton.
<v Speaker 2>She spells her name m E r R Y.
<v Speaker 3>Do you know what she was born on? Christmas Day?
<v Speaker 3>Merry Christmas, Mary freaking Christmas.
<v Speaker 4>Yep.
<v Speaker 2>If only she had been in Dumb and Dumber, we
<v Speaker 2>would have come full circle. Very This song is about
<v Speaker 2>deciding to have sex for the first time. Yeah, it's
<v Speaker 2>like driving around.
<v Speaker 3>I don't think I know. Yes, yes, we are going
<v Speaker 3>to do it. Got her to stay. Do you know
<v Speaker 3>who the person who is originally to sing the song,
<v Speaker 3>Mary Wells Okay, okay. Now you may remember her from
<v Speaker 3>the song My Guy, Yeah, my guy. Yeah. She was
<v Speaker 3>hired to record the song, but when she came to
<v Speaker 3>the studio to cut it, she had a horrible cold
<v Speaker 3>and then she just said, forget this crap, I'm out
<v Speaker 3>of here and just left. So the producer's like sitting
<v Speaker 3>there ready to record. He's got nobody record it. Well,
<v Speaker 3>one of the backup singers is Mary Clayton okay, and
<v Speaker 3>he's like, oh god, now I'm gonna have to explain this,
<v Speaker 3>and he's like Mary Wells, Mary Clayton close enough they
<v Speaker 3>won't even notice Hi, this is Mary. Yeah. So because
<v Speaker 3>their names were the same, he didn't have to do
<v Speaker 3>any explaining and he just said, Mary Clayton, would you
<v Speaker 3>like to sing this song? She's like yes, yes, Okay.
<v Speaker 2>That's awesome.
<v Speaker 3>Now wait a minute, I got I got to play
<v Speaker 3>this for you. Because when I saw the name Mary Clayton,
<v Speaker 3>I know exactly who it was, and you're saying you
<v Speaker 3>don't know who this is. Yeah, okay, let me play
<v Speaker 3>this song for you. We talked about it on our
<v Speaker 3>Good Fellow's episode.
<v Speaker 2>Yes we did. So this is Gimme Shelter by The Stones.
<v Speaker 2>What do you got?
<v Speaker 3>Okay? So Mary Clayton in the sixties, when Gimme Shelter
<v Speaker 3>was being recorded, yep, got a call in the middle
<v Speaker 3>of the night. Her producer's like, hey, these guys are
<v Speaker 3>in from England. They're the Rolling something or others. We're
<v Speaker 3>not really sure who they are.
<v Speaker 2>They're supposed to be opening up for the Ronettes exactly exactly.
<v Speaker 3>So they're recording the song and they want a woman
<v Speaker 3>to sing this part, and so she's laying in bed
<v Speaker 3>like crap, she's pregnant, like major pregnant. And her husband's like,
<v Speaker 3>you need to get down there and sing that. She's like,
<v Speaker 3>I'm not going. He's like, guess you are. She's like fine,
<v Speaker 3>So she's stomping around. She says she was really mad.
<v Speaker 3>She gets down there, they introduced themselves. She's like, okay, hi, Mick,
<v Speaker 3>you know Keith, you know who are you guys? Like, oh,
<v Speaker 3>the Rolling Stones? Okay, great, and Mick had written this
<v Speaker 3>part in the song that he really wanted to be
<v Speaker 3>sung by a female, and the words were rape and
<v Speaker 3>it's just a shot away. So she sings it with
<v Speaker 3>a lot of personality and mixed like, yeah, that's perfect.
<v Speaker 3>Could you do it one more time? And she's kind
<v Speaker 3>of pissed because it's the three o'clock in the morning,
<v Speaker 3>and so she says, yeah, I'll do it, and in
<v Speaker 3>her head she's like, I'm gonna sing this next version
<v Speaker 3>and I'm gonna blow them out of this room. And
<v Speaker 3>that's where you get this part right here.
<v Speaker 6>It's unmistakable.
<v Speaker 3>She is singing so hard, her voice is cracking and breaking,
<v Speaker 3>and it's so passionate.
<v Speaker 2>So we get this incredible piece of this incredible song.
<v Speaker 2>But it has a tragic ending.
<v Speaker 3>Yeah, it does. The next day she has a miscarriage.
<v Speaker 2>It's terrible.
<v Speaker 3>I thought that was urban legend. I heard her say
<v Speaker 3>that right from her very mouth. Yeah, that the stress
<v Speaker 3>and strenuous nature of this song she believes cause that miscarriage.
<v Speaker 2>Yeah. She's been a backup singer for literally dozens and
<v Speaker 2>dozens of amazing acts. She sang with Clyde King, she
<v Speaker 2>sang with Lenyard Skinnyard Sweet Home Alabama. That's her. You're
<v Speaker 2>listening to you sing in the background. She co starred
<v Speaker 2>with Ali Sheety and Made to Order, Oh my gosh,
<v Speaker 2>he's seriously yeah and a little bit. Same year, she
<v Speaker 2>was a major character in the final season of Cagney
<v Speaker 2>and Lacy. Oh and you Ready Yep. In nineteen eighty nine,
<v Speaker 2>she recorded a cover version of the song Almost Paradise
<v Speaker 2>with part Carmon.
<v Speaker 3>WHOA, that's a deep cut right there. Good job, I
<v Speaker 3>had no idea about that, Okay.
<v Speaker 2>So one final tragedy though. Twenty fourteen, she was in
<v Speaker 2>a car crash in Los Angeles, California, and both of
<v Speaker 2>her legs had to be amputated. Tragic.
