Daryl Hall and John Oates "Private Eyes" (1981): Track by Track!

<v Speaker 1>Hi, I'm Eric Dirth, and I'm coming to you from Cleveland, Ohio.
<v Speaker 1>Welcome to the Shirley You Can't Be Serious Podcast. Jason
<v Speaker 1>and Dee are taking a deep dive into Private Eyes,
<v Speaker 1>the nineteen eighty one album from halland Oates. The sound
<v Speaker 1>of paranoia, heartbreak, and really really good Hair. Recorded at
<v Speaker 1>Electric Ladies Studios and largely self produced by Daryl Hall
<v Speaker 1>and John Oates, this album locks in their signature blend
<v Speaker 1>of unusual R and B pop and just a hint
<v Speaker 1>of someone's definitely following me. You've got hits like Private
<v Speaker 1>Eyes and the heavily eighties synthesizer track I Can't Go
<v Speaker 1>for That, No Can do. It's got it all eighties
<v Speaker 1>pop culture sounds, heavy synths with driving and creative vocals
<v Speaker 1>that cemented Hall.
<v Speaker 2>And Oaks as fan favorites.
<v Speaker 1>It's sleek, it's catchy, and if Trust Issues had a soundtrack,
<v Speaker 1>this might just be it. So sit back and enjoy
<v Speaker 1>the hair proud, synth driven pop, classic R and B
<v Speaker 1>album equivalent of Mister Toad's Wild Ride. As the Shirley
<v Speaker 1>Guys discuss the Hall and Odes nineteen eighty one phenomenon
<v Speaker 1>Private Eyes.
<v Speaker 3>Hello, everybody.
<v Speaker 2>Welcome back to the Shirley You Can't Be Serious podcasts. Jason,
<v Speaker 2>we are here today to talk about the most successful
<v Speaker 2>duo in music history. You know who this is.
<v Speaker 3>It's Lennon McCartney.
<v Speaker 2>I was the Fab four, So not a duo, Okay,
<v Speaker 2>I see.
<v Speaker 3>Where you're going. But no, not right right.
<v Speaker 2>Harrison still wrote some songs stringo saying something that's sure duo, okay,
<v Speaker 2>Simon garfuggl No, the Eurythmics, No, Sunny and Share, No,
<v Speaker 2>the Everly Brothers. Okay, I think eighties eighties yeah, wam no,
<v Speaker 2>Tis for Fears, no, rock Sead, Yeah.
<v Speaker 3>No.
<v Speaker 2>Did you study at all? Like, are you going to
<v Speaker 2>be ready for this?
<v Speaker 3>I canteen, Yeah, Brooks and Dunn, the Judds. I mean,
<v Speaker 3>what are we talking about here?
<v Speaker 2>We are here today to talk about the most successful
<v Speaker 2>duo in music history, and that is Hall and Oats.
<v Speaker 3>Hall and Oates, of course, absolute hit making machines. In
<v Speaker 3>the mid eighties, they were undeniable.
<v Speaker 2>In early MTV, they were undeniable, and early MTV, however,
<v Speaker 2>they were very deniable when they first got started.
<v Speaker 3>That's right.
<v Speaker 2>There'll be an interesting story for us to talk about
<v Speaker 2>but like after album three the record label was like
<v Speaker 2>you suck by now and they were done.
<v Speaker 3>Yeah, that they weren't. We almost lost them.
<v Speaker 2>We did almost lose them. But I would say the
<v Speaker 2>magic of number one, their ability, number two the type
<v Speaker 2>of music they were playing in the time of history
<v Speaker 2>that they were playing it sure, and some very fortuitous
<v Speaker 2>circumstances including the birth of MTV.
<v Speaker 4>For man.
<v Speaker 3>On absolutely one hundred percent. This is a three parter.
<v Speaker 3>So we've done Jay Giles Band, Freeze Frame, Yep, we
<v Speaker 3>did minute Work business as usual last week with James Buckley, Yes,
<v Speaker 3>with James Buckley. And then this is their third of three,
<v Speaker 3>This is Private Eyes.
<v Speaker 2>All of these came out in eighty one. This Private Eye,
<v Speaker 2>I belief, came out November of eighty one.
<v Speaker 3>I got September one, Okay, we'll go with that.
<v Speaker 2>Yeah, I could be wrong. I'm going I don't have
<v Speaker 2>any notes. It's all up here.
<v Speaker 3>September first, all right. Dates. Yes, this is their tenth
<v Speaker 3>studio album, tenth. It took him a while to kind
<v Speaker 3>of get going, it did, but once they got going, man,
<v Speaker 3>they were a hit making duo.
<v Speaker 2>Unstoppable and basically from I would say from eighty to
<v Speaker 2>eighty five. They had a number one hit every single year,
<v Speaker 2>if not multiple.
<v Speaker 3>I've got a list of their hits which we'll go
<v Speaker 3>through here in just a few minutes. Sure, but it's
<v Speaker 3>like this song number one, this song number three, this
<v Speaker 3>song number five, this song number one. I mean everyone
<v Speaker 3>they released was just to the.
<v Speaker 2>Top of the bullet absolutely. You know, it's interesting. I
<v Speaker 2>grew up with these guys just because of MTV, but
<v Speaker 2>also my mom was a fan like I had that
<v Speaker 2>they were LPs were in our LP collection and I
<v Speaker 2>can remember wearing private Eyes out like specifically that song
<v Speaker 2>and then another one. A couple songs later they were
<v Speaker 2>forced to be reckoned with. One of the songs that
<v Speaker 2>I was crazy about was family Man Okay, which I
<v Speaker 2>think that came the album after this one Okay. That
<v Speaker 2>was H two Oh it's h two oh okay, And
<v Speaker 2>then when that one had man Eater on it too, right.
<v Speaker 3>It did have many Oh my God, which was written
<v Speaker 3>about Do you remember this? We talked about at this
<v Speaker 3>Oh was this was it?
<v Speaker 2>It wasn't Roseanna arcuat was it?
<v Speaker 3>It was not Roseanne arcad Was it? Was it?
<v Speaker 2>Weird science? What's her name?
<v Speaker 3>Uh? Whips? Chains. What was her name? We're not talking
<v Speaker 3>candlewags on the nipples. Kelly Lebron, Yes, Kelly Brock, Yes,
<v Speaker 3>that's exactly right.
<v Speaker 2>Oh my gosh.
<v Speaker 3>Yeah. All right, man, Well, here we are in nineteen
<v Speaker 3>eighty one. Let's dive in with the opening track.
<v Speaker 2>All right, forty five years of ago this year, guys,
<v Speaker 2>here we go, track number one, the title track, This
<v Speaker 2>is Private Eyes.
<v Speaker 5>Let's see you.
<v Speaker 3>This song is a freaking banger. I dare anybody not
<v Speaker 3>to be tapping their toes while we played this song.
<v Speaker 3>It's an absolute eighties classic hand clapper.
<v Speaker 2>Yes one. I ate this up when I was a
<v Speaker 2>little kid. It just it's the perfect pop sensibility. Like
<v Speaker 2>you said, the hand clapping going on. It's just you
<v Speaker 2>can't you can't not get engaged with this song. I
<v Speaker 2>can kind of remember this song. You remember DTV. You
<v Speaker 2>remember when Disney had like like they did their music videos,
<v Speaker 2>except it was like Disney cartoons. Yes, Private Eyes was
<v Speaker 2>one of my favorites to watch of those like the
<v Speaker 2>DTV videos with TV. I mean, keep it, keep in mind.
<v Speaker 3>Eighty one.
<v Speaker 2>I was five, yeah, you know, I was five going
<v Speaker 2>on six and so so by you know, a couple
<v Speaker 2>of years later, when Disney Channel is doing DTV, I was.
<v Speaker 2>I was all in for my favorite song with my
<v Speaker 2>favorite cartoons.
<v Speaker 3>I remember listening to this song driving to my dad's
<v Speaker 3>church league softball games in the back of the station
<v Speaker 3>wagon with Chris Alexander and Chad Alexander and we're back
<v Speaker 3>there jamming out to private Eyes. This song was released
<v Speaker 3>August of nineteen eighty one. This is the lead single.
<v Speaker 3>Yeah it hits number one November seventh of nineteen eighty one.
<v Speaker 3>I gotta give you the top five from that wave. Okay,
<v Speaker 3>all right, so here we go, November seventh, nineteen eighty one.
<v Speaker 3>Number five trying to Live My Life Without You, Bob
<v Speaker 3>Seeger Okay, yeah, I mean I know it, but yeah,
<v Speaker 3>all right. Number four for your Eyes Only Sheena Easton.
<v Speaker 2>Oh yeah, sure, from James Bond.
<v Speaker 3>Go back to our Bond theme Songs episode Yep. I
<v Speaker 3>don't remember who drafted that one, but it was a
<v Speaker 3>pretty high pick.
<v Speaker 2>That's a good one.
<v Speaker 3>Number three the Arthur's theme Oh Christopher.
<v Speaker 2>Crosser cross which we talked about last year.
<v Speaker 3>Yeah, which we attempted to watch Arthur and d fell asleep.
<v Speaker 3>I did well.
<v Speaker 2>It was late and uh and yeah, when you're watching
<v Speaker 2>somebody who's half drunk, you kind of get a little woozy.
<v Speaker 3>You were a little cozy. Number two Start Me Up
<v Speaker 3>by the Stones, Oh dude, yeah, yep. And then Private
<v Speaker 3>Eye number one, now I want to tell this to you.
<v Speaker 3>Privatize was number one. Two weeks later, it got knocked
<v Speaker 3>out of the number one spot by Olivia Newton John Physical.
<v Speaker 3>I told you a couple of weeks ago that maybe
<v Speaker 3>Physical is the most successful song of the eighties. It
<v Speaker 3>was number one for ten weeks. Okay, it gets knocked
<v Speaker 3>out by another hol of note song. We'll talk about
<v Speaker 3>here in a minute, all right. So this song was
<v Speaker 3>written by Warren Pash, Jana and Sarah Allen and Darryl Hall.
<v Speaker 2>Yes, and we're going to talk about Sarah and Jana
<v Speaker 2>here in just a minute, not on the song, because
<v Speaker 2>there's too much to talk about on this song in particular.
<v Speaker 6>Yep.
<v Speaker 3>But yeah, we will talk.
<v Speaker 2>About them in more detail and just a bit.
<v Speaker 3>Okay. I got a story. Warren Pash had a song
<v Speaker 3>called I Need You to Need Me okay, and he
<v Speaker 3>didn't really like the title, and he's this is it,
<v Speaker 3>like this is the early iteration of this song. And
<v Speaker 3>he's driving around and I need you to need me? Okay.
