Heart's "Heart" (1985): Track by Track!

<v Speaker 1>Hey everyone, it's Genie Alexander and you're listening to this
<v Speaker 1>Surely you Can't Be.
<v Speaker 2>Serious podcast, hosted by my good friends Dee and Jason.
<v Speaker 1>All Right, Dean, we've been doing this podcast now for
<v Speaker 1>over five years. This is our sixth year, Yes, and
<v Speaker 1>I think it's time that we have a podcast makeover. Okay, okay,
<v Speaker 1>And so here's what I'm suggesting. I think you should
<v Speaker 1>go real dark with like purple highlights, and I go
<v Speaker 1>the blonde with kind of the red highlights, and you
<v Speaker 1>be the dark one. I'd be the light one. And
<v Speaker 1>since I'm the big one, I'm gonna hide behind you
<v Speaker 1>the whole time.
<v Speaker 2>I got a course that you can use up and together.
<v Speaker 2>Just remember that when you show the cleavage, not only
<v Speaker 2>do the guys in the porsches see it, but the
<v Speaker 2>guys with one tooth driving the bus also see. It's
<v Speaker 2>kind of like a grenade. You're gonna hit anybody who's.
<v Speaker 1>Around, right right.
<v Speaker 2>Welcome back to the Shirley you Can't Be Serious Podcast. Everybody.
<v Speaker 2>We are happy to be back. We've we've updated a
<v Speaker 2>little bit, We've got our background back here. Jason has
<v Speaker 2>done an incredible job putting these albums up here on
<v Speaker 2>our wall. And these are real, legitimate like lpie albums.
<v Speaker 2>Vinyl in there, all of them, right, We've got vinyl
<v Speaker 2>in just about every single thing here, single lot of them. Yeah,
<v Speaker 2>many of them gifts from our dear friend Chris Webbers,
<v Speaker 2>whoever is giveing me a lot of those. Yeh yeah,
<v Speaker 2>super fan love him. And if you want to have
<v Speaker 2>a little fun in this episode, you can kind of
<v Speaker 2>gaze behind us because we're not that interesting. But see
<v Speaker 2>how many of these albums you can guess? A couple
<v Speaker 2>of them are pretty obvious, and some of them are
<v Speaker 2>less obvious. And I can see one that I will
<v Speaker 2>be referencing one at least album that I will be
<v Speaker 2>referencing today, and I think it's yep. I can see
<v Speaker 2>it from here, so I'm excited to talk about it.
<v Speaker 1>What are we talking about today?
<v Speaker 2>Okay, So we are talking about a band and an album.
<v Speaker 2>The band is world famous and has been for fifty years. Sure,
<v Speaker 2>they've had top two hundred albums in the seventies, the eighties,
<v Speaker 2>the nineties, and the twenty tenths, so four decades and
<v Speaker 2>you've got a top two hundred album in every single
<v Speaker 2>one of those ressas. That's pretty good. But we're going
<v Speaker 2>to talk today about the album that is their biggest
<v Speaker 2>success but that they completely disregard.
<v Speaker 1>Now, I know it really breaks my heart when we
<v Speaker 1>need to dive into this whole story, but it yeah
<v Speaker 1>hurts me to hear that story.
<v Speaker 2>So this story that idea of, you know, like we're
<v Speaker 2>disregarding this album that really brought us our most commercial success.
<v Speaker 2>It's one thing, but it makes it reminds me of a.
<v Speaker 1>Story that I heard.
<v Speaker 2>Okay, So in the nineties, Lane Staley, the lead singer
<v Speaker 2>for Alison Chains, is hanging out over at Anne Wilson's
<v Speaker 2>house and she's swimming at the pool and he's sitting
<v Speaker 2>pool side having a beer. I mean, she was friends
<v Speaker 2>with those guys cool And he's sitting there and this
<v Speaker 2>is a couple of years before his you know, ultimate overdose,
<v Speaker 2>and a meteor goes by in the sky and it
<v Speaker 2>literally it's so bright and it's not even nighttime, it's daytime,
<v Speaker 2>but this meteor goes by, it's so bright that it
<v Speaker 2>lights his face up. And she's swimming in the pool
<v Speaker 2>and she sees it, and he sees it, and he's like,
<v Speaker 2>did you see that? He said, you just don't like that.
<v Speaker 2>You don't see things like that. Do you know how
<v Speaker 2>lucky we are, how lucky we are to have been
<v Speaker 2>here in this moment and had this star shooting experience.
<v Speaker 2>And what it makes me think of is they did
<v Speaker 2>this at least four or five times they had that
<v Speaker 2>experience in the record industry, and the biggest, brightest shooting
<v Speaker 2>star that they had, they don't like, Ah, that's a
<v Speaker 2>little weird.
<v Speaker 1>I'd see where you're going with that.
<v Speaker 2>Yeah, yeah, it's a little weird.
<v Speaker 1>That's interesting, that's interesting. And of course Lane Staley talking
<v Speaker 1>about how lucky he is at anything is a little
<v Speaker 1>bit er. Yes.
<v Speaker 2>Well, and apparently Jerry Cantrell crawled into bed with Anne
<v Speaker 2>Wilson at some point. I don't know that. I don't
<v Speaker 2>think anything was ever consummated there. And I think that
<v Speaker 2>Mike Starr, before his ultimate demise, rated her closet for
<v Speaker 2>some of her cool eighties Get Upside.
<v Speaker 1>I've got a story on their yeah, sort of their
<v Speaker 1>their rock close right.
<v Speaker 2>Well, when in one of these parties, you know, we
<v Speaker 2>I say that they they've kind of distanced themselves from
<v Speaker 2>this album. But at one of the parties in the
<v Speaker 2>nineties that you got the grunge kids around, and they're like,
<v Speaker 2>you know, I liked Barracuda and like Crazy on You
<v Speaker 2>and those were cool songs. Your eighties stuff sucked. And
<v Speaker 2>she's like, hey, if you don't like the house that
<v Speaker 2>the eighties stuff bought, you can get the.
<v Speaker 1>Really.
<v Speaker 2>Yeah, I mean, because I'm glad that she defended it though. Yeah,
<v Speaker 2>I mean, she's not defending the music per se, but
<v Speaker 2>she has to. I mean, you can't not admit that
<v Speaker 2>this is the album that made them ultra wealthy.
<v Speaker 1>Ultra wealthy. And I will say this, the eighties stuff
<v Speaker 1>does not suck. This album suck. Great.
<v Speaker 2>Yeah, no, if it had been an album written by
<v Speaker 2>other people, this is and then time goes by and
<v Speaker 2>you look back and you go, geez, that was That
<v Speaker 2>was just a terrible experience. You know, it was popular
<v Speaker 2>for a minute, but that's just not good stuff. That's
<v Speaker 2>one thing. But these are timeless hits.
<v Speaker 1>Oh yeah, they play them on the radio all the time. Yeah,
<v Speaker 1>by the way, you know you just mentioned it. They
<v Speaker 1>kind of disregard this album. They don't play the songs
<v Speaker 1>very much in concert, and kind of has a sourpuss
<v Speaker 1>attitude about these particular songs, mainly because they didn't write them.
<v Speaker 1>They saw themselves as songwriters. But this, you know, this
<v Speaker 1>was their comeback album and they were rescued, like Capitol
<v Speaker 1>rescued them. And they said, listen, you've had two albums,
<v Speaker 1>Private Audition and Passion Works, which didn't even certify. They
<v Speaker 1>didn't didn't even make gold.
<v Speaker 2>Yes, they only sold four hundred thousand copies.
<v Speaker 1>I mean, how sad, right, But Capitol came in and said, listen,
<v Speaker 1>we want to do this with you. I think that
<v Speaker 1>they can give a lot of credit to the Footloose
<v Speaker 1>soundtrack because and Wilson and then Mike Greno had one
<v Speaker 1>massive hit from the footloop soundtrack, the Nights.
<v Speaker 3>Oh how good I have all my life?
<v Speaker 2>There we go. That's not the album I was going
<v Speaker 2>to mention.
<v Speaker 1>Keep Going Right reached number seven on the charts, and
<v Speaker 1>they said, you know what, this girl is super talented,
<v Speaker 1>this band is super talented. We can do something. They
<v Speaker 1>just got to have better songs. Yeah.
<v Speaker 2>Well, the A and R guy that had picked him
<v Speaker 2>up was the same guy who had done a resurgence
<v Speaker 2>thing for Tina Turner and for Joe Cocker and several
<v Speaker 2>other of those seventies acts that he was trying to
<v Speaker 2>bring back into the mainstream again, and he had obviously
<v Speaker 2>done it pretty successfully with those two, and so why not,
<v Speaker 2>I mean, why not trust the guy to bring these
<v Speaker 2>girls back?
<v Speaker 1>Absolutely, And this is the same formula, the same science experiment.
<v Speaker 1>If you will work for Kiss, it worked for Aerosmith,
<v Speaker 1>and it worked like Gangbusters for Heart.
<v Speaker 2>Yeah, we want to bring in some songwriters who know
<v Speaker 2>how to write hits. Sorry that you're not writing your
<v Speaker 2>own stuff, but that's part of the deal.
<v Speaker 1>We offer you a bazillion dollars in mega hits, or
<v Speaker 1>you can be left on the dust pile of.
<v Speaker 2>History, right unsigned, Okay, okay. Before we dive in track
<v Speaker 2>by track for the Heart album, we need to give
<v Speaker 2>a shout out to our executive producers. Yes, we have
<v Speaker 2>had a slew in this last week. We have had
<v Speaker 2>Lynette Harris, Yes, thank you Lynette.
