Run-DMC's "Raising Hell" (1986): Track by Track!

<v Speaker 1>This is a podcast from Minute Media for You Can't
<v Speaker 1>Say Him and the Case Forgot.
<v Speaker 2>I'm a.
<v Speaker 1>Hello everybody, and welcome back to the Shirley You Can't
<v Speaker 1>Be Serious Podcast. I am here today with Jason Colvin,
<v Speaker 1>my continuous co host, and we have our very special
<v Speaker 1>guest again with us today, number four episode with mister
<v Speaker 1>David Wright.
<v Speaker 3>David, how you doing today?
<v Speaker 1>Man?
<v Speaker 2>Man? I am deafened to my leftist Jimmy d and
<v Speaker 2>too my right on the miciss Jason C the Shirley
<v Speaker 2>Airwaves a guest spot on the show. Well it's got
<v Speaker 2>to be deaf Daves. Where's your hip hop expert? Well?
<v Speaker 2>Here he is all the knowledge that I drop make
<v Speaker 2>suckers furious? He ask me how I am? It's not
<v Speaker 2>that mysterious, Shirley You Can't be serious? A top down,
<v Speaker 2>turn it up, brass monkey in a cup. Tune in
<v Speaker 2>the final judgment and you'll know what's up. Hell, devastating
<v Speaker 2>kount of podcaster b My name is David. You can
<v Speaker 2>call me d whoa man that is?
<v Speaker 1>I'll be giving it up to you. Oh that was fantastic.
<v Speaker 4>That is the best intro ever I've started the trill
<v Speaker 4>history right there.
<v Speaker 1>Yeah, that's fantastic. So we started before every time we
<v Speaker 1>hit the record button, I say to Jason do you
<v Speaker 1>have something? He says, now, do you have something? And
<v Speaker 1>we just throw something at the beginning, and that was fantastic.
<v Speaker 1>That's definitely the best way.
<v Speaker 4>I took time, effort, thought, Ryan off the top, Man
<v Speaker 4>off the dome, I'm gonna I'm going to capture that.
<v Speaker 1>I'm gonna I'm going to put a backbeat to it,
<v Speaker 1>and I'm gonna let it just be the interest song
<v Speaker 1>for us every time. That would be awesome. Welcome back, David,
<v Speaker 1>is great to have you here again. If you, dear listener,
<v Speaker 1>are just joining us for the very first time in
<v Speaker 1>this podcast. This is number four in a series that
<v Speaker 1>we are doing where we are looking back at nineteen
<v Speaker 1>eighty six, thirty five years ago this year, covering two
<v Speaker 1>of the most iconic albums of that year, Raising Hell
<v Speaker 1>by Run DMC and Licensed to Ill by the Beastie Boys.
<v Speaker 1>Dave has been our special guest with the massive hip
<v Speaker 1>hop knowledge bringing it and just man, you couldn't have
<v Speaker 1>finished any stronger than that intro. So I'm excited to
<v Speaker 1>jump back into it today. We are talking about Raising
<v Speaker 1>Hell track by track. We have covered the history of
<v Speaker 1>the Beastie Boys, we have covered Licensed to Ill track
<v Speaker 1>by track, we have covered the history of hip hop
<v Speaker 1>itself as it leads up to Run DMC, and today
<v Speaker 1>we are going to be covering Raising Hell track by track.
<v Speaker 1>I am pumped. I can't wait.
<v Speaker 4>I can't wait, Dave, are you ready to go track
<v Speaker 4>my track to Raising Hell?
<v Speaker 2>Well? First of all, in case I don't have a
<v Speaker 2>chance to say this at the end, I just want
<v Speaker 2>to thank y'all so much for giving me this opportunity
<v Speaker 2>to come on here for this guest st and talk
<v Speaker 2>about this stuff. I feel like you just let me
<v Speaker 2>indulge myself, and I hope everybody's enjoyed it. I think
<v Speaker 2>it's amazing that I have an opportunity to talk about
<v Speaker 2>run DMC with two guys actually named d and Jay.
<v Speaker 2>I can sit here with with Lee's on my legs
<v Speaker 2>and Adidas on my feet, with d by my side
<v Speaker 2>and Jay with the beat.
<v Speaker 1>That's fantastic, man, that is fantastic. Dave. We've had a
<v Speaker 1>great time with you, man.
<v Speaker 4>It's been fun to get to know you, and you
<v Speaker 4>have been an awesome, awesome expert in this area, So
<v Speaker 4>thank you for contributing to our show man.
<v Speaker 1>Yeah, it's been a complete honor. And just as a
<v Speaker 1>reminder to everyone, Dave is an author. You can catch
<v Speaker 1>his books at Galahad's doom dot com. We found out
<v Speaker 1>just this week also that he does a podcast. I
<v Speaker 1>don't know how we went this whole time and didn't
<v Speaker 1>know that, but he has got a podcast where he
<v Speaker 1>talks about soccer. It's a way to vent about your
<v Speaker 1>soccer feelings. Right.
<v Speaker 2>Yeah, I'm a big I'm a big soccer fan, but
<v Speaker 2>specifically a fan of the American version of the game.
<v Speaker 2>So I'm a big major league soccer fan and US
<v Speaker 2>national team fan, and I just do a quick, little
<v Speaker 2>like news update type of podcast and usually no more
<v Speaker 2>than ten minutes. So if someone's a very casual fan
<v Speaker 2>or a curious fan but they don't really want to
<v Speaker 2>devote an hour and a half to a big deep dive,
<v Speaker 2>they can check in with my show, get what they need,
<v Speaker 2>and then be done beyond with their day. So it's
<v Speaker 2>called American Soccer Quick Kicks.
<v Speaker 1>Very nice, and you got lambasted this week on Twitter
<v Speaker 1>for your thoughts on the new soccer ball. Is that right?
<v Speaker 2>Yes? I got destroyed because they showed the new ball
<v Speaker 2>designed for next year and has flowers on it. I
<v Speaker 2>made the mistake of saying that you don't put flowers
<v Speaker 2>on a grown man's soccer ball, and I got completely
<v Speaker 2>viscerated by soccer Twitter for that one. I may have
<v Speaker 2>mentioned that my grandmother would be excited to see a
<v Speaker 2>ball that matches her drapes. I don't think they like
<v Speaker 2>that too much. Before we jump into the album, I
<v Speaker 2>got a couple of things I want to point out.
<v Speaker 2>First of all, this album represents pretty much the epitome
<v Speaker 2>of the collaboration with Rick Rubin and run DMC. He
<v Speaker 2>did go on to produce two more songs for them
<v Speaker 2>after this album. The first one was Christmas in holl Us,
<v Speaker 2>which is their well known holiday track. It was placed
<v Speaker 2>in die Hard. It's kind of an annual. It's a
<v Speaker 2>perennial holiday hit, at least around my house.
<v Speaker 4>It is hey way, we can't blow past that man.
<v Speaker 1>This is our Guyles Christmas.
<v Speaker 4>Music that he plays for John McLean as they're taking
<v Speaker 4>the limo ride to knock a toy tower.
<v Speaker 2>That's right because the rhymes you hear are the rhymes
<v Speaker 2>of Daryl's but each and every year we bust Christmas Carols.
<v Speaker 2>The last song he did with them was Mary Mary,
<v Speaker 2>which came off their nineteen eighty eight album Tougher Than Leather.
<v Speaker 2>And I want to mention that song because I happened
<v Speaker 2>to be in the crowd the night they were shooting
<v Speaker 2>the Mary Mary music video. It was in Albany, Georgia.
<v Speaker 2>I was with my friend from high school, Chris Grab.
<v Speaker 2>I know he's listening. Shout out to Chris. We were
<v Speaker 2>there that night when they were shooting the video and
<v Speaker 2>their camera was behind me and I'm in the video,
<v Speaker 2>but you kind of have to take my word for it.
<v Speaker 2>You can't see my face, but you got one skinny,
<v Speaker 2>little white elbow pumping his fists in the air. I
<v Speaker 2>promise you that's me.
<v Speaker 1>That day's chicken wing famous elbow. And for your friend,
<v Speaker 1>I just have to say, what up, Chris? What I
<v Speaker 1>was born to do? Baby.
<v Speaker 2>That summer of nineteen eighty eight, it seemed like the
<v Speaker 2>only two videos on MTV were Mary Mary and Pour
<v Speaker 2>Some Sugar on Me. I was very happy to watch
<v Speaker 2>Mary Mary every time it came on. That's my elbow.
<v Speaker 4>That's fantastic, man.
<v Speaker 2>So a note about the album cover for Raising Hell.
<v Speaker 2>You'll notice that, just like with their first two albums,
<v Speaker 2>the only two people that appear on the cover are
<v Speaker 2>Darryl and Joe. You don't see jam Master Jay in
<v Speaker 2>any of these first three album covers, and there's a
<v Speaker 2>good reason for that, Okay, jam Master j was not
<v Speaker 2>signed to Profile Records. The only people that had contract
<v Speaker 2>Profile were Darryl and Joe, and so they had brought
<v Speaker 2>Jay in as a side man for their road performances.
<v Speaker 2>He was, for a long time, never officially signed to
<v Speaker 2>the record deal. Even though you see him in some
<v Speaker 2>early photography, Profile wouldn't put him on the cover.
<v Speaker 4>Interesting, So I've got a little bit something on the
<v Speaker 4>album cover as well. Caroline Grayshock was the photographer and
<v Speaker 4>she's the one who took Cyndi Lauper's.
<v Speaker 1>She's So Unusual cover as well.
<v Speaker 4>All Right, So before we go any further, this album
<v Speaker 4>was released May twenty seventh of nineteen eighty six. Run
<v Speaker 4>DMC is the first hip hop group to receive heavy
<v Speaker 4>rotation on MTV, grace the cover of Rolling Stone magazine,
<v Speaker 4>and get a Grammy nomination.
<v Speaker 1>And a couple of quick background on the recording of
<v Speaker 1>the album. They had just come off of tour in
<v Speaker 1>nineteen eighty five and they went into a place called
<v Speaker 1>chun King Studios in New York City. Now, chun King
<v Speaker 1>became a huge studio for recording hip hop and rap
<v Speaker 1>style albums. You had Run, dmc, ll Cool J, Beastie Boys,
<v Speaker 1>Public Enemy, Buster Rhymes, Notorious, Big Tupac, Lauren Hill, Outcast,
<v Speaker 1>Method Man, Nas, Lil Wayne, Kanye West, all of those guys,
<v Speaker 1>and some rock group Aerosmith as we know, Beyonce, depeche Mode,
<v Speaker 1>Destiny's Child, Fergie and Lady Gaga all recorded at chunk
<v Speaker 1>King Studios at some point, but it had just gotten
<v Speaker 1>this name of chun King Studios when they came in
<v Speaker 1>to start their recording process. Now, the producer on this
<v Speaker 1>one was different than the last two albums, which we
<v Speaker 1>kind of discussed. They had had Larry Smith as their
<v Speaker 1>producer for the last couple of albums, and as Dave
<v Speaker 1>mentioned on our last episode, Run had gotten a little
<v Speaker 1>tired of how much Larry was trying to put more
<v Speaker 1>music into the albums. Although it was his brilliant idea
<v Speaker 1>when they were listening to Riot to put some rock
<v Speaker 1>into their music.
<v Speaker 3>But this album.
<v Speaker 1>They were using a new upstart DJ called Rick Rubin.
<v Speaker 2>So you know, just to remember the timeline from our
<v Speaker 2>first episode, the first album put out by def Jam
<v Speaker 2>was ellocle Jay's Radio, which came just after Crush Groove
<v Speaker 2>late nineteen eighty five, and it was produced by Rick Rubin.
<v Speaker 4>If you want more history on run DMC and hip
<v Speaker 4>hop and rap, go back and listen to our previous
<v Speaker 4>episode from last week.
<v Speaker 1>Where Dave laid the knowledge on Thick and.
<v Speaker 4>Is unbelievable the amount of knowledge to day brought on
<v Speaker 4>that episode for sure. By the way, you mentioned Chunking Studios. Yes,
<v Speaker 4>that is also known as the Abbey Road of hip hop.
<v Speaker 4>One thing I wanted to cover real quick, raising Hell
<v Speaker 4>did not reach number one on the Billboard Hot two hundred.
<v Speaker 4>It made it all the way to number three.
<v Speaker 1>Do you know the two albums that kept run DMC
<v Speaker 1>out of the top spots.
<v Speaker 4>I do, and we've talked about one at length and
<v Speaker 4>one in glancing Mm hmm, Okay, the number two.
<v Speaker 1>I'll give you, Yeah, go ahead and do number two,
<v Speaker 1>and I'll give you a hint on number one. I'll
<v Speaker 1>give you a hint on number two.
<v Speaker 4>She made out with Adam Horowitz backstage at the Beastie
<v Speaker 4>boyscus Madonna, but I know the album Madonna True Blue
<v Speaker 4>on the strength of Open Your Heart and Papa Don't
<v Speaker 4>Preach and La Isla Bonita reached number two September twenty,
<v Speaker 4>nineteen eighty six, the number one album.
<v Speaker 1>Okay, so what it's a soundtrack? What movie was everyone
<v Speaker 1>obsessed with in nineteen eighty six?
<v Speaker 2>Pop Gun?
<v Speaker 1>You Got It ding.
<v Speaker 4>Ding ding Ding top Gun number one, Madonna number two,
<v Speaker 4>Rundy and See number three.
<v Speaker 1>I mean, that's amazing that they're up there, and with
<v Speaker 1>those two iconic albums, it's it's an truly incredible given
<v Speaker 1>that rap wasn't even in the mainstream a couple of
<v Speaker 1>years before this.
<v Speaker 2>That's right, and this was the first rap album to
<v Speaker 2>ever go platinum.