<v Speaker 3>He's driving around on Ventura Boulevard in nineteen eighty all right,
<v Speaker 3>and he sees a bill board. I kid you not
<v Speaker 3>for the don knots Tim Conway Comedy, shut up the
<v Speaker 3>private Eyes. I kid you not.
<v Speaker 5>I said when I died that i'd come back. If
<v Speaker 5>you believe in ghosts, you're on the right track. I'm
<v Speaker 5>out of the grave and roaming the moors. If you
<v Speaker 5>want to be safe, you better lock all the windows
<v Speaker 5>and screams.
<v Speaker 3>Are you out of your gord?
<v Speaker 2>Wow? That was we I mean, we have an interesting
<v Speaker 2>story with that as well, because I remember watching that
<v Speaker 2>all the time when I was a kid.
<v Speaker 3>Yes, and you had the Hunchback with the ners and
<v Speaker 3>n and hoard nears.
<v Speaker 2>Yes, and the buckso yeah, yes, all of that. And
<v Speaker 2>I remembered loving it as a kid. And you're like, oh,
<v Speaker 2>I have it, I'll let you borrow it. And I
<v Speaker 2>brought it home and I was excited to show my
<v Speaker 2>family this comic genius. And I put it in and
<v Speaker 2>like fifteen minutes in, I was like, what appeal did
<v Speaker 2>this possibly have to me?
<v Speaker 3>It's so bad. She heard of me, so listen. Okay,
<v Speaker 3>there are three movies that in the eighties that I
<v Speaker 3>love that maybe nobody else loves in the entire planet. Okay,
<v Speaker 3>hot Dog the movie Well Privatize with Don Natson, Tim Conway.
<v Speaker 3>I freaking love that movie. Yeah, you gotta watch out
<v Speaker 3>for wooolars when you're watching it, right, hot Dog the movie.
<v Speaker 3>I don't care what anybody says. I freaking love that movie.
<v Speaker 3>And then Secret Admirer, which, by the way, I told
<v Speaker 3>Dave from Total the Eighties and nineties Recall to watch
<v Speaker 3>Secret Admirer the other day. He's like, oh, man, an
<v Speaker 3>eighties classic that I missed. Oh yah, And I was like,
<v Speaker 3>what do you think.
<v Speaker 2>He's like, hey, yeah, it's hard to go back to
<v Speaker 2>eighties movies that you didn't see in the eighties. I'm
<v Speaker 2>just telling you, yeah, okay, speaking about going back to
<v Speaker 2>movies that you haven't seen. John Oates. Every time I
<v Speaker 2>look at him when he's clean shaven, I think had
<v Speaker 2>they cast Lufarigno in Twins instead of Arnold Schwarzenegger, he
<v Speaker 2>would have been the perfect Danny de Vito character because
<v Speaker 2>they have the same face he and he and Lou
<v Speaker 2>have the same face.
<v Speaker 3>We you, we would know we met him up close.
<v Speaker 3>We met Lufrigno up close. Don't meet your here.
<v Speaker 2>Sorry, I still want to be the Hawk, just not him.
<v Speaker 3>Right. Yeah, By the way, I sent you last night.
<v Speaker 3>I texted you and I said call this number.
<v Speaker 2>I didn't call. Yeah, so Jace Jason texted me last
<v Speaker 2>night and said, have you tried calling this number yet?
<v Speaker 2>Seven two six six two eight three seven. Trust me,
<v Speaker 2>I have no idea what we're about to hear.
<v Speaker 7>Ladies and gentlemen, welcome to call a note your emergency
<v Speaker 7>halland does helpline to hear one on one, Please press
<v Speaker 7>one to hear it, go, please press two to hear
<v Speaker 7>many to please press three to hear privatize, please press four.
<v Speaker 3>I love it. This is fantastic your emerging and see
<v Speaker 3>Hall of Notes hotline. That that is wonderful. It's called
<v Speaker 3>callon Notes, Call of Notes. It's a Colorado Springs number.
<v Speaker 3>That's great. How about that?
<v Speaker 2>That's amazing. I'm sorry that I didn't call it earlier.
<v Speaker 2>It was worth exactly right, trust me. That is fantastic.
<v Speaker 3>All right, let's talk about the music video.
<v Speaker 2>Okay, they're walking around trench grots, right.
<v Speaker 3>Trench coats, sunglasses, kind of the film thing. Yeah, it's
<v Speaker 3>very very basic. Right. So I heard a story that
<v Speaker 3>the director for this music video I think his name
<v Speaker 3>is Jay Dubin, he called him at like eleven am, like,
<v Speaker 3>what are you doing, guys? Nothing thinking about lunch? Yeah, exactly,
<v Speaker 3>come on over, We're gonna shoot a music video. Really,
<v Speaker 3>what are we doing? I don't know. We'll figure it
<v Speaker 3>out when you get here. Like this is what music
<v Speaker 3>videos were back in the day. Right, Yes, they went
<v Speaker 3>over to the studio, took about two hours.
<v Speaker 2>Uh huh.
<v Speaker 3>You know, they just banged out a little video.
<v Speaker 2>So they didn't have to go a record studio. We
<v Speaker 2>need you to give us two hundred thousand dollars, and
<v Speaker 2>we need to be flying across the stage, and we
<v Speaker 2>need hot girls and bikinis. They had a guy who
<v Speaker 2>called them up and said, hey, let's I'm gonna make
<v Speaker 2>your music video.
<v Speaker 3>And they were like okay, sure what I literally called
<v Speaker 3>them that morning said come on over, here's your sunglasses,
<v Speaker 3>here's your fedora. Right now. We said that.
<v Speaker 2>This came out September first of nineteen eighty one, that's.
<v Speaker 3>Right, one month prior on August first, nineteen eighty one
<v Speaker 3>was the debut of MTV. Yeah, perfect timing.
<v Speaker 2>Whole different world, man, gosh. I mean it's been on
<v Speaker 2>a month and somebody's smart enough to go. I know,
<v Speaker 2>I know the phone number for Haul and Oates and
<v Speaker 2>they're gonna need a video because this looks awesome. I've
<v Speaker 2>got a video camera.
<v Speaker 3>Do the hand collapse, well, put it all over MTV.
<v Speaker 3>It'll be a massive hit.
<v Speaker 2>I've got five trench coats.
<v Speaker 3>That's great. Honestly, this is a really great pop song.
<v Speaker 2>Yeah, it really is.
<v Speaker 3>And the music video and the timing of everything, and
<v Speaker 3>let's be honest. Daryl Hall has a wonderful singing voice.
<v Speaker 2>Wonderful singing voice, tall, blonde, good looking guy, yep, and
<v Speaker 2>he's got somebody that looks different than him.
<v Speaker 3>And John Oas has got an incredibly killer mustache. He
<v Speaker 3>has an incredibly lucky life, is what he is. I
<v Speaker 3>do want to be a John Oates defender, but I
<v Speaker 3>wasn't able to figure how to do that, so we'll
<v Speaker 3>just keep her.
<v Speaker 2>I mean, he he has co writing on zhits, he does.
<v Speaker 3>And he sings on a couple of these tracks. Uh huh,
<v Speaker 3>we'll talk about that, okay, all right, Yeah, all right,
<v Speaker 3>last tidbit. Okay, I saw this on the liner notes
<v Speaker 3>for like their greatest hits, Private Eyes was originally titled
<v Speaker 3>head above Water with H two to oh as the
<v Speaker 3>water put a pin in that it'll come back.
<v Speaker 2>Up well, and I mean the album after this.
<v Speaker 3>The album after this, and then I'm gonna make a
<v Speaker 3>case that it should have come back up later in
<v Speaker 3>this album.
<v Speaker 2>Interesting, okay, all right, all right, next song on the album,
<v Speaker 2>this one is called looking for a Good Sign.
<v Speaker 8>Days Gone Down, looking for sime from you, what you
<v Speaker 8>find gone?
<v Speaker 5>What you thinking about? A lot of goody?
<v Speaker 8>It will do while you find you find me, while
<v Speaker 8>you tease me?
<v Speaker 5>Why you geez?
<v Speaker 2>All right in West Philadelphia, born and raised, So this
<v Speaker 2>is this is a great example of the music style
<v Speaker 2>that these guys grew up on. They were huge fans
<v Speaker 2>of the Temptations, like the Temptations were their Beatles. They
<v Speaker 2>were not Beatles fans until much later. Even on the album.
<v Speaker 2>They had a guitarist that was a big Beatles fan,
<v Speaker 2>and he put that influence in on the second side
<v Speaker 2>of the album and they're like, yeah, we wouldn't have
<v Speaker 2>done that, we would have just kicked it out. But anyway,
<v Speaker 2>So they grew up West Philadelphia, went to school at Temple.
<v Speaker 2>John Oates actually was a wrestler and had gotten a
<v Speaker 2>wrestling scholarship really, but yeah, gave it up to because
<v Speaker 2>he wanted to go to Temple. He wrestled for Temple
<v Speaker 2>for like one semester and he's like, I'm just tired
<v Speaker 2>of losing weight all the time. Just kind of try
<v Speaker 2>to make music. And so he had a band called
<v Speaker 2>the Masters, and Daryl Hall, who was also going to Temple,
<v Speaker 2>who was a senior while John Oates was a freshman,
<v Speaker 2>he had a band called the Temptones Timptones timp Tones,
<v Speaker 2>very I mean obvious connection to the Temptations, right, And
<v Speaker 2>so one night they're playing at I think it's the
<v Speaker 2>al Delphi. Al Delphi, yes, the name of the theater
<v Speaker 2>that they're playing at. And it's a big as I
<v Speaker 2>understand it. It was for a high school, but like
<v Speaker 2>the high schools had fraternity, so it must have been
<v Speaker 2>some kind of college prep thing or whatever. But I
<v Speaker 2>mean in Philly, if you don't like the other fraternity,
<v Speaker 2>you might pull out your knife or your gun. And
<v Speaker 2>that is exactly what happened at this show that these
<v Speaker 2>two bands were supposed to play at and so when
<v Speaker 2>warfare broke out on the concert floor, John and Darryl
<v Speaker 2>headed out the back and made their way.
<v Speaker 3>To their lives.
<v Speaker 2>Get on the elevator at the same time. Have never
<v Speaker 2>met before, so they find out they're both going to
<v Speaker 2>the same school, right, and they hit it off. They
<v Speaker 2>become roommates. Eventually like they move apart, but they end
<v Speaker 2>up getting back together again in sixty nine and forming
<v Speaker 2>this band called their last names Hall and Oates.