<v Speaker 1>Thanks Lynette. We've had Richard Buck, Thank you Richard.
<v Speaker 2>Appreciate you guys. Yeah, we have my dear friend Gotier
<v Speaker 2>Pirozak who has joined the Patreon family. Finally, thank you.
<v Speaker 1>Ger.
<v Speaker 2>Gotier goes on long drives. He has to drive like
<v Speaker 2>through Texas for his job. And he says, that's my time.
<v Speaker 2>I just binge listened to all of your episodes over
<v Speaker 2>that time, so we won't talk about the show, and
<v Speaker 2>then all of a sudden we'll have eighteen episodes. We
<v Speaker 2>also have Dominic Tara Bassi. Thank you very much, Dominic.
<v Speaker 2>We appreciate your contribution to us.
<v Speaker 1>Guys.
<v Speaker 2>If you want to become Patreon members, you can join
<v Speaker 2>the member page for free. If you want to have
<v Speaker 2>a paid membership, that will get you access to all
<v Speaker 2>of our one Hit Wonder episodes, which are fantastic, and
<v Speaker 2>we have some novelty songs like Mariah Carey and the
<v Speaker 2>Christmas Song and Kokomo that you did with Deaf Dave.
<v Speaker 2>But we've kind of developed a new formula for this
<v Speaker 2>where one of us will pick a song and the
<v Speaker 2>other one has to try to guess what it is.
<v Speaker 2>And it's a great audience participation. We got a sample
<v Speaker 2>of it a couple of episodes ago, if you want
<v Speaker 2>to go check that one out. I think the title
<v Speaker 2>of the episode is basically, can you guess this song
<v Speaker 2>before Jason does?
<v Speaker 1>Yes? And we do that. It's a lot of fun.
<v Speaker 2>Yeah, it's fantastic, so guys, please go check out our
<v Speaker 2>Patreon page.
<v Speaker 1>We would love but if you would.
<v Speaker 2>Financially support us for as little as a cup of
<v Speaker 2>coffee for one of us every other month, you know,
<v Speaker 2>maybe would go to the movies.
<v Speaker 1>Yeah. So we do appreciate you guys so much. Those
<v Speaker 1>very very nice Yeah, thank you guys.
<v Speaker 2>All right, so you have some statistics for some chart.
<v Speaker 1>I've got a few for you on the overview. Just
<v Speaker 1>the album itself. Yeah, it's a little tricky to reference
<v Speaker 1>this album because it is the self titled album Heart
<v Speaker 1>from nineteen eighty five, right, Okay, And when they asked
<v Speaker 1>Ann Wilson, why did you name it Heart? Like why
<v Speaker 1>did you just self title it? She's like, well, I'm
<v Speaker 1>trying not to put my sourpust spin on this, but basically, well,
<v Speaker 1>we didn't write the songs, so we didn't feel the
<v Speaker 1>closeness with the album to name it anything enough that
<v Speaker 1>it would be real, right yeah. And I'm like, eh, good,
<v Speaker 1>try harder, try harder. Okay. I have a suggestion, Yeah,
<v Speaker 1>how about these dreams streams? Yeah? Or it looks to
<v Speaker 1>kill yeah, something shell shock not just we couldn't think
<v Speaker 1>of anything we don't like it, right, yeah, Okay, could
<v Speaker 1>call it cleavage and you'd even sold more covers, right,
<v Speaker 1>call it Nancy's legs. Yeah, this one a Grammy for
<v Speaker 1>Best Rock Performance by a Duo or Group, five times platinum.
<v Speaker 1>Ron Navidson, who is the producer of this album, said
<v Speaker 1>this is his most successful album he ever produced. Yep. Okay. Now,
<v Speaker 1>he was the sound engineer on Physical Graffiti for led Zeppelin,
<v Speaker 1>which we think got him this job because the Wilson
<v Speaker 1>Girls big led Zeppelin fans, right right, But he produced
<v Speaker 1>Jefferson Starship Kiss Chicago Europe Survivor.
<v Speaker 2>He had just come off of Vital Signs when he
<v Speaker 2>started to do this album. That's right, and I we
<v Speaker 2>were talking earlier. I'm looking at Vital Signs. I don't
<v Speaker 2>know how none of those songs made it into our
<v Speaker 2>top five of nineteen eighty five chick album. Yeah, and
<v Speaker 2>we only had one from Chicago seventeen. We got it
<v Speaker 2>like we got a match up. Those are two perfect
<v Speaker 2>albums to match up. Vital Signs by Survivor Chicago nineteen
<v Speaker 2>seventeen by Chicago.
<v Speaker 1>Let's do it. Okay, let's do it. It's done, that done,
<v Speaker 1>Let it be said, Let it.
<v Speaker 2>Be so so, let it be written so let.
<v Speaker 1>It be done. Yes, But did I say that he
<v Speaker 1>did Damn Yankees album? No, I love the Damn.
<v Speaker 2>Yanke You you have a They're They're like your ugly
<v Speaker 2>girlfriend in the back that you just love even though
<v Speaker 2>she's not that cute.
<v Speaker 1>But sure fun hang out with.
<v Speaker 2>Right.
<v Speaker 1>But he also did Leonard Skinnered, Meet Low Firehouse. So
<v Speaker 1>this guy's done a lot of stuff. Bad Company. Was
<v Speaker 1>a sound engineer for them. Yeah, who So he got
<v Speaker 1>the job after meeting the girls. He met them in
<v Speaker 1>Las Crusis when they were rehearsing.
<v Speaker 2>Yes around yeah, like five years before they ever made
<v Speaker 2>this album.
<v Speaker 1>Yeah. This album was released June twenty first, nineteen eighty five.
<v Speaker 2>And you thought I wasn't paying attention.
<v Speaker 1>I'd like you said that it reached number one December
<v Speaker 1>twenty first, nineteen eighty five. There you go. Do you
<v Speaker 1>know what it knocked out of the number one spot?
<v Speaker 2>Eighty five late eighty five, late eighty five.
<v Speaker 1>I'm covered by the Surely Can't Be Serious podcast? Go,
<v Speaker 1>I guess it's Purple Rain. It's the Miami Vice soundtrack.
<v Speaker 2>Oh raight.
<v Speaker 1>Knocked the Miami Vice soundtrack out of the number one spot,
<v Speaker 1>and then for one Glorious Week, and then Miami Vice
<v Speaker 1>came in and said, get out of our stock, pick
<v Speaker 1>back over. Yeah, I will tell you this, the Miami
<v Speaker 1>Vice soundtrack knocked out Brothers in Arms by Dire Straits,
<v Speaker 1>which had a nine week run at number one.
<v Speaker 2>That, by the way, we didn't mention it. That's the
<v Speaker 2>album that we're comparing this album too. We are doing
<v Speaker 2>Dire Straits Brothers in Arms versus nineteen eighty five Heart
<v Speaker 2>and So Yeah. At the end of these two episodes,
<v Speaker 2>we'll give our opinion on which of these two albums
<v Speaker 2>is the one we're gonna pick up. As we're walking
<v Speaker 2>out the door. It's gonna be fun.
<v Speaker 1>It is okay, all right, I'm ready to dive into songs,
<v Speaker 1>So let's go. First song, Alligate is called if Lukes
<v Speaker 1>Could Kill.
<v Speaker 4>Catch You.
<v Speaker 1>Mess.
<v Speaker 4>I won't hear you.
<v Speaker 3>Say your song it is nobody.
<v Speaker 2>I'm getting this feeling like I've seen a lady taken
<v Speaker 2>off her clothes in an Arnold Schwarzeningger movie to this song.
<v Speaker 2>Did that happen? Did I make that up?
<v Speaker 1>I don't know that. I don't remember that specific scene.
<v Speaker 2>Strip club scene from Raw Deal?
<v Speaker 1>Is it okay? Raw Deal? Produced by you know, Dyla
<v Speaker 1>Renis and Arnold Schwartz, singer in nineteen eighty six. Yep,
<v Speaker 1>that version of the song was a dance song.
<v Speaker 2>Yeah, it's kind of a discoy style version. Yeah, we
<v Speaker 2>gotta listen to that right here. Yeah, I am yeah.
<v Speaker 1>Yeah.
<v Speaker 2>Let me say this. I heard this intro guitar on
<v Speaker 2>this piece and I was like, heck, yeah, you're starting
<v Speaker 2>it off right and they're rocking it.
<v Speaker 5>Yeah.
<v Speaker 2>They are doing a great I mean, much better than
<v Speaker 2>the introduction to that other song and really getting it.
<v Speaker 2>But then I started listening to the words and I'm like,
<v Speaker 2>I don't like, this isn't doing it for me. I
<v Speaker 2>know that a lot of people love this one. This
<v Speaker 2>is one of This was the last single off of
<v Speaker 2>the album, this single, and it didn't do as well
<v Speaker 2>obviously as the other ones, but it didn't do nothing either.
<v Speaker 2>But it's just it's my least favorite song on the album.
<v Speaker 1>What are You crazy? I Am not? I just this
<v Speaker 1>is not this. I love this song. I think it's fantastic.
<v Speaker 1>In fact, I got this album for Christmas in nineteen
<v Speaker 1>eighty five.
<v Speaker 2>Okay, I was.
<v Speaker 1>At my grandmother's house, had the cassette tape and I
<v Speaker 1>go scour my grandmother's house for a tape deck. Yeah,
<v Speaker 1>well grandma's don't have tape decks, not back then. Now, well,
<v Speaker 1>she had a little radio like all tune in radio
<v Speaker 1>on our kitchen counter.