<v Speaker 1>Fantastic. Are you ready to dive in?
<v Speaker 4>Track by track, Dave, let's do it all right. The
<v Speaker 4>first song on the track list Peter Piper, Peter Piper.
<v Speaker 1>Pig Peppers run rock Humpy down.
<v Speaker 4>That's his time.
<v Speaker 3>Exactly nimble what nimble?
<v Speaker 2>Any quick?
<v Speaker 1>Okay? We jump in and we are immediately made aware
<v Speaker 1>of how awesome these guys are at exchanging lyrics back
<v Speaker 1>and forth. It is brilliant. They'll do they'll do words,
<v Speaker 1>they'll do bits. It is so incredible how their rhythm
<v Speaker 1>is so in time with each other that they can
<v Speaker 1>sound like almost one person with two voices.
<v Speaker 3>It's amazing.
<v Speaker 2>You don't get that awesome John Bonham drum phone that
<v Speaker 2>you get in the beginning of License to Ill, But
<v Speaker 2>what you get is immediately this blistering reminder of just
<v Speaker 2>how great these two guys are together. What had become
<v Speaker 2>their trademark was switching back and forth like that in
<v Speaker 2>their delivery. But here they're they're letting you know right
<v Speaker 2>off the top they have taken things to a whole
<v Speaker 2>other level, and it just blows you away. They start
<v Speaker 2>off with this a cappella beginning and you're already just
<v Speaker 2>blown back against the wall.
<v Speaker 1>Yeah. And similar to Ryman and Stealing, they're throwing in
<v Speaker 1>some literary references. It's more nursery rhymes and you know,
<v Speaker 1>young adult kind of reading, like with Rip van Winkle
<v Speaker 1>and such. But you got to be smart to hear
<v Speaker 1>what they're saying, to know what they're saying. It's it's
<v Speaker 1>great stuff. I have to think that the Beastie Boys
<v Speaker 1>we need to do something like that. When they pick
<v Speaker 1>their first.
<v Speaker 4>Song, Hey, they make a reference to Humpty Dumpty, Little
<v Speaker 4>bo Pee, Rip Van Winkle, and the most amazing toy
<v Speaker 4>of the nineteen seventies Weebles.
<v Speaker 1>They wobbled but they don't fall down.
<v Speaker 4>Weebles wobble but they don't fall down.
<v Speaker 2>They also referenced the DC comics hero Flash when they
<v Speaker 2>say he's not Flash, but he's fast and his name
<v Speaker 2>is Jay.
<v Speaker 1>That's awesome. Yeah. And the music that they've got behind
<v Speaker 1>it is again it makes me think of girls. It's
<v Speaker 1>that very kind of plinkety xylophone style of music that
<v Speaker 1>they've got going with them, which is the perfect thing
<v Speaker 1>to put with a song that's referencing all these nursery
<v Speaker 1>rhymes in school stories.
<v Speaker 2>The Bells are a sample of a song called take
<v Speaker 2>Me to the Marti Gras, which was by this jazz
<v Speaker 2>fusion kind of artist named Bob James. At the time
<v Speaker 2>that Ellll was working on his first album, he had
<v Speaker 2>a song called Rock the Bells and he had heard
<v Speaker 2>Run DMC working with this Bob James sample and was
<v Speaker 2>going to use the same sample in his song Rock
<v Speaker 2>the Bells. And when Run found out about it, he
<v Speaker 2>got mad and confronted him and so basically won the argument.
<v Speaker 2>So llll agreed to take this same sample from Taking
<v Speaker 2>to the Marty Grass out of his song. So now
<v Speaker 2>the album cut of Rock the Bells actually has no
<v Speaker 2>bells in it at all.
<v Speaker 4>Let's play a clip of that real quick. There it is, man,
<v Speaker 4>that's it, no question answer it.
<v Speaker 2>So the whole song is about jam Master J. It
<v Speaker 2>didn't even though he had a self titled song on
<v Speaker 2>the first album. So Peter Piper actually became his theme
<v Speaker 2>song and it was the one that was most identified
<v Speaker 2>with jam Master J. And in case you're not aware,
<v Speaker 2>he was killed in two thousand and two and an
<v Speaker 2>execution style murdered that for a long time was a
<v Speaker 2>cold case. That's just recently in the last year been
<v Speaker 2>some movement on that case. As a matter of fact,
<v Speaker 2>there was there was an indictment one year ago, and
<v Speaker 2>just November this year the prosecution has said that they
<v Speaker 2>will not be seeking the death penalty, but they do
<v Speaker 2>have a couple of guys that will be going to
<v Speaker 2>trial for But this was the song that they used
<v Speaker 2>at James Jay's funeral and in all his tributes, he
<v Speaker 2>was known as Peter Piper and this was this was
<v Speaker 2>the song they used to honor him.
<v Speaker 4>I heard Daryl McDaniels talk about this song and when
<v Speaker 4>he was listening to the radio when this album was released,
<v Speaker 4>the DJ came on and said, we have got the
<v Speaker 4>most amazing, awesome hit of the summer from Run DMC.
<v Speaker 1>You're not even gonna believe.
<v Speaker 4>It's so great, And Daryl McDaniel's thinking, they're getting ready
<v Speaker 4>to play Peter Piper. Peter Piper is the one, and
<v Speaker 4>of course it was not. And we'll talk about that
<v Speaker 4>song here in just a few minutes, Okay, But this is.
<v Speaker 2>A hit right out of the right out of the gate.
<v Speaker 2>This is an awesome songs in one of their classics,
<v Speaker 2>one of their best loved songs. It is awesome. It's
<v Speaker 2>a great starter to the album.
<v Speaker 4>Absolutely ready for song number two. Yes, song number two
<v Speaker 4>on the album called It's Tricky.
<v Speaker 2>This is my recital. I think it's very vital. That's
<v Speaker 2>right on top.
<v Speaker 1>Tell me God.
<v Speaker 2>Right to ro right that site on Tom It's chick.
<v Speaker 4>All right now. This one I'm very familiar because they
<v Speaker 4>played it on MTV all the time. This reached number
<v Speaker 4>fifty seven on the Billboard Hot one hundred chart, released
<v Speaker 4>February eighth of nineteen eighty seven.
<v Speaker 1>Let's talk about what it samples nineteen seventy nine, The
<v Speaker 1>Knack my Sharona.
<v Speaker 4>When I read that, I was blown away because I
<v Speaker 4>didn't really hear it until that came to my attention.
<v Speaker 1>Well, in two thousand and six, The Knack actually sued
<v Speaker 1>run DMC and their associates and some online stores for
<v Speaker 1>unlicensed use of this sample. And when they asked them,
<v Speaker 1>why did it take you twenty years to bring your
<v Speaker 1>case to court, they said, well, we just found out
<v Speaker 1>we hadn't heard it before.
<v Speaker 4>Come on, man, twenty years to bring this case to court.
<v Speaker 1>Right, you're just now becoming aware of the track. It's tricky.
<v Speaker 2>Rock run to rock run, that's right on Thomas Chick game.
<v Speaker 2>Wow yep. And of course they structured the chorus around Mickey.
<v Speaker 4>Yeah, okay, we got to talk about that too, because
<v Speaker 4>that to me as clear as a bell, right, yep.
<v Speaker 4>It's triggy to rock a rhyme to rock a rhyme,
<v Speaker 4>that's right on time.
<v Speaker 1>It's tricky.
<v Speaker 5>Right.
<v Speaker 4>Then you've got oh, Mickey, you're so fine, You're so fine.
<v Speaker 1>You blow my mind.
<v Speaker 4>Hey, Mickey, Yes, those are identical.
<v Speaker 2>Yeah, and it's guaranteed to be an earworm. It's gonna
<v Speaker 2>be stuck in your head.
<v Speaker 1>But it's also kind of a tongue twister. Is it's
<v Speaker 1>difficult to spit that out as fast as they do.
<v Speaker 1>And that's what the song is really about, is it's
<v Speaker 1>not as easy to be a rapper as you think
<v Speaker 1>it might be. You know, people dissing on them because
<v Speaker 1>it's not real music, it's not singing, but they're saying, hey,
<v Speaker 1>you try to do this. You see if you can
<v Speaker 1>do this, mister Knox. It's tricky to rock a rhyme
<v Speaker 1>that's right on time.
<v Speaker 2>It's tricky, huge hit on MTV. I know Pin and
<v Speaker 2>Teller in the video. It's not a strong track man,
<v Speaker 2>just coming out hot. Two songs in a row.
<v Speaker 1>Yeah, it's interesting. They they've got a positive message that
<v Speaker 1>wasn't happening in a whole lot of rap after the eighties.
<v Speaker 1>They talk about how they get offered dope and lots
<v Speaker 1>of coke, but they said they just leave it alone.
<v Speaker 1>And this kind of goes along with another song on
<v Speaker 1>the album where he talks about going to Saint John's University.
<v Speaker 1>They were trying to speak to kids on the street
<v Speaker 1>who are out there doing drugs and not going to school,
<v Speaker 1>to say hey, we can make it not doing that stuff,
<v Speaker 1>and you can too.
<v Speaker 4>I found something really cool on the internet in regards
<v Speaker 4>to It's Tricky. Okay, so there was a guy that
<v Speaker 4>he posted this on Instagram. Just a guy driving down
<v Speaker 4>the road top down, turn it up, had his windows
<v Speaker 4>down and was thumping It's tricky. Who pulls up next
<v Speaker 4>to him? Joseph Simmons run.
<v Speaker 2>Oh yes.
<v Speaker 4>When he pulls up next to him, rolls down his window,
<v Speaker 4>leans in. The guy's like, oh my gosh, that's run
<v Speaker 4>right next to me, and he is rocking the rhymes
<v Speaker 4>right out of his window. The guy was like, oh,
<v Speaker 4>I can't even believe it. There he goes, drives off.
<v Speaker 4>That's it, and the guy puts it was awesome.
<v Speaker 2>Man, that's a lot better than my elbow story.
<v Speaker 4>Okay, that's it. That's all I got on on is Triggy.
<v Speaker 4>Although I will say that video introduced me to Penn
<v Speaker 4>and Teller as well.
<v Speaker 3>That was probably the first time I saw him too.
<v Speaker 1>Okay.
<v Speaker 4>Song number three my uh didas my uh well Coop
<v Speaker 4>doors and football almost kind of stage at Live eight
<v Speaker 4>All the People Game. This was the first single release
<v Speaker 4>from this album, Strong Coming Song twenty ninth of nineteen
<v Speaker 4>eighty six.
<v Speaker 2>This is a great song, fantastic song. Is probably my
<v Speaker 2>second favorite on the whole album.
<v Speaker 4>My roommate in college, when we would be getting ready
<v Speaker 4>to go play football or basketball or whatever, i'm'll be like,
<v Speaker 4>let me grab my shoes real quick. That's all he needed.
<v Speaker 4>I'd say, I need to grab my shoes. My uh
<v Speaker 4>dudas Scott Foster.
<v Speaker 1>A shout out to Scott Foster.
<v Speaker 4>Interestingly, this song led to the first non sport entity
<v Speaker 4>to sell sneakers.
<v Speaker 2>Yes, but when they recorded this song and when this
<v Speaker 2>album was released, they had no endorsement deal in place.
<v Speaker 2>They just did it because they loved Adidas.
<v Speaker 4>I read that in Hollis there was this local medic
<v Speaker 4>named doctor Diaz. Doctor Diaz was this guy around town
<v Speaker 4>who distributed a small pamphlet that talked about how fellon sneakers,
<v Speaker 4>lee jeans, these certain hats and gold chains and brand
<v Speaker 4>names of Puma and Adidas as troublesome. Like if you
<v Speaker 4>see anybody wearing Puma or Adidas or gold chains or
<v Speaker 4>sneakers with no shoelaces. These are troublemakers. These are people
<v Speaker 4>you want to watch out for.
<v Speaker 1>Profiling there you go.
<v Speaker 4>And so they got mad about that. They found it
<v Speaker 4>insulting and they're like.
<v Speaker 1>Hey, we wear Adidas and we're not bad guys.
<v Speaker 4>And so they were intent on writing a song about
<v Speaker 4>Adidas and being good guys.
<v Speaker 2>So let me tell you about a man named Liar Cohen.
<v Speaker 2>But we didn't talk about him last episode. But he
<v Speaker 2>had started out run in a club up in California,
<v Speaker 2>and one time run DNC had come out there and
<v Speaker 2>performed some shows with them, and at one point he
<v Speaker 2>decided he was going to work for Rush Management. He
<v Speaker 2>basically cold calls. He walks up to the front door
<v Speaker 2>in New York and tells Rush that he wants to
<v Speaker 2>work for now. The RUSSI had known him from booking
<v Speaker 2>shows at his club. But he's like, look, you know,
<v Speaker 2>we're still a shoe string operation. And the way this
<v Speaker 2>works is is you know you get paid a percentage
<v Speaker 2>based on whatever new business you bring to the company.
<v Speaker 2>You know that that that's the only way I can pay.
<v Speaker 2>He said, well, okay, who's handling your merchandise? And Russ
<v Speaker 2>is like, uh my what he who's booking your shows,
<v Speaker 2>who's managing your your packaging your tours? He's like, uh,
<v Speaker 2>my pack packed what? And Lyer said, I'll start on Monday.
<v Speaker 2>In nineteen eighty six when he first got this job
<v Speaker 2>and he was looking to generate the money. One thing
<v Speaker 2>they did is they they pulled out of these annual
<v Speaker 2>fresh Fest concert tours and he packages together the Raising
<v Speaker 2>Hell Tour and so all the non rush elements of
<v Speaker 2>fresh Fest dropped away, so they no more fat boys,
<v Speaker 2>no more breakdancers, and it was just rush artists. So
<v Speaker 2>that's how the Raising Hell Tour came to be just
<v Speaker 2>BC Boys, Houdini, Ello, Cool J and run DMC and
<v Speaker 2>that was it. And so it was so Liar Cohen
<v Speaker 2>was the guy who put that on. And it was
<v Speaker 2>in the middle of the Raising Hell Tour that Liar
<v Speaker 2>orchestrated a fantastic stunt related to this song may Adidas.