<v Speaker 3>Now, okay, I'm gonna crrect you on one thing, Okay,
<v Speaker 3>number one. They do not like to be called Hall
<v Speaker 3>and Oates. Oh yeah, like never on any of their
<v Speaker 3>albums or anything, it's always Daryl Hall and John Oates.
<v Speaker 2>But the name of the band is Hollow Oats.
<v Speaker 3>They push back on that. They have made it clear
<v Speaker 3>they want to be referred to as Daryl Hall and
<v Speaker 3>John Oates. Okay, I'm telling you, well, I'm calling them
<v Speaker 3>how all of notes. Okay, I've called them all. MoMA
<v Speaker 3>named him Clay.
<v Speaker 2>I'm gonna call him Clay, Okay with me.
<v Speaker 3>Okay, I want to back up though, because you said something.
<v Speaker 3>We kind of breathed past it. But these guys were
<v Speaker 3>at a talent show Battle of the bands. They're in
<v Speaker 3>different bands. Gunplate occurs, they go scrambling, they end up
<v Speaker 3>on the same elevator. They meet on an elevator while
<v Speaker 3>ducking for cover, and we get the most successful musical
<v Speaker 3>duo of all time.
<v Speaker 2>Just like I said, one of many fortuitous events that
<v Speaker 2>occurs in this band's history.
<v Speaker 3>Fascinating.
<v Speaker 2>Yeah, crazy.
<v Speaker 3>So we talked about how this song is a temptation, Temptation, Temptation.
<v Speaker 3>So Daryl Hall talked about how this song came to
<v Speaker 3>him in a dream. You know, we've several times, I
<v Speaker 3>think we've talked about how certain artists feel like they've
<v Speaker 3>downloaded this song from God. Right now, Daryl didn't go
<v Speaker 3>that far, but he did have it in a dream.
<v Speaker 3>He says, this is a dream song. It like came
<v Speaker 3>to him in his brain while he was sleeping. Yeah,
<v Speaker 3>he woke up, had a song perfect.
<v Speaker 2>Yeah.
<v Speaker 3>Now, the Temptations they went on to play. They had
<v Speaker 3>a whole album live at the Apollo in nineteen eighty
<v Speaker 3>five with the Temptations. Yeah, However, I dug this up.
<v Speaker 3>They played first with the Temptations in Live Aid in
<v Speaker 3>Philadelphia in nineteen eighty five. Here's the set list. Do
<v Speaker 3>you want to hear the set list? Out of Touch banger,
<v Speaker 3>Yes Man, Eater Banger Banger, And then you had a
<v Speaker 3>medley with David Ruffin and Eddie Kendrick of the Temptations
<v Speaker 3>get Ready, Ain't Too Proud to beg the way you do,
<v Speaker 3>the thing you do and my Girl. These guys love
<v Speaker 3>the Temptations.
<v Speaker 2>Oh yeah, they definitely do. Yeah, Okay, next one, Yeah,
<v Speaker 2>let's do it. This is this is one that it's
<v Speaker 2>it's kind of a deep track. You may not have
<v Speaker 2>heard of this one.
<v Speaker 3>The song is called I Can't go for That? Oh, no,
<v Speaker 3>can do? I can't go for that?
<v Speaker 2>Okay. So it was interesting to listen to this album
<v Speaker 2>track version because when the song starts off and you
<v Speaker 2>have this drum machine playing and a bassline come in,
<v Speaker 2>and I keep waiting and I'm like, I don't remember
<v Speaker 2>this beginning of the song, because I think every time
<v Speaker 2>that I've heard this song, it begins with no, no, no no.
<v Speaker 3>And it's magical that you're talking about chime No.
<v Speaker 2>It's beautiful, perfect, like the perfect sound, the perfect three notes,
<v Speaker 2>just what it's just captivating, you know what?
<v Speaker 3>That chime reminds me of all right, tell me I'm crazy,
<v Speaker 3>But this is what that little musical riff reminds me of.
<v Speaker 2>Okay, that's funny, I mean I could yes, yeah, Allen Sevestri.
<v Speaker 2>It's the wind chimes. I looked it up to see
<v Speaker 2>who was playing the wind chimes, and there is no
<v Speaker 2>win wind chime listed on the instruments in this one,
<v Speaker 2>so it must be a synthesizer. Yeah, yeah, this is
<v Speaker 2>this is interesting And do you know like this this
<v Speaker 2>apparently like for my whole life, I thought this was
<v Speaker 2>about a guy and a girl and like, you know,
<v Speaker 2>like listen, I like you a lot, but I'm just
<v Speaker 2>not going for that. It's not it's about the it's
<v Speaker 2>about them dealing with the record industry.
<v Speaker 3>I heard that. I heard that. I'm not sure I
<v Speaker 3>totally buy that. I do know that there's what John
<v Speaker 3>Oates said, Well, they had some rough goings with the
<v Speaker 3>record industry. I do know that. And Darryl Hall even
<v Speaker 3>continues to like I saw an interview with him and
<v Speaker 3>he's like, it's they're all snakes and they're not to
<v Speaker 3>be trusted and we got screwed out of so much money.
<v Speaker 3>So I hit definitely some hard Feelings. Lyrically, though, this
<v Speaker 3>song is very similar to this song what You just Said. Look,
<v Speaker 3>I like you a lot, but I'm not just gonna
<v Speaker 3>I just can't go there.
<v Speaker 2>Okay.
<v Speaker 3>Literally, I would do anything for love, but I won't
<v Speaker 3>do that.
<v Speaker 2>So both of those songs, I mean, both the Back
<v Speaker 2>to the Future and Beat Love released their things after
<v Speaker 2>this album. So if anybody's taken borrowing anything, it's them
<v Speaker 2>from p from Darryl Hall and John Oates, which is
<v Speaker 2>the last time I'm going to say both of their names.
<v Speaker 3>That's fine, you call it Hall and Oates, That's fine.
<v Speaker 2>Yeah, Okay.
<v Speaker 3>This was the second single released late nineteen eighty one.
<v Speaker 3>It knocks Physical out of the number one spot. Yeah,
<v Speaker 3>goes all the way to number one.
<v Speaker 2>Here's your top five, all right, all right?
<v Speaker 3>Yeah, number five Hard in My Heart by quarter Flash,
<v Speaker 3>great song. Yep, they knocked Physical down to number four.
<v Speaker 3>Deep track Centerfold number three band Jay Guiles Band, which
<v Speaker 3>Centerfold goes on to knock this one out of the
<v Speaker 3>number one spot. Indeed, Waiting for a Girl Like You
<v Speaker 3>is number two.
<v Speaker 2>Yep, that would be Foreigner And of course Mick Jones
<v Speaker 2>was a producer for fifty one to fifty absolutely talked
<v Speaker 2>about a few weeks ago.
<v Speaker 3>Yes, awesome, I'm gonna make the case that this song
<v Speaker 3>is maybe one of the most sampled songs in music history.
<v Speaker 3>One of those people who took from this song, Yeah,
<v Speaker 3>confronted Daryl Hall at the USA for Africa recording of
<v Speaker 3>We Are the World Okay, and said, I really liked
<v Speaker 3>your song. I can't go for that. I took the
<v Speaker 3>bassline to make my song. Billy Jean Michael Jackson went
<v Speaker 3>up to Daryl Hollans what yes, what Andy? He said that,
<v Speaker 3>he said, I took the bassline from this song to
<v Speaker 3>make maybe the most famous bassline song of all time.
<v Speaker 2>Wow.
<v Speaker 3>And you know what Daryl Hall said, Good for you man,
<v Speaker 3>We all do it. Yeah.
<v Speaker 2>You know, it's good for him that he can admit that.
<v Speaker 4>Yeah.
<v Speaker 3>Yeah, he was fine. You know, it's probably that the
<v Speaker 3>table of sub sandwiches that was sitting there he and
<v Speaker 3>Billy Joel and Bruce Preestey were partaking. Yeah. Okay, Now
<v Speaker 3>I've got a couple of songs I want to play
<v Speaker 3>for you, just just for our younger listeners. Okay, if
<v Speaker 3>we have any younger listeners out there, we do.
<v Speaker 2>People listening with their parents, with their dad.
<v Speaker 3>Probably Okay, I'm gonna play this song Sunrise. I simply read.
<v Speaker 9>Okay, oh yeah, yeah.
<v Speaker 3>All right. Just a few of the samples, including Billy Jean,
<v Speaker 3>a little song you may have heard of.
<v Speaker 2>Yeah, So what do you got on the music video
<v Speaker 2>on this one?
<v Speaker 3>So not much going on in the music video. Again,
<v Speaker 3>it's one of those where they spent more on pizza
<v Speaker 3>than they did the music video. It's just kind of
<v Speaker 3>darkly lit. It has that top light, a lot of
<v Speaker 3>keyboard stuff. Nothing really happened just then for me.
<v Speaker 2>Yeah, it was nineteen eighty one.
<v Speaker 3>It was nineteen eighty one. I love the song. It's
<v Speaker 3>a freakin' banger.
<v Speaker 2>You're and I mean, I can't tell you how many
<v Speaker 2>times that somebody said suggested something that I was.
<v Speaker 3>Like, no way, I'm doing that. That way. I can't go
<v Speaker 3>over that. No, no can do all right. Next song
<v Speaker 3>on the album is a song called Bno Amano Around.
<v Speaker 3>I love this song. It's great. I think this could
<v Speaker 3>have easily been a hit.
<v Speaker 2>Yeah it was a I mean yeah, this could have
<v Speaker 2>been a single. This one is just John Oates as
<v Speaker 2>the writer and singing, and obviously Daryl's doing backing vocals
<v Speaker 2>on this one, right, Yeah, No, this is a This
<v Speaker 2>is a good song.
<v Speaker 3>It's a good song. Chorus is great. My question to
<v Speaker 3>you is not that it's a bad song, but if
<v Speaker 3>Daryl Hall sings this, is it a better song?
<v Speaker 2>Of course.
<v Speaker 3>It's kind of like when they ask Glenn Fry in
<v Speaker 3>the Eagles, He's like, well, of course we've got Don Henley, right.
<v Speaker 2>You know, I don't know if you noticed I started
<v Speaker 2>singing fewer songs, right we had Don Henley right, right,
<v Speaker 2>But you.
<v Speaker 3>Know, Daryl Hall is pretty much always going to be
<v Speaker 3>the best singer in the room.
<v Speaker 2>Yeah, And it's I got to imagine that it's kind
<v Speaker 2>of hard to be John Oates and in that shadow
<v Speaker 2>all of the time. And so yeah, I mean, if
<v Speaker 2>you've written one by yourself, that's actually a pretty decent,
<v Speaker 2>stung good song. The hopes that maybe one that you
<v Speaker 2>sing might get some MTV play or get released as
<v Speaker 2>a single off, of course I can see that.