<v Speaker 2>Lots of Grandma's with tape decks right now.
<v Speaker 1>True, true, But there was a place for a cassette
<v Speaker 1>where you inserted it. It was like a VCR tape. Like you.
<v Speaker 1>You didn't kick anything out and slide it in. You
<v Speaker 1>just went okay. And I remember I heard this song
<v Speaker 1>first because you couldn't fast forward anything. And Grandma's definitely
<v Speaker 1>not right. And that first song out of the gate,
<v Speaker 1>I was like, this song kicks, but I love it.
<v Speaker 2>Yeah again, I love the guitar intro. I thought it's
<v Speaker 2>a great intro song for the album. It's just that
<v Speaker 2>this is an album. I've said it. This is an
<v Speaker 2>album full of potential number one singles. Okay, like the
<v Speaker 2>whole album. Any one of these songs they could have
<v Speaker 2>released and had had a smash it, and they did
<v Speaker 2>with several of them, right Yeah, So when I say
<v Speaker 2>it's least on the list for me, that's not necessarily
<v Speaker 2>that big of an insult. Okay, Okay, it's still a
<v Speaker 2>great intro song. It's just that I don't feel like
<v Speaker 2>the words are great for me for this song. And
<v Speaker 2>it's obviously it's a cover of somebody else's song that
<v Speaker 2>had already been released and that had already been you know,
<v Speaker 2>picked up for the Raw Deal movie. That won't be
<v Speaker 2>the first time that's happened. So they had this song.
<v Speaker 2>Capitol Records has this song and they're looking to give
<v Speaker 2>it to Tina Turner and ron Nevinson is like, the
<v Speaker 2>producer is like, excuse me, that's not a Teena Turner song.
<v Speaker 1>That's an Ann Wilson song. That we take this little
<v Speaker 1>dancy pop thing, we rock it up and we give
<v Speaker 1>the Ann Wilson attitude to it. Looks could kill you
<v Speaker 1>be lying on the floor.
<v Speaker 2>Yeah, I think he loves the lyrics. I must be
<v Speaker 2>in the minority here because he loved the lyrics, but
<v Speaker 2>not the best one on the album for me.
<v Speaker 1>So this was the comeback album for the Wilson sisters, right,
<v Speaker 1>And they had to agree on three things. Look, you
<v Speaker 1>guys got to mutually agree on a producer, okay, And
<v Speaker 1>Ann Wilson said, we wanted a producer with a vision
<v Speaker 1>for where we're going, and ron Nevison had that. So
<v Speaker 1>that check one. The girls had to agree on all
<v Speaker 1>the songs, and number three, they had to be opened
<v Speaker 1>to songs written by other people.
<v Speaker 2>Hmmm, that last one's a little fuzzy.
<v Speaker 1>Yeah. Here's the interesting thing I think on that, uh huh,
<v Speaker 1>is you know how it goes. We're like, listen, girls,
<v Speaker 1>you guys got to be open to other songs written
<v Speaker 1>by other people in case we need them.
<v Speaker 2>Uh huh.
<v Speaker 1>Down the road, it's like, well, you guys wrote. You
<v Speaker 1>guys wrote three or four songs for this album. We're
<v Speaker 1>not releasing any of them, right, he wrote, although I
<v Speaker 1>think one could have been a hit. Yeah, at least
<v Speaker 1>one could have been a major hit. And we'll talk
<v Speaker 1>about that here.
<v Speaker 2>Yeah, yeah, you'll have to share that with me. Okay, okay,
<v Speaker 2>were ready to go to song number two?
<v Speaker 1>Song number two?
<v Speaker 2>My good, here it comes.
<v Speaker 1>He's the hair, he's the bangs.
<v Speaker 4>I've been the.
<v Speaker 6>Lame, I've been waiting for you.
<v Speaker 4>I'm pretunding and that's all I can do, the seting,
<v Speaker 4>and I can it through to your hot.
<v Speaker 2>I don't think you could give me a better example
<v Speaker 2>of nineteen eighty five synthesizer infused heavy, hard guitar rocking,
<v Speaker 2>beautiful power ballad than this.
<v Speaker 4>You've been hiding.
<v Speaker 6>Never let.
<v Speaker 4>Always trying to keep it on next t.
<v Speaker 1>I love it right, I mean this is this just
<v Speaker 1>sounds like aquinet right. This is the song that started
<v Speaker 1>the comeback trail. I might make a case that almost
<v Speaker 1>Paradise started it, but this is the one for heart right.
<v Speaker 1>This song was originally written and recorded by a Canadian
<v Speaker 1>rock band called Toronto.
<v Speaker 2>Big fan of Toronto, I don't know them exactly right,
<v Speaker 2>swung in a mess for them.
<v Speaker 1>Well, so here's the deal. It was written by Sharon
<v Speaker 1>Allen and Brian Allen. That's a married couple. They were
<v Speaker 1>in the band Toronto together. They wrote this song, wanted
<v Speaker 1>to release it as a single and the rest of
<v Speaker 1>the band said no, not even good. Now you know
<v Speaker 1>who else co wrote this song with them? Jim Valance.
<v Speaker 2>Jim Valance who collaborated with Brian Adams A R. Adams
<v Speaker 2>up there, Okay there the second album.
<v Speaker 1>Jim Valance also played drum on that track. Okay, we
<v Speaker 1>got to listen to that song real quick.
<v Speaker 2>Okay, so you have a far too quiet backing vocal
<v Speaker 2>in an exchange back and forth with the what about
<v Speaker 2>love instead of having the lead singer fully sing it.
<v Speaker 2>And that's that's a bit. That's the difference, right, the
<v Speaker 2>fail right there.
<v Speaker 1>Yeah, that's what ron Nevison came in and he said,
<v Speaker 1>here's an undiscovered, uncut diamond. Let's polish it up and
<v Speaker 1>let Ann Wilson give her big voice for the chorus.
<v Speaker 2>There's nothing wrong with that song as it was by Toronto,
<v Speaker 2>except for that chorus. Like you're talking about, and I
<v Speaker 2>told you, it's like I'm listening to Berlin. You know,
<v Speaker 2>this is this is I could be watching Tom Cruise
<v Speaker 2>making out with Kelly McGill's right, right, I can see it. Sure,
<v Speaker 2>But obviously Ann Wilson has arguably the best female rock
<v Speaker 2>voice in history.
<v Speaker 1>She's in the conversation, I am not disagreeing with you. Yeah,
<v Speaker 1>she's got a kick you in the nuts, punch you
<v Speaker 1>in the face rock voice. And this is what this
<v Speaker 1>song needed.
<v Speaker 2>You're right. And if if there's an opportunity to sing,
<v Speaker 2>let's let and do it. Yeah right, yeah, Now, we
<v Speaker 2>don't need we don't need the backing vocals to give
<v Speaker 2>us part of this chorus.
<v Speaker 1>That's amazing. Speaking of backing vocals, you know who's sang
<v Speaker 1>background vocals on this song?
<v Speaker 2>I do, Yeah, I do?
<v Speaker 1>Hey, give it to me.
<v Speaker 2>Okay, you got you get Starship flying in here? Yes,
<v Speaker 2>because you don't have just one member of STIP but
<v Speaker 2>two you've got Grace Slick and Mickey Thomas. Yes, Mickey
<v Speaker 2>Thomas himself.
<v Speaker 1>That's right. So when ron Nevison brought this to the
<v Speaker 1>Wilson Sisters, they didn't like it because they thought the
<v Speaker 1>demo sounded wimpy. And instead of saying, yeah, but I
<v Speaker 1>can rock that up, take charge of this thing, he said,
<v Speaker 1>Let's see how much power we can add to it.
<v Speaker 1>Let's heart it up.
<v Speaker 2>I mean, say what you will about Starship. They can
<v Speaker 2>provide some powerful backing vocals. Those there, It's great, right.
<v Speaker 1>This song actually led to the breakup of Toronto because
<v Speaker 1>they wanted to release it. They didn't screw your guys,
<v Speaker 1>screw your guys, and that's when Toronto died. By the way,
<v Speaker 1>this song reached number ten in nineteen eighty five. Do
<v Speaker 1>you want to know the ten all right?
<v Speaker 2>I'm excited.
<v Speaker 1>Yes. So number ten is what about love? Number nine
<v Speaker 1>is every time you go away?
<v Speaker 2>That almost made my Top five of nineteen eighty five list.
<v Speaker 1>Number eight If you love Somebody, Set Them Free by
<v Speaker 1>Sting Yep, go back to our police episod. Number seven
<v Speaker 1>Summer of sixty nine by Brian Adams. Sure. Number six
<v Speaker 1>We Don't Need Another Hero by Tina Turner. We just
<v Speaker 1>talked about her. Number five Freeway of Love by Aretha Franklin.
<v Speaker 1>I brought her up to you yesterday. We might mention
<v Speaker 1>her in a second.
<v Speaker 2>Yeah.
<v Speaker 1>Number four sant Almo's Fire by John Parr, which go cover.
<v Speaker 2>Go check our Patreon page Boys and Girls right.
<v Speaker 1>Number three Never Surrender by Corey Hart. That was yes,
<v Speaker 1>I remember that to Shout by Tears for Fears.
<v Speaker 2>Covered that one as well.
<v Speaker 1>Number one Power of Love by Huey Lewis in the news.
<v Speaker 2>Okay, And as long as we're talking two songs on
<v Speaker 2>the top ten, I'll bring it up now. Do you
<v Speaker 2>know who also played on these songs? Guy named Johnny Cola.