<v Speaker 3>When she woke up, the doctor was checking on her
<v Speaker 3>mental state and he said, I just want you to
<v Speaker 3>know I had to take your legs. She said, can
<v Speaker 3>I still sing? And he said yeah, and she said
<v Speaker 3>that I'm okay.
<v Speaker 2>That's fantastic, That's that's amazing. What a great Yeah, that's
<v Speaker 2>a great one.
<v Speaker 3>All right. It's stop on your tape player, kick it out,
<v Speaker 3>flip it over side to dirty Dances, sontre.
<v Speaker 2>This this song is one that I recognized but it's
<v Speaker 2>not the group that I was expected. It's not the
<v Speaker 2>singer that I was expecting.
<v Speaker 3>Right, I looked.
<v Speaker 2>I can't figure out where the song is in them.
<v Speaker 3>I don't remember. Yeah, I don't remember.
<v Speaker 2>I'm not really sure. And obviously there was something where
<v Speaker 2>they had to get a different group to sing the
<v Speaker 2>song because this is not the sixties version of the song.
<v Speaker 2>But so on the album, we're going to talk about it. Okay,
<v Speaker 2>let's go all right. So this song was originally recorded
<v Speaker 2>by a female singer named Leslie Gore. She recorded it
<v Speaker 2>when she was only seventeen years old, but she had
<v Speaker 2>already had two mega hits before that tell Me. At sixteen,
<v Speaker 2>she had had It's My Party, which was a number
<v Speaker 2>one hit in nineteen sixty three, Yes, followed up by
<v Speaker 2>another top forty hit called Judy's Turn to Cry, and
<v Speaker 2>then she comes out with you Don't Own Me as
<v Speaker 2>her third big hit. All by the time that she's
<v Speaker 2>turned seventeen.
<v Speaker 3>That's incredible.
<v Speaker 2>This song is like women's power song before you had
<v Speaker 2>this real big feminist movement that occurred, expresses like emancipation
<v Speaker 2>and says, hey, you don't own me, I get to
<v Speaker 2>do what I want. To do, and you don't tell me,
<v Speaker 2>and you don't put me in a.
<v Speaker 3>I wonder Phil Spector wrote this song.
<v Speaker 2>I don't know. I think somebody came up to her
<v Speaker 2>and says, nobody puts baby in the corner. She said,
<v Speaker 2>you're right.
<v Speaker 3>This song reached number two February first, nineteen sixty four. Yeah,
<v Speaker 3>the number one song that could not overcome I Want
<v Speaker 3>to Hold Your Hand by the Beatles.
<v Speaker 1>There you go.
<v Speaker 2>So this song was covered by a group called the
<v Speaker 2>blow Monkeys. I'm not familiar with these guys. They are
<v Speaker 2>a UK band and they've had a few hits.
<v Speaker 3>I remember one song that they had in the eighties
<v Speaker 3>that was pretty big. Yeah, in eighty six called Digging
<v Speaker 3>Your Scene.
<v Speaker 2>Yeah, that was on their second album, Animal Magic, which
<v Speaker 2>got to number twenty one on the UK Album's chart.
<v Speaker 2>It got attention because it was talking about the backlash
<v Speaker 2>against gay people, with AIDS being a pandemic at the time. Okay,
<v Speaker 2>So January of eighty seven, before Dirty Dancing comes out,
<v Speaker 2>they released their third album called She Was Only a
<v Speaker 2>Grocer's Daughter, which is a reference to the Prime Minister
<v Speaker 2>Margaret Thatcher at the time. Okay, it got to number
<v Speaker 2>twenty in the UK, and then it got to number
<v Speaker 2>five in the UK and number twenty eight in Italy.
<v Speaker 2>Wasn't released in the United States and so it didn't
<v Speaker 2>chart there, but it was featured in a movie, Police
<v Speaker 2>Academy four Citizens on Patrol.
<v Speaker 3>Oh, I love the Police Academy movies. That's fantastic. Ye Hey,
<v Speaker 3>I tell you who did cover this?
<v Speaker 2>Yeah?
<v Speaker 3>Jone Jet released a cover of this song as her
<v Speaker 3>first solo single in nineteen seventy nine, which is kind
<v Speaker 3>of cool in itself. But the B side of that single,
<v Speaker 3>uh huh was an early version of I Love rock
<v Speaker 3>and Roll?
<v Speaker 2>Nice? How about that? That's awesome.
<v Speaker 3>Hey, I'll tell you where I know this song from.
<v Speaker 3>And this is gonna be weird. Maybe it's just me. Yeah,
<v Speaker 3>But the NFL released a commercial a couple of years
<v Speaker 3>ago dedicated to their line of clothing, and Alyssa Milano
<v Speaker 3>sang the.
<v Speaker 2>Song wow video Wow, Alyssa Milana, Yes of who's the
<v Speaker 2>boss fan?
<v Speaker 3>Okay, we've done with this one.
<v Speaker 2>Yep, all right, I'm in the moon for some country.
<v Speaker 2>You got any country on this album?
<v Speaker 3>Well, let's see if we can oblige you here.
<v Speaker 2>This song is unmistakable. I don't know that. I've heard
<v Speaker 2>very many songs sound anywhere near the song, but it
<v Speaker 2>is one that people just know. You just know, Hey Baby.
<v Speaker 3>Yeah.
<v Speaker 2>This song is by Bruce Channel.
<v Speaker 3>Okay.