<v Speaker 3>Yeah, all right. By the way, this song means my
<v Speaker 3>wife's a Spanish teacher, So I'm gonna try and nail this, Okay.
<v Speaker 3>It's pretty tough, mano Amano is hand to hand in Spanish.
<v Speaker 2>It's not man to man.
<v Speaker 3>It is not man span so motto a mono makes
<v Speaker 3>me think Tommy Mattol, Tommy Mottola, Tommy Mottola.
<v Speaker 2>By the way, guys, don't let this dissuade you from
<v Speaker 2>joining our Patreon page. There was one, you know, black
<v Speaker 2>mark on our history and our.
<v Speaker 3>Listen.
<v Speaker 2>I'm I went out of my way to make it
<v Speaker 2>not about Mariah Carey, but it was about her Christmas
<v Speaker 2>song which reappears every year.
<v Speaker 3>It's going to be a number one hit.
<v Speaker 2>This slashes every other Christmas song.
<v Speaker 3>It's guaranteed to be a number one hit. It basically
<v Speaker 3>basically is.
<v Speaker 2>And Tommy Mottolek was a big part of her story
<v Speaker 2>right now.
<v Speaker 3>He loved her the way Phil Spector loved running Running Spector.
<v Speaker 3>It's yeah, it's a little creepy, a little creepy.
<v Speaker 2>But Tommy Mattola, I mean, he's been the president of
<v Speaker 2>CBS Records, he's been the president of Sony. I mean
<v Speaker 2>some big any music, some pretty big, pretty impressive stuff.
<v Speaker 2>But at one time he was just a schlep. He
<v Speaker 2>was just a gopher. And at that time when he
<v Speaker 2>was just a nobody doing errands for other big people,
<v Speaker 2>he came across these two guys and he.
<v Speaker 3>Was like, you look at him.
<v Speaker 2>And they both got hair down to their shoulders and
<v Speaker 2>one of them is tall and one of them's not,
<v Speaker 2>and one of them's blonde and the other one's brunette,
<v Speaker 2>and it's just like this striking image. And then he
<v Speaker 2>heard him play and he was like, I can manage
<v Speaker 2>you guys, and they said he can sell anything. And
<v Speaker 2>he sold them like he went out and hit the
<v Speaker 2>road for them, did everything he could to get them
<v Speaker 2>in front of every record label that he could find.
<v Speaker 2>Was just a masterful marketer, and ultimately he gets them
<v Speaker 2>in front of Atlantic and it's like, this is it.
<v Speaker 2>This is the do or die And they got in
<v Speaker 2>there and they did it and they walked out and they're like,
<v Speaker 2>well we blew that. Oh, and then they got the
<v Speaker 2>offer from Atlantic Records?
<v Speaker 3>Is that right?
<v Speaker 2>Yes?
<v Speaker 3>What year was this?
<v Speaker 2>This would have been seventy one seventy two, And there's
<v Speaker 2>this really ridiculous picture of them signing their contract and
<v Speaker 2>the pin is like about this big, it's gigantic, a
<v Speaker 2>pencil maybe even, but anyway, you know, the standard rich
<v Speaker 2>and famous contract, right, So immediately out of the gate,
<v Speaker 2>they blow it out of the water with their album
<v Speaker 2>called Whole Oats.
<v Speaker 3>Whole Oats, Why that's a.
<v Speaker 2>Horror Why why would you do that? And it was
<v Speaker 2>a picture of a can of oats, not a particularly
<v Speaker 2>flattering picture of the can at that, Like it's even
<v Speaker 2>the picture of the can is bad.
<v Speaker 3>Their their cover art is not really that good.
<v Speaker 2>It's not many of their albums have. Yeah, they lack
<v Speaker 2>some artistic appeal to them. So that one I was joking,
<v Speaker 2>did nothing got like no singles, didn't chart nothing, all right,
<v Speaker 2>but they that's all right, Freshman attempt wasn't so good.
<v Speaker 2>Let's see what happens with album number two. So album
<v Speaker 2>number two is abandoned Luncheonette and it is literally a
<v Speaker 2>picture of a diner car that's like broken down with
<v Speaker 2>weeds around it on their album cover.
<v Speaker 3>That makes me want to buy records.
<v Speaker 2>They went out like they had their photographer friend and
<v Speaker 2>we're like, oh, this is the perfect picture for our album,
<v Speaker 2>and they go they got chased off by the owner
<v Speaker 2>like they they were not supposed to go inside. And
<v Speaker 2>I guess like it got confrontational or whatever.
<v Speaker 3>But don't take a picture of my right.
<v Speaker 2>Yeah. So so whole Loots came out in seventy two.
<v Speaker 2>Abandoned Luncheonette came out in seventy three. It had a
<v Speaker 2>song that charted, but it only got to number sixty. Okay,
<v Speaker 2>but there's more to the story than that, right Okay, yep,
<v Speaker 2>all right, So they that's seventy three. Seventy four, they
<v Speaker 2>come out with an album called war Babies. This is
<v Speaker 2>their third album for Atlantic. Still no top forty hits.
<v Speaker 2>Right now, these guys we've talked about, they're they're the
<v Speaker 2>blue eyed soul, right, that's the Temptations influence, all that stuff.
<v Speaker 2>We know them as that, but apparently with this one
<v Speaker 2>they were really they got kind of ziggy stardust ideals
<v Speaker 2>and they did some weird, strange stuff. Now, the producer
<v Speaker 2>on this one we've talked about a couple of times now.
<v Speaker 2>His name's Todd Rudgren. Yeah to talk, Yeah, I do,
<v Speaker 2>so tell me Todd's.
<v Speaker 3>So here's what I remember about Todd Rundgren. He was
<v Speaker 3>I think married to Baby Buell for a little bit.
<v Speaker 3>Baby Buell, Baby Buell playmate Slash Groupie had a baby
<v Speaker 3>with Stephen Tyler.
<v Speaker 2>Yes you might remember.
<v Speaker 3>Her name is liv Tyler.
<v Speaker 2>Yes, she was in a few things.
<v Speaker 3>Yes, liv Tyler was actually raised by Todd Rudgren stepdad. Yeah,
<v Speaker 3>but she thought he was her dad. Well she looked
<v Speaker 3>exactly like Steven Tyler. But Todd Rudgren he invented something
<v Speaker 3>we've talked about what well, I.
<v Speaker 2>Mean number one, he's a prolific musician, right, he has
<v Speaker 2>a unique style to his stuff. He's been involved in
<v Speaker 2>a countless things that we've talked about before. But yeah,
<v Speaker 2>he invented the first color graphics tablet. So like back
<v Speaker 2>in the back in the eighties, I think, so, you know,
<v Speaker 2>like the precursor to iPad and iPhones. It was invented
<v Speaker 2>by Tddrenerd And so he was supposed to be the
<v Speaker 2>guy that kind of kept Hall and Daryl Hall and
<v Speaker 2>John Oates in check and made sure that they were
<v Speaker 2>doing something good because this is their last shot, like
<v Speaker 2>this third album called war Babies, which is about the
<v Speaker 2>baby boomers War Babies, maybe it makes sense right right,
<v Speaker 2>And instead he just lets them go wild and Atlantic
<v Speaker 2>is like you're fired, They're dropped, They're done. Hall and
<v Speaker 2>Oates is done.
<v Speaker 3>They dead in the water.
<v Speaker 2>Chances like this was yeah, War Babies came out in
<v Speaker 2>seventy four. It cracked the top one hundred and at
<v Speaker 2>eighty six for the album, right, not good enough for
<v Speaker 2>Atlantic records. Right now, I've said bunch of weird events
<v Speaker 2>that happened, right, yeah, yeah, okay, So back on Abandoned Luncheonette,
<v Speaker 2>I said that there was a song that got to
<v Speaker 2>number sixty. Right, that's still not super impressive, right, but
<v Speaker 2>it kind of they kind of had an underground or
<v Speaker 2>an overseas really following They were very popular in the
<v Speaker 2>UK and some a couple of people decided to cover
<v Speaker 2>this song that only got to number sixty. Lou Rawls
<v Speaker 2>was one of them. The other band that covered him
<v Speaker 2>was a band called Tavares. Do you remember talking about Tavares.
<v Speaker 3>On the Saturday Night Fever soundtracks? Exactly right? Did they
<v Speaker 3>do like more than a woman? More than a woman?
<v Speaker 3>That's right? Yes?
<v Speaker 2>Who good job man, good memory?
<v Speaker 3>Right?
<v Speaker 2>Yeah, So before they did that nineteen seventy six, So
<v Speaker 2>three years after Abandoned Luncheonette came out, they covered this
<v Speaker 2>song by Holland Oates and the name of that song
<v Speaker 2>is She's Gone.
<v Speaker 8>She is Gone, Gone.
<v Speaker 3>Gone, like childhood comes crashing in right now.
<v Speaker 2>Right, yeah, I mean this is a song that John
<v Speaker 2>Oates wrote, like he got stood up by a girl
<v Speaker 2>and he's just like, well.
<v Speaker 3>She's gone, he's gone, She's gone. Yeah.
<v Speaker 2>It starts playing the guitar and like, oh hey, this
<v Speaker 2>is pretty good.
<v Speaker 3>Right.
<v Speaker 2>It got to number sixty when they released it the
<v Speaker 2>first time, but when Tavares covers it in seventy six,
<v Speaker 2>they also happened to have just come out with their
<v Speaker 2>first album with their new record label RCA. Okay, and
<v Speaker 2>that one is called Daryl Hall and John Oates.
<v Speaker 3>Right.
<v Speaker 2>I don't know why that wasn't their first album, but anyway,
<v Speaker 2>so they have a song on that album that is
<v Speaker 2>also getting some popularity. This one is called Sarah Smile
<v Speaker 2>And when I.
<v Speaker 6>Feel I can't come on, you comment, oh me, it's
<v Speaker 6>you and me forever, Sarah.
<v Speaker 3>Oh well, Sarah, I love this one. Love.
<v Speaker 2>So you have this beautiful moment where Tavares is covering
<v Speaker 2>one of your old songs that never really did that
<v Speaker 2>much for you, but you've got a new song which
<v Speaker 2>ultimately hit number four in nineteen seventy six. Right, and
<v Speaker 2>so at this exact same time, nineteen seventy six, they
<v Speaker 2>are they've got that song and this song that this
<v Speaker 2>other band has covered, and so what does Atlantic do.
<v Speaker 2>They're like, oh, crap, the song's doing well, let's re
<v Speaker 2>release it.