<v Speaker 2>What Liar and Russell did is they conspired to bring
<v Speaker 2>over Adidas executives from Germany and had them attend a
<v Speaker 2>sellout rundem Sea concert at Madison Square Garden. Now Joseph
<v Speaker 2>Simmons also was in on it, and when they got
<v Speaker 2>ready to sing this song. He took off his Adidas shoe,
<v Speaker 2>held it up in the air, and he told everybody
<v Speaker 2>else to do the same. And there was an ocean
<v Speaker 2>of teenagers holding their Adidas shoes in the air, waving
<v Speaker 2>them back and forth. The house lights come on, the
<v Speaker 2>spotlights are sweeping across them, and those Adidas executives, their
<v Speaker 2>jaws are on the floor. They realized in that instant
<v Speaker 2>what is happening and how powerful run DMC is to
<v Speaker 2>this market. And just like that, they signed run DMC
<v Speaker 2>to an Adidas endorsement deal, making history as the first
<v Speaker 2>non athlete to sign a sneaker deal. And this was
<v Speaker 2>the beginning of the corporate world of understanding the power
<v Speaker 2>of the hip hop market.
<v Speaker 1>It's fantastic, man, it is fantastic.
<v Speaker 4>They were trendsetters in so many ways. It's it's unbelievable.
<v Speaker 1>Okay, So, since you brought the company up, and since
<v Speaker 1>you mentioned them earlier, I want to say this. So
<v Speaker 1>Adidas the shoe brand was started by a guy named
<v Speaker 1>Adolph Dassler. Right, he Hadi das adds exactly right. He
<v Speaker 1>had a brother whose name was Rudolph Dassler, and at
<v Speaker 1>one point they were in business together, working together, but
<v Speaker 1>they realized they didn't like, we're going to get were
<v Speaker 1>They just you know, their brotherly hate just kind of boil.
<v Speaker 1>It reached a boiling point, and so Rudolph was like,
<v Speaker 1>you know what, I'm going to go across the river.
<v Speaker 1>I'm gonna start my own company and we'll just see
<v Speaker 1>how it goes. And so Adolph makes adi Das Adidas
<v Speaker 1>and Rudolph starts another shoe company that you might have
<v Speaker 1>heard of called Puma Wow. And then they both end
<v Speaker 1>up shoot on the feet of troublemakers out there. You
<v Speaker 1>need to watch out for that. That's right, that's right.
<v Speaker 2>So what's cool about this about the song, though, is
<v Speaker 2>that they're not necessarily bragging about the shoe itself. They're
<v Speaker 2>bragging about themselves about all the things they've accomplished while
<v Speaker 2>wearing the shoes.
<v Speaker 4>Russell Simmons had this idea that he wanted them to
<v Speaker 4>write a song about their Adidas and he apparently came
<v Speaker 4>up with this idea while smoking angel dust. So Deary
<v Speaker 4>McDaniels said he went to see him and he's like,
<v Speaker 4>you got to come up with a song that starts
<v Speaker 4>my Adidas standing on two Street and he was and
<v Speaker 4>he was really high because he said it about fifty times.
<v Speaker 4>They actually mention their Live AID performance in the lyrics
<v Speaker 4>of this song. We talked about that Live Aid performance
<v Speaker 4>in last week's episode.
<v Speaker 2>Yes a step on stage at Live Aid all the
<v Speaker 2>people gave in the poor gat payte. What I find
<v Speaker 2>amazing is that this song May Adidas has a very
<v Speaker 2>famous fan. Bob Dylan loves this song.
<v Speaker 1>Really what That's awesome? Yeah.
<v Speaker 2>At the time in nineteen eighty six, he said in
<v Speaker 2>an interview that he just thought this was a great
<v Speaker 2>example of just the vitality and just the uh this
<v Speaker 2>the in roads. I guess they had the voice of
<v Speaker 2>the black youth market that he just saw. This was
<v Speaker 2>a fantastic expression.
<v Speaker 1>That is insane, that's incredible.
<v Speaker 4>We have mentioned Bob Dylan so much recently in such
<v Speaker 4>like way Out their Ways. He wrote Knocking on Heaven's Door,
<v Speaker 4>which we talked about in our Guns N' Roses episode
<v Speaker 4>several weeks ago now, and then because of Knocking on
<v Speaker 4>Heaven's Door that was in Pat Garrett and Billy the Kid,
<v Speaker 4>we talked about him in our Young Guns Versus Tombstone.
<v Speaker 2>Episode, and now we're going to talk about him.
<v Speaker 1>With insane man is everywhere?
<v Speaker 2>All right?
<v Speaker 4>Are we ready to finish up on my ideas?
<v Speaker 2>I mean, look at this one, two three, right out
<v Speaker 2>of the box. Peter Piper is tricky May Adidas. You
<v Speaker 2>would think this can't possibly get better? What's track four?
<v Speaker 4>Track number four is the song that changed music culture, history,
<v Speaker 4>everything as we know it.
<v Speaker 1>Okay, So I got to start off by saying that
<v Speaker 1>we talked about this song on our Aerosmith episode and
<v Speaker 1>just as a quick review of that, Steven Tyler came
<v Speaker 1>up with this beat and Joe Perry came up with
<v Speaker 1>the lick that went with it, and they were at
<v Speaker 1>the end of a very long recording session and they
<v Speaker 1>could not come up with any lyrics. They were struggling
<v Speaker 1>and struggling, and finally the producer was like, just leave,
<v Speaker 1>just get out of here, go watch a movie, have
<v Speaker 1>some fun. And they go across the street to the
<v Speaker 1>movie theater and what movie is playing Jason Young Frankenstein,
<v Speaker 1>in which we have Marty Feldman who has the iconic.
<v Speaker 4>Line walk this way, no, this way.
<v Speaker 1>Yes, And they thought that that line was hilarious and
<v Speaker 1>that's how this song came into being and It was
<v Speaker 1>a part of their Toys in the Attic album, which
<v Speaker 1>is probably their greatest album of the seventies. Right, sure,
<v Speaker 1>So fast forward a few years, hip hop has caught on.
<v Speaker 1>Djaying has become a thing, and all of the DJs
<v Speaker 1>take these albums and because they don't want other guys
<v Speaker 1>stealing their tricks, they wipe out basically everything except the
<v Speaker 1>track numbers. And so they have Toys in the Attic
<v Speaker 1>and everybody whose anybody knows, Hey, number four is a
<v Speaker 1>great lick and a great beat. But they would put
<v Speaker 1>that on, they'd play that lick, they'd play that beat,
<v Speaker 1>they'd scratch it back, they'd do what they did, but
<v Speaker 1>they never got to the lyrics of the song.
<v Speaker 4>They would just say, hey, grab toys and they played
<v Speaker 4>number four.
<v Speaker 3>Right.
<v Speaker 4>But their plan was to roll that into a loop
<v Speaker 4>and then wrap over it.
<v Speaker 1>Yeah, sample like they would normally do with any other song,
<v Speaker 1>like they would did with My Sharona or any of
<v Speaker 1>the others, is they're gonna they're gonna use that one
<v Speaker 1>little part and they're gonna make their own song out
<v Speaker 1>of it. But Rick was the one that said, no,
<v Speaker 1>you guys should do the original song. I mean, and
<v Speaker 1>you if you listen to it, it's well to my ears,
<v Speaker 1>almost like a rap that Steven Tyler has a very
<v Speaker 1>rhythmic way of singing his songs. And absolutely, so they
<v Speaker 1>took the album home, they put it on the record,
<v Speaker 1>they turned it on and it got past that initial
<v Speaker 1>lick and it got into the lyrics and they were
<v Speaker 1>like no, no, no, no, no, no, no way, we're
<v Speaker 1>not doing this hill billy crap.
<v Speaker 4>The interesting thing was they couldn't understand. And this is
<v Speaker 4>back in the days before the Internet where you could
<v Speaker 4>google lyrics. So they had their pen in their paper
<v Speaker 4>and they're like backstage lover, always undercover, talk to my
<v Speaker 4>this is hillbilly music. They were not into it at all.
<v Speaker 4>And actually it's Jim Ester Jay who was the one
<v Speaker 4>who's like, guys, this is gonna be really good.
<v Speaker 2>Jay knew a little bit more about the song, I guess,
<v Speaker 2>because maybe he was the guy with the records in
<v Speaker 2>the back in the park. But when Ruven first suggested
<v Speaker 2>walk this Way, Joe and Darryl didn't even recognize it,
<v Speaker 2>or like, what do you mean walk this way? They
<v Speaker 2>didn't recognize it by that name, and Jason was the
<v Speaker 2>one that said no, no, yeah, yeah, yeah, you know
<v Speaker 2>this one his toys in the attic. Well, they knew
<v Speaker 2>it by the album name, because all they knew is
<v Speaker 2>that opening drum beat, and it had been a staple
<v Speaker 2>in the park for years, like you said, but they
<v Speaker 2>had just never bothered to listen to the rest of
<v Speaker 2>the song and they didn't know it by its proper name.
<v Speaker 2>So it was Jason that said, no, no, no, listen, this
<v Speaker 2>could work. Now, this is a case and I don't
<v Speaker 2>know how many, It seems like it's in every episode
<v Speaker 2>where you're covering albums, but this was a case of
<v Speaker 2>where the album was basically done. They had all these
<v Speaker 2>other tracks finished, and Rick Rubin, yeah, I mean, you
<v Speaker 2>can finish the story. He was like, we need one more.
<v Speaker 2>We're missing something. And this was a late idea, in
<v Speaker 2>a late addition, and this was the one that kind
<v Speaker 2>of galvanized the whole out.
<v Speaker 1>And I got to say, when we told this story
<v Speaker 1>in our Aerosmith episode, I talked about, you know, Aerosmith
<v Speaker 1>was kind of in bad trouble at that point. They
<v Speaker 1>were trying to come back, but they were not They
<v Speaker 1>had not at all come back to from what they
<v Speaker 1>were in the seventies. Or what they had would become
<v Speaker 1>in the late EA and nineties. Done with Mirrors in
<v Speaker 1>nineteen eighty five was a disaster. H It was a total
<v Speaker 1>momb And so when they get a call at the
<v Speaker 1>when I we had our episode, I said, they get
<v Speaker 1>a call from mister Rick Rubin. Well that was because
<v Speaker 1>I was thinking Rick Rubin of you know, ultimate fame.
<v Speaker 1>But at this point, Rick Rubin is a guy who's
<v Speaker 1>done nothing. He was nobody to them. So they're getting
<v Speaker 1>a call from a nobody about a rap group who's
<v Speaker 1>done a couple of albums, saying, hey, we want to
<v Speaker 1>cover your song and we want you to be involved
<v Speaker 1>with the re recording of the music. They had to
<v Speaker 1>be thinking the same thing, who are these guys?
<v Speaker 3>What are we going to be doing?
<v Speaker 1>And I think that even when they met up in
<v Speaker 1>the studio, there was a lot of posturing and measuring
<v Speaker 1>d's if you know what I mean, because these are
<v Speaker 1>some strong personalities in these two groups.
<v Speaker 4>I've got a great story on this. After Rick Rubin
<v Speaker 4>told them to grab their loose leaf notebook and pin
<v Speaker 4>and go downstairs and write down the lyrics, and once
<v Speaker 4>they heard Stephen Tyler start to seeing they were refusing
<v Speaker 4>to do it. And so they sat there with their
<v Speaker 4>arms crossed like stubborn children, and then the phone would ring.
<v Speaker 4>The phone would ring, and they'd be like.
<v Speaker 1>Not answering it, not answering it.
<v Speaker 4>And they knew it was Russell who was calling to
<v Speaker 4>yell at them, right, so they would they like go
<v Speaker 4>into hiding, like for a week. They refused to do this,
<v Speaker 4>and so Jay calls one day and so they're like, hey, Jay,
<v Speaker 4>what do you want.
<v Speaker 1>I know, you know you're mad at us or whatever.
<v Speaker 4>He's like, guys, get down to the studio. Stephen Tyler
<v Speaker 4>and Joe Perry are coming and they're like who who?
<v Speaker 1>And so Jay's like get down here, you know.
<v Speaker 4>So when they arrived, they see the guys from Aerosmith
<v Speaker 4>and they're like, oh my gosh, the Rolling Stones are here.
<v Speaker 2>Well, it's a fanboy for Rick Rubin, right, because I mean,
<v Speaker 2>this dude has just been like this like slob, living
<v Speaker 2>in his dorm room and he stumbled into this situation
<v Speaker 2>where he's producing records and you know, he was the
<v Speaker 2>guy who grew up with led Zeppelin and ac DC
<v Speaker 2>and Aerosmith, and he's like, what if we got Aerosmith
<v Speaker 2>and he got him. And then so he's got his
<v Speaker 2>heroes in the studio with him and he can't believe it.
<v Speaker 2>He's got D Steve Tyler and D Joe Perry and
<v Speaker 2>they're making a record for him. And so he gets
<v Speaker 2>in there and he's got Joe Perry laying down guitar,
<v Speaker 2>and Rick Rubin decides he's not playing well enough, he's
<v Speaker 2>no good, and he's got the cajones to go up
<v Speaker 2>to Joe Perry and say, you're not doing it right.
<v Speaker 2>You got to try to get in here, try it
<v Speaker 2>this way, and him on how to play his own lick.
<v Speaker 1>Wow, No, play it this way.