<v Speaker 2>He originally was a performer for a radio program called
<v Speaker 2>Louisiana Hayride. Then he joined up with a harmonica player
<v Speaker 2>which you can hear in this song. His name is
<v Speaker 2>Delbert McClinton and they were doing country music together and
<v Speaker 2>Bruce wrote the song Hey Baby with Margaret Cobb in
<v Speaker 2>nineteen fifty nine, performed the song for two years before
<v Speaker 2>they recorded it, recorded it in Fort Worth with producer
<v Speaker 2>Bill Smith, and the song went to number one in
<v Speaker 2>the US in March nineteen sixty two, held that position
<v Speaker 2>for three weeks. Now this country singer gets to go
<v Speaker 2>tour Europe.
<v Speaker 3>Yeah.
<v Speaker 2>And he was assisted at one of the gigs by
<v Speaker 2>the Beatles Oh Wow, who were unknown at the time.
<v Speaker 2>John Lennon, who had heard Hey Baby, actually had it
<v Speaker 2>on his own jew Box, was amazed by mcclinton's harmonica playing,
<v Speaker 2>and legend is that Lennon got taught how to play
<v Speaker 2>the harmonica, or at least how to play it better
<v Speaker 2>by McClinton. And if you listen to the song love Me.
<v Speaker 2>Do you can hear those skills for you real quick?
<v Speaker 3>Dude? You blow in my mind?
<v Speaker 2>There you go.
<v Speaker 3>That's fantastic. So this is the first number one hit
<v Speaker 3>on the Hot one hundred with an exclamation point in
<v Speaker 3>the title fantastic. There you go, love it. And this
<v Speaker 3>was used in the movie when they were on top
<v Speaker 3>of the log and they're working on their dancing in balance. Yes, yeah,
<v Speaker 3>so there you go. Okay, we're done with that one. Yep,
<v Speaker 3>all right, moving on to the next song called Overload
<v Speaker 3>by Alfie Zapacosta.
<v Speaker 2>Okay, this was not on my playlist in nineteen eighty seven,
<v Speaker 2>eighty eight, or any year thereafter. Okay, you mentioned the
<v Speaker 2>singer's name is zap Acosta.
<v Speaker 3>Yep.
<v Speaker 2>I don't know anything else that he has done except
<v Speaker 2>for the radio commercial jingle for Pizza Nova.
<v Speaker 3>Are you serious?
<v Speaker 2>That's it? That's all I got, Wow, recorded in the
<v Speaker 2>same year that he recorded this.
<v Speaker 3>Okay, Well here's what I got. I got one thing
<v Speaker 3>on this neat it to me?
<v Speaker 2>Yeah all right.
<v Speaker 3>So obviously they had a budget for this album, and
<v Speaker 3>once they got done paying Phil Spector, there wasn't a
<v Speaker 3>lot left over. Right. So they needed some songs. So
<v Speaker 3>Jimmy Einer had to look around and be creative, right, right,
<v Speaker 3>So they found this Canadian singer guitarist named Alfie's Apacosta.
<v Speaker 3>He agreed to write and cut Overload for two thousand
<v Speaker 3>dollars home way. Okay, there you go, two thousand bucks
<v Speaker 3>for this one.
<v Speaker 2>Yeah. I doubt he got anything on the back end either.
<v Speaker 3>How would you like to get two grand and no
<v Speaker 3>royalties from an album that sold thirty two million?
<v Speaker 1>Companies?
<v Speaker 2>Who would not like that very much? Feel a little
<v Speaker 2>bit like Vincent Price and Thriller exactly. He did get
<v Speaker 2>twice as much as Vincent got.
<v Speaker 3>That's true. Okay, we done with this one.
<v Speaker 2>Let's be done with this one. I'd be fast forward
<v Speaker 2>and clear this one already.
<v Speaker 3>All right. The next song is a song called Love
<v Speaker 3>is Strange?
<v Speaker 2>Hey, Jason, how do you call your.
<v Speaker 3>Please? Do not say that?
<v Speaker 2>Okay? Tell me who this song is? Bock Mickey and
<v Speaker 2>Sylvia Mickey and Sylvia. So Mickey is Mickey Baker born
<v Speaker 2>in Louisville, Kentucky. His mother was black and his father,
<v Speaker 2>who he never met, was probably white. Okay, thirty six
<v Speaker 2>at the age of eleven, he was put into an orphanage.
<v Speaker 2>Ran away had to be retrieved by the staff from
<v Speaker 2>Saint Louis, New York City, Chicago, and Pittsburgh. This is
<v Speaker 2>this guy has got some legs on to move at
<v Speaker 2>eleven or twelve or whatever he is. Eventually the orphanage
<v Speaker 2>quit looking for him. At the age of sixteen. He
<v Speaker 2>stayed in New York City. He worked as a dishwasher
<v Speaker 2>and a laborer, but when he was hanging out in
<v Speaker 2>the pool halls, he realized he could become a full
<v Speaker 2>time pool shark. That lasted for a little while until
<v Speaker 2>he decided to change his life, went back to dishwashing
<v Speaker 2>and was determined to become a jazz musician. And he
<v Speaker 2>was going to play the trumpet. And then he went
<v Speaker 2>to the store with fourteen dollars and they said, well,
<v Speaker 2>you don't have enough. Would you like a guitar? Oh,
<v Speaker 2>my gosh, And that's how he became a guitar player.
<v Speaker 2>By nineteen forty nine, Yeah, he had his own combo,
<v Speaker 2>had a few paying jobs, decided to go out to California,
<v Speaker 2>but they were not receptive to progressive jazz music in
<v Speaker 2>California at that time, so he got stranded in California.