<v Speaker 3>Dust it off.
<v Speaker 2>They dusted it off. They re released it in seventy
<v Speaker 2>six and it goes all the way up to number seven.
<v Speaker 10>Gone, how about that?
<v Speaker 2>All the way up to number seven. That album, the album,
<v Speaker 2>the original one that hadn't been out.
<v Speaker 3>For three years, goes up to number thirty three. It's
<v Speaker 3>incredible the patience that the record companies were having at
<v Speaker 3>this time. Now, even two albums, you don't make it
<v Speaker 3>in two albums, you're dropped, You're gone exactly.
<v Speaker 2>Now here's the rest. Here's where they here's where they
<v Speaker 2>turned a home run into a grand slam.
<v Speaker 3>Okay.
<v Speaker 2>For their seventy five album, they had Sarah Smile. Now
<v Speaker 2>that's about Sarah Allen. Yes, we'll talk more about her
<v Speaker 2>in a second. Now, Sarah Allen had an old boyfriend
<v Speaker 2>she was dating Daryl Hall newly dating him. They ended
<v Speaker 2>up being together for thirty years. Oh really, Okay, And
<v Speaker 2>one of her old boyfriends shows up and I guess
<v Speaker 2>he's like the son of some sort of restaurant franchise.
<v Speaker 2>Mogul or something like that, and Daryl's just watching this
<v Speaker 2>guy just be a complete idiot, douche jackass, jackass, and
<v Speaker 2>he's like, well, I guess it doesn't matter because Daddy's
<v Speaker 2>gonna make him okay, a good, good, good thing. He's
<v Speaker 2>a rich guy.
<v Speaker 3>He's a rich guy.
<v Speaker 2>And so he starts writing a song called You're a
<v Speaker 2>rich guy, right, and then he's like, guy, doesn't sound right.
<v Speaker 2>Let's change that to she's a rich girl.
<v Speaker 4>You're a rich girl, and you're gone too far cause
<v Speaker 4>you know it don't matter anyway.
<v Speaker 5>You can rely on the old man's money. You can
<v Speaker 5>rely on the old man.
<v Speaker 4>It's a bitch, girl, but it don't too far cause
<v Speaker 4>you know it don't matter anyway, said mine, and money
<v Speaker 4>won't get your new bargain too far.
<v Speaker 3>Heck yeah, man, heck yeah.
<v Speaker 2>In nineteen seventy six, this band that had gotten dropped
<v Speaker 2>by their record label because of a couple of covers
<v Speaker 2>of an basically unknown song that they did a couple
<v Speaker 2>of inspirations by Sarah Allen, Yes, and all of a
<v Speaker 2>sudden they explode.
<v Speaker 3>It's incredible, man, I love it. Next song on the
<v Speaker 3>album is called did It in a.
<v Speaker 8>Minute I was coming home This dogbody waiting.
<v Speaker 5>Okay.
<v Speaker 3>This is the third single released in March of nineteen
<v Speaker 3>eighty two. This goes all the way to number nine.
<v Speaker 3>This is a top ten hit. Nice.
<v Speaker 2>Yeah, I honestly don't have a strong memory of this song.
<v Speaker 2>I don't like either. It's vague in my memory. But
<v Speaker 2>there was a lot going on in nineteen eighty two
<v Speaker 2>for it to be contending with as well.
<v Speaker 3>That's true. Yeah. Can I tell you about the origins
<v Speaker 3>of this song please? All right? So this song was
<v Speaker 3>inspired by the nineteen seventy seven hit she Did It
<v Speaker 3>by Eric Carmen.
<v Speaker 2>Remember the last time we talked about him. Eric Carmen
<v Speaker 2>was big on the dirty dance already.
<v Speaker 3>Dancing very good. Yeah, he got his inspiration for the
<v Speaker 3>song she Did It. Deff Dave? Are you listening from
<v Speaker 3>a Beach Boys song called do It Again? How about that? Okay?
<v Speaker 2>Very interesting?
<v Speaker 3>Now that leads me to something.
<v Speaker 2>Yes.
<v Speaker 3>On our Patreon we cover one hit wonders and musical
<v Speaker 3>novelties like Mariah Carey, like Kokomo by the Beach Boys.
<v Speaker 2>Right that you did with deaf Dave?
<v Speaker 3>Okay, So let me just roll to the top ten
<v Speaker 3>in nineteen eighty two. I want to hit these real quick. Okay,
<v Speaker 3>number nine, did it in a minute?
<v Speaker 2>What happened at number ten?
<v Speaker 3>We're starting at number nine, so the top nine, Top nine? Okay,
<v Speaker 3>number eight, don't you want me? Human League? Oh? Great one.
<v Speaker 3>Go to our patreon. Go to our patreon.
<v Speaker 2>Yeah. By the way, guys, that's a patreon dot com
<v Speaker 2>slash shirly podcast where little is five bucks a month.
<v Speaker 2>You get access to all of our one hit, wonder
<v Speaker 2>and novelty episodes. And if you've been bugged by the
<v Speaker 2>ads in this episode so far, you get a sneak preview.
<v Speaker 2>You don't get a sneak preview, you get a sneak
<v Speaker 2>whole episode, the entire episode ad free before we drop
<v Speaker 2>it to the rest of the world with ads. Sorry, guys,
<v Speaker 2>we do have to make money somehow just to justify
<v Speaker 2>this to our families. But if you if you want
<v Speaker 2>to throw in five bucks, you don't have to listen
<v Speaker 2>to any ads at all.
<v Speaker 3>There you get all the other stuff. By the way,
<v Speaker 3>I'm going to give a shout out to our good
<v Speaker 3>friend Chris Holland. Yes, that was his idea, great idea.
<v Speaker 3>He's like, dude, you're commercials. I'm like, maybe I could
<v Speaker 3>just drop it on Patreon commercial freeze, Like that is
<v Speaker 3>a great idea, So Chris, thank you. Yep. By the way,
<v Speaker 3>we've had two people join at the Billy Ray Valentine level.
<v Speaker 3>Excellent Alex Croblin, who is the executive producer for this
<v Speaker 3>particular episode. Alex, thank you so much.
<v Speaker 2>We appreciate him.
<v Speaker 3>And then also my former college roommate Cameron Deckert.
<v Speaker 2>You just saw him, I did.
<v Speaker 3>I just got back from Canada visited him, surprising him
<v Speaker 3>for his birthday. Nice, and so he joined as a
<v Speaker 3>Billy Ray Valentine.
<v Speaker 2>Thank you, Cameron campushit you bro.
<v Speaker 3>Thanks.
<v Speaker 2>I know that you always think that I'm right and
<v Speaker 2>Jason's wrong, and I appreciate that too.
<v Speaker 3>Yeah, I don't appreciate that so much. So back to
<v Speaker 3>my candown number eight, Don't You Want Me? By the
<v Speaker 3>Human League, Number seven, Chariots of Fire. This is where
<v Speaker 3>we are in eighty two, right Van Gelis Van Gelis
<v Speaker 3>Number six sixty five Love Affair by Paul Davis. I
<v Speaker 3>got nothing crickets on that one for me too, Okay.
<v Speaker 3>Number five The Other Woman by Ray Parker Jr. Huh
<v Speaker 3>Number six eight six seven, five, three oh nine.
<v Speaker 2>I know somebody with that number. He name's Jenny. Her
<v Speaker 2>name is Jenny Jenny.
<v Speaker 3>We did a Patrion episode with Chris Webber on that one.
<v Speaker 3>We did. You want to hear the rest of the
<v Speaker 3>story on that check us out on Patreon. Number three
<v Speaker 3>I've Never Been to Me by Charlene Nothing, I Got Nothing.
<v Speaker 3>Number two Don't Talk to Strangers by Rick Springfield, Oh sure.
<v Speaker 3>And number one Ebony and Ivory. Maybe the worst song
<v Speaker 3>of the nineteen eighties. It is terrible.
<v Speaker 2>You are black, can I am white? You are blind
<v Speaker 2>as a bat, and I have sight.
<v Speaker 3>I believe Paul vakarn is associated. All right, hit stop
<v Speaker 3>on your tape deck, kick it out, flip it over
<v Speaker 3>for side two, start off side too with the song
<v Speaker 3>head above Water. We think let's start off side two
<v Speaker 3>with a banger while we're at it. I didn't have
<v Speaker 3>any problem with this song at all. I love the
<v Speaker 3>chorus on this. This is great. Yeah, this is good standard.
<v Speaker 2>I mean, this is just they're they're kind of formulaic
<v Speaker 2>and what they are doing, but this is the formula
<v Speaker 2>hits on this one they getting They get a catchy hook.
<v Speaker 2>They repeated a bunch but it and Darryl's got his
<v Speaker 2>amazing voice. I think that this is a disquality song.
<v Speaker 3>I told you before that they have a style. Yeah,
<v Speaker 3>and if you like that style, you love the song,
<v Speaker 3>you love this album. Yeah right, yeah, I want to
<v Speaker 3>point out you mentioned before they added a little more
<v Speaker 3>guitar on side too. That guitar is played by G. E.
<v Speaker 3>Smith and the Saturday Night Live Band.
<v Speaker 2>That's right, follows that name, right, yes, yeah, the guys,
<v Speaker 2>several of the guys from their band became the Saturday
<v Speaker 2>Night Live Band after they kind of split up in
<v Speaker 2>nineteen eighty eight.
<v Speaker 3>Yeah, like every commercial you saw the guy with the
<v Speaker 3>ponytail playing guitar, that's him.
<v Speaker 2>Yeah, So they had G Smith playing their lead guitar.
<v Speaker 2>They had T Bone Woke Tom Woke, who was also
<v Speaker 2>the bassis for the Saturday Night Lab Band as their
<v Speaker 2>bassis genius. He passed away back in twenty ten. But
<v Speaker 2>great music on this one. I mean it's just a
<v Speaker 2>very catchy, poppy song.
<v Speaker 3>This song, this is where I thought they should call
<v Speaker 3>it head above h two.
<v Speaker 2>Oh ah yeah that makes sense.
<v Speaker 3>I mean, you know, I see we're going with that.
<v Speaker 2>Yeah. Yeah, all right, so now I kind of like
<v Speaker 2>I teased it all up and said that they were
<v Speaker 2>this big explosion, which I mean in seventy six, they
<v Speaker 2>did explode. They had the reissue She's Gone, They had
<v Speaker 2>Sarah Smile, and they rich Girl, right, And at some
<v Speaker 2>point Tommy Patola hands of a check for a million dollars.
<v Speaker 2>So that's not bad.
<v Speaker 3>That's not bad. But I'd take a check for a
<v Speaker 3>million dollars.