<v Speaker 2>You might recognize him as the saxophone player for this
<v Speaker 2>little band right over here. And so yeah, Huey.
<v Speaker 1>Lewis screams his name in the Heart of Rock and Roll.
<v Speaker 2>Yep, Johnnay, you got it?
<v Speaker 1>Yeah? Okay, I got to talk about the video for
<v Speaker 1>just a second.
<v Speaker 2>Okay.
<v Speaker 1>Video was shot in London, of course. This is after
<v Speaker 1>their makeover. The girls AND's gone really dark with the
<v Speaker 1>purple highlights, Nancy's gonelatin blonde, platinum blonde with red highlights,
<v Speaker 1>boobs up and together for everyone, right course, it's.
<v Speaker 2>The way I like them. It's the way everybody back
<v Speaker 2>in the nineteen eighties liked them.
<v Speaker 1>Okay, This music You Do was directed by David Mallett.
<v Speaker 1>It's the same guy who did Call Me White. Wedding
<v Speaker 1>photographed by def Leppard, Rock of Ages, Crimson and Clover
<v Speaker 1>by Jon Jet Radio Gaga, Rocky like a Hurricane, Tears
<v Speaker 1>are following, and thunderstruck. This guy's done a lot. According
<v Speaker 1>Todan Wilson, Mallett wanted to transform them into porn kittens.
<v Speaker 1>Maybe he did. It also sold a crap ton.
<v Speaker 2>Of records it did. Yes, and the last.
<v Speaker 1>Thing on this song, Anne said she sang this song angry.
<v Speaker 1>It was like a accusation to this guy, Well, yeah,
<v Speaker 1>what about love? Don't you want somebody to care about you? Yeah?
<v Speaker 1>Instead of the whimpy version that we get from Toronto. Yeah, Okay,
<v Speaker 1>next song on the album is a song called Never.
<v Speaker 2>I freaking love it like it's just it's it's funky
<v Speaker 2>and gets the dance beat to it. You got the
<v Speaker 2>the woohoo's and the AHAs at the beginning. I mean
<v Speaker 2>just there's nothing but good about this song.
<v Speaker 1>This is the one that convinced me that I needed
<v Speaker 1>this tape for Christmas. Nineteen eighty five. Yeah, it's just
<v Speaker 1>a great song. This reached number four on the charts.
<v Speaker 1>This is a huge song for them. Yeah, this is
<v Speaker 1>lighting the fire on the comeback. They're killing it straight
<v Speaker 1>off the bat. This song was co written by Holly Knight,
<v Speaker 1>huh and a guy named Jeene Black. Okay, Yeah, I
<v Speaker 1>heard ron Nevison talk about this. He's like, one of
<v Speaker 1>the ways that you can introduce new songs to a
<v Speaker 1>band is you can say, hey, girls, why don't you
<v Speaker 1>write some songs with Holly Knight. Huh. Makes it easier
<v Speaker 1>for them to swallow this idea that they're co writing
<v Speaker 1>these songs with an established writer like Holly Knight.
<v Speaker 2>But by the way, for those who don't know Holly Knight, obsession.
<v Speaker 1>Obsession better be good to me. Love is a battlefield.
<v Speaker 1>Stick to your guns by Bon Jovi Hide Your Heart
<v Speaker 1>by Kiss the Warrior, Love Touch.
<v Speaker 2>She is a well known hit song writer and by
<v Speaker 2>the way, she also played the keyboards on this Yeah,
<v Speaker 2>she played the keyboards on this album.
<v Speaker 1>Yeah okay cool and and Nancy would write the song
<v Speaker 1>with their best friend named Sue Ennis okay, and together
<v Speaker 1>they had a pseudonym Connie Okay. So anytime you look
<v Speaker 1>at the credits, any song written by Connie.
<v Speaker 2>Is Anne, Nancy and Sue, Sue their friend Sue Okay.
<v Speaker 2>I don't know where you get Connie from all of that.
<v Speaker 1>Neither so Sue.
<v Speaker 2>I actually went to high school with Anne, and high
<v Speaker 2>school was a hard time for Anne. Like she is
<v Speaker 2>obviously an incredible singer and has incredible confidence, but high
<v Speaker 2>school was not a time that she had that, and
<v Speaker 2>when she hit her teen years, she gained a bunch
<v Speaker 2>of weight and was ridiculed by her classmates. She'd actually
<v Speaker 2>grown up as a kid with a stutter because of
<v Speaker 2>the insecurities that she had, and she said, singing was
<v Speaker 2>the very first time I completed a sentence without stuttering.
<v Speaker 1>Wow.
<v Speaker 2>So it literally this the music literally saved her from
<v Speaker 2>her speech impediment. And so when she was young, she
<v Speaker 2>got mono and was out of school for three months. Yes,
<v Speaker 2>and so to help her from going stir crazy, her
<v Speaker 2>parents bought her a guitar, and she only had a
<v Speaker 2>kind of passing interest in it, but she had a
<v Speaker 2>little sister was four years younger who was hanging around,
<v Speaker 2>and the sister treated the guitar like her new best friend. Yes,
<v Speaker 2>played it over and over, slept with it, and she
<v Speaker 2>and Anne, who would eventually also play guitar again, would
<v Speaker 2>just sit and listen to music and play songs together.
<v Speaker 2>They grew up from very very young doing this together,
<v Speaker 2>and they're still doing it together now years later.
<v Speaker 1>I did hear that the family nicknamed Nancy whiz Fingers.
<v Speaker 1>She was good. She's really really good. By the way,
<v Speaker 1>You've got a little nugget for us on who Nancy
<v Speaker 1>was dating at the time this record was recorded.
<v Speaker 2>I don't know where she was in the day process,
<v Speaker 2>but I heard them talking about their first airplane ride.
<v Speaker 2>And there's a moment in this movie called Almost Famous
<v Speaker 2>where they're on an airplane and it's like it starts
<v Speaker 2>to have the bad things happen. It looks like the
<v Speaker 2>airplane's going to go down, and everybody just starts confessing
<v Speaker 2>all their well. Almost Famous was written by a guy
<v Speaker 2>named Cameron crow That scene is based upon the heart
<v Speaker 2>experience in their own airplane about almost dying not just once,
<v Speaker 2>but a couple of different times in the Bermuda Triangle.
<v Speaker 2>No less, and the reason that Cameron Crowe is familiar
<v Speaker 2>with that story is because he ended up marrying Nancy Wilson.
<v Speaker 2>I had no idea that they were married. Cameron Crowe,
<v Speaker 2>who is the Rolling Stone guy who wrote Almost Famous.
<v Speaker 2>He wrote Jerry Maguire, he got something.
<v Speaker 1>Else, Fast Times a Ridgemont High Say Anything.
<v Speaker 2>Oh Yeah? And Nancy, of course you mentioned this to
<v Speaker 2>me has a cameo moment in Fast Times at Ridge.
<v Speaker 1>She is quote unquote the beautiful girl in the car.
<v Speaker 1>She also does the closing credit song for Say Anything,
<v Speaker 1>which I'm getting ready to join Dayton Johnson to discuss
<v Speaker 1>Say Anything.
<v Speaker 2>Oh Yeah. Go check out the Docking Base seventy seven
<v Speaker 2>podcasts and get Dayton Johnson's view on the Say Anything
<v Speaker 2>movie with Jason.
<v Speaker 1>I can't wait. This song never reached number four, Let
<v Speaker 1>me back out. Number seven is Election Day by Arcadia.
<v Speaker 1>Does that ring a bell to you?
<v Speaker 2>Does? Because we have a town nearby named Arcadia where
<v Speaker 2>you can go to Pops the famous that's by any
<v Speaker 2>flavor of pop you.
<v Speaker 1>Want at that place, ham sandwich flavored pop or whatever.
<v Speaker 2>Literally had a spaghetti flavored pop at my house.
<v Speaker 1>Disgusting, it is, Okay. Election Day by Arcadia was what
<v Speaker 1>happened when Duran Duran split up. One group went and
<v Speaker 1>became the power Station, Arcadia became the other one. They
<v Speaker 1>had a top ten hit, number six as You Belong
<v Speaker 1>to the City by Glenn Frye off the Miami Vice soundtrack.
<v Speaker 1>Number five is Say You Say Me by Lionel Richie.
<v Speaker 1>It covered by Shirley Campy. Serious. Number four is Never
<v Speaker 1>number three over there. Number three is We Built This
<v Speaker 1>City by Starship, which I think we're going to talk
<v Speaker 1>about here in a second. Maybe. Number two Separate Lives
<v Speaker 1>Phil Collins talk about him in a couple of weeks. Yeah.
<v Speaker 1>And number one Broken Wings by mister Mister check out
<v Speaker 1>our best of nineteen eighty five.
<v Speaker 2>Yep, it's on there all right now.
<v Speaker 1>Then, I've got a nugget for you. I'm dying to
<v Speaker 1>tell you.
<v Speaker 2>Okay, I'm excited, Okay.
<v Speaker 1>The Never video was directed by Marty Callner.
<v Speaker 2>Okay, Yeah, and we've talked Marty Colner numerous times. He's
<v Speaker 2>directed a ton of videos. He responsible for the HBO
<v Speaker 2>theme music. He was their director for a while and
<v Speaker 2>came up with the show idea for Hard Knocks.
<v Speaker 1>Hard Knocks. He's responsible for Hard Knocks.
<v Speaker 2>Oh yeah, okay.
<v Speaker 1>He's also responsible for Tony Kataine on top of a
<v Speaker 1>Jaguar doing cartwheels.