<v Speaker 2>Then he saw a show by a blues guitarist named
<v Speaker 2>pee Wee Creighton. And he saw that pee Wee Creighton
<v Speaker 2>was driving a nice car, and he's like, hey, can
<v Speaker 2>you actually make money playing this simple blues stuff? And
<v Speaker 2>he's like, oh yeah, he said, So I started bending strings.
<v Speaker 2>I was starving to death, and blues was just the
<v Speaker 2>financial thing for me. Right then, so starts playing the blues.
<v Speaker 2>By the mid nineteen fifties, he's a music instructor and
<v Speaker 2>he has a student in his class named Sylvia.
<v Speaker 1>When you.
<v Speaker 3>And That's fantastic, he gets inspired by the musical duo
<v Speaker 3>of Les Paul and Mary Ford and says, we should
<v Speaker 3>make a duo together, and that is how the group
<v Speaker 3>Mickey and Sylvia form.
<v Speaker 2>Okay, so they start doing tours together. They end up
<v Speaker 2>sharing a bill with Bo Diddley.
<v Speaker 3>Okay.
<v Speaker 2>They hear Bo Diddley play the song called Love Is
<v Speaker 2>Strange and they say, hey, can we record that? He says, sure,
<v Speaker 2>go for it. Single was released in November fifty six.
<v Speaker 2>It became their biggest hit topp to the US R
<v Speaker 2>and B charts and was number eleven on the US
<v Speaker 2>Pop charts In fifty seven, they recorded a seconecond version
<v Speaker 2>of it. You know this one? No. They recorded a
<v Speaker 2>second version of it in nineteen sixty two, and it
<v Speaker 2>featured a drummer on his first paid session gig Okay.
<v Speaker 2>The drummer's name was Bernard Pretty Party, who later went
<v Speaker 2>on to develop the Pretty Shuffle, which we talked about
<v Speaker 2>as the inspiration for the drumbeat of the Toto song Rosanna.
<v Speaker 3>It comes full circle show that is blowing my mind.
<v Speaker 3>That is fantastic.
<v Speaker 2>They eventually broke up, but Sylvia had some success afterwards.
<v Speaker 3>So Sylvia had a song in nineteen seventy three that
<v Speaker 3>reached number three. Okay, it's called pillow Talk. So I
<v Speaker 3>listened to pillow Talk. She simulates an orgasm in this song.
<v Speaker 3>In the seventies, early seventies. Oh yeah, here's the other
<v Speaker 3>thing more important than that, uh huh. She creates sugar
<v Speaker 3>Hill Records, which you may have heard of because they
<v Speaker 3>put together the Sugar Hi I Gang, who had the
<v Speaker 3>breakthrough hip hop song rappers. Delight said, did.
<v Speaker 2>You don't stop the report to the rhythm? Go back
<v Speaker 2>and check out our Beastie Boys versus Running You and
<v Speaker 2>see episodes with Mister Deaf Dave David Wright. I remember
<v Speaker 2>having sugar Hill Records when I was a kid. I
<v Speaker 2>remember having rappers Delight off the sugar Hill label.
<v Speaker 3>When I saw that, I nearly fell out of my chair.
<v Speaker 1>Yeah.
<v Speaker 2>Her her maiden name was Vanderpool, but she married a
<v Speaker 2>guy named Joe Robinson and so she was Sylvia Robinson
<v Speaker 2>and he and she formed sugar Hill Records together in
<v Speaker 2>seventy nine.
<v Speaker 3>That's fantastic. So I got just a couple of things
<v Speaker 3>for you here.
<v Speaker 2>Okay.
<v Speaker 3>So it's the from the famous scene in the movie
<v Speaker 3>where Patrick Swayze and Jennifer Gray are actually like lip
<v Speaker 3>syncing the words to each other.
<v Speaker 2>How you call your love a boy?
<v Speaker 3>Comeyer o love boy?
<v Speaker 9>And if it's still doesn't dancer, I simply say, And
<v Speaker 9>they're crawling around on the floor and it's super sexy,
<v Speaker 9>little air guitar going on.
<v Speaker 3>Yes, So eleanor Birsty watched it. She's like, Wow, this
<v Speaker 3>is fantastic. This has to stay in the movie. The
<v Speaker 3>problem is we don't have the budget for this song.
<v Speaker 3>Worse than that, they can't just pluck it out like
<v Speaker 3>plug and play with something else because they lip scen too.
<v Speaker 2>Yeah, it's the best part of the scene.
<v Speaker 3>And so everybody's watching it going oh crap, what are
<v Speaker 3>we gonna do? And so luckily they managed to get
<v Speaker 3>the music authorized, but they were really nervous for a
<v Speaker 3>little bit that they were gonna have to cut this
<v Speaker 3>scene for financial reasons.
<v Speaker 2>Awesome.
<v Speaker 3>You know what other movie this? Uh, this song appears
<v Speaker 3>in tell Me I'm Not Kidding Deep Throat. In fact,
<v Speaker 3>it caused a second surgeons of this song.
<v Speaker 2>The fact that it was in Deep Through Yeah. Well,
<v Speaker 2>I mean it was a very popular movie. There you go,
<v Speaker 2>keep cut. How about that Deep something?
<v Speaker 3>Okay, okay, onto the next song. This next song is
<v Speaker 3>called where are You Tonight? Where where are You?
<v Speaker 2>Oh? That's he haw, I'm sorry, wrong song?
<v Speaker 3>Where you all right?