<v Speaker 2>He also, I understand Joe Perry plays bath on this track,
<v Speaker 2>but when they got ready to do that, he hadn't
<v Speaker 2>brought a bass guitar. They didn't have a bass laying around.
<v Speaker 2>And so there were these kids hanging around the studio
<v Speaker 2>the day they were recording all this, and one of
<v Speaker 2>the kids is like, hold on, I'll go get my bass.
<v Speaker 2>He and he runs out right and eventually he comes back.
<v Speaker 2>He said, here, you can play you can play this,
<v Speaker 2>and that kid was out of me off. It was
<v Speaker 2>the Beast boys hanging.
<v Speaker 1>Oh my gosh, I didn't another story, but I knew
<v Speaker 1>that was where you were going with the kids hanging out.
<v Speaker 1>That is fantastic. Yeah, So fast forward a few months
<v Speaker 1>and they're at the on stage playing together in Miami
<v Speaker 1>and Adam Yawk's drunk out of his mind trying to
<v Speaker 1>play bass with Chase and Joe Perry around backwards.
<v Speaker 4>You know, you mentioned that Joe Perry was not playing
<v Speaker 4>up to par I heard an interview with Rick Rubin
<v Speaker 4>and he was like, Ron and DMC, they were not
<v Speaker 4>hitting the lyrics like he really wanted them to. He's
<v Speaker 4>like they were lazy, they were goofing off. They weren't
<v Speaker 4>into it. He's like, get your butts in gear and
<v Speaker 4>lay down these tracks like you can, you know. And
<v Speaker 4>so everybody was kind of feeling it out and took
<v Speaker 4>a while to warm up to it. And Darryl McDaniel's
<v Speaker 4>they're like, when did you know that this was going
<v Speaker 4>to change people's lives? He's like, I didn't know it
<v Speaker 4>was going to do anything until it took off.
<v Speaker 1>Right, And that was this story that you were alluding
<v Speaker 1>to earlier. Whenever they had been touring. They get back,
<v Speaker 1>he starts listening to the radio and there's a DJ
<v Speaker 1>that comes on and he says, this is the hottest
<v Speaker 1>rap song of the summer. Guys, everybody get ready. This
<v Speaker 1>is about to blow the summer away. It's so strong.
<v Speaker 1>And he knew what the song was going to be.
<v Speaker 1>He knew it had to be my Adidas or Peter Piper.
<v Speaker 1>And the song started playing and it was that Walk
<v Speaker 1>This Way lyric and he was like, what, Yeah.
<v Speaker 2>So this album the artists themselves, they were more involved
<v Speaker 2>in the production of the tracks and the songs than
<v Speaker 2>the other albums. And Rubn was a little bit more
<v Speaker 2>hands off with this than he was with Licensed to Ill.
<v Speaker 2>But Walk This Way is all Rick Ruper, and I mean,
<v Speaker 2>you know, we talked about how he had to coach
<v Speaker 2>up Joe Perry, had to coach up Running D. I mean,
<v Speaker 2>he demanded the best from all of these guys, and
<v Speaker 2>he put this record together and it sounds amazing. I mean,
<v Speaker 2>putting aside the fact that I'm gonna pick rap every day,
<v Speaker 2>I think this version of the song sounds great. It's
<v Speaker 2>just right there in your face, popping out of the speakers.
<v Speaker 2>I think it's the production on it is better than
<v Speaker 2>the It's an old song it just got that energy
<v Speaker 2>to it.
<v Speaker 1>It's fantastic. There are a few cover songs that are
<v Speaker 1>so that are as on point with the original as
<v Speaker 1>this one is that you might say they may have
<v Speaker 1>outdone themselves on this one. And obviously, if you don't
<v Speaker 1>have Steven Tyler in there singing his parts to this song,
<v Speaker 1>it's not the same song. It doesn't do the same right.
<v Speaker 3>If you don't have.
<v Speaker 1>Joe Perry in there doing the lick, even if he
<v Speaker 1>took some coaching, it's not the same song. But run DMC.
<v Speaker 1>Once they got their butts in gear, they were on
<v Speaker 1>point on their interpretation of these lyrics. And then we
<v Speaker 1>got to talk about the video. Let's talk about the video.
<v Speaker 4>Yeah, okay, So the video is Aerosmith practicing. They're in
<v Speaker 4>the room right next door to Runny em CE and
<v Speaker 4>they're practicing runnium C guys start the beat and Steven
<v Speaker 4>Tyler's banging on the wall with his microphone stand punches
<v Speaker 4>a hole through it, sticks his head in and that's
<v Speaker 4>when he screams, walk this way, and it's a metaphor
<v Speaker 4>for tearing down walls.
<v Speaker 1>Yeah, it's great. I love it, and I will say this,
<v Speaker 1>I thought of you, Dave, because you are a video guy,
<v Speaker 1>an editing guy. After Steve Tyler gets done singing through
<v Speaker 1>the hole, Joe Perry sticks his head in and looks around,
<v Speaker 1>and the camera pans across and it does this beautiful
<v Speaker 1>cross cut into the concert stage and I was like, oh,
<v Speaker 1>that was a really smooth cut right there. It looks
<v Speaker 1>like we just went through the wall and now we're
<v Speaker 1>in a completely different place.
<v Speaker 2>This video was landmark. It's really kind of amazing and
<v Speaker 2>in retrospect, despite the reluctance that the artists had with
<v Speaker 2>doing the song, in hindsight, it seems like a no brainer.
<v Speaker 2>It seems perfect. The beat sounds like a rap beat.
<v Speaker 2>It had been using the park for years. The lyrics
<v Speaker 2>are already delivered in a way that almost sounds like
<v Speaker 2>a rap anyway, right. DMC had a history already of
<v Speaker 2>using rock and roll in their records. I mean, it
<v Speaker 2>just sounds fantasmic. You're bringing in this classic rock band
<v Speaker 2>that's going to bring a whole new audience to run DMC,
<v Speaker 2>and this puts them on MTV for the first time.
<v Speaker 2>This video was the first time Steve Tyler and Joe
<v Speaker 2>Perry had ever appeared on MTV.
<v Speaker 1>That's insane, that's crazy.
<v Speaker 2>And then not only do you have that metaphor of
<v Speaker 2>walls being knocked down, but you're using that video and
<v Speaker 2>the collaboration here of these two high profile artists to
<v Speaker 2>really send that message of that crossover, right, So you're
<v Speaker 2>just uniting the races that black and white folks together
<v Speaker 2>can both like this music, can both like this song,
<v Speaker 2>and the video really drove that home in a pretty
<v Speaker 2>cool way. But not only that, but that's exactly what
<v Speaker 2>this song did for rap. This was no longer something
<v Speaker 2>obscure and on the fringes. I was like the weird
<v Speaker 2>white dude who already knew about like, you know, Boogie
<v Speaker 2>Boys and Lottie Dotty and all this stuff my freshman year.
<v Speaker 2>But nobody really was on board with how cool rap
<v Speaker 2>could be until this song came out, and suddenly it
<v Speaker 2>was cool to like run DMC and I'm looking like
<v Speaker 2>that the hip guy in the corner who knew about
<v Speaker 2>it all along. So it cannot be overstated how massive
<v Speaker 2>of an impact this song had on breaking rap out.
<v Speaker 2>I'm busting through that wall and and taking it to
<v Speaker 2>the mainstream.
<v Speaker 1>Even just the simple storyline of the video, you start
<v Speaker 1>the video with animosity, and by the time you reach
<v Speaker 1>the end, it's handshakes and hugs.
<v Speaker 4>Yeah, it's great, beautiful, and in between you get a
<v Speaker 4>great look at their shoeless adiitas.
<v Speaker 1>Yeah, and the veins and Steven Tyler's neck.
<v Speaker 2>This song is everything I mean. I believe that it
<v Speaker 2>was the success of this song that created the environment
<v Speaker 2>in the marketplace that allowed the Beastie Boys album to
<v Speaker 2>be received so well, and it kind of primed the
<v Speaker 2>audience and got the country ready for something like the
<v Speaker 2>BAC Boys. I don't think Licensed to Ill sells as
<v Speaker 2>well as it does without raising hell first, but specifically
<v Speaker 2>walk this Way.
<v Speaker 4>You're exactly right. Everything you say is absolutely true. But
<v Speaker 4>for a guy like me, what this song gave us
<v Speaker 4>was loving an elevator and Jennie's Got a Gun and
<v Speaker 4>crying and crazy and living on the edge and every
<v Speaker 4>other ariosmis song because it revitalized their care.
<v Speaker 2>Yes, this is a fantastic the best of crossovers right,
<v Speaker 2>because it's a win win for everybody. Aerosmith absolutely needed
<v Speaker 2>this just as much as run DMC did, and both
<v Speaker 2>acts come out way ahead after this collaboration.
<v Speaker 4>Yep, and I love what Daryl McDaniel says about this song,
<v Speaker 4>He's like, at first, we were adamantly against it, we
<v Speaker 4>were viciously opposed.
<v Speaker 1>But when he talks to high school kids.
<v Speaker 4>He's like, listen, always be willing to try something new.
<v Speaker 4>It may just change your life. And he's absolutely.
<v Speaker 2>Right, change your lives, change the direction of music in
<v Speaker 2>the eighties. It's just absolute massive monster.
<v Speaker 1>All right. I hate to be done with it, but
<v Speaker 1>we've hit four for four. At this point, we have
<v Speaker 1>had NonStop awesome ness classical. We are about to dive
<v Speaker 1>into track number five.
<v Speaker 3>Is it Live the.
<v Speaker 4>Microphone Master dmc cause one, two, three, full casualties.
<v Speaker 2>You'll be praising d down on your knee because I'm
<v Speaker 2>plumbing and I'm stomping on in CS. Okay, I love
<v Speaker 2>the song. I don't think this was a single from
<v Speaker 2>the album, but this is one of my favorite I
<v Speaker 2>love the energy of it. It's absolutely I turned this
<v Speaker 2>one up every time it comes on. But I gotta
<v Speaker 2>tell you a story. So I'm in twelfth grade, right,
<v Speaker 2>So this is a couple of years after the album
<v Speaker 2>has come out, and I'm sitting in English class and
<v Speaker 2>I gotta tell you up front. My girlfriend is in
<v Speaker 2>the same class, and she's just a couple of rows away. Hey,
<v Speaker 2>we're sitting there and we are studying poetry, and the
<v Speaker 2>teachers going over different types of rhyming schemes. You know
<v Speaker 2>how you have AABB CC or you might have aa
<v Speaker 2>B and CCB to go with the pino. It's all
<v Speaker 2>just poetry stuff that you're learning in class, right, And
<v Speaker 2>they were like, and she was checking you see if
<v Speaker 2>everybody understands what she's talking about, says, can you think
<v Speaker 2>of examples of some rhyming schemes? And I'm sitting over
<v Speaker 2>there and I just like that, that's all I do.
<v Speaker 2>And everybody looks at me, and I play it all
<v Speaker 2>over what who me? And and and everybody in the classroom, right,
<v Speaker 2>they like they know they know me, And all of
<v Speaker 2>a sudden, they're like they're starting to giggle. They're punching
<v Speaker 2>each other and pointing like, hey, look look at that,
<v Speaker 2>and everybody starts laughing and snickering, just knowing something's something's coming, right,
<v Speaker 2>and uh, and I'm just playing it low key, you know.
<v Speaker 2>And what the teacher is this like prim and proper,
<v Speaker 2>you know, like classically educated, like Victorian like hair and
<v Speaker 2>a bun Victorian Coller. And she turns and she says, David,
<v Speaker 2>can you share with the class an example of an
<v Speaker 2>internal rhyming scheme. I'm like, just served a softball right
<v Speaker 2>over the middle of the plate, and I'm playing it
<v Speaker 2>low key, you know. But but I've got twenty five
<v Speaker 2>kids in the room, like on the hook, and I'm
<v Speaker 2>reeling them in right and I'm just like, oh, you
<v Speaker 2>want me to rhyme? And the teacher has no idea
<v Speaker 2>what's coming. And she was like yes, and I go,
<v Speaker 2>can I eat check and don't fight?
<v Speaker 4>And I might check.
<v Speaker 2>And all the guys in the class got their hands
<v Speaker 2>in there and they're like, go death, day, Go death.
<v Speaker 2>But all the girls in the class, they're they're ignoring
<v Speaker 2>me because all their eyes they're on my girlfriends right,
<v Speaker 2>And she's completely mortified. She's like trying to hide under
<v Speaker 2>the desk. She's given me these looks like you shut
<v Speaker 2>up now, David, shut up, and I'm like oblivious, you know,
<v Speaker 2>just kind of got quality and skill book beyond belief.
<v Speaker 2>Do I steal me for real? And that's great, man,
<v Speaker 2>And it was awesome, and then uh, she didn't dump
<v Speaker 2>me right away. But no, this was a different they'rel
<v Speaker 2>not the one that was jocking Mike D to the
<v Speaker 2>completely different girls. He got rid of me right after
<v Speaker 2>prom is over. So the moral of the story is,
<v Speaker 2>uh is I was a high school loser that never
<v Speaker 2>made it with the.
<v Speaker 1>Last Oh that's fantastic, that's great, man.
<v Speaker 4>Hey, I had something similar. I'm just gonna throw this
<v Speaker 4>in really quick.
<v Speaker 1>In my Spanish class.
<v Speaker 4>My Spanish teacher is one of those days we're watching
<v Speaker 4>a video and she's like, okay, class, we're gonna watch
<v Speaker 4>a movie, but it's gonna be in Spanish, and I'm
<v Speaker 4>gonna stop it every so often. You're gonna tell me
<v Speaker 4>what's going on if you can do it right.
<v Speaker 1>And we're like, okay, whatever.
