Dirty Dancing Soundtrack (1987): Track by Track!

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