<v Speaker 2>This is a new song, another eighties hit because it's
<v Speaker 2>a new song. This is by Charles Thomas Johnson, who
<v Speaker 2>was one of the founding members of the Doobie Brothers.
<v Speaker 3>Yeah. That blew me away. Those guys are the Doobie Brothers.
<v Speaker 2>Yeah, he went on and had his own solo career afterwards,
<v Speaker 2>and that includes him getting a call from Jimmy Er saying, hey,
<v Speaker 2>we need another song for this album.
<v Speaker 3>Yeah what Jimmy Iner called him. He said he had
<v Speaker 3>to go to a remote studio in Louisiana mm hmm.
<v Speaker 3>And he said it was just a paper mill town.
<v Speaker 3>It smelled bad and he's like, well, who cares, that's
<v Speaker 3>fine whatever. So he cut this song. When he turned
<v Speaker 3>it in, had never seen the movie, didn't know anything
<v Speaker 3>about it, and then found out later. Of course the
<v Speaker 3>soundtrack was this massive sensation. Yeah, he said he got
<v Speaker 3>a new BMW out of the deal.
<v Speaker 2>Nice. So it's got It's the field. Though it's an
<v Speaker 2>eighty song, it has a feel very much like the
<v Speaker 2>older songs that are on this album. I agree, it's
<v Speaker 2>got a doopy, fingersnapping R and B feel too. Yeah, sure, yeah,
<v Speaker 2>moving on now, we're moving on to a song that
<v Speaker 2>actually was an R and B song, maybe the R
<v Speaker 2>and B song, this do wop song of all do
<v Speaker 2>wop songs.
<v Speaker 3>This song is called in the Still of the Night.
<v Speaker 2>I was waiting for it. I was waiting for I'm like,
<v Speaker 2>if you don't play White Snake right now, I'm going
<v Speaker 2>to not forgive you.
<v Speaker 3>I couldn't. I knew it.
<v Speaker 2>I knew it was coming, and I'm glad you did it.
<v Speaker 3>Hey, I'm glad it didn't disappoint, but we are covering
<v Speaker 3>that song later. This summer hit from nineteen eighty seven
<v Speaker 3>and it's the third Still of the Night.
<v Speaker 2>There was a Still of the Night by Cole Porter
<v Speaker 2>as well. They changed the spelling of night on this
<v Speaker 2>one so that those two songs didn't get confused.
<v Speaker 3>Soon.
<v Speaker 2>This song is by the Five Satins. They formed in
<v Speaker 2>New Haven, Connecticut in nineteen fifty four. Started off with
<v Speaker 2>Fred Paris and had Lewis people, Stanley Dorch, Ed Martin,
<v Speaker 2>Jimmy Freeman and Nat Moseley. They didn't have a whole
<v Speaker 2>lot of success, A little bit, not a whole lot.
<v Speaker 2>This song was written by Fred Paris and they recorded
<v Speaker 2>it in the Saint Bernadette Catholic School basement in New Haven, Connecticut,
<v Speaker 2>February nineteen fifty six, just.
<v Speaker 3>After church one day. Can I use the basement? Sure?
<v Speaker 3>Go ahead. This song is one of the only songs
<v Speaker 3>to be released and charts three times as its original form.
<v Speaker 2>Yeah. It also has been released and charted by Boys
<v Speaker 2>to Men.
<v Speaker 3>That's how I know it from the nineties version of
<v Speaker 3>the Boys to Men.
<v Speaker 2>I knew the song. I knew the song in the
<v Speaker 2>Still of the Night. Well before this. I actually kind
<v Speaker 2>of listened to fifties music, even before Dirty Dancing. I
<v Speaker 2>made it cool again. Okay, So I was familiar with it,
<v Speaker 2>but I did not know about the Debbie Gibson.
<v Speaker 3>Yeah, David Gibson, that's cool.
<v Speaker 2>They didn't realize that how good this song was. It
<v Speaker 2>was released originally as the B side to another single Yeah.
<v Speaker 2>It was on a single called the Jones Girl Wow,
<v Speaker 2>and it ended up charting at number three on the
<v Speaker 2>R and B chart and number twenty five on the
<v Speaker 2>pop chart.
<v Speaker 3>Wow Okay.
<v Speaker 2>In a case of painfully bad timing, the group's lead
<v Speaker 2>singer was drafted into the Army right after the success
<v Speaker 2>of In the Still of the Night, so they had
<v Speaker 2>to reorganize again. But eventually he came back.
<v Speaker 3>I wrote this hit song and now I'm in the army.
<v Speaker 2>Yeah.
<v Speaker 3>I did read that Fred Paris wrote this about a
<v Speaker 3>former girlfriend. She moved away. He tried to contact her, couldn't.
<v Speaker 3>So it's likely that there's a woman out there who
<v Speaker 3>doesn't even realize that this song is written about her.
<v Speaker 9>Wow.
<v Speaker 2>Iconic song, the dou wop song of all due wop songs.
<v Speaker 2>You're ready to move on?
<v Speaker 3>Okay, wait a minute, do we forget anything.
<v Speaker 2>We've talked about eleven songs, but there's twelve songs on
<v Speaker 2>the album. What happened?
<v Speaker 3>I guess it's time to kick in the finale and
<v Speaker 3>have the time of our life.
<v Speaker 5>No, the time life like this people, I guess us
<v Speaker 5>where he's such.
<v Speaker 1>And all?
<v Speaker 2>Okay, we knew that we skipped it. Everybody, we knew
<v Speaker 2>we skipped it. But how do you not put this
<v Speaker 2>song at the end.