<v Speaker 4>So she pops in Raiders of the Lost Art but
<v Speaker 4>in Spanish. So she keeps coppying and she's like, does
<v Speaker 4>anyone know what they're saying? And I'm like and I
<v Speaker 4>just like, like, well, they're looking for the arc, but
<v Speaker 4>they're looking at the wrong place, so the thing's one
<v Speaker 4>thing too short. And I amazed my Spanish teacher she
<v Speaker 4>had no clue.
<v Speaker 1>Oh my gosh, that's awesome man.
<v Speaker 2>All right, are we.
<v Speaker 1>Done with is it live?
<v Speaker 2>Yeah, yeah, we could be done. I love it to me.
<v Speaker 2>It's another hit. It's another it's another NonStop hits here
<v Speaker 2>coming from the top.
<v Speaker 4>So the next song on the album is a song
<v Speaker 4>called Perfection.
<v Speaker 2>It goes a one two three and.
<v Speaker 4>It's quite essential.
<v Speaker 2>Get in it because I won't.
<v Speaker 4>Okay, I've got one thing to say about this, and
<v Speaker 4>I'm gonna turn you list man.
<v Speaker 2>Okay.
<v Speaker 4>One thing I know about this song is that is
<v Speaker 4>Jason Mazel on the drums.
<v Speaker 2>Down front. Okay, yes, and that's really the big takeaway.
<v Speaker 2>This is the only track on the album it's got
<v Speaker 2>live drums, real drumming on it.
<v Speaker 1>It's an interesting way that they handle it. It's a
<v Speaker 1>slow down beat, it's it is much slower than the
<v Speaker 1>first five songs that we've heard so far tempo wise.
<v Speaker 1>And then they do an interesting thing where I think
<v Speaker 1>it's run is doing the falsetto high pitched against against
<v Speaker 1>DMC's regular voice rap, which is interesting because later on
<v Speaker 1>DMC went through this whole weird spell where he went
<v Speaker 1>ultra low and said he was basically forced to sing
<v Speaker 1>in a higher voice that was than his normal voice.
<v Speaker 1>But anyway, it's just it's interesting that They've got that
<v Speaker 1>dynamic going on in this one.
<v Speaker 3>Would you do you like this song, Dave?
<v Speaker 2>I do like it. It is definitely, you know, a
<v Speaker 2>step down and energy from the other songs that have
<v Speaker 2>come before it so far. And you know, someone who's
<v Speaker 2>not like a huge devote to this album, this might
<v Speaker 2>be one that goes lower on their list. But the
<v Speaker 2>reason I like it is because it is so easy
<v Speaker 2>to do the parts because it's so slow. You know,
<v Speaker 2>this is one that I could get together with a
<v Speaker 2>buddy and we could switch off parts and sing along
<v Speaker 2>with the record. You know, could we could pull it off.
<v Speaker 2>But I don't ever skip it. It's a change of pace.
<v Speaker 2>It's a nice little thing to have right there at
<v Speaker 2>this spot in the sequence. And it's lighthearted, you know,
<v Speaker 2>it's kind of funny. It's fun It's a step down
<v Speaker 2>from the others we've heard so far.
<v Speaker 1>I like the drums.
<v Speaker 4>I do like the live drums.
<v Speaker 1>I think that it gives a little bit more character.
<v Speaker 4>You can see Jay's talent as a musician. And here, okay,
<v Speaker 4>hit stop on your tape player, eja, kick it out,
<v Speaker 4>flip it over side two, and we start off with
<v Speaker 4>a song called hit It Run you can't see him
<v Speaker 4>and the powerful start to the second side right here.
<v Speaker 3>Okay, hold on, hold on. It's so rare that I
<v Speaker 3>get the opportunity to do this.
<v Speaker 1>This is the titular track, Titular Uh never grown up
<v Speaker 1>from sophomore years.
<v Speaker 4>This one contains the gigantic MF or in the middle
<v Speaker 4>of it. Yeah, that was a little bit of a
<v Speaker 4>shock to me.
<v Speaker 2>These two albums were looking at Licensed to Ill and
<v Speaker 2>Raising Hell they you know, you look back at now
<v Speaker 2>and with like more mature ears, and they're both little
<v Speaker 2>problematic for different reasons. You know, License to Ill is
<v Speaker 2>actually completely clean in his language. It's just that some
<v Speaker 2>of the subject matter, you know, a little rough, and
<v Speaker 2>in this case, on this album, the subject matter is
<v Speaker 2>not too bad. But there are three tracks that have
<v Speaker 2>explicit language and little this was the worst one, unfortunately,
<v Speaker 2>because it does detract from what is a fantastic song.
<v Speaker 2>It's an awesome, hy energy.
<v Speaker 4>Jam along with dropping that MF for like a scud
<v Speaker 4>missile right there.
<v Speaker 1>I had seen some.
<v Speaker 4>Interviews with Run on YouTube and I was just watching
<v Speaker 4>those and he became later in life known as Reverend Run.
<v Speaker 4>He went to church all the time as he was
<v Speaker 4>telling his story. He decided one day to go to church,
<v Speaker 4>and he was one of those deals that you know,
<v Speaker 4>as with most grown men who give in and go
<v Speaker 4>to church for the first time, they want to sit
<v Speaker 4>in a back row. They don't want anybody to talk
<v Speaker 4>to him, They just want to kind of observe. He
<v Speaker 4>sitting there one day and he saw what clearly was
<v Speaker 4>a grandmother who was dragging herr and son to church.
<v Speaker 4>He didn't want to be there, but she was making
<v Speaker 4>him right, and he was into rap music, and as
<v Speaker 4>they walked in, he locked eyes with Run. He sits
<v Speaker 4>down with his grandmother and he keeps looking back at
<v Speaker 4>Run like that can't be who I think it is.
<v Speaker 4>And he keeps looking at him, and he elbows his
<v Speaker 4>grandmother and he's like, that's that's like a rap superstar
<v Speaker 4>behind us, and she's like, that.
<v Speaker 1>Ain't no rap superstar. You're in church.
<v Speaker 4>Turn around and listen right that. He keeps glancing back,
<v Speaker 4>keeps glancing back, and he's and he becomes more and
<v Speaker 4>more sure that that's Run from Run DMC. And he said, like,
<v Speaker 4>on the tenth time Run winked at him, and that's
<v Speaker 4>when the guy's like, that's Run for run DMC, and
<v Speaker 4>I just thought that story was hilarious.
<v Speaker 1>And he never skipped church again, that's right.
<v Speaker 4>The moral of the story is always go to church
<v Speaker 4>because you never know who you're gonna see there.
<v Speaker 2>So this song features Daryl almost exclusively. Daryl do all
<v Speaker 2>the rapping, and that is because Joe is actually beatboxing
<v Speaker 2>on this record TFC cham Master t and beatboxing was
<v Speaker 2>something that run DMC had never done, and it was
<v Speaker 2>kind of the domain of Dougie Fresh and the Fat Boys.
<v Speaker 2>Those were the two most prominent beat boxers, and so
<v Speaker 2>for run DMC to come out with beatboxing was kind
<v Speaker 2>of a bold move. And it's like, if they didn't
<v Speaker 2>nail it, they were gonna look like they were just
<v Speaker 2>being copycats. But I think this song is absolutely fantastic.
<v Speaker 2>I attended the Raising Hell Show in May of nineteen
<v Speaker 2>eighty six in Columbus, Georgia, and this was before Walk
<v Speaker 2>This Way had been released as a single. Okay, so
<v Speaker 2>I'm about the the I'm not the only white kid
<v Speaker 2>in the whole crowd.
<v Speaker 1>Right.
<v Speaker 2>If you remember the old school televisions, when you turn
<v Speaker 2>it off and it would it would go black except
<v Speaker 2>for that one little white dot. I would tell people
<v Speaker 2>I was the white dot on the TV set. You
<v Speaker 2>heard I did know King of Rock, right. King of
<v Speaker 2>Rock was the album that got me hooked on all
<v Speaker 2>this and King of Rock the song was my favorite
<v Speaker 2>at the time, and I hadn't heard the Raising Hell
<v Speaker 2>album yet when I went to this show and they
<v Speaker 2>start off with I'm the Key of Rock, and I
<v Speaker 2>was like, oh, they just took King of Rock and
<v Speaker 2>they just flipped it and there's a whole new song
<v Speaker 2>and it completely blew me away. I mean I was
<v Speaker 2>just enraptured. So from that very first live performance, I've
<v Speaker 2>always absolutely loved this song, all right.
<v Speaker 1>Moving on to the eighth track on the album. Yes,
<v Speaker 1>this song is called Raising Hell.
<v Speaker 4>Class from Queens Come Checks.
<v Speaker 2>We're raising Hell like a class one of us felt rings.
<v Speaker 2>I won't be raised something.
<v Speaker 1>We won't be faced.
<v Speaker 2>Top down, Turn it Up.
<v Speaker 4>This song is a guitar rock thumper man, Turn it Up.
<v Speaker 2>This is my favorite song in this album. I can't
<v Speaker 2>help but listen to it and listen to it loud
<v Speaker 2>and scream the lyrics along every time.
<v Speaker 1>Who does the guitar on this? Man? That's you know?
<v Speaker 2>I don't, I don't know. I wanted it to be
<v Speaker 2>Eddie Martinez, but as I was researching for it, I
<v Speaker 2>can never find the answer, So I really don't know
<v Speaker 2>the answer.
<v Speaker 1>Man, it's great, It's great.
<v Speaker 2>I love the song too, dissing all Devil's causing havoc
<v Speaker 2>in hell at a very high level based on Troubleshell Yell.
<v Speaker 2>I mean, it's everything like a beast, or at least
<v Speaker 2>there's no stuff because the rock again, I see great
<v Speaker 2>mans kings from queens, from Queens come Kings. It's the
<v Speaker 2>rock and roll version of rap, right. They're screaming their
<v Speaker 2>lyrics like not every rapper yells their lyrics the way
<v Speaker 2>run DMC does. I mean, these guys are taking a
<v Speaker 2>rock mentality and a rock approach to their rap, even
<v Speaker 2>when they're not using like rock arrangements. This is the song.
<v Speaker 2>If I can only pick one song off the album,
<v Speaker 2>it's gonna be this one.
<v Speaker 1>I gotta say I was not from with this song
<v Speaker 1>before we started doing the research and listening to this album.
<v Speaker 1>This song is the standout for me at this point.
<v Speaker 1>I love the fact that he keeps talking about how
<v Speaker 1>awesome d is because I identify with that, and so
<v Speaker 1>you know, from the Mountain Valley to the deep Blue Sea.
<v Speaker 1>The word is heard is told by d I love that,
<v Speaker 1>I love it all.
<v Speaker 3>It's such a good song.
<v Speaker 1>We get these golden nuggets every once in a while
<v Speaker 1>as we're going through these albums of like, hey, I
<v Speaker 1>didn't really even hear this one before, and this is
<v Speaker 1>this is definitely that song.
<v Speaker 3>For me on this album.
<v Speaker 2>Wow.
<v Speaker 4>Okay, so this is where I want to drop in
<v Speaker 4>my Sarah McLaughlin story. Okay, we take this heavy, hard
<v Speaker 4>kitting rocker and then flash forward eleven years to nineteen
<v Speaker 4>ninety seven. Run DMC has fallen from grace. Daryl McDaniels
<v Speaker 4>is a full blown alcoholic who is suicidal emotionally broken.
<v Speaker 1>Every day he wakes.
<v Speaker 4>Up and finds the reason not to commit suicide. He
<v Speaker 4>returns from a Japanese tour.
<v Speaker 1>Dave, do you know the story?
<v Speaker 2>I don't, Okay.
<v Speaker 4>So on his way back from the Japanese tour, he's
<v Speaker 4>supposed to fly and based on where he lives, he's
<v Speaker 4>supposed to fly into LaGuardia Airport in New York City
<v Speaker 4>and instead he goes to JFK. So he's megapist about that.
<v Speaker 4>So he gets in the taxi and the taxi says Texan.
<v Speaker 4>Guy says, where are we going, sir? And he says
<v Speaker 4>New Jersey and the guy same thing happens. He looks
<v Speaker 4>over his shoulder kind of glances at him, and he
<v Speaker 4>keeps turning. Every stop light he keeps glancing at him,
<v Speaker 4>and finally, like at the third stop light, he's like,
<v Speaker 4>I know I'm not supposed to say this, but you're
<v Speaker 4>run DMC, and I love run DMC, and I could
<v Speaker 4>get fired and I just really would love an autograph
<v Speaker 4>and I'm.
<v Speaker 2>Really really sorry.
<v Speaker 4>And Darrel's like, look, man, it's cool, don't worry about it.
<v Speaker 4>I'll even take a picture with you.
<v Speaker 1>It'll be fine.
<v Speaker 4>And so the guy's like, oh, this is so amazing,
<v Speaker 4>thank you so much, blah blah blah. So as they're traveling,
<v Speaker 4>the guy says, would you mind if I turn on
<v Speaker 4>the radio, And Darrel's like, yeah, that's fine whatever, And so,
<v Speaker 4>because he knows he's a rapper, he turns on the
<v Speaker 4>local hardcore wrap station in New York City and Daryl's like, look, man,
<v Speaker 4>anything but this crap. I can't take it, none of
<v Speaker 4>this stuff. So the guy's like, okay, let's fine.
<v Speaker 3>This fine spine.
<v Speaker 4>So he turns it to the easy listening station, and
<v Speaker 4>the song that is playing when he turns it to
<v Speaker 4>the easy listening station is a song called Angel by
<v Speaker 4>Sarah McLachlin.
<v Speaker 3>Makes me think of a dog commercial.