<v Speaker 2>Can you tell me one single that they had between
<v Speaker 2>nineteen seventy six and nineteen.
<v Speaker 3>Eighty Are you ready for this? Yeah? Brace yourself. There
<v Speaker 3>was an album every year. In nineteen seventy seven, there
<v Speaker 3>was an album called Beauty on a Backstreet. Okay, I
<v Speaker 3>didn't recognize any song from that.
<v Speaker 2>I don't think there was a single on that one. Yeah.
<v Speaker 3>Nineteen seventy eight they come out with the album Along
<v Speaker 3>the Red Ledge. I didn't know any songs from that album, right,
<v Speaker 3>Tommy Ptola, Those people are starting to get nervous, right
<v Speaker 3>a little bit.
<v Speaker 2>It's a good thing they made a million dollars because
<v Speaker 2>so far, if I had to coast a couple of.
<v Speaker 3>Years, right, Yeah, nineteen seventy nine they have an album
<v Speaker 3>called Ecstatic, Uh huh. Nothing on that album nothing.
<v Speaker 2>Okay, So they're not I mean for Hall and Oates fans.
<v Speaker 2>They may love the songs, of course, but there's not
<v Speaker 2>anything that's bringing in a bunch of income for him. So,
<v Speaker 2>so far as I can tell, that's right. Yeah, I
<v Speaker 2>hope your concerts are selling out, right.
<v Speaker 3>And so in nineteen eighty they released an album called Voices.
<v Speaker 2>Okay, that was the album that I can remember seeing
<v Speaker 2>the LP and my mom's collection of records. Okay, there's
<v Speaker 2>a couple of amazing things that happened with that album, right,
<v Speaker 2>all right, Now, we talked about Sarah smile. We talked
<v Speaker 2>about Sarah Allen being involved in the writing process, and
<v Speaker 2>we also mentioned Jay Allen. That's her sister, Jana Jana. Okay,
<v Speaker 2>So as they were going through this five years, Darryl
<v Speaker 2>and Sarah had been together, right, and so she said
<v Speaker 2>that as she watched them plug away at the songs,
<v Speaker 2>song after song after song for these five years, that
<v Speaker 2>they're having not much success, it was like watching your
<v Speaker 2>kid practice violin, where it's just like eventually, just like
<v Speaker 2>just move your finger a little bit and she spits
<v Speaker 2>out some some She's like, why don't you say this?
<v Speaker 2>And they're like, oh, yeah, that is that's a good line.
<v Speaker 2>And from that moment they're like, hey, come help us, right,
<v Speaker 2>And so Sarah Allen starts Sarah Sarah smile, Sarah Alan
<v Speaker 2>starts helping them write their songs. Now, Sarah has a sister.
<v Speaker 2>Her name's Janna, and Jane can play music a little
<v Speaker 2>bit and but has never been a songwriter before. But
<v Speaker 2>she comes out and is hanging out with the guys
<v Speaker 2>as well. And Darryl has this song that he's like,
<v Speaker 2>I got this, this and this I just not you know,
<v Speaker 2>And she's like, how about kisses on my List? How
<v Speaker 2>about that?
<v Speaker 3>That is divine intervention right there.
<v Speaker 2>So Janna Allen, Sarah's sisters gives them Kisses on My
<v Speaker 2>List and that is one of the songs on Voices.
<v Speaker 2>And then the other song that's on Voices is their
<v Speaker 2>remake of the Righteous Brothers song.
<v Speaker 3>You've Lost that Love and Feeling.
<v Speaker 2>Let's listen to that.
<v Speaker 3>Okay, did you know the song from hallan Oates or
<v Speaker 3>did you know it from Top Gun?
<v Speaker 2>I knew it from hallan Oates because yes, we had
<v Speaker 2>this album.
<v Speaker 3>I knew that.
<v Speaker 2>I didn't know it was a Righteous brother song until
<v Speaker 2>Top Gun and then I was like, oh wait, I
<v Speaker 2>thought this was Hall and Oates.
<v Speaker 3>Yeah.
<v Speaker 2>No, I didn't know about the Righteous Brothers until Top Gun.
<v Speaker 4>Yes.
<v Speaker 3>So that hallan Oates remake of You Lost That eleven
<v Speaker 3>Feeling goes to number twelve. The third single off of
<v Speaker 3>Voices is Kisses on My List that goes all the
<v Speaker 3>way to number one number one one yeah, and then
<v Speaker 3>they follow that one up with the song called You
<v Speaker 3>Make My Dreams.
<v Speaker 2>Come True.
<v Speaker 3>Number five fantastic, So Voices gets them back on track. Yeap.
<v Speaker 2>So, as we noted Jana Allen, she helped them write
<v Speaker 2>did It In a Minute, which was a single right
<v Speaker 2>that charted yes, and she helped them write Private Eyes.
<v Speaker 2>She also helped Joan Jet several other artists. She became
<v Speaker 2>a go to songwriter in her own right and probably
<v Speaker 2>would have had years more success, but tragically, in I
<v Speaker 2>believe it was ninety one, called her sister and said,
<v Speaker 2>you're gonna this is gonna make you upset that I'm
<v Speaker 2>going to tell you this, but I have leukemia and
<v Speaker 2>didn't make get much longer past that. Daryl Hall said,
<v Speaker 2>you know this, I lost one of the people I
<v Speaker 2>love most in the whole world.
<v Speaker 3>You know it's basically he's.
<v Speaker 2>He said, Sarah said, And they had been together many
<v Speaker 2>years at this point, but that moment when she passed
<v Speaker 2>and they both lost somebody that they love, it was
<v Speaker 2>kind of like losing a child. And when you lose
<v Speaker 2>a child, you either grow closer together or you drift apart.
<v Speaker 2>And she said, they drifted apart too, And I mean
<v Speaker 2>think I think they made it last another ten years
<v Speaker 2>or something like that, but it was a hard point
<v Speaker 2>in their relationship and then ultimately early two thousands, they
<v Speaker 2>split up for good.
<v Speaker 3>It's too bad, Yeah, it's too bad, all right. Next
<v Speaker 3>song on the album, Yes, this song is called tell
<v Speaker 3>Me what You Want A time.
<v Speaker 2>Will tell me?
<v Speaker 5>What do you want to know?
<v Speaker 3>You know?
<v Speaker 8>Do tell me what you know?
<v Speaker 5>You tell me what do you want to know?
<v Speaker 7>You know?
<v Speaker 5>To tell me? Tell me?
<v Speaker 3>All right, d we're both stunned by this song.
<v Speaker 2>Okay, Yeah, So obviously this was not a song that
<v Speaker 2>they released as a single, and you know, you pointed
<v Speaker 2>out that at the beginning of it has a similarity
<v Speaker 2>to this song by Billy Joel My Life I think
<v Speaker 2>so biz Buddies, right, Bus and Buddies. That's the intro
<v Speaker 2>to the song. Right, But and I hear that and
<v Speaker 2>I'm immediately like, h that's rush.
<v Speaker 3>It's like, is that actually rush? Yeah?
<v Speaker 2>Like that's that. It's so spot on. It's just a
<v Speaker 2>little faster. And if you don't what I'm talking about,
<v Speaker 2>go back to our top five songs of nineteen eighty
<v Speaker 2>because this is off of Russia's Permanent Waves. The song
<v Speaker 2>is called the Spirit of Radio. It's the same song,
<v Speaker 2>it's the same thread all, it is the same riff. Yeah, crazy,
<v Speaker 2>I can see how he was very forgiving of Michael jacksonline. Yeah,
<v Speaker 2>that's what we do, man.
<v Speaker 3>You steal stuff. I steal stuff. We all steal.
<v Speaker 2>That's it's like Picasso, man. Good artists create, great artists steal.
<v Speaker 3>That's right.
<v Speaker 2>Yeah, it's crazy.
<v Speaker 3>I'm not a big fan of this one. It's just
<v Speaker 3>shocking how similar it is.
<v Speaker 2>It is very similar to the Yeah, very similar to
<v Speaker 2>those other songs, but just not as good. It doesn't
<v Speaker 2>capture what they I don't know. I just it was
<v Speaker 2>a swing and amiss for me for sure. Okay.
<v Speaker 3>Next song on the album is called Friday, Let Me Down.
<v Speaker 2>If I can write some good songs, and I got
<v Speaker 2>Daryl Hall on the bank, I want Daryl Hall to
<v Speaker 2>sing my song.
<v Speaker 3>I get it. I get it. I mean he's.
<v Speaker 2>Sharing the title Ball and Oates. Oates has got his
<v Speaker 2>name on the record.
<v Speaker 3>He wrote the song.
<v Speaker 2>Let the guy with the pipes sing the song.
<v Speaker 3>I agree. He's getting songwriting credit on most of these hits,
<v Speaker 3>some of them, some of them. But when you've got
<v Speaker 3>Daryl Hall in the you know, you let him sing.
<v Speaker 3>When you have Don Henley, you let him sing. Yeah, exactly,
<v Speaker 3>That's just how it works. Yeah, Okay, I got a
<v Speaker 3>pop quiz for you. I have not told you any
<v Speaker 3>of this. Okay. I'm going to give you famous songs
<v Speaker 3>from our generation that have days of the week in
<v Speaker 3>the title. Okay, I'm going to give you the name
<v Speaker 3>of the band, and I want you to come.
<v Speaker 2>Up with the name of the song. Okay, Man Monday,
<v Speaker 2>Bengals number one, Yes, man Monday, all right?
<v Speaker 3>How about Jimmy Buffett? Okay, so come Monday, Come Monday.
<v Speaker 3>All right. Now we're shifting to Tuesday. Tuesday's gone by
<v Speaker 3>Leonard Skinner, Yes, all right, how about Rolling Stones Ruby Tuesday? Tuesday?
<v Speaker 3>All right? A little harder. We're onto Wednesday now, Simon
<v Speaker 3>and Garfunkle. Oh I don't know.
<v Speaker 2>Okay.
<v Speaker 3>They have a song called Wednesday morning three am. Yes,
<v Speaker 3>I know it, all right? Well, yes, all right, another
<v Speaker 3>tricky one David Bowie for Thursday, all right, Thursday's Child
<v Speaker 3>that was hard? Yeah, no, I know that one too. Shoot,
<v Speaker 3>all right, Friday the cure Manageanic is screaming at the radio,
<v Speaker 3>screaming at the radio. Yes, it always Friday. What is it?
<v Speaker 3>I don't It's called Friday. I'm in love of course.
<v Speaker 3>Saturday Elton John.
<v Speaker 2>Uh, Saturday night, all right for fight?