<v Speaker 2>Two jaguars. One was Marty's, one was David Coverdale's. That's it, yes, okay.
<v Speaker 1>He's also responsible for Alicia Silverston and all the Aerosmith videos.
<v Speaker 1>Ye go back to our Get a Grip episode that's old. Yep,
<v Speaker 1>chaer did if I could turn back time and a
<v Speaker 1>little skimpy thing on the navy ship. He's responsible for that. Yeah,
<v Speaker 1>and we're not going to take it by twisted sister.
<v Speaker 1>Just to name a few, no slacker, right, yeah, okay,
<v Speaker 1>Now here's the funny quote on Marty Colner. All right,
<v Speaker 1>he was the guy who pushed Nancy to the front
<v Speaker 1>and to the back, and it was one of these
<v Speaker 1>things where we're going to show Nancy's body in Anne's face,
<v Speaker 1>and that's what we're going to do, and that's how.
<v Speaker 2>We're going to go forward.
<v Speaker 1>Okay, And this was his quote. He said, I was
<v Speaker 1>the one who pushed Nancy to the front because everybody
<v Speaker 1>told me how much they loved her.
<v Speaker 2>Tis well, at least he didn't beat around the bush
<v Speaker 2>about it. I mean not only did he do it,
<v Speaker 2>he did it in slow motion. I mean, hey it
<v Speaker 2>that had to be a precursor to Baywatch.
<v Speaker 1>Right. So this is the funny thing. They would actually
<v Speaker 1>stretch the video to make and looks slimmer. Okay, yeah,
<v Speaker 1>So Mick Kleeber, who is an executive of Capital, said
<v Speaker 1>he went to a meeting one day and he's like, guys,
<v Speaker 1>we're stretching the video to make her thin. He goes,
<v Speaker 1>let's just get her in the gym and get her
<v Speaker 1>in shape. Right, he goes, it's not listen, this is
<v Speaker 1>a cost effective way of making her slimmer look better
<v Speaker 1>for videos. He's like, they wanted to burn me at
<v Speaker 1>the stake. They learned nearly threw me out of the meeting,
<v Speaker 1>and they were insulted that I would say such things. Right,
<v Speaker 1>he goes, it's way cheaper, and instead we're spending all
<v Speaker 1>this money, we're stretching the video. By the way, this
<v Speaker 1>was the second single reached number four on the Billboard Charts.
<v Speaker 2>Yep, Okay, incredible song, Love it, love it.
<v Speaker 1>It's a lot of fun. One more thing. I told
<v Speaker 1>you that they their costumes, they're kind of makeover. Got
<v Speaker 1>it from two movies.
<v Speaker 2>I guessed one of them.
<v Speaker 1>You did guess one of them, and that was Purple Rain.
<v Speaker 1>Purple Rain. They took their cues from Prince and the
<v Speaker 1>other was amedaeis.
<v Speaker 2>Well similar style. Yeah, yeah, okay, next time on the
<v Speaker 2>album Let's do It Okay. I don't know if you've
<v Speaker 2>heard of this song before. This song's called These Dreams.
<v Speaker 6>Spare Little Cure, Save some Light Familion, Big is on
<v Speaker 6>the head, move in the trees, light scan in Linen,
<v Speaker 6>few on my wrist, These Dreams in.
<v Speaker 2>Can you give me some crispy high hat and some big,
<v Speaker 2>warm synthesizers? Yes, and make me feel like it's nineteen
<v Speaker 2>eighty five again. Couples move out to the middle of.
<v Speaker 1>The dance floor.
<v Speaker 2>Gosh, what a beautiful song.
<v Speaker 1>That's a good. Third single, released January of eighty six,
<v Speaker 1>reached number one in March of nineteen eighty six. This
<v Speaker 1>song was written by Martin Page and Bernie.
<v Speaker 2>Toppin Bernie Toppin, who, of course normally collaborates with Elton
<v Speaker 2>Elton John.
<v Speaker 1>I mean, this is the guy who wrote all the
<v Speaker 1>hits for Elton John. Right now, Martin Page may not
<v Speaker 1>be as familiar to you, but he wrote the King
<v Speaker 1>of Wishful Thinking Church, was a big pop song off
<v Speaker 1>of the Pretty Woman soundtrack. Yep. He also wrote a
<v Speaker 1>little song called We Built this City.
<v Speaker 2>Ah, Starship rears their ugly head again.
<v Speaker 1>Yes, now, before I tell you the story on that.
<v Speaker 1>He also wrote a song called in the House of
<v Speaker 1>Stone and Light, which was a big hit in the nineties.
<v Speaker 1>It was kind of one of those Martin Page and
<v Speaker 1>he was the singer. Oh okay, yeah, So here's the story.
<v Speaker 1>So ron Nevison picks up a tape. It has five
<v Speaker 1>songs written by Martin Page and Bernie Toppinka. He's like, oh, great,
<v Speaker 1>five songs written by these two talented songwriters. So he
<v Speaker 1>listens to him. He's like, okay, yeah, I like that one. Okay,
<v Speaker 1>that's all right, I don't want to Okay. Oh, this
<v Speaker 1>song is called We Built the City and he heard
<v Speaker 1>it and he had just got done producing Starship's album
<v Speaker 1>and he's like, I would never allow anybody I was
<v Speaker 1>producing to do this song. He said, you could hear
<v Speaker 1>its pop sensibilities. He goes, but it's a ridiculous song.
<v Speaker 1>There's no way I would ever let my group do it.
<v Speaker 1>Starship did it, and of course erased all of the
<v Speaker 1>rock cred.
<v Speaker 2>Yeah right, the poppyist of pop starship songs.
<v Speaker 1>Ever, Yeah, gosh yes. And the other song was These Dreams,
<v Speaker 1>which was actually originally called The Boys in the Mist Okay,
<v Speaker 1>oh yeah, ok, gotcha. Now. It was offered Stevie Nicks,
<v Speaker 1>who turned it down. It was offered to Kim Carnes,
<v Speaker 1>who turned it down. It was offered to Don Henley
<v Speaker 1>who turned it down. But he grabbed it and said, hey,
<v Speaker 1>I think this would be a good song for Nancy. Okay,
<v Speaker 1>for Nancy, for Nancy listen. Yeah, So he always wanted
<v Speaker 1>to do one song with Nancy, and let's just give
<v Speaker 1>her a good one. Let her do her thing.
<v Speaker 2>Okay.
<v Speaker 1>Now I heard him tell the story. The kind of
<v Speaker 1>the urban legend here is that she had a cold
<v Speaker 1>when she recorded it, and so you can kind of
<v Speaker 1>hear her voice breaking, when every second of the night
<v Speaker 1>her voice kind of breaks. Yeah, And he said that
<v Speaker 1>urban legend is sort of true and sort of not true.
<v Speaker 1>He said, we we always record a guiding vocal in
<v Speaker 1>order to record the drums and the guitar too. When
<v Speaker 1>she recorded her guiding vocal, she had a cold, and
<v Speaker 1>so when she went to hit those notes, her voice
<v Speaker 1>broke a little bit. And then later when she did
<v Speaker 1>the actual final vocal, it was missing that voice breaking
<v Speaker 1>passion push. And so what he did is he went
<v Speaker 1>out and he clipped out that note and he inserted
<v Speaker 1>it like like took this word and put it in
<v Speaker 1>place right.
<v Speaker 7>And I thought it, man, that's fantastic genius.
<v Speaker 2>It's missing something, it's missing the imperfection. And that was
<v Speaker 2>I enjoyed listening to the You know, obviously we've listened
<v Speaker 2>to several interviews with them. One of them was with
<v Speaker 2>Nikki six on his sixth Sense podcast, and the important
<v Speaker 2>feature was the this concept of the mistakes make it
<v Speaker 2>yours in today's In today's music, all of the mistakes
<v Speaker 2>are edited out right. They auto tune the voices so
<v Speaker 2>that there's no sharp or flat to your voice. Every
<v Speaker 2>voice is perfection. Well, that perfection takes away from the real,
<v Speaker 2>the raw of the song. And they said when they're on.
<v Speaker 2>When they're playing on tour. Now, when they're doing concerts
<v Speaker 2>and stuff, people emote about things like when they make mistakes,
<v Speaker 2>like every once in a while, you know, in a
<v Speaker 2>show you're like, Okay, well we f that up, let's
<v Speaker 2>start again. Yeah, And people love it. They'll go nuts
<v Speaker 2>because it's so real and that's what's missing in so
<v Speaker 2>much of today's music, and people want it. People want
<v Speaker 2>to have that voice crack or they want to have
<v Speaker 2>that slightly flat, slightly sharp moment in the song because
<v Speaker 2>that's what gives it its humanity.
<v Speaker 1>When Nancy played the song for her mother, her mom's like,
<v Speaker 1>your voice is breaking. Shouldn't you re record that? And
<v Speaker 1>Ron was like, please, missus Wilson, do not make me
<v Speaker 1>change this.
<v Speaker 2>Ron, Ron, the huge music producer, was like, please please
<v Speaker 2>missus Willson.
<v Speaker 1>Ron Nevison said that when he played this song for
<v Speaker 1>the girls, Nancy was the one who fell in love
<v Speaker 1>with it right off the bat, and with her enthusiasm
<v Speaker 1>kind of behind it. Anne was on board. And then
<v Speaker 1>actually Anne is doing the backing vocals which precede the
<v Speaker 1>lines in the song. It's kind of a it's a
<v Speaker 1>reverse thing. It's kind of a dreamy thing if you will,
<v Speaker 1>right right, Okay. Next song on the album is a
<v Speaker 1>song called The Wolf.