<v Speaker 4>They play it over that please adopt a dog commercially. Yes,
<v Speaker 4>that little hard hitting, but it's soft and it's so
<v Speaker 4>tender and it's beautiful. But it's just this light piano,
<v Speaker 4>easy listening song. And Darryl sitting there and he's like,
<v Speaker 4>like breaks down because of the beauty of this song.
<v Speaker 4>And he starts to like emotionally break and he's like,
<v Speaker 4>if there is this kind of beauty left in the world,
<v Speaker 4>then I can still go on living.
<v Speaker 1>And he's like, I can't express this enough to you.
<v Speaker 4>Sarah McLaughlin's Angels saved my life, okay.
<v Speaker 2>In the back of a cab, at the back of
<v Speaker 2>a cat.
<v Speaker 4>And if you grew up in the nineties, you were
<v Speaker 4>very familiar with the song. They played it all the.
<v Speaker 1>Time part of the soundtrack for City of Angels. Yes,
<v Speaker 1>I owned it and listened.
<v Speaker 3>To it all the time. I thought it was truly beautiful.
<v Speaker 2>It's beautiful in thems.
<v Speaker 4>So he said he went into a shell and all
<v Speaker 4>he did at his house was read comic books and
<v Speaker 4>listen to Sarah McLachlan CDs. Right, they would pick him
<v Speaker 4>up to go do play a show. Jay and Ron
<v Speaker 4>would show up and say let's go get in the car,
<v Speaker 4>and he's like, you'd have to play my Sarah McLachlin CD.
<v Speaker 4>And they're like, man, get that crap out of here.
<v Speaker 2>We're not listening to that.
<v Speaker 4>And he said he would take his bags, go back
<v Speaker 4>in the house and shut the door. I'm not coming
<v Speaker 4>unless you play my Sarah McLachlan CD.
<v Speaker 1>Save my Life man.
<v Speaker 4>So finally, his manager, who was his best friend at
<v Speaker 4>the time, his name is Eric, talks him into going
<v Speaker 4>this Clive Davis after Grammy's party and it's a big deal,
<v Speaker 4>but he's all he wants to do is sit around
<v Speaker 4>listen to Sarah McLaughlin CD. And so they know he's suicidal,
<v Speaker 4>they know he's troubled, he's an alcoholic. So they drag
<v Speaker 4>him to this Grammy show and he's sitting there and
<v Speaker 4>it's the same deal. He sits chair right by the
<v Speaker 4>door and all he wants.
<v Speaker 1>To do is go home, all right, and do I
<v Speaker 1>have to wait?
<v Speaker 2>How long do I have to wait.
<v Speaker 1>So he says, you've got one hour. I'm gonna be
<v Speaker 1>here one hour, he said.
<v Speaker 4>The first dude who walks in the door is Buster Rhymes,
<v Speaker 4>and Buster Rhymes is like, this dude is hip hop personified,
<v Speaker 4>and he brings all this attention to him, and he's
<v Speaker 4>just like, please just go away. I just want to
<v Speaker 4>go home.
<v Speaker 1>Listen to my Sarah.
<v Speaker 4>McLaughlin CD, so he says, then he goes away. The
<v Speaker 4>second dude who walks into Stevie one, he said, Stevie
<v Speaker 4>Wonder didn't see him.
<v Speaker 3>Obviously that's a joke.
<v Speaker 1>Yeah, but.
<v Speaker 4>But Stevie's people kind of push him over towards him,
<v Speaker 4>and he's so bitter and so angry. He's like, I
<v Speaker 4>hope freaking Stevie Wonder falls on his face as he's walking.
<v Speaker 3>Out of here.
<v Speaker 1>But what Stevie gets over there, he.
<v Speaker 4>Talks to him briefly, Okay, thank you, thinking think you
<v Speaker 4>go away, But he said. The third person that walked
<v Speaker 4>in the door is Sarah McLachlin, uh, and he's freaking out.
<v Speaker 4>He's like sweating and he's like a fanboy. He's like,
<v Speaker 4>oh my gosh, I've got to go talk to her
<v Speaker 4>and tell her what she's done for me in my life.
<v Speaker 4>So he gets up, gathers his courage, walks over to
<v Speaker 4>her and says, excuse me, mister McLachlan, I just want
<v Speaker 4>to tell you that your song Angel is the most
<v Speaker 4>beautiful thing I've ever heard, and it changed me and
<v Speaker 4>it saved my life. And she goes, hey, you're you're
<v Speaker 4>DMC from Run DMC and he's like yes, and she's
<v Speaker 4>like it's trick.
<v Speaker 2>Do roku ro.
<v Speaker 1>Walk this way and he's like no, no, no. So anyway,
<v Speaker 1>he got.
<v Speaker 4>Through that massive depression with the help of Sarah McLaughlan,
<v Speaker 4>and eventually he kicked the alcohol habit as well.
<v Speaker 2>That's fantastic story. We done with that one, Yeah, al Teimer,
<v Speaker 2>I want to say this real quick. Run DMC's final
<v Speaker 2>album came out in two thousand and one. It was
<v Speaker 2>called Crown Royal, and this was at a time when
<v Speaker 2>Daryl had lost his voice. He actually couldn't perform. They
<v Speaker 2>called it a Run DMC album, and Run carried the
<v Speaker 2>album with a new guest star in every track, and
<v Speaker 2>they had a song called School of Old, which was
<v Speaker 2>a collaboration between Run and Kid Rock, and it's one
<v Speaker 2>of the best songs on that album, and they reused
<v Speaker 2>the final verse from the song raising Hell. They reuse
<v Speaker 2>it in School of Old on the on their two
<v Speaker 2>thousand and one album, and that's a song that's worth
<v Speaker 2>checking out.
<v Speaker 3>It's pretty cool, awesome, awesome.
<v Speaker 1>I found out who the guitar player is in the
<v Speaker 1>song you guys ready, yeah, okay, yeah, Rick Rupin Rick
<v Speaker 1>Hoopin is the one playing the guitar on the song.
<v Speaker 2>I should have known. That's awesome, all right.
<v Speaker 4>So that brings us the song number nine on the album.
<v Speaker 4>This was the third single released October twenty first, nineteen
<v Speaker 4>eighty six. This song is called U b illan O J.
<v Speaker 2>Wait Wait well, this song was a big hit among
<v Speaker 2>my friends. It's obviously it's a comedy song, right. It's
<v Speaker 2>almost like in the tune of I mean in the
<v Speaker 2>vein of like Charlie Brown, if you remember those old
<v Speaker 2>kind of songs like that that were kind of joke records.
<v Speaker 2>We got a big kick out of this, and we
<v Speaker 2>always enjoyed playing it. Personally. For me, it's it's not
<v Speaker 2>my favorite on the album, just because I'm usually not
<v Speaker 2>in the mood for comedy when I'm listening to run DMC.
<v Speaker 1>But it is.
<v Speaker 2>It is a lot of fun. It's a fun song.
<v Speaker 1>It's a little bit goofy.
<v Speaker 3>This was a fun song to break too.
<v Speaker 2>I can tell you that there's a nice moment in
<v Speaker 2>the song where he goes and it was deaf, and
<v Speaker 2>I was able to take that song deaf and use
<v Speaker 2>it myself, you know.
<v Speaker 4>As for deaf Dave, I could say, you explained to
<v Speaker 4>me last week, which I hadn't always been super crystal
<v Speaker 4>clear on what it meant to be ill or illing,
<v Speaker 4>and so ill is the opposite of chill, right, it's
<v Speaker 4>you're acting like a fool, you're acting crazy, you're acting dumb,
<v Speaker 4>you be illing.
<v Speaker 2>That's right.
<v Speaker 1>Whack, by the way, has made it back into the vernacular.
<v Speaker 1>I've got kids who are using whack now. I imagine
<v Speaker 1>Illen will be next.
<v Speaker 2>That's my vernacular.
<v Speaker 1>But that's.
<v Speaker 4>Peaked at number twenty nine on the Hot one hundred.
<v Speaker 4>All right, So next song on the album is called
<v Speaker 4>dumb Girl. Interesting to find out how many times they
<v Speaker 4>actually say.
<v Speaker 1>The word dumb at the beginning.
<v Speaker 2>This song is all about that bass. If you wanted
<v Speaker 2>to show off your car's system, Dumb Girl was the
<v Speaker 2>track you could go through in nineteen eighty six, turn
<v Speaker 2>up those sub warfers and rattle windows all around the block.
<v Speaker 2>One of those songs that would be obnoxious in traffic
<v Speaker 2>and you couldn't even hear anything else except that bass
<v Speaker 2>just shaking the ground.
<v Speaker 1>So here's the thing I read about this. This was
<v Speaker 1>something I found really interesting.
<v Speaker 4>So it is generally not like them to be insulting
<v Speaker 4>to women and to write a song about, you know,
<v Speaker 4>dumb girl. It's just a little I mean, not that
<v Speaker 4>big of a deal, but it's it's you know, uncharacteristic
<v Speaker 4>for them. So the rumor is that Ello cool J
<v Speaker 4>wrote this song when he was seventeen years old.
<v Speaker 1>That was the rumor on the street.
<v Speaker 3>He's not listed among the songwriters. I can tell you
<v Speaker 3>that that's That was the.
<v Speaker 4>Rumor I found on the internet, because the Internet is
<v Speaker 4>always right, right.
<v Speaker 5>I like the song.
<v Speaker 2>I just think it's a lot of fun there. They're
<v Speaker 2>switching back and forth real well in this and the
<v Speaker 2>dumb did he dumb?
<v Speaker 1>Did he? Did he?
<v Speaker 4>Dumb? Dumb?
<v Speaker 2>All that stuff's a lot of fun. And of course
<v Speaker 2>the bass just hitting like crazy. I listened to it
<v Speaker 2>every time. I'll never skip it.
<v Speaker 1>I love it, So who's JC. The first line of
<v Speaker 1>the song is I'd seen you Jack and j C
<v Speaker 1>because they got him most haze. Oh right here o
<v Speaker 1>cong was.
<v Speaker 4>Written about me and my girlfriend that right now, and
<v Speaker 4>it actually this is our line.
<v Speaker 1>J c ain' d just be his fan, all right.
<v Speaker 4>The next song on the album is a song called
<v Speaker 4>Son of Bifer He.
<v Speaker 3>Yo j yoj check this out.
<v Speaker 1>I was born son oh by friend brother.
<v Speaker 2>Put it runs. So this song is only about twenty
<v Speaker 2>seven seconds long. It's a reprise of the last verse
<v Speaker 2>I hit it runs, and it just seems like a
<v Speaker 2>silly little interlude. It barely even counts as a song.
<v Speaker 2>But while researching for this podcast, I came across the
<v Speaker 2>story about Darryl McDaniels, and wow, it just it makes
<v Speaker 2>this song, of all things, it makes this song a
<v Speaker 2>lot more poignant than you ever would guess.
<v Speaker 1>Yeah.
<v Speaker 4>The interesting thing, during Darryl's depression, he thought, well, to
<v Speaker 4>help me get out of this depression, I'm going to
<v Speaker 4>write a book because I want people to understand who
<v Speaker 4>Daryl is.
<v Speaker 1>They know who dmc is. I want him to know
<v Speaker 1>who Daryl is.
<v Speaker 4>And so he knew that he had been born May
<v Speaker 4>thirty first, nineteen sixty four, but he didn't really know
<v Speaker 4>the details. So he called his mother and he says, hey, Mom,
<v Speaker 4>I know I was born May thirty first, nineteen sixty four,
<v Speaker 4>but I've got a few questions for you.
<v Speaker 1>How much did I weigh? What time of day was it?
<v Speaker 1>And what hospital was I born in?
<v Speaker 4>ANSWER's all three of those. He says, Okay, okay, okay,
<v Speaker 4>thanks mom, love you, Touch to you later.
<v Speaker 1>Boom hangs up with her.
<v Speaker 4>One hour later, she calls him back with his father
<v Speaker 4>on the line, and he thinks, well, this is going
<v Speaker 4>to be something nostalgic or trivial, something like that. So
<v Speaker 4>they're going to tell him another detail that they remembered
<v Speaker 4>about the day he was born. So he's like, hey, guys,
<v Speaker 4>what's going on. And she's like, oh, hey, Darryl, I
<v Speaker 4>just want to let you know you were a month
<v Speaker 4>old when we brought you home.
<v Speaker 1>You were adopted. We love you. Bye.
<v Speaker 4>Click, So he said. On top of being suicidal, emotionally broken, alcoholic,
<v Speaker 4>he finds out at age thirty five and he was adopted.
<v Speaker 3>Wow, it shook his world.
<v Speaker 2>He had no idea he had grown up in such
<v Speaker 2>a loving home and remember We talked last week about
<v Speaker 2>how his mother was so overprotective. It kind of recast
<v Speaker 2>all that into different light now. She didn't want him
<v Speaker 2>to go to the city, she didn't want.
<v Speaker 3>Them to leave the house.
<v Speaker 2>He didn't want him to have friends over when she
<v Speaker 2>wasn't home. She was very protective of her son, and
<v Speaker 2>they absolutely loved him very much and a great upbringing,
<v Speaker 2>you know. And people would tease him about how he
<v Speaker 2>didn't look anything like his parents, right, But any fleeting
<v Speaker 2>thought that he had like that just didn't last long
<v Speaker 2>and was dismissed because of how much love he felt
<v Speaker 2>from his mom and dad and how close he was
<v Speaker 2>to his parents. But hip hop and is particularly so
<v Speaker 2>much of his type of rap is about I am Daryl,
<v Speaker 2>I am Daryl Mack, I am the devastating Mike Controller,
<v Speaker 2>I am the son of Byford, and all these things.
<v Speaker 2>And then he's thirty five years old and he founds
<v Speaker 2>out he's not even sure who he is at all.
<v Speaker 2>He did nothing that he thought he knew can he
<v Speaker 2>remain certain about at this point?