<v Speaker 3>Saturday night's all right for fighting? Last one Saturday in
<v Speaker 3>the Park, Chicago. I did. I didn't have that one.
<v Speaker 3>Sunday you two bloody Sunday. Sunday bloody Sunday. Yeah you
<v Speaker 3>did good?
<v Speaker 2>Well I did? Okay, I should have known this other one?
<v Speaker 3>Do I need to pull that out of Okay? Oh
<v Speaker 3>it's great.
<v Speaker 2>It's a good idea.
<v Speaker 3>Okay.
<v Speaker 2>On to the next song on the album, A t
<v Speaker 2>U R A night Sorry.
<v Speaker 3>All right. Next song on the album is Monday month.
<v Speaker 3>I'm want to be doing this for like the next
<v Speaker 3>three there's a I mean Duran. Duran had a song
<v Speaker 3>that had what was a new moon on Monday. Okay,
<v Speaker 3>so all right, Unguarded Minute is the next song on
<v Speaker 3>this Okay, Yeah.
<v Speaker 11>This is a good one. I dig this song.
<v Speaker 2>It's good like this was. This is one of those
<v Speaker 2>undiscovered gems for me. When I got to the song,
<v Speaker 2>this one and another one on side one that's I
<v Speaker 2>can't remember at the moment, both struck me as very
<v Speaker 2>similar to Billy Joel's style, which makes sense because they
<v Speaker 2>both the R and B was a big influence no rock. Yeah, yeah,
<v Speaker 2>and so yeah, I could definitely see I could see
<v Speaker 2>Billy Joel singing this song. But it's as good.
<v Speaker 3>It's good. Yeah, I agree. Looking ahead past the album
<v Speaker 3>of Private Eyes, you have H two.
<v Speaker 8>Oh.
<v Speaker 3>We talked earlier about how I mean, you've got some
<v Speaker 3>absolute killers on that album. Sure, you've got Family Man,
<v Speaker 3>you've got Man Eater, and you've got one on one
<v Speaker 3>all top ten hits yep. Then in between you've got
<v Speaker 3>the greatest album that has a song called say it
<v Speaker 3>isn't so great song, great song. And then in nineteen
<v Speaker 3>eighty four you have Big Bamboom. Maybe Deff Dave will
<v Speaker 3>cover this.
<v Speaker 2>On his Yeah, nineteen eighty four it's a great album.
<v Speaker 3>Yeah. Out of Touch is one of the great songs
<v Speaker 3>of the eighties. I absolutely love that one.
<v Speaker 5>Touch.
<v Speaker 3>Okay, next song on the album, this song is called
<v Speaker 3>your Imagination. So this one's a little different. It's different.
<v Speaker 2>It's almost got a talking heads to it, kind of weird, vibrating, yeah,
<v Speaker 2>sound to the music.
<v Speaker 11>Now.
<v Speaker 2>Talked a few times about how big and influenced the
<v Speaker 2>Temptations were on these guys. And when I heard this
<v Speaker 2>and I'm listening to the lyrics and kind of getting
<v Speaker 2>the idea, I feel like it's like the flip side
<v Speaker 2>of a song called it was just my Imagination.
<v Speaker 3>I can see that.
<v Speaker 2>And that song is of course by the Temptations. Of course,
<v Speaker 2>so yeah, this isn't really as big a fans as
<v Speaker 2>they are. I have to think that that was probably
<v Speaker 2>the inspiration for the Anatomy.
<v Speaker 3>Right.
<v Speaker 2>You talked about they had several albums after this, they
<v Speaker 2>were ruling the airwaves for the next five years. Right,
<v Speaker 2>And then you we talked a little bit about them
<v Speaker 2>playing with the Temptations, right, right, And you said that
<v Speaker 2>they played with the Temptations when they did Live Aid.
<v Speaker 3>Was that Live Aid in nineteen eighty five?
<v Speaker 2>What were the songs that they did on that one?
<v Speaker 3>Okay, the songs they did on Live Aid. They opened
<v Speaker 3>up with out of Touch YEP, then they did Man Eater,
<v Speaker 3>Then they did the medley with David Ruff and Eddie
<v Speaker 3>Kendrick get Ready, Ain't too Proud to beg the way
<v Speaker 3>you do, the thing you do and my.
<v Speaker 2>Girl Okay, my good. So they get to sing with
<v Speaker 2>their idols. Yes at Live Age, Yes now, as we said,
<v Speaker 2>ruling the airwaves from nineteen eighty to nineteen eighty five.
<v Speaker 2>In nineteen eighty five, they don't want to get to
<v Speaker 2>play with Rufkin and Kendrick again. They play at the
<v Speaker 2>Apollo Theater, right, and they release an album Live at
<v Speaker 2>the Apollo Theater. It is the last album that they
<v Speaker 2>release for another three years. They don't really have a
<v Speaker 2>conversation about it. They just kind of both come to
<v Speaker 2>the conclusion we're on top and we want to stop
<v Speaker 2>on top. We don't want to we don't want to
<v Speaker 2>fall down, And probably a wise choice because music really
<v Speaker 2>began to change in nineteen eighty five. As far as
<v Speaker 2>the eighties music is concerned, pre eighty five and post
<v Speaker 2>eighty five are very very different, right, But they didn't
<v Speaker 2>write it out. They got back together three years later.
<v Speaker 2>They did an album called Yeah. I mean it was
<v Speaker 2>still Hall and Oates. They still sold a bunch of albums,
<v Speaker 2>but it was about half of what they sold before.
<v Speaker 3>So I told you so. In nineteen eighty six, the
<v Speaker 3>summer of eighty six, Yeah, same summer as Top Gun
<v Speaker 3>and Karate Kid two and all these others. Yeah, Darryl
<v Speaker 3>Hall released a single Dreamtime, dream Time. Yeah. It was
<v Speaker 3>a good song. It was on IMTV. But it wasn't
<v Speaker 3>that Hall of Oates grand slam.
<v Speaker 2>Yeah.
<v Speaker 3>Okay, Well in nineteen eighty eight, I think I told
<v Speaker 3>you this. They had one song that played every third
<v Speaker 3>song that summer of eighty eight, and it was called
<v Speaker 3>Everything Your Heart Desires. Great song, chart topper, but for me,
<v Speaker 3>I mean that summer he had poured some sugar on
<v Speaker 3>me and sweet.
<v Speaker 2>Ch out of mine, and you know it was taken
<v Speaker 2>over right right, glam metal, but still it was taking
<v Speaker 2>over right. That's right, by the way, just this side
<v Speaker 2>thought on that of all of the mullets in all
<v Speaker 2>of history, Darryl Hall may have had the best mullet
<v Speaker 2>of anybody I've ever seen, because not only did he
<v Speaker 2>have party in the back and business up front, but
<v Speaker 2>the business up front was Elvis like, he had the
<v Speaker 2>Elvis Pumpador swoop sidehurn shops that were so chiseled. Yeah,
<v Speaker 2>and he was freaking blonde like. I mean, I can
<v Speaker 2>remember in nineteen eighty four going, I want my hair
<v Speaker 2>to look like that guy.
<v Speaker 3>It's cool.
<v Speaker 2>That is the coolest haircut I've ever seen in my life.
<v Speaker 3>I've got one more thing I want to add. Yeah,
<v Speaker 3>people may not know this, Okay. In nineteen eighty five,
<v Speaker 3>there was a big hit song by a guy named
<v Speaker 3>Paul Young and that song is called every Time You
<v Speaker 3>Go Away.
<v Speaker 2>I remember that, yeah right.
<v Speaker 3>That song also features Real prominently at the end of Plane,
<v Speaker 3>Strains and Amobiles, which we have yet to cover Crazy,
<v Speaker 3>which we will. Yep. That song was written by Holland
<v Speaker 3>John Notes.
<v Speaker 12>There you go.
<v Speaker 2>Yeah, fantastic.
<v Speaker 3>Okay. Last song on the album Let's do It this one.
<v Speaker 2>It's called Some Men.
<v Speaker 5>Way Around the World, undream Man.
<v Speaker 3>Orpiana Rock.
<v Speaker 2>It's I mean, it's a formula and it works well.
<v Speaker 2>And you know on that note, they literally have a
<v Speaker 2>slew of hits like I can't imagine trying to cover
<v Speaker 2>the greatest hits album. Oh yeah, great, Yeah, I mean
<v Speaker 2>it's air supply quality but the formula works and Randon Flowers,
<v Speaker 2>lead singer for The Killers. The Killers miss bright Side.
<v Speaker 2>Somebody told me, he said, she's gone. Their kind of
<v Speaker 2>first big hit is like everything you need to know
<v Speaker 2>about writing a song is in that song.
<v Speaker 3>Oh. Interesting.
<v Speaker 2>So it's interesting because I think a lot of people
<v Speaker 2>look at them as great songwriters, which I think they were,
<v Speaker 2>and they've got this sound, and I mean there's uniqueness
<v Speaker 2>in this one. I would say there's more variety in
<v Speaker 2>the music that we have on this album than say
<v Speaker 2>Back in Black. But again, it's like, if you like
<v Speaker 2>this kind of music, you're going to like this album.
<v Speaker 3>That's right. Yeah, these guys came along at a time
<v Speaker 3>we talked about how fortunate they were. This album dropped
<v Speaker 3>basically with enough runway to get on MTV. They had
<v Speaker 3>some great pop hooks that produce hits. They just ramped
<v Speaker 3>right into MTV and we're all over the radio and
<v Speaker 3>all over our TV. It was. It was perfect timing
<v Speaker 3>for this album, It really was.
<v Speaker 2>They rode that wave eighty five, They take their hiatus
<v Speaker 2>three years to come back. It's not so great. It changed,
<v Speaker 2>and they do another few albums and this the magic
<v Speaker 2>is not there. Anymore, like they've lost a dear songwriting friend.
<v Speaker 2>They've moved on with their lives. They're doing their own
<v Speaker 2>personal projects. And then, gosh, what was it seven eight
<v Speaker 2>years ago? Yeah, you make a whole lot of money,
<v Speaker 2>and you got a choice. You can save that money
<v Speaker 2>or you can spend it on things. And I heard
<v Speaker 2>John's talking and he was like, well, you know, and
<v Speaker 2>the money was drying up, and I had to sell
<v Speaker 2>my six cars, and I had to sell my boat,
<v Speaker 2>and I had to sell my plane. And I'm like,
<v Speaker 2>maybe you shouldn't have bought all that stuff now, man,
<v Speaker 2>And so ultimately then he gets to the point that
<v Speaker 2>he's like, maybe I'll just sell my interest in all
<v Speaker 2>of these songs.
<v Speaker 3>Yeah, this is where things get really really sad.