<v Speaker 2>Let's rock out, shall we? This is a rock and
<v Speaker 2>so I so I told you to me. This album
<v Speaker 2>is just full of songs that it could all have
<v Speaker 2>been singles. I said, I didn't like the first song
<v Speaker 2>was my least favorite on the album, and then we've
<v Speaker 2>got a succession of songs that were chart topping singles. Yep,
<v Speaker 2>and we got this one. I think it could absolutely
<v Speaker 2>have been a single, so strong with their led Zeppelin influence,
<v Speaker 2>but it's got that eighties guitar, you know, heavier sound
<v Speaker 2>to it, and Anne is ripping into her hard rock
<v Speaker 2>Robert Plant style voice, freaking kicking butt. Amazing song.
<v Speaker 1>Love it. It is a great song. This was written
<v Speaker 1>by the girls along with Denny Karassi and their friends
<v Speaker 1>hu in Us. Yes, okay, so this is the first
<v Speaker 1>song written by them on this album. And I think
<v Speaker 1>you can make the case this is as close as
<v Speaker 1>you're gonna get to like Magic Man and Barracuda. Okay,
<v Speaker 1>I mean I yeah, I mean so.
<v Speaker 2>So it's interesting because in the seventies, and I'll just
<v Speaker 2>I got the list here, so I'll just say it
<v Speaker 2>nineteen seventy five, we have Magic Mane, which was about
<v Speaker 2>Ann's husband, Michael Fisher, who was the brother of the
<v Speaker 2>lead guitarist Roger Fisher. Crazy on You was nineteen seventy six, Yes,
<v Speaker 2>and Barracuda was nineteen seventy seven.
<v Speaker 1>Yes.
<v Speaker 2>Those are all rocking good songs. The way they put
<v Speaker 2>it that when they're talking about this album, it's kind
<v Speaker 2>of like the difference between the mind expanding drugs that
<v Speaker 2>were going on in the seventies and all the cocaine
<v Speaker 2>in the eighties and what we have with nineteen eighty
<v Speaker 2>five Heart is lots of cocaine.
<v Speaker 1>Cocaine, Maybe let's do lots of cocaine. In fact, I
<v Speaker 1>got a quote from Ann Wilson on the cocaine.
<v Speaker 2>Yeah, go ahead.
<v Speaker 1>She said, if it weren't for cocaine, we wouldn't have
<v Speaker 1>done all the stuff that we did in the eighties.
<v Speaker 1>We drank a lot of champagne, did a lot of
<v Speaker 1>blow and made a lot of videos.
<v Speaker 2>Right, Well, the cocaine thing was real, and as you mentioned,
<v Speaker 2>they you know, we've got this big success in the seventies,
<v Speaker 2>right They've had They've got several hits year after year,
<v Speaker 2>after year, and then they have a couple of bad showings, right,
<v Speaker 2>and probably in no small part due to some of
<v Speaker 2>the cocaine that they were doing at the time. Sure,
<v Speaker 2>you lose a little bit of the love and feel
<v Speaker 2>goodness when you're when you're coked up all of the time, right,
<v Speaker 2>And so at a time they lost their record label.
<v Speaker 2>In the early eighties, they got hit up by a
<v Speaker 2>coffee company to do a coffee commercial.
<v Speaker 1>Tell me the story. So I sent you this video.
<v Speaker 1>I love it.
<v Speaker 2>I sent you the video of this coffee commercial. And
<v Speaker 2>I mean, they're they're They're one of many people that
<v Speaker 2>you're like, how are these people all together in this
<v Speaker 2>coffee commercial? But you've got David Bowie, You've got Kurt Vonnegut,
<v Speaker 2>You've got the football guy.
<v Speaker 1>Kenny Anderson, the quarterback for the Bengals.
<v Speaker 2>What and the Wilson sisters recording playing and drinking some
<v Speaker 2>cup of joe?
<v Speaker 1>You know, because coffee it helps everyone.
<v Speaker 2>So you know why they did this commercial. Why because
<v Speaker 2>they got paid a million dollars to do it. They
<v Speaker 2>didn't have any albums that were success and so yeah,
<v Speaker 2>so they're just like, I got a cocaine habit to
<v Speaker 2>feed I might as well endorse another propit product from Columbia.
<v Speaker 1>Oh my gosh, my money goes to Columbia, which comes
<v Speaker 1>back to me. Wow, that's funny.
<v Speaker 2>Okay, So what do you think of this song?
<v Speaker 1>I think it's a great song. It's a rock and song.
<v Speaker 1>It doesn't sound like a single to me. It's missing
<v Speaker 1>the sense that at this time we're putting these things
<v Speaker 1>over the top. But I think it's a rocker and
<v Speaker 1>I like it.
<v Speaker 2>Yeah, I agree that it's definitely more on the rock
<v Speaker 2>side of things than the pop that these last several
<v Speaker 2>singles have been. But gosh, dang, I love it. I
<v Speaker 2>think it's great.
<v Speaker 1>All right, hits stof up in your tape player, kick
<v Speaker 1>it out, flip it over for side two, and we
<v Speaker 1>start off with a song called all Eyes, another rocker.
<v Speaker 1>I think this is a great song. I think that
<v Speaker 1>this song belongs like on the Vision Quest soundtrack or Footloose,
<v Speaker 1>you know, something like that. It's it's upbeat, it's it's
<v Speaker 1>kind of poppy, it's kind of energetic.
<v Speaker 2>So the beginning of it, that that snare that's playing
<v Speaker 2>it totally reminded me of John Cougar Mellencamp around the
<v Speaker 2>same time, and they've got I mean, they've got road
<v Speaker 2>stories with him as well. But but then when it
<v Speaker 2>gets when it gets into the lyrics, it's less so him.
<v Speaker 2>But it's still it's still a rocker, it's still strong,
<v Speaker 2>it's still fun.
<v Speaker 1>Again.
<v Speaker 2>I think easily could have been a single.
<v Speaker 1>Easily could have been a single again. This song was
<v Speaker 1>written by Holly Knight, Gene Black and Connie the pseudonym. Right.
<v Speaker 1>I like the line that says when you look at me,
<v Speaker 1>it melts my legs. Ron Nevison said he agrees with
<v Speaker 1>you that this song could have been a single, but
<v Speaker 1>in the process of polishing it, it just didn't quite
<v Speaker 1>get there.
<v Speaker 2>Yeah, so this band part it was a Seattle band.
<v Speaker 2>Seattle nineteen seventy three is when they started, Yeah, except
<v Speaker 2>it was just a couple of guys starting a band
<v Speaker 2>who had already been doing bands together. They had done
<v Speaker 2>it was Roger Fisher and Steve Fawson, and they had
<v Speaker 2>been in a band called the Army. They're in a
<v Speaker 2>band called hoax Pocus, then turned into a band called
<v Speaker 2>white Hart, which is named after an Arthur's Clark story.
<v Speaker 2>It's a heart Haart though, okay, And it was only
<v Speaker 2>after that that they had found themselves in need of
<v Speaker 2>a singer. This is about nineteen seventy five, and somebody says,
<v Speaker 2>you guys should meet Ann. And Anne had left school
<v Speaker 2>or had left her home and was playing in bars
<v Speaker 2>and stuff like that. Nancy was still too young. She's
<v Speaker 2>playing little acoustic sets on her own and coffee shops,
<v Speaker 2>and so they hook up with her, and immediately upon
<v Speaker 2>hearing her voice, they're like, oh, dang, greatnest rock voice
<v Speaker 2>for a female of all time.
<v Speaker 1>Right.
<v Speaker 2>Well, and then that's the interesting thing. We're talking about
<v Speaker 2>the mid seventies, this is nineteen seventy five. How many
<v Speaker 2>female lead singers were there?
<v Speaker 1>So you posed this question yesterday and we started to look.
<v Speaker 2>Like, in all of rock music history, and obviously you've
<v Speaker 2>got girl groups, but how many of them were playing
<v Speaker 2>rock music in the twenty years that rock and roll
<v Speaker 2>had existed at that point.
<v Speaker 1>So we came up with Jannis Choplin.
<v Speaker 2>Who was more blues like that was, yeah.
<v Speaker 1>We came up with Linda Ronstadt.
<v Speaker 2>Who was more country Southern California rock crew, yeah California.
<v Speaker 1>Yeah. We came up with Stevie Nicks. Yeah, she wasn't
<v Speaker 1>even the lead singer for Fleewood Mac. Yeah she was.
<v Speaker 2>I mean obviously she had a lot of their hits,
<v Speaker 2>but the lead singing duties were rotating in that group
<v Speaker 2>for sure. And then Pat Benatar, but she didn't come
<v Speaker 2>around until later in the seventies, and so I think
<v Speaker 2>the case could be made this is the first rock
<v Speaker 2>group with a female lead singer.
<v Speaker 1>If you guys are out there and you know somebody
<v Speaker 1>we missed, we would love to hear what it is.
<v Speaker 2>Right, I mean, obviously certain groups exist. I mean, if
<v Speaker 2>you come to us with you know, Missy and the
<v Speaker 2>Pussycats or whatever, I'm gonna be like, who the crap
<v Speaker 2>was that? What do what?
<v Speaker 1>No, Missy and the Pussycats. Yeah, that is the new
<v Speaker 1>rock band we need to hear from.
<v Speaker 2>So by seventy five, they've got Anne Wilson, They've got
<v Speaker 2>Michael Durotier or de Rozier. I'm not really sure if
<v Speaker 2>he's French or not. He's on drums. Howard Leacy is
<v Speaker 2>playing guitar with them, and he's around for a while.