<v Speaker 3>This belongs at the end. Is the finale. It is
<v Speaker 3>the finale. You have to close with this one or
<v Speaker 3>else people will be stampeding for the doors on our podcast.
<v Speaker 3>So once again, this is a song that is written
<v Speaker 3>by Frankie Privett and John Dinaicole.
<v Speaker 2>So here's how this happens. Okay, Jimmy Iner, who knows
<v Speaker 2>Frankie Privett yep, calls him up and says, I got
<v Speaker 2>a movie. I need you to write a song for it.
<v Speaker 2>And he's like, what's the name of the movie, Dirty Dancing.
<v Speaker 2>He's like, oh my gosh, Jimmy's doing porn movies again.
<v Speaker 2>He's like, no, no, no, no, And in five minutes
<v Speaker 2>he tells him the plot of the movie. Right, yes, girl,
<v Speaker 2>boy love dancing, all of that good stuff sixties.
<v Speaker 3>Right.
<v Speaker 2>He says, I need this as the finale song. Right,
<v Speaker 2>this is gonna be our finale song. I think it
<v Speaker 2>could change your life. Frankie Privet is like okay, he goes,
<v Speaker 2>there's just one problem. Frankie Prive is like okay. He goes,
<v Speaker 2>it has to be seven minutes long. He said, what
<v Speaker 2>goes well, the finale is seven minutes long, So the
<v Speaker 2>song has to be seven minutes long. He's like, okay,
<v Speaker 2>all right, I'll give it a try. I'll see what
<v Speaker 2>he can do. Right, And so he comes up with
<v Speaker 2>the music for He's got this kind of idea of
<v Speaker 2>what it should be. He records that. He's listening to
<v Speaker 2>it in his car. He calls Jimmy Ironer and says,
<v Speaker 2>plays the track for him. He's like, how does this sound?
<v Speaker 2>He goes, that's great, develop that into a full song.
<v Speaker 2>So he's listening to it in his car. He's on
<v Speaker 2>the Garden State Parkway exit. Okay, and he's he's got
<v Speaker 2>this this. Jimmy Ironer said, this song could change your life.
<v Speaker 2>And the only word that he can think of is
<v Speaker 2>the end word, which is life, life, life. And then
<v Speaker 2>he comes up with it.
<v Speaker 10>I had the time of my life and the rest
<v Speaker 10>is history.
<v Speaker 3>That's fantastic. That's a great story. Yeah, I heard that
<v Speaker 3>when Jimmy Aner called him that. He said, number one,
<v Speaker 3>it's got to be seven minutes long.
<v Speaker 2>Yeah.
<v Speaker 3>Also, it's got to start slow, finish fast, and have
<v Speaker 3>a Mama beat. Oh, by the way, it's got to
<v Speaker 3>be a hit because you know, it's the most important
<v Speaker 3>song and the entire movie.
<v Speaker 2>Right, the version that they listened to when they were
<v Speaker 2>filming the movie was the version that Prankie Privet recorded.
<v Speaker 2>It's his voice the demo right right. When you see
<v Speaker 2>Patrick Swayze lip syncing the words, he's lip syncing to
<v Speaker 2>Frankie Privet, not to Bill Medley.
<v Speaker 3>That's incredible. So Okay, when Jimmy Ironer is going around
<v Speaker 3>trying to find people to record the vocals for this song,
<v Speaker 3>knowing that it's the most important song, that it's the finale,
<v Speaker 3>that you've got to knock it out of the park,
<v Speaker 3>he goes to Donna Summer and Lionel Ritchie. You know
<v Speaker 3>what they say, No, no, not interested. Here's this movie.
<v Speaker 3>I mean, what are we talking about here?
<v Speaker 2>Right now? It's important to note. They weren't sure that
<v Speaker 2>this was going to be the song. Initially, they listened
<v Speaker 2>to multiple tape of multiple songs trying to figure out
<v Speaker 2>what the best song for the finale was. And and
<v Speaker 2>it's Kenny Ortega, the choreographer who's listening to the song
<v Speaker 2>with Miranda Richardson trying to find the perfect song. And
<v Speaker 2>they go after tape after tape after tape and they
<v Speaker 2>can't figure it out. And they get to the very
<v Speaker 2>last tape and he says, and I hear it. Is
<v Speaker 2>it just because we're on the very last tape? But
<v Speaker 2>I think that this has to be the right song, right?
<v Speaker 2>And she's like, no, this is it, this is this
<v Speaker 2>is the one that it has to be.
<v Speaker 1>Oh, that's better.
<v Speaker 3>They also asked Daryl Hall and Kim Karnes.
<v Speaker 2>Okay, now, interestingly, Daryl Hall had covered The Righteous Brothers.
<v Speaker 3>That's exactly right.
<v Speaker 2>Interesting, Okay, go aheady.
<v Speaker 3>So they said no as well, because Dirty Dancing, we
<v Speaker 3>don't know the producer, we don't know the director, we
<v Speaker 3>don't know the lead actors, right, Patrick Swayze, who's that, right,
<v Speaker 3>Jennifer Gray never heard of her?
<v Speaker 2>Right?
<v Speaker 3>And so they went to Bill Medley and They're like, hey, Bill,
<v Speaker 3>you're the voice of the sixties. He actually was coming
<v Speaker 3>off a very popular moment in time, because Top Gun
<v Speaker 3>had sort of reintroduced him to pop culture from You've
<v Speaker 3>Lost That Love and feeling right all right. So they
<v Speaker 3>went to him and he's like, no, my wife's getting
<v Speaker 3>ready to have a baby. I taught promised her I'd
<v Speaker 3>be there for the birth. I don't have time for this.