<v Speaker 2>Yeah, because I mean they were they were a good match.
<v Speaker 2>They did make great music together, but.
<v Speaker 3>They were the most successful music making duo of all time.
<v Speaker 2>Of all time. And he decides I'm going to sell
<v Speaker 2>all of my interest in those songs to this company
<v Speaker 2>that had owned some of the interests in the other
<v Speaker 2>of their songs before, and he doesn't ask Darryl about it.
<v Speaker 2>Yeah that's a problem. Yeah, I mean, this is a partnership.
<v Speaker 3>It is.
<v Speaker 2>It is something that you owe a duty to your
<v Speaker 2>partner to go. This is what I'm even if you're
<v Speaker 2>in this circumstance where like, hey, bad things have happened.
<v Speaker 2>Whatever my fault, your fault, nobody's fault. That I need money.
<v Speaker 2>I've got to sell this stuff. You don't just go
<v Speaker 2>do it without talking to your partner.
<v Speaker 3>Absolutely not, Absolutely not.
<v Speaker 2>And so I think justifiably so. So Daryl Hall was like, nope,
<v Speaker 2>no good, come here, you can't do that, right, but
<v Speaker 2>by all the lawsuit make him stop. And yeah, So
<v Speaker 2>that went on for several years, just until last year. Actually,
<v Speaker 2>I think it was August of twenty five. They finally
<v Speaker 2>got it resolved. Didn't say what the resolution was. I
<v Speaker 2>don't know what the resolution is. I know that Daryl
<v Speaker 2>Hall like looking at his when he was very successful,
<v Speaker 2>it was upsetting to him because he didn't like the
<v Speaker 2>celebrity status of things. He was like, I can't go
<v Speaker 2>out and buy Christmas presents from my family because we
<v Speaker 2>recognized and so he didn't like being a celebrity. He
<v Speaker 2>didn't like people knowing his face everywhere he went because
<v Speaker 2>he's a private person and so I can understand him going,
<v Speaker 2>I'm a private guy. I'm watching you.
<v Speaker 3>I see your every movie. That's right.
<v Speaker 2>You can't sell our music.
<v Speaker 3>Sir, that's right. I heard Della Hall describe it as
<v Speaker 3>the ultimate betrayal, the ultimate betrayal. Pretty bad, it really is.
<v Speaker 3>And I saw an interview with John Oates and he said, no,
<v Speaker 3>we are not friends any longer. Right, we will probably
<v Speaker 3>never play together again. We have no interest in seeing
<v Speaker 3>each other and burn it all down. It is tragic.
<v Speaker 3>But they did give us a slew of hits in
<v Speaker 3>the eighties.
<v Speaker 2>At some point, I really would like to do the
<v Speaker 2>greatest hits with them. I would love to do that.
<v Speaker 3>I'd love to do it. Yeah, we are finally at
<v Speaker 3>our three part final judgment.
<v Speaker 2>Yeah. So okay, guys, So if you if you've missed
<v Speaker 2>the prior to episodes, we've covered the Jay Giles band,
<v Speaker 2>freeze frame, we've covered minute work, business as usual, and
<v Speaker 2>then of course we've just covered Private Eyes by hauling Oats. Now,
<v Speaker 2>the question is how are we going to rank those three?
<v Speaker 2>Do you want to go first? You would you let
<v Speaker 2>me go first?
<v Speaker 3>Why don't we let James Buckley give us his opinion?
<v Speaker 12>Okay, here's James, I've I've heard all three of these
<v Speaker 12>coming up in the ear. I could not help but
<v Speaker 12>hear him every time you turn on the radio. I
<v Speaker 12>was never really a haul on those fan. Their music
<v Speaker 12>never really struck me, so right away Private Eye falls
<v Speaker 12>to the bottom of the pack.
<v Speaker 7>Yew.
<v Speaker 12>Jay Giles band was fun. I remember my high school
<v Speaker 12>band used to play Centerfold. Looking back, I'm not sure
<v Speaker 12>that was our band director's wisest choice, but that's really
<v Speaker 12>my only memory from that album is playing that song
<v Speaker 12>with the band, So that's probably gonna be the number
<v Speaker 12>two slot, number one minute work for the reasons we discussed.
<v Speaker 12>That album still stands up to me decade even decades later, geez,
<v Speaker 12>and I think the songs are still strong. Songwriting's there,
<v Speaker 12>the playing. I think he gets the training Champion.
<v Speaker 3>Not surprise, James, Yeah, was on a minute work with us.
<v Speaker 2>Yeah, of course, a great job. Makes sense that he
<v Speaker 2>would rank them like that. Yeah, yeah, okay, so me
<v Speaker 2>or you.
<v Speaker 3>I'll go okay, So I really have no idea where
<v Speaker 3>you are on this. You really can't lose you got
<v Speaker 3>you got some major hits on all three of these albums, yep,
<v Speaker 3>and they are eighties party bangers, pop gold, I love them.
<v Speaker 3>Doesn't really matter. If you put them three behind your
<v Speaker 3>back and I grabbed one, I'd be happy with whatever
<v Speaker 3>I pulled out. But if you're asking me which one
<v Speaker 3>I'm grabbing last, the last one I grab is Private Eye.
<v Speaker 3>I love some of the songs on Private Eyes, a
<v Speaker 3>little long, maybe some filler in there. Daryl Hall's voice
<v Speaker 3>is great. I'd rather have the greatest HiT's Hall of Notes.
<v Speaker 3>The second one I grab or second to last one
<v Speaker 3>I grab is man It Work, And the first one
<v Speaker 3>I grab if I'm walking out the door. My number
<v Speaker 3>one selection, my overall draft pick is the Jake os
<v Speaker 3>Man Sure.
<v Speaker 2>I mean you've been a Jakeiles guy since we've first started,
<v Speaker 2>Like you kept mentioning them, and I'm like, right, right,
<v Speaker 2>so I kind of I you know, I have it
<v Speaker 2>in my head the way things are going to go,
<v Speaker 2>this is going to be a count for me, is
<v Speaker 2>going to be a competition between Hall of Oates and
<v Speaker 2>Men at Work, Right, And I started thinking, I'm like, man,
<v Speaker 2>I know a lot of Hall and Oates albums. I'm
<v Speaker 2>almost certainly going to be picking them, and then it'll
<v Speaker 2>probably be Gonta Work. And then it'll probably be Jay
<v Speaker 2>Giles Band, because I don't really never sure had them
<v Speaker 2>as something, right, but things happened when we revisit these albums,
<v Speaker 2>right Sure. I mentioned that Mint at Work was one
<v Speaker 2>of those first three tapes that I had, and I've
<v Speaker 2>mentioned that Private Eye was in the LP election and
<v Speaker 2>one that I wore out. But after listening to the
<v Speaker 2>Jay Giles Band, I was genuinely impressed and actually went
<v Speaker 2>and started listening to other music outside of Freeze Frame.
<v Speaker 2>I really kind of dug the bluesy stuff that they
<v Speaker 2>were doing before the pop influences happened, which I enjoyed
<v Speaker 2>the pop influence as well right of Freeze Frame, but
<v Speaker 2>I really dug like the harmonica and the kind of
<v Speaker 2>blues dick.
<v Speaker 3>Yeah, magic dick is magic stick, that's right.
<v Speaker 2>So interestingly the way that it's kind of played out,
<v Speaker 2>like you, I listened to Private Eyes and I'm like,
<v Speaker 2>I love this song. I remember liking this song, okay,
<v Speaker 2>and anticipating the next song, and I love this song,
<v Speaker 2>and then it was just kind of like, Okay, yeah,
<v Speaker 2>it's kind of the same sound, sure, but it didn't
<v Speaker 2>make me want to go dig up a bunch more
<v Speaker 2>stuff like I know all their hits and the stuff
<v Speaker 2>that's not their hit.
<v Speaker 3>It's just been kind of okay, Right, it's been just okay.
<v Speaker 2>And so the way that it's turned out for me
<v Speaker 2>is that the last one that I'm picking up, like
<v Speaker 2>you is Private Eyes. Okay, Jay Giles Band is in
<v Speaker 2>the number two spot very clearly and is very close
<v Speaker 2>to the number one spot with Men at Work because
<v Speaker 2>because I freaking I grew up with that one. That's
<v Speaker 2>that's iconic for me, and so yeah, that's the way
<v Speaker 2>it goes for me. Number three is Private Eyes. Number
<v Speaker 2>two is Freeze Frame, followed very closely by number one
<v Speaker 2>of business is usually excellent.
<v Speaker 3>Okay, very good.
<v Speaker 2>Yeah, I'm excited to go check out more of the
<v Speaker 2>Jay guys.
<v Speaker 3>I'm so happy that we moved the needle for you,
<v Speaker 3>absolutely did, And we want to know where are you
<v Speaker 3>guys with this? What's your favorite? How do you rank these?
<v Speaker 3>Did we move the needle for you on any of these? Yeah?
<v Speaker 3>You know what, I think moved the needle too on you.
<v Speaker 3>Peter Wolf had those incredible stories. Oh dude, that those
<v Speaker 3>were great stories. If you haven't listened to our Jay
<v Speaker 3>Gills Band episode, there's a lot of cool stuff.
<v Speaker 2>Truthfully, I mean, just very truthfully. I listened to the
<v Speaker 2>album before I listened to his autobiography, and the album
<v Speaker 2>did it for me. It was their music, not just
<v Speaker 2>his fantastic stories.
<v Speaker 3>Awesome. Okay, well that does it for our three way
<v Speaker 3>of nineteen eighty one. Come back next week we have
<v Speaker 3>a matchup. It's kind of a mismatch, but still we're
<v Speaker 3>gonna do it anyway. Okay, but it's one of the
<v Speaker 3>great movies of the eighties versus a very good movie.
<v Speaker 3>Uh huh. Right, So we are doing Adventures in babysitting,
<v Speaker 3>which is young kids out on the town one twenty
<v Speaker 3>four hour period, trying to get back home, trying to
<v Speaker 3>get back before they're busted by parents. Yep, versus barriers, spuelers,
<v Speaker 3>stay off, come back. That will be a lot of fun.
<v Speaker 2>It's going to be a lot of fun. Guys, look
<v Speaker 2>forward to seeing you then. Thank you so much for listening.
<v Speaker 2>Don't forget to hit your subscribe button or follow button.
<v Speaker 2>We love that you've listened to this episode. Please check
<v Speaker 2>out our other episodes for the last several seasons, we're
<v Speaker 2>up to something like nearly four hundred episodes now and
<v Speaker 2>there's lots of gold out there to mine, I tell you, Okay,
<v Speaker 2>thanks guys, by
<v Speaker 3>Yeah,