<v Speaker 4>So kind of the end of the story is he
<v Speaker 4>proceeds to he was a private investigator to find his
<v Speaker 4>birth mom, and he really wanted to have a copy
<v Speaker 4>of his pre adoption birth certificate. That piece of paper
<v Speaker 4>was really important to him because on it it showed
<v Speaker 4>who he actually was. And so he talked to the
<v Speaker 4>lady at the Department of Health and she had it
<v Speaker 4>in her hand but couldn't give it to him. And
<v Speaker 4>so he's like, that's that's crazy. Why can you not
<v Speaker 4>give that to me? And so he actually has now
<v Speaker 4>helped pass laws that allow adoptees to get a copy
<v Speaker 4>of their pre adoption very certificate.
<v Speaker 3>It's awesome.
<v Speaker 2>Well, the one thing that was really healing for him
<v Speaker 2>and really helped him, and he said it served as
<v Speaker 2>an anchor, was he discovered that his birth name actually
<v Speaker 2>was Daryl. His real mother gave him Daryl at his
<v Speaker 2>birth and that really helped him have something to hold
<v Speaker 2>on to and all his brag and he did on
<v Speaker 2>record about his name being Daryl, and that really saw
<v Speaker 2>him through the storm. Really the worst part of all this.
<v Speaker 4>On a lighter note, you know the beginning of the
<v Speaker 4>song when he's son of Bifer, brother of Al.
<v Speaker 1>He got that from a thor comic.
<v Speaker 4>We talked about how Daryl McDaniels was a big, big
<v Speaker 4>comic book fan and he got it from Thor where
<v Speaker 4>Thor was son of Odin, brother of Loki.
<v Speaker 1>So just to touch on something that's put him where
<v Speaker 1>he was at that point. You know, we talked last
<v Speaker 1>episode about the fact that before they really did their
<v Speaker 1>first show, the only wrapping that he had done had
<v Speaker 1>been up in their lab, you know, in the attic
<v Speaker 1>when he was drunk. Well, he realized, because he was
<v Speaker 1>normally a very introverted guy, he realized that if I
<v Speaker 1>start drinking a little bit, it'll loosen me up and
<v Speaker 1>I can perform on stage. Well that was fine, because
<v Speaker 1>that meant he would just drink before they went on
<v Speaker 1>stage and everything would be fine. But then they hit
<v Speaker 1>it big, and they hit it really big, and he
<v Speaker 1>had to be not Daryl but DMC, not just on
<v Speaker 1>stage but all the time because they were constantly in
<v Speaker 1>the public eye. And so he started drinking more and
<v Speaker 1>more so he could maintain that persona and eventually he
<v Speaker 1>was drink He was going through a case of forties
<v Speaker 1>a day, like it was just in his hand all
<v Speaker 1>day long, was a forty and like case of forties
<v Speaker 1>a day. And I mean it was just that he
<v Speaker 1>didn't eat, he didn't do anything. He didn't drink anything else.
<v Speaker 1>It was just drinking beer all day long. And eventually
<v Speaker 1>he had a he had an episode much like we
<v Speaker 1>talked about Duff McKagan heaven, where he woke up and
<v Speaker 1>like he was feeling the most intense pain of his
<v Speaker 1>entire life. And they took him to the hospital and
<v Speaker 1>the doctor said, you know, you drink very much, and
<v Speaker 1>he's like yeah, and he's like, okay, well, I'm going
<v Speaker 1>to give you a choice. Okay, you can keep drinking
<v Speaker 1>and die, or you can stop now, never drink again,
<v Speaker 1>and you will be able to live. But those are
<v Speaker 1>your only two childs.
<v Speaker 2>Wow. And then something amazing happened. Daryl McDaniels produced a
<v Speaker 2>song and emerged as an artist in a way that
<v Speaker 2>you perhaps never would have expected. He called his friend
<v Speaker 2>Sarah McLaughlin and they produced a song about this all right,
<v Speaker 2>about this journey of discovering that you're adopted. It's called
<v Speaker 2>just Like Me. That Tom was born. It was a
<v Speaker 2>beautiful day, It was nine to six, and Sarah MacLauchlan
<v Speaker 2>appears on the record with him. She chose to collaborate
<v Speaker 2>with him because she also is adopted.
<v Speaker 6>Joy She was a young girl and.
<v Speaker 2>Trying real hard to her the truth.
<v Speaker 3>Is there a chance for the baby time that?
<v Speaker 2>I mean, I can't get through the video in one sitting.
<v Speaker 2>I have to stop and gather myself. It's really it's
<v Speaker 2>it's a powerful song because you know how personal and
<v Speaker 2>how true of a story it is. It's a powerful song,
<v Speaker 2>and I have to think that it would it would
<v Speaker 2>have to be impactful and healing to anybody who's ever
<v Speaker 2>been in a similar situation that he's been.
<v Speaker 1>It's fantastic.
<v Speaker 4>You know. One of the things he talks about. Somebody
<v Speaker 4>was asking him, why is it so important for you
<v Speaker 4>have that birth certificate, that pre adoption birth certificate, and
<v Speaker 4>he said, well, you never start a book on chapter two.
<v Speaker 2>He's also a producer of his own line of comic books.
<v Speaker 1>Yeah, that's awesome. That's awesome.
<v Speaker 2>You know.
<v Speaker 1>One of the things I love about him.
<v Speaker 4>Every time I see him, he's wearing a different shirt.
<v Speaker 4>I've seen him wear an ac DC black and black shirt.
<v Speaker 4>I've seen him wear Arismith shirts. Of course, he wore
<v Speaker 4>a Nirvana shirt. All these different bands that you wouldn't
<v Speaker 4>necessarily think or associate with run DMC.
<v Speaker 2>Yep, he's a big classic rock guy.
<v Speaker 1>Now, sure, that's so cool. That's so cool, all right.
<v Speaker 4>Last track on the album is a song called Proud
<v Speaker 4>to Be Black?
<v Speaker 2>You know what?
<v Speaker 4>And that's a fat job.
<v Speaker 2>That was fine, I take it back job. Well, like
<v Speaker 2>I said before, I saw RENDMC in concert three times,
<v Speaker 2>so I'm an eighty six the Raising Hell tour when
<v Speaker 2>I was not familiar with the album, and I did
<v Speaker 2>see them in two thousand and one, but in nineteen
<v Speaker 2>eighty eight on the Runs House tour, they came out
<v Speaker 2>this is where. This is the show where they recorded
<v Speaker 2>the Mary Mary video, right, And of course at this point,
<v Speaker 2>I'm very familiar with the Raising Hell album and I'm
<v Speaker 2>down on the floor and I'm squeezed in and I'm
<v Speaker 2>close to the stage. It was at this point in
<v Speaker 2>my life where I learned that there are some songs
<v Speaker 2>that white dudes don't sing at the top of their
<v Speaker 2>lun the show, I'm just into it, right, I'm feeling
<v Speaker 2>the music and I'm sitting there going I'm Proud to
<v Speaker 2>be black, y'all, and I start getting looks and I
<v Speaker 2>did receive. I got real quiet with my mouth shut
<v Speaker 2>for the rest of the jam.
<v Speaker 1>That's funny, Yeah, so this this song makes references to
<v Speaker 1>Jesse Owens, to Martin Luther King, to Harriet Tubman, and
<v Speaker 1>to Malcolm George Washington Carver, and I just got to
<v Speaker 1>say this. So, in doing the research that we did
<v Speaker 1>and looking at the history of rap, I came across
<v Speaker 1>something I didn't know before. So we talked about the
<v Speaker 1>influences on hip hop and some of the rhymes and
<v Speaker 1>such and some of the I listened to some of
<v Speaker 1>the earlier rap songs and I found out that one
<v Speaker 1>of them was strongly influenced by a speech that Malcolm
<v Speaker 1>X gave where he was talking about the difference between
<v Speaker 1>the slaves that lived in the house and the slaves
<v Speaker 1>that worked the field. And he was talking about how
<v Speaker 1>the slaves that worked in the house were always cowing
<v Speaker 1>to the master, and if anything were going wrong, like
<v Speaker 1>that the house was on fire, they would realize they're
<v Speaker 1>going to lose their home, and so they'd run intil
<v Speaker 1>the master, whereas the slaves in the field couldn't have
<v Speaker 1>cared less if the house was on fire, which is
<v Speaker 1>where you get the song lyrics the roof, the roof,
<v Speaker 1>the roof is on fire.
<v Speaker 2>We don't need no water.
<v Speaker 1>Let that burn and I never knew that.
<v Speaker 3>There you go.
<v Speaker 1>Wow, there's a tidbit for you. Wow. There you go.
<v Speaker 2>A couple of things about this. It's interesting to look
<v Speaker 2>at the writer credits for this song because one of
<v Speaker 2>the writers is doctor Dre No not that one.
<v Speaker 1>Wow.
<v Speaker 2>So doctor Dre from Yo MTV raps fame who spent
<v Speaker 2>a spent a stint as the DJ for Beastie Boys
<v Speaker 2>that helped co write Proud to Be Black. Now, guess
<v Speaker 2>who the other credited writer is on this song? A
<v Speaker 2>guy named Daniel Simmons. Run's dad, Wow write this song? Okay.
<v Speaker 2>Run's dad. Daniel Sr. Was someone who, at the beginning
<v Speaker 2>of our story last week, was an administrator in the
<v Speaker 2>public school system. He would go on to become a
<v Speaker 2>professor in black history. In nineteen sixty three, when they're
<v Speaker 2>still living in Jamaica, Queens, he started getting involved in
<v Speaker 2>activism for the civil rights movement. He in a protest
<v Speaker 2>that was going on there locally in Jamaica, Queens and
<v Speaker 2>then that that really kind of woke him up and
<v Speaker 2>got him kind of politically active in the civil rights movement.
<v Speaker 2>As a matter of fact, he drove down I think
<v Speaker 2>it was August nineteen sixty three, and he marched with
<v Speaker 2>Doctor King in the Freedom March and was there in
<v Speaker 2>the crowd on the day of the I have a
<v Speaker 2>Dream speech.
<v Speaker 1>Oh wow wow.
<v Speaker 2>And he helped write Proud to Be Black.
<v Speaker 3>That's amazing, It's fantastic. It's fantastic.
<v Speaker 1>Great story man. Best way to end our discussion of
<v Speaker 1>track by track on this album, now we come to
<v Speaker 1>the moment of decision. Okay, So here we are. We've
<v Speaker 1>gone through the history of Beastie Boys. We've gone through
<v Speaker 1>Licensed Ill track by track, We've gone through the history
<v Speaker 1>of hip hop itself and Run DMC and Raising Hell
<v Speaker 1>track by track, and so Jason you're on.
<v Speaker 2>Yeah.
<v Speaker 4>So, as a person who was didn't own either one
<v Speaker 4>of these albums, I found that as I went through them,
<v Speaker 4>I liked a lot of the songs on there that
<v Speaker 4>I didn't know I wasn't familar.
<v Speaker 1>With before we started this.
<v Speaker 4>Okay, as I go through the track list from License
<v Speaker 4>to Ill, You've got some major, major songs for my youth.
<v Speaker 1>You've got Fight for Your Right, You've got No Sleep
<v Speaker 1>Till Brooklyn.
<v Speaker 4>You've got Paul Revere, we loved Brass Monkey and Girls
<v Speaker 4>and Ryman and Steeling was great.
<v Speaker 1>Those songs are awesome.
<v Speaker 4>They're also rock based, a lot of led Zeppelin in there.
<v Speaker 1>Then you go back to the Raisin Hell album.
<v Speaker 4>You've got Peter Piper awesome, You've got of course, Walk
<v Speaker 4>This Way is mind blowing, It's tricky, was on.
<v Speaker 1>MTV all the time, you be illing. Raisin Hell is awesome.
<v Speaker 4>But for me, I have to go with Beastie Boys
<v Speaker 4>on The Power behind.
<v Speaker 1>Fight for Your Right and No Sleep Till Brooklyn.
<v Speaker 4>I'm going License to Ill as the better of these
<v Speaker 4>two albums.
<v Speaker 1>The Graves. Okay, so coming into this I thought I
<v Speaker 1>would probably say the same thing. I thought I would
<v Speaker 1>probably say License to Ill. There are so many strong songs,
<v Speaker 1>and they borrow from some of my favorite songs, with
<v Speaker 1>a lot of led Zeppelin, When the Levee Breaks, the
<v Speaker 1>Oceans and all of these other songs, and I love it.
<v Speaker 1>If I'm walking out the door and I want to
<v Speaker 1>grab an album, this is easily one I could grab
<v Speaker 1>and throw in the CD player and enjoy the long
<v Speaker 1>trip to wherever it is that I'm going. But for
<v Speaker 1>this particular matchup, I'm falling back on nostalgia as the
<v Speaker 1>young kid who took a paint pen and wrote doctor
<v Speaker 1>Fresh in bubble letters on his boombox. Because he wanted
<v Speaker 1>to be a bee boy. He wanted to dance to
<v Speaker 1>whatever awesome rap was out there at the time. Run
<v Speaker 1>DMC was a part of my childhood, whereas Beastie Boys
<v Speaker 1>was something that I didn't grow a taste for until later.
<v Speaker 1>And so because I love it, because it brings me
<v Speaker 1>back to those days of my youth, I got to
<v Speaker 1>pick Craze. All right, Dave, you're the tiebreaker.