<v Speaker 3>I'm not doing it, okay. So then they went to
<v Speaker 3>Jennifer warrens Now she had done up where I belong
<v Speaker 3>and right Time of the Night from the seventies.
<v Speaker 2>Yeah, okay.
<v Speaker 3>She's got a real strong voice, very strong. But she
<v Speaker 3>she's like, you know, when I looked at it, there
<v Speaker 3>was three writers on the song. To me, that's a
<v Speaker 3>giant red flag. She's like, I almost just said no way,
<v Speaker 3>but she said she started warming to the idea as
<v Speaker 3>long as Bill Medley was seeing with her, and so
<v Speaker 3>Jimmy kept calling him saying, did you have the baby yet?
<v Speaker 3>Did she have the baby yet? Did she have the
<v Speaker 3>baby yet? He's like, you have to do this. You're
<v Speaker 3>the voice of the sixties. You have got to do this.
<v Speaker 3>And when they finally changed the recording venue from New
<v Speaker 3>York to La where Medley lived, Baby was born. Come
<v Speaker 3>in to La. You gotta do this, Jennifer says, she'll
<v Speaker 3>do it if you do it.
<v Speaker 9>Huh.
<v Speaker 3>He finally caved. So this is the tibt that blew meaway. Yeah,
<v Speaker 3>and I never knew this. I've heard this song a
<v Speaker 3>thousand times in my life. Okay. Bill Medley and Jennifer
<v Speaker 3>Warrens are supposed to be the older versions of Johnny
<v Speaker 3>Castle and Baby singing to each other.
<v Speaker 2>That's great about the events in the movie. Yeah, So
<v Speaker 2>little history on Bill Medley. Okay, we all know him
<v Speaker 2>from The Righteous Brothers, right yep. But the Righteous Brothers
<v Speaker 2>didn't have a whole lot of success initially, Okay, he
<v Speaker 2>had been in a couple of other groups. He ended
<v Speaker 2>ended up forming the Righteous Brothers with Bobby Hatfield by
<v Speaker 2>mid sixties hadn't had a whole lot of success. But
<v Speaker 2>in nineteen sixty four they appeared in a show with
<v Speaker 2>some other groups at the Cow Palace in San Francisco.
<v Speaker 2>The Cow Palace, The Cow Palace. Okay, there was a
<v Speaker 2>conductor for the band for the entire show who is
<v Speaker 2>impressed by them and said I would like to record
<v Speaker 2>you on my own record label. You know, the conductor was.
<v Speaker 3>David Page is dead Phil Spector, Phil Spector.
<v Speaker 2>So in sixty five with Phil Spector they have their
<v Speaker 2>first number one hit with You've Lost That Love and Feeling,
<v Speaker 2>which was produced by Phil Spector, and then later on
<v Speaker 2>they had another major hit with Unchained Melody, which then
<v Speaker 2>showed up later in Ghosts the eighties with Ghosts and
<v Speaker 2>Patrick Swayz. Yes.
<v Speaker 3>Wow, I didn't even think about that having a Patrick
<v Speaker 3>Swayza connection.
<v Speaker 2>Yeah. I mentioned at the outset we're going to talk
<v Speaker 2>about two murders, and so far we've only talked about one.
<v Speaker 3>Okay, you ready.
<v Speaker 2>Yes. Bill Medley met his first wife, Karen O'Grady in church.
<v Speaker 2>They started dating in nineteen sixty three and they were
<v Speaker 2>married at the beginning of his music career. They had
<v Speaker 2>a son named Darren in nineteen sixty five, but ultimately
<v Speaker 2>they got divorced when he was about five. Okay, fast
<v Speaker 2>forward to nineteen seventy six. His first wife, Karen had remarried.
<v Speaker 2>At that point, her name was Karen Klass. She was
<v Speaker 2>raped and murdered by a stranger and in seventy six
<v Speaker 2>because of this, Medley stopped performing music to take care
<v Speaker 2>of their ten year old son, Darren. The murder had
<v Speaker 2>not been solved, and Medley employed a private investigator to
<v Speaker 2>try to track down the killer. On January twenty seventh,
<v Speaker 2>twenty seventeen, the Los Angeles County Sheriff's Department announced that
<v Speaker 2>investigators used a controversial DNA testing method to solve the
<v Speaker 2>murder that was at this point thirty years old. Forty
<v Speaker 2>years old. Set, we're talking seventy six to twenty seventeen,
<v Speaker 2>forty one years later. Whoa. They said that the case
<v Speaker 2>was solved through the use of familial DNA, which identified
<v Speaker 2>the killer named Kenneth Troyer, a sex offender and fugitive
<v Speaker 2>killed by the police in nineteen eighty two.
<v Speaker 3>Oh my gosh, dude, that's incredible.
<v Speaker 2>I don't know where you came up with that. That's
<v Speaker 2>great now, Yeah, a little lighter note, Okay. Jennifer warrens. Yes,
<v Speaker 2>she had smiled success as a solo artist, right, uh huh.
<v Speaker 2>She seems to do pretty well when she does duets.
<v Speaker 2>In sixty eight, after a few years in musical theater
<v Speaker 2>and clubs, she joined the cast of a television show
<v Speaker 2>called The Smothers Brother's comedy Hour.
<v Speaker 3>Ha ha. We've talked about that.
<v Speaker 2>Yes, in our Toto episode, which would later be hosted
<v Speaker 2>by Glenn Campbell Marity Page. Yes, it's all first full circle.