<v Speaker 2>He does he's on this album.
<v Speaker 1>Right. He gets inducted in the Hall of Fame, the
<v Speaker 1>Rock and Ball Hall of Fame because of his involvement.
<v Speaker 2>With hard Yep, all these guys did twenty thirteen, Ye,
<v Speaker 2>the original founding members did. And then after the band's
<v Speaker 2>been together for a little while, Nancy joins the band
<v Speaker 2>and they're like another girl, but she's got some chops
<v Speaker 2>and obviously she's beautiful too, so hey, we'll take her.
<v Speaker 2>Right now, they're playing some crappy gigs, they are paying
<v Speaker 2>their dues. And in nineteen seventy five they were in
<v Speaker 2>Vancouver because Anne's love interest, who had become her husband,
<v Speaker 2>was Roger Fisher's brother Michael, who then became the manager
<v Speaker 2>of the band. He had moved to Canada to avoid
<v Speaker 2>the draft. Oh is that why he has a draft dodger?
<v Speaker 2>Which is interesting because ann in Nancy's dad was in
<v Speaker 2>the military. He's a Marine, but he flat out left
<v Speaker 2>the Marines, left after twenty something years of service because
<v Speaker 2>of Vietnam because he was like, this is not a
<v Speaker 2>conflict we need to be involved in. And so they
<v Speaker 2>were worried about how he would react to Michael Fisher,
<v Speaker 2>and it actually turned he actually said, you're brave for
<v Speaker 2>having the courage to stand up for what you believe
<v Speaker 2>and get out while you could, you know, and we're
<v Speaker 2>talking about like people were raiding his house to come
<v Speaker 2>get him to be in the draft, like he had
<v Speaker 2>been drafted. And he walked out the back window as
<v Speaker 2>they came in and went up to Canada.
<v Speaker 1>Okay, she falls in love with him.
<v Speaker 2>She writes the song magic Man about him their very
<v Speaker 2>first meeting.
<v Speaker 1>Yeah, you don't understand, mama. He's a magic man, got
<v Speaker 1>the magic hands.
<v Speaker 2>But he's managing the band they're playing up in Canada.
<v Speaker 2>They all kind of make their way up to Canada
<v Speaker 2>so that he can manage the band. And in Canada
<v Speaker 2>they play at a Vancouver high school in nineteen seventy five,
<v Speaker 2>played the Promye oh whoa would you like to guess
<v Speaker 2>who was the class president of that high school in Vancouver,
<v Speaker 2>Canada in nineteen seventy five?
<v Speaker 1>If you tell me it's Brian Adams, not going to die.
<v Speaker 2>It's not Brian Adams. But you think of one more
<v Speaker 2>famous Canadian that we've talked about on one of our
<v Speaker 2>first episodes, and you'll have it.
<v Speaker 1>Oh man, Michael J. Fox, are you effing kidding me?
<v Speaker 2>I am not kidding you.
<v Speaker 1>Michael J.
<v Speaker 2>Fox, Class president of the nineteen seventy five Vancouver high
<v Speaker 2>school class had Heart perform at the prom.
<v Speaker 1>Wow, that is incredible.
<v Speaker 2>I was hoping to blill your nugget that. Yeah, is
<v Speaker 2>that freaking awesome or what?
<v Speaker 1>I shell shocks if you will way to bring it home?
<v Speaker 1>I like that is fantastic.
<v Speaker 2>Yeah, I thought that was absolutely great.
<v Speaker 1>Oh I'm stunned. That's incredible, right? Love it? Okay, So
<v Speaker 1>moving on to the next song. Moving on to the
<v Speaker 1>next song. Next song is called Nobody's Home.
<v Speaker 5>Don't move too fast like a shot from a car,
<v Speaker 5>don't jump too hard and knock out the sun, don't
<v Speaker 5>straight to fall out on your own when you finally
<v Speaker 5>come knocking, when you finally come knock, and moving nobody
<v Speaker 5>at Home.
<v Speaker 2>So, once again, I don't know how this isn't another
<v Speaker 2>couple's move to the dance floor single that they seem
<v Speaker 2>to have done so well with on side one.
<v Speaker 1>I totally agree with you. This could be a makeout
<v Speaker 1>classic from nineteen eighty six. Absolutely, absolutely couples move out
<v Speaker 1>to the dance floor. This could have been a top ten.
<v Speaker 2>Hit for hert you throw it into a John Hughes
<v Speaker 2>high school movie and everybody's going to be clamoring for
<v Speaker 2>the single.
<v Speaker 1>Yeah. Absolutely, I think Anne's voice is really undisplaying this one.
<v Speaker 1>I mean, her voice is always out front, but it's soft.
<v Speaker 1>It's almost like a rock lullaby. But her it's just
<v Speaker 1>so beautiful. I love it.
<v Speaker 2>Make Out classic absolutely. So speaking of making out, I
<v Speaker 2>mentioned in the last song that Nancy had joined the band. Well, eventually,
<v Speaker 2>you know, she starts making out with Roger Fisher. So
<v Speaker 2>you have Ann Wilson with Michael Fisher and Nancy Wilson
<v Speaker 2>with Michael's brother, Roger Fisher. And they got married, both couples,
<v Speaker 2>So you got sisters married to brothers, which is you know,
<v Speaker 2>it's not super weird, but it's it's a novel thing. Yeah.
<v Speaker 2>But the problem was is that after some time of
<v Speaker 2>being married and being in a mega successful rock and
<v Speaker 2>roll band, Roger Fisher started doing drugs and other chick yes,
<v Speaker 2>And so eventually Nancy found out about that. She's none
<v Speaker 2>too happy he came home. Nobody's home.
<v Speaker 3>Then.
<v Speaker 1>Well then, but they still had to.
<v Speaker 2>Perform on stage together, right, and so you know, he
<v Speaker 2>freely admits I regret the decision, I regret that I
<v Speaker 2>did that all that stuff. But then she starts developing
<v Speaker 2>feelings for the drummer Michael Derozier.
<v Speaker 1>There's no way this works out.
<v Speaker 2>Yes, that would be the opposite of what happens. It
<v Speaker 2>is the opposite of working out. So at some show,
<v Speaker 2>after many shows of her looking, you know, googly eyed
<v Speaker 2>at the drummer, her ex being right there seeing it
<v Speaker 2>all happen. He's strung out on drugs. His guitar isn't
<v Speaker 2>working well that night's to getting out of tune, and
<v Speaker 2>he melts down and has a guitar smashing show, not
<v Speaker 2>like Pete Townsend, but like in the middle of the set,
<v Speaker 2>this isn't the show end Like, Yeah, he freaking smashes
<v Speaker 2>it against the ground, throws it down, and walks off
<v Speaker 2>the stage. And the next day they said, Roger, we
<v Speaker 2>took a vote and you have been dismissed. You're fired.
<v Speaker 1>Yes, well, Anne is still married to his brother who's
<v Speaker 1>the manager of the band.
<v Speaker 2>Michael is still managing the band even after all of that. Yeah,
<v Speaker 2>and obviously they stayed together for ten years. But after
<v Speaker 2>ten years they it became too hard for them as well.
<v Speaker 1>Yes, so ultimately the girls gain control of the band. Yeah,
<v Speaker 1>after they fired everybody.
<v Speaker 2>Yeah, so in eighty two, you've lost the founding members
<v Speaker 2>Roger Fisher and Steve Fawson. You've lost Michael de Rogier
<v Speaker 2>because he had the romance and then it was gone,
<v Speaker 2>and that's what happens by obviously they're also doing coke
<v Speaker 2>and not having as much success with their albums. So
<v Speaker 2>basically Howard Lessie is staying on. You have Anne and
<v Speaker 2>Nancy is the stay through members of the band, and
<v Speaker 2>in eighty two that's when they bring on Mark Andy's
<v Speaker 2>to play the bass. He used to play with Canned Heat, Ok.
<v Speaker 2>And then you have the famous Denny kerr Maassi on drums.
<v Speaker 2>He played with Montrose and Sammy by himself.
<v Speaker 1>Our buddy James Buckley is a big fan of Denny Carmassi.
<v Speaker 2>Absolutely, And those are the guys playing on this album
<v Speaker 2>of course. Yeah, so you have basically a five member
<v Speaker 2>band with this one, but then you've got all of
<v Speaker 2>those extra backing people like Holly Knight, like Grey Slick
<v Speaker 2>and Johnny Cola and Mickey Thomas. You also have Frankie
<v Speaker 2>Sullivan from Survivor.
<v Speaker 1>Yeah, he plays guitar on this song exactly because of
<v Speaker 1>ron Nevison's involvement with Survivor. From Vital Signs, an album
<v Speaker 1>that we hope to cover sometime this season.
<v Speaker 2>Yeah, we're doing it.
<v Speaker 1>Okay. I love this song, d if it? Would it
<v Speaker 1>shock you to say that this is one of my
<v Speaker 1>favorite songs on the album.
<v Speaker 2>Not a bit you love. You love the slow dance songs,
<v Speaker 2>you love the thick out hits.
<v Speaker 1>I do Yeah, Okay, next song the album, Let's do it.
<v Speaker 1>Next song the album is a song called nothing at.
<v Speaker 4>All do the it wouldn't be my seven s.
<v Speaker 2>I freaking love this smash man, I mean this is
<v Speaker 2>this is right up the starship Alley of the day
<v Speaker 2>right like this is a very it has that style
<v Speaker 2>about it, but I freaking love it.