<v Speaker 2>Well, first of all, you have to understand that the
<v Speaker 2>good news is you don't really have to choose, right,
<v Speaker 2>You still get to listen to both albums. These are
<v Speaker 2>both Hall of Fame albums for me. They are absolutely
<v Speaker 2>still at the top of my list. It's hard for
<v Speaker 2>me to think of these as nostalgia trips because the
<v Speaker 2>truth is neither one of these albums have ever left
<v Speaker 2>my rotation. They remain a part of my listening habits,
<v Speaker 2>and they have through all these years. Another thing about
<v Speaker 2>these two albums is that this largely validated my existence
<v Speaker 2>in high school right because I'd been the weird fringe
<v Speaker 2>guy that was listening to all this weird rap before
<v Speaker 2>it had broken out and go to mainstream, and it
<v Speaker 2>was all I wanted to listen to. And nobody knew
<v Speaker 2>these acts of these songs, and I got some barbs
<v Speaker 2>thrown my way occasionally. But it was when these songs
<v Speaker 2>hit and it broke through and now you had white
<v Speaker 2>kids as well as black kids listening to rap, then
<v Speaker 2>suddenly my status got elevated. I felt not only more accepted,
<v Speaker 2>but you know, I'm also the guy there turn into
<v Speaker 2>with questions and every thing. So I felt the one
<v Speaker 2>time in my life where I felt like the hipster
<v Speaker 2>that was ahead of the crowd. And they go hand
<v Speaker 2>in hand, right. They came out the same year, but
<v Speaker 2>by the same producer, the acts knew each other, they
<v Speaker 2>toured together. It's really hard to separate these two albums
<v Speaker 2>from me. What I'm saying is with both albums, I
<v Speaker 2>never skip a track, and that's something that you can
<v Speaker 2>rarely say about any album, and they're both true for
<v Speaker 2>this one. So where do I draw the line, what
<v Speaker 2>hair do I split, and what side do I come
<v Speaker 2>down on? Well, it comes down to your mood, really right,
<v Speaker 2>because there are different attitudes that are the prevailing attitude
<v Speaker 2>in each album. I think the BC Boys one is
<v Speaker 2>more fun, you know, and it's more lighthearted, and it's
<v Speaker 2>not not necessarily obvious punch lines. Maybe sometimes there are,
<v Speaker 2>but but you come away smile. And then with Run DMC,
<v Speaker 2>you've got more of an edgier rock attitude. Even though
<v Speaker 2>there's some rock and roll music on license to ill,
<v Speaker 2>the overall attitude is a tougher one on raising hell.
<v Speaker 2>So it's may come down to just the mood you're
<v Speaker 2>in that day. But what I do is I come
<v Speaker 2>down to this. Even though the Beast of Boys are
<v Speaker 2>authentic and they're legit, they come from the club scene
<v Speaker 2>in New York, but they come from the pump lineage
<v Speaker 2>right and whereas Run DMC, with the tider Russell Simmons,
<v Speaker 2>they are right there a part of that main hip
<v Speaker 2>hop lineage that I ran down, starting with Cool Hirk
<v Speaker 2>last week, coming all the way through. And so because
<v Speaker 2>of that, because of all the weight of hip hop
<v Speaker 2>and everything I find cool about that, and their connection
<v Speaker 2>to Russell and all the early days in the early eighties,
<v Speaker 2>I come down on Run DMC. They're the greatest rap
<v Speaker 2>act ever. This is their greatest album. There's no way
<v Speaker 2>anybody can knock them from the perse the final judgment,
<v Speaker 2>I'm dropping the mic. It is raising hell, yes, awesome.
<v Speaker 4>Love it coming strong right there?
<v Speaker 1>I love it well. Guys, tell us what you think
<v Speaker 1>you've tuned in for these episodes. You gotta love these albums.
<v Speaker 1>They have to be a part of your life if
<v Speaker 1>you were alive in the eighties. But hit us up
<v Speaker 1>on Twitter and on Facebook at Shirley Podcast if you
<v Speaker 1>want to send us an email like mister deaf Dave
<v Speaker 1>did for us to go. Hey, if you guys ever
<v Speaker 1>cover run DMC and Beastie Boys, I want to be
<v Speaker 1>a part of it.
<v Speaker 3>Man.
<v Speaker 1>By all means, hit us up Shirleypodcast at gmail dot com.
<v Speaker 4>Dave, thank you so much for giving us your time
<v Speaker 4>and expertise on these two amazing albums.
<v Speaker 2>You have no idea how much fun I've had. I
<v Speaker 2>know this is kind of this is probably a unique thing.
<v Speaker 2>You haven't hang anybody on like this for this much,
<v Speaker 2>four weeks in a row like this.
<v Speaker 1>It was what a.
<v Speaker 2>Privilege one honor. I absolutely love your show. I love
<v Speaker 2>your format. I've listened to every single one of them
<v Speaker 2>except for the Bill and Ted ones because I haven't
<v Speaker 2>seen faced the music yet. But other than that I've
<v Speaker 2>seen your whole show, and I'm looking forward to going
<v Speaker 2>back to being a listener and tuning in what you
<v Speaker 2>have for us next time. And just best of luck
<v Speaker 2>to you guys going forward. Anytime I can help you
<v Speaker 2>all out, you know, call me up. I'm ready to help.
<v Speaker 1>Awesome. Thanks, thanks so much. We can't wait. It's I'm
<v Speaker 1>a little emotional here at the end of this adventure
<v Speaker 1>that we've had, but we will find a way to
<v Speaker 1>do it again. Yeah, we'll see you down the road.
<v Speaker 2>Dave, thank you so much, good man, thanks a lot.
<v Speaker 4>And for everybody else out there, when you come back
<v Speaker 4>next week, we're going to be diving into Christmas movies. Okay,
<v Speaker 4>these are classic Christmas movies, the.
<v Speaker 1>Christmas movies of little boys.
<v Speaker 4>We are going to compare a Christmas story to Home Alone.
<v Speaker 1>Shoot your eye out, So come back and.
<v Speaker 3>Join us for those.
<v Speaker 4>We can't wait to get into those. Dave, thanks again,
<v Speaker 4>and we will see everybody next week.
<v Speaker 1>Okay. D For the Shirley showcase.
<v Speaker 4>This week, I've got my dear friends Mark and Melissa
<v Speaker 4>Mingle and they are going to tell us what they
<v Speaker 4>think about Purple Rain the movie versus Footloose, the movie.
<v Speaker 1>All right, this is one of our episodes on the
<v Speaker 1>nineteen eighty four Summer special. So let's hear what Melissa
<v Speaker 1>and Mark I have to say.
<v Speaker 5>Hi, this is Mark Mingle, this is Melissa Mingle, and
<v Speaker 5>we are going to quickly give you our feedback on Footloose,
<v Speaker 5>the film and Purple Rain from nineteen eighty four. Mark,
<v Speaker 5>how old were you in the summer of nineteen eighty four.
<v Speaker 6>I turned twelve at the end of the summer of
<v Speaker 6>eighty four, and so I specifically do remember going to
<v Speaker 6>the theater with my sister and some friends.
<v Speaker 4>To see Footloose, and at the time loved it.
<v Speaker 6>I mean, you know, I was just about to become
<v Speaker 6>a teenager, and all these teenagers singing and dancing and
<v Speaker 6>all this stuff they were wanting to do seem very cool,
<v Speaker 6>and all the songs seem very cool to me. So
<v Speaker 6>I really loved Footloose enjoyed it. Of course, all the
<v Speaker 6>music was getting popular on the radio with Kenny Loggins
<v Speaker 6>and other artists, so yeah, it was totally cool for.
<v Speaker 5>Me at the time.
<v Speaker 6>I don't know that it holds up terribly well over
<v Speaker 6>the years if you go back and watch it now
<v Speaker 6>at Purple Rain, I believe was rated R and I
<v Speaker 6>did not go to rate at our movies when I
<v Speaker 6>was twelve. For you so it, I didn't see that
<v Speaker 6>till later. It was maybe eighty six, eighty seven, probably
<v Speaker 6>before I saw that, and so and I don't know,
<v Speaker 6>I'll be honest, I don't remember if I saw it
<v Speaker 6>all in one sitting, if I sat through the whole
<v Speaker 6>thing on HBO or something that I are on video,
<v Speaker 6>so I saw some of it. I love the music
<v Speaker 6>for Purple Rain. I mean there's tons and tons of
<v Speaker 6>great hits from that album. But I know the album
<v Speaker 6>better than I know the movie.
<v Speaker 1>Okay.
<v Speaker 5>So I was fourteen that summer and I loved both soundtracks,
<v Speaker 5>which we are not supposed to talk about. We're supposed
<v Speaker 5>to just talk about the films. I now love. Many
<v Speaker 5>of the actors that were in Footloose, Kevin Bacon, Sarah
<v Speaker 5>Jessica Parker. The pastor and his wife were John Lithgow
<v Speaker 5>and Diane West. Yes, I had a little see the
<v Speaker 5>trophy husband remembers things better than me. Great cast, But
<v Speaker 5>even as a fourteen year old, there were things that
<v Speaker 5>I thought dialogue wise and things about the film that
<v Speaker 5>seemed a little mainstream, and I'm going to say it.
<v Speaker 5>I'm going to say word pedestrian, just trying to appeal
<v Speaker 5>to the masses.
<v Speaker 6>Also, Kevin Bacan being like twenty eight and playing a
<v Speaker 6>teenager in high school is kind of a stretch.
<v Speaker 5>But still, well, that's grease and everything else. But Purple
<v Speaker 5>Rain even we probably need to have a double feature
<v Speaker 5>and rewatch these, but I felt like that was more
<v Speaker 5>of a true film, not just a movie appealing to
<v Speaker 5>the masses. I felt like there was more truth to
<v Speaker 5>the characters even as a kid. I felt like it
<v Speaker 5>was more of a film, not just a Hollywood movie.
<v Speaker 5>And both soundtracks are great, but I think there was
<v Speaker 5>more depth to Purple Rain. But I think we might
<v Speaker 5>need to rewatch both of them because we are much
<v Speaker 5>older now. But I'm definitely putting my vote for Purple
<v Speaker 5>Rain as best.
<v Speaker 6>I would probably vote for Footloose because I could identify
<v Speaker 6>in the film with some of them growing up in
<v Speaker 6>you know, kind of a pretty you know, conservative Baptist church.
<v Speaker 6>As a kid, like you start to think about things like, hey,
<v Speaker 6>why can we dance or not dance? And you know,
<v Speaker 6>my church wasn't really like the church, and Footloose at all,
<v Speaker 6>but seeing kids want to kind of grow up and
<v Speaker 6>express themselves and not just be you know, controlled by others,
<v Speaker 6>I mean, without being just overtly rebellious. It seemed like
<v Speaker 6>a pretty harmless way to kind of rebel and have
<v Speaker 6>fun by dancing with your friends. So I don't know,
<v Speaker 6>I thought that seemed kind of cool and more relatable
<v Speaker 6>to me as a kid than Purple Rain, which seemed
<v Speaker 6>much more like adults living in an adult world than
<v Speaker 6>high school kids, which I could relate to really well
<v Speaker 6>as an almost junior high kid at the time.
<v Speaker 5>That's true, and we both actually grew up in Oklahoma,
<v Speaker 5>where that film was set, so so that probably does
<v Speaker 5>hit closer to home. But overall, Mark is going to
<v Speaker 5>vote Footloose and I'm going to vot Purple Rain, and
<v Speaker 5>we both vote for Sureley, you can't be serious being amazing.
<v Speaker 5>Thank you for asking for our feedback. Love you guys.
<v Speaker 1>Oh my gosh. I just want to wrap them up
<v Speaker 1>in a little present and sticking into my pocket. They
<v Speaker 1>are the cutest couple I've ever heard in my life.
<v Speaker 1>They are awesome. They're my dear friends.
<v Speaker 4>Melissa as an absolute eighties junkie, and so's Mark so
<v Speaker 4>she can't wait for our Duran Durana so that we're
<v Speaker 4>going to do next year.
<v Speaker 1>So I'm excited for that one as well. Melissa is
<v Speaker 1>always very interactive with us on Facebook and has given
<v Speaker 1>us some really gold nuggets as far as information goes
<v Speaker 1>over the last couple of years. So thank you, Melissa,
<v Speaker 1>Thank you Mark. Really appreciate you guys doing this for us.
<v Speaker 1>It means so much to us. Thank you for being
<v Speaker 1>the followers of the podcast.
<v Speaker 4>I love that she thinks purple Rain is deep. Melissa,
<v Speaker 4>thank you very much and understanding the depth of Apple
<v Speaker 4>and Prince in prople.
<v Speaker 1>Did you watch rated ar movies in nineteen eighty four?
<v Speaker 3>Uh?
<v Speaker 1>How am I going to answer that without your ground.
<v Speaker 4>You? If you want to contribute to our Shirley showcase,
<v Speaker 4>send us an email at Shirley podcast at gmail dot com.
<v Speaker 1>We would love to hear from you one.
<v Speaker 2>More time for old time's sake. I'm deaf n To
<v Speaker 2>my left is Jimmy d and to my right on
<v Speaker 2>the mic it's Jason C. Four weeks in a row
<v Speaker 2>on the Shirley airwaves. I guess spot on the show. Well,
<v Speaker 2>it's got to be deaf Daves where's your hip hop expert? Well,
<v Speaker 2>here he is all the knowledge that I trump. You
<v Speaker 2>gotta be serious. You ask me how I am. It's
<v Speaker 2>not that fear, oh man, I totally mess it up? Expert.
<v Speaker 2>Well here he is all the knowledge that I tromp
<v Speaker 2>make suckers furious. You ask me how I am. It's
<v Speaker 2>not that mysterious, Shirley, you can't be serious. A top tail.
<v Speaker 2>Turn it up, frass monkey in a cup to an
<v Speaker 2>in for final judgment, you will find what's up? How
<v Speaker 2>devastating can a podcaster be? My name is David, who
<v Speaker 2>you could call me d That is awesome, dude, Go man,
<v Speaker 2>I can't believe you did that.
<v Speaker 1>That's so good. Up with them? Oh man, that's fantastic,