<v Speaker 2>But this is the tidbit that I love. Nineteen eighty five,
<v Speaker 2>she recorded a duet. She's great with these duets in
<v Speaker 2>the eighties. Huh with bj Thomas. Okay, the song is
<v Speaker 2>as long as We've Got each Other. Do you recognize
<v Speaker 2>the title?
<v Speaker 3>Yeah, okay, let me play it for you. It's Bailey Ties,
<v Speaker 3>It's family freaking ties.
<v Speaker 2>It's growing Pains.
<v Speaker 7>It's growing Pains. It's growing Pains. There you go, Oh
<v Speaker 7>that's awesome. Yeah, way to go. She had a lot
<v Speaker 7>of success with eighties duets.
<v Speaker 2>We've got the growing pains theme, we've got dirty dancing
<v Speaker 2>and the best song off of the album. And we
<v Speaker 2>have Joe Cocker from Officer and a Gentleman and lift
<v Speaker 2>us Up where we belong. Man.
<v Speaker 3>Those are a big time huge. Those are a big
<v Speaker 3>time huge. Speaking of duets, I mentioned that the album
<v Speaker 3>came out a month before the movie Okay, and they
<v Speaker 3>dropped the song I've Had the Time of my Life
<v Speaker 3>a week or so before the scheduled release of the movie. Well,
<v Speaker 3>the movie was delayed by about a month, and so
<v Speaker 3>Time of My Life is out there, just kind of
<v Speaker 3>hanging unboosted by the movie, right, and it's kind of floundering.
<v Speaker 3>It's not really doing anything.
<v Speaker 2>Like it hit the charts. But then it's starting to drop.
<v Speaker 3>And nothing really happening, and kind of landed with a dud, right,
<v Speaker 3>which blows me away until a month later when the
<v Speaker 3>movie came out. Bill Bedley said he was actually at
<v Speaker 3>the release party of the movie and they were already
<v Speaker 3>already talking about this second single to drop and he's like, God,
<v Speaker 3>I haven't even given this a chance yet, guys. Okay,
<v Speaker 3>But so it almost fell off the charts. So once
<v Speaker 3>the movie was released, though, the song of course took off.
<v Speaker 3>And he had just done a duet with Gladys Knight
<v Speaker 3>for the movie Cobra Yeah, and that song was called
<v Speaker 3>loving on Borrowed Time.
<v Speaker 1>In the scene.
<v Speaker 3>And so he's on the road with the Whitis Brothers
<v Speaker 3>and the DJ said, hey, man, they're playing the hell
<v Speaker 3>out of your song right now, and he's like, which one,
<v Speaker 3>what are you talking about? And the guy said the
<v Speaker 3>song with that girl, right, and he's like the song
<v Speaker 3>with that girl, I about Gladys Knight. He said, I
<v Speaker 3>don't know, man, And so he said. By the time
<v Speaker 3>they got off the road, about two weeks later, they
<v Speaker 3>were the number one song all over the wheel. He
<v Speaker 3>had no idea what was happening while he was untoured.
<v Speaker 2>It's fantastic. So with this song, they not only hit
<v Speaker 2>number one on the Billboard Hot one hundred, they spent
<v Speaker 2>four weeks at number one on the Adult Contemporary chart. Yep.
<v Speaker 2>They win the Oscar for Best Original Song. That's the
<v Speaker 2>third one, by the way, for Jennifer Warrens. They win
<v Speaker 2>the Golden Globe same category. Yep, and they win the Grammy.
<v Speaker 3>Listen to this when they re released the movie for
<v Speaker 3>television audiences in January of nineteen ninety one. Yeah, the
<v Speaker 3>song charted again.
<v Speaker 2>It's a great song.
<v Speaker 3>It's a great song.
<v Speaker 11>And no, and like I said before, if you don't
<v Speaker 11>get a little bit misty when he does the lift,
<v Speaker 11>there's something wrong with you.
<v Speaker 3>You need to examine your heart.
<v Speaker 2>Yeah. Yeah, so I'm sorry. We tricked you everybody. We
<v Speaker 2>took the first song and we put it last. But
<v Speaker 2>how do you not have that song as the finale
<v Speaker 2>and you got to Yeah.
<v Speaker 3>By the way, this is still showing up in the
<v Speaker 3>movie Crazy Stupid Love with Ryan Gosling and Emstone. Yeah,
<v Speaker 3>they do the lift to the song.
<v Speaker 2>Yes.
<v Speaker 3>And then in twenty eighteen, during the Super Bowl, the
<v Speaker 3>NFL ran a spot where Eli Manning and Odell Beckham
<v Speaker 3>Junior do the lift.
<v Speaker 2>Let's do it, Let's do it. Okay, I'm ready, I'm
<v Speaker 2>gonna catch you. Come on one two.
<v Speaker 5>Yes.
<v Speaker 3>Oh, I knew we could do it. What a final song.
<v Speaker 3>It's so important to the movie, and it really it's
<v Speaker 3>the heart of the movie. It's a joyful song. I
<v Speaker 3>feel like dancing, I feel like doing the lift. It
<v Speaker 3>makes me feel great.
<v Speaker 2>Everybody, if you've listened to us this long, don't forget
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<v Speaker 3>Come back next week as we go track my track
<v Speaker 3>through one of the biggest albums of the seventies, the
<v Speaker 3>soundtrack to Saturday Night Fever. We're gonna be Beijian all
<v Speaker 3>over the place. Do it up, dude. Thanks guys,