<v Speaker 1>It's pop rock, it's light hits. It just does a
<v Speaker 1>feel good, fun song with Anne's powerful voice. Yeah, fantastic.
<v Speaker 1>This is the fourth single released April of nineteen eighty six.
<v Speaker 1>It reaches number ten on the charts. Okay Quick rundown,
<v Speaker 1>real quick. Yeah. Of songs that will never ever get
<v Speaker 1>to talk about it again, probably number nine Who's Johnny?
<v Speaker 1>By l DeBarge from the Circuit Yeah, Number eight holding
<v Speaker 1>back the years by simply read I love It. Number
<v Speaker 1>seven A Different Corner by George Michael Exact my exact
<v Speaker 1>extent corner. Yes, I don't recognize this song, don't. This
<v Speaker 1>is from Wham nineteen eighty six, The Edge of Heaven.
<v Speaker 1>I am dumbfounded that I'd have no memory of that
<v Speaker 1>song at all and it was in the top ten.
<v Speaker 1>I'm dumbfounded as well. Wow, Okay, Yeah, number six, No
<v Speaker 1>one is to blame Howard Jones. Yeah, I mean it's
<v Speaker 1>surrounded by songs we know well, right very well. Yeah.
<v Speaker 1>Number five I Can't Wait by New Shoes, I can't Wait,
<v Speaker 1>number four, Live to Tell by Madonna, Number four Madonna,
<v Speaker 1>Lift to Tell, number three, Crush on You by the Jets. Yeah,
<v Speaker 1>number two, They'll be sad songs by Billy Oshana, and
<v Speaker 1>then number one on My Own by Michael McDonald and
<v Speaker 1>Patty LaBelle Go.
<v Speaker 2>Check out the Yet Rock Okay good documentary.
<v Speaker 1>All right, I gotta drop this nugget on you. So
<v Speaker 1>on this album, ron Nevison's going through his list of
<v Speaker 1>songs written by other people. Okay, he comes across this song.
<v Speaker 1>This song was actually written by a guy named Mark Mueller. Okay.
<v Speaker 1>Mark Mueller wrote a song called Crush by Jennifer Page,
<v Speaker 1>which was all over the radio in the late nineties.
<v Speaker 1>He wrote a song called That's what Love Is For
<v Speaker 1>by Amy Grant. He wrote the theme for the Duck
<v Speaker 1>Tales TV show Okay right, He wrote the theme for
<v Speaker 1>Chippendale Rescue Rangers, and he wrote the Babysitter Blues Adventures
<v Speaker 1>and Babysitty.
<v Speaker 4>And It's So Hot.
<v Speaker 3>And babysitting these guys.
<v Speaker 1>Okay, now here's the interesting thing about this other than
<v Speaker 1>Babysitter Blues, which is freaking fantastic. Ron Nevison was going
<v Speaker 1>through his songs and he found this one and he
<v Speaker 1>was playing it with one of the record executives, a
<v Speaker 1>guy named Don, and Don's like that one's going to
<v Speaker 1>be a hit, and Ron's like, really, I mean do
<v Speaker 1>you do you really think so? And Don's like trust me,
<v Speaker 1>and like it was that connection of put this on
<v Speaker 1>the album, gotta trust me, and he said, okay, I
<v Speaker 1>trust you. And guess what it was. The video for
<v Speaker 1>this is. I mean, they are They've got their hair
<v Speaker 1>teas all the way up. There's panthers walking around, right,
<v Speaker 1>but you can clearly see if you watch it critically,
<v Speaker 1>they're hiding in. Oh I think she got a little extra.
<v Speaker 1>She wasn't doing enough coke sorry, they weren't stretching the video,
<v Speaker 1>but they clearly moved Nancy very much to the front
<v Speaker 1>and to the back. But the song's great, fantastic, I
<v Speaker 1>love it.
<v Speaker 2>So this is the second to last song on the album.
<v Speaker 2>What he don't know?
<v Speaker 1>Kay?
<v Speaker 2>What are your thoughts?
<v Speaker 5>Well?
<v Speaker 1>According to ron Nevison, so what can I say? The
<v Speaker 1>last few songs on an album are usually not the best,
<v Speaker 1>but they got to go somewhere. I don't think it's
<v Speaker 1>a bad song. It just doesn't have that punch you
<v Speaker 1>in the face hit quality.
<v Speaker 2>It doesn't have the punch you in the face. I
<v Speaker 2>think the lyrics are sound like this is kind of
<v Speaker 2>the flip side of it looks it looks could kill.
<v Speaker 2>To me, this is one where I feel like the
<v Speaker 2>lyrics are strong, but they didn't deliver on the music
<v Speaker 2>on this one. I feel like a different version of
<v Speaker 2>this could be a great song.
<v Speaker 1>Okay, that's interesting. Yeah, according to ron Nevison, again, he's like,
<v Speaker 1>this is what they were coming up with, which is
<v Speaker 1>why we had to bring in the outside writers. Gotcha again,
<v Speaker 1>It's not a bad song, no? Is it? Top five,
<v Speaker 1>top ten, number one, No, that's why.
<v Speaker 2>But it's still I still say little tweaking, you know something,
<v Speaker 2>mess with it like White Snake did on Here I
<v Speaker 2>Go Again, and you definitely could have a hit.
<v Speaker 1>Maybe so yeah, maybe so. Yeah. By the way, Lynn
<v Speaker 1>Wilson is singing backup vocals on this song.
<v Speaker 2>And Nancy's older sister.
<v Speaker 1>Older sister. Yeah.
<v Speaker 2>Last song on the album, last song, shell Shock, another rocker,
<v Speaker 2>big banger.
<v Speaker 1>Yeah, it's a fine song.
<v Speaker 4>I like it.
<v Speaker 1>Yeah.
<v Speaker 2>It's not a skipper, No, it's not. There's no skippers.
<v Speaker 2>I don't think this album has any skippers at all.
<v Speaker 2>There are songs that you might call filler, but there's
<v Speaker 2>still great songs with her voice.
<v Speaker 1>Is there really any skippers?
<v Speaker 4>Though?
<v Speaker 1>That's true.
<v Speaker 2>I mean I haven't listened to every one of their albums,
<v Speaker 2>but my goodness, just to an incredible voice, and Nancy's
<v Speaker 2>guitar playing is fantastic as well.
<v Speaker 1>It is. We can't discredit her. And you know we
<v Speaker 1>talked about this, fair or unfair. Nancy's look was perfect
<v Speaker 1>for MTV. Yeah, and Anne's voice were perfect for what
<v Speaker 1>these songs needed. It's a great one to two combination.
<v Speaker 2>Absolutely.
<v Speaker 1>I will say this this, This is the last song on
<v Speaker 1>the album. This was the first in a trifecta of
<v Speaker 1>three great rock hair metal tie of albums that they
<v Speaker 1>came up with in the late eighties. Yep. The next
<v Speaker 1>song is that they released as a song called Alone.
<v Speaker 1>Every time I listened to it, it blows my socks.
<v Speaker 2>Off every time, every time. Yeah, it's great.
<v Speaker 1>That album was great. It had some great songs who
<v Speaker 1>Will You Run To? And There's the Girl. And then
<v Speaker 1>the next album they released in nineteen ninety, All I
<v Speaker 1>Want to Do is make Love to You beautiful song
<v Speaker 1>produced by Mutt Lang. I mean there were a hit machine,
<v Speaker 1>yeah for those five years.
<v Speaker 2>And they made a deal with the devil to get
<v Speaker 2>it done. That's right, Yeah, that's right, Mutt Lang being
<v Speaker 2>one of the main devils. Yeah. Okay, So one last tidbit.
<v Speaker 1>Okay, I'm ready for it.
<v Speaker 2>You ready, yes, okay. Nancy Wilson gave Eddie van Halen
<v Speaker 2>his first acoustic guitar. What so we've talked about and
<v Speaker 2>we are. One of our first, very first episodes was
<v Speaker 2>the van Halen van Hagar dispute, right, and Eddie started
<v Speaker 2>with an electric guitar. He played electric guitar from the beginning,
<v Speaker 2>and so Nancy says she was the one who gave
<v Speaker 2>him his first acoustic guitar. Now that is separate from
<v Speaker 2>another Van Halen's story I read, and I don't know
<v Speaker 2>if it was the same day, but apparently as a
<v Speaker 2>in consideration, he offered to have a foursome with her
<v Speaker 2>and Ann and Alex.
<v Speaker 1>Take it to leave a baby. Oh my gosh, how
<v Speaker 1>much Blow was involved in that?
<v Speaker 2>Yes, I don't think they took him up on his offer.
<v Speaker 2>How about you just go play that acoustic guitar, Eddie
<v Speaker 2>tell Valerie we said.
<v Speaker 1>Hi, I can't top that.
<v Speaker 2>Mike dropping it right now?
<v Speaker 1>Man? Okay, Well that does it for Heart's nineteen eighty
<v Speaker 1>five album.
<v Speaker 2>Guys, be sure and hit that follow button, hit that
<v Speaker 2>subscribe button, whatever you need to do so that you
<v Speaker 2>can come back for next week when we are going
<v Speaker 2>to cover Dire Straits Brothers in Arms against this album.
<v Speaker 2>And these are two nineteen eighty five albums, both celebrating
<v Speaker 2>their fortieth anniversary this year. Big at the same time,
<v Speaker 2>but very different, very different. I am excited to talk
<v Speaker 2>about the differences between the two of them, and can't
<v Speaker 2>beat some of those songs on.
<v Speaker 1>The Dire Straits album.
<v Speaker 2>Come back next week, see you guys then,