Footloose Soundtrack (1984): Track by Track

<v Speaker 1>This is Cason Grover and you're listening to the You
<v Speaker 1>Can't Be Serious Podcast. I call it that because you
<v Speaker 1>told me to stop calling you Shirley.
<v Speaker 2>All right, everybody, welcome back to the Shirley you Can't
<v Speaker 2>Be Serious Podcast. Today we're going to continue our study
<v Speaker 2>of the summer of nineteen eighty four. We are working
<v Speaker 2>our way track by track today through the Footloose album.
<v Speaker 2>My name is Jason Colvin, and let's hear it from
<v Speaker 2>my boy d Graves.
<v Speaker 3>My boy, my boy. Okay, listen, man, I realize this
<v Speaker 3>is almost paradise, but I'm not holding out for a
<v Speaker 3>hero here. Okay. I'm free. I'm footloose and fancy free.
<v Speaker 4>All Right.
<v Speaker 2>We're gonna go track by track today through one of
<v Speaker 2>the biggest albums in nineteen eighty four.
<v Speaker 3>Okay. So I just want to talk real quick about
<v Speaker 3>nineteen eighty four and leading up to the summer of
<v Speaker 3>nineteen eighty four.
<v Speaker 4>Okay.
<v Speaker 3>This album came out in January of that year. The
<v Speaker 3>movie came out in February of that year. A couple
<v Speaker 3>months later, Breaking comes out, and I was a breakdancing
<v Speaker 3>fool in second grade. I had my own sheet of
<v Speaker 3>cardboard I'd go dance in the streets, literally dancing the
<v Speaker 3>streets doing the dolphin and the centipede and the wave,
<v Speaker 3>and had my own move called the electric Shock, where
<v Speaker 3>I laid down and shook like I was electrocuted. It
<v Speaker 3>was a big crowd pleaser for the little second grader.
<v Speaker 2>You know you're serious when you have your own sheet
<v Speaker 2>of cardboard.
<v Speaker 3>Yeah, well you got to do your heads. When I
<v Speaker 3>went to watch this movie, I was in love. I'm like,
<v Speaker 3>this is so up my alley. I wasn't super big
<v Speaker 3>into the kind of I'm free dance that he was
<v Speaker 3>doing in the warehouse. That was a little too ballet
<v Speaker 3>and gymnastics for me. But some of those guys, the
<v Speaker 3>dances that they were doing were rock on cool a breakdancing.
<v Speaker 2>You know the last scene where they're dancing at the prom. Yep,
<v Speaker 2>they actually went I think we talked about this in
<v Speaker 2>our previous episode. They went to LA clubs, found guys
<v Speaker 2>that were really cool dancers, pulled them out, put them
<v Speaker 2>in a corny tuxedo and said you're a high school kid,
<v Speaker 2>now break dance.
<v Speaker 3>Loved it and it was a big craze back then.
<v Speaker 3>I mean, like Parashue peas and bandanas and all that
<v Speaker 3>good stuff. I had my boombox. My break dancing name
<v Speaker 3>was doctor Fresh. I still use that, like when I've
<v Speaker 3>got it when kids are like dad, when you want
<v Speaker 3>your name to be on the xbox, and like doctor Fresh.
<v Speaker 2>Cool mood. Right, okay, go awesome.
<v Speaker 3>All right, So we got to jump into this album
<v Speaker 3>because there's so many awesome songs, so many awesome artists
<v Speaker 3>that we've got to talk about. But before we do that,
<v Speaker 3>let's just talk about the name of the song, which
<v Speaker 3>is the name of the movie, of course. Yeah, okay, okay.
<v Speaker 3>So Footloose was, as we mentioned in our last episode,
<v Speaker 3>written by Dean Pitchford, Right, Yeah, this was his first
<v Speaker 3>screenplay and he had no idea what to call it.
<v Speaker 3>He had, like you mentioned, he had called it cheek
<v Speaker 3>to cheek, but that was not really anything he ever
<v Speaker 3>intended to call it. And so he had a bunch
<v Speaker 3>of names that he liked, but he was like, I'm
<v Speaker 3>just gonna write down everything I can, and so he would.
<v Speaker 3>He'd fill the pages with potential names of the movies.
<v Speaker 3>Footloose came up on day two. Wow, And so he has,
<v Speaker 3>you know, these pages and pages of names he looks
<v Speaker 3>over them all and picks out four that are his favorites.
<v Speaker 3>But at that point, Footloose was what he wanted to
<v Speaker 3>call the movie. But he takes it and he puts
<v Speaker 3>Footloose by Dean Pitchford, and then he takes three other
<v Speaker 3>names and he takes those names to the producers and
<v Speaker 3>he puts Footloose at the bottom of the stack. Okay,
<v Speaker 3>And this is all deliberate, right yeah, And so they're
<v Speaker 3>looking at it and they're like, okay, first name, second name, okay,
<v Speaker 3>all right, third name okay, gets to Footloose by Dean Pitchford,
<v Speaker 3>and they say, we love it. And he was so
<v Speaker 3>excited because that was it. And there's something about the word.
<v Speaker 3>I mean, it doesn't mean anything, but it's.
<v Speaker 2>Still well it comes from footloots and fancy free right now,
<v Speaker 2>tell me exactly where did Elmore City prom fall in
<v Speaker 2>the title options.
<v Speaker 3>I don't think that was sang it. I think he
<v Speaker 3>just was excited about all of those o's. It looks great,
<v Speaker 3>it does, it looks jumps out at you, it leaps
<v Speaker 3>off the billboard or the album or whatever. So he
<v Speaker 3>had the name of the movie before there was ever
<v Speaker 3>a movie, and before there was ever a song.
<v Speaker 2>And it's actually interesting he's creating a movie around the
<v Speaker 2>idea of great songs. Yeah, if you don't have great songs,
<v Speaker 2>you don't have a movie.
<v Speaker 3>Should we jump in now?
<v Speaker 2>Well, the one thing I wanted to cover before we
<v Speaker 2>get into track by track, Yeah, Footloose was one of
<v Speaker 2>the only five albums of nineteen eighty four to hit
<v Speaker 2>number one. So you had Thriller, you had Footloose, yep,
<v Speaker 2>you had Huey Lewis's Sports Yep, you had Bruce Bringsteen's
<v Speaker 2>Born in the USA. And then you had Purple Rain,
<v Speaker 2>of course.
<v Speaker 3>Which we're going to be covered next week.
<v Speaker 2>Come back next week. As we go track by track
<v Speaker 2>through Purple Rain.
<v Speaker 3>And everybody knows how iconic Purple Rain is. Keep in
<v Speaker 3>mind this album held the number one spot for ten
<v Speaker 3>weeks in that year of those big hitters.
<v Speaker 2>If you were to tell me that this was one
<v Speaker 2>of the best soundtracks of the nineteen eighties or maybe ever,
<v Speaker 2>I wouldn't argue with you.
<v Speaker 3>No song after song after song, this is an incredible album.
<v Speaker 2>It's pop gold, all right. Were ready to dive in?
<v Speaker 3>Yeah, let's dive in.
<v Speaker 2>Dive in. First track, kick off your sund issues.
<v Speaker 3>This is footlos.
<v Speaker 2>Dude. That is a slamming hit right out of the gates.
<v Speaker 3>Okay, so the first drum beat, I gotta say this
<v Speaker 3>totally reminds me of Hey, Mickey, you'r's the fine.
<v Speaker 2>Yeah, okay, I can see that.
<v Speaker 3>And it was I mean that came out eighty two,
<v Speaker 3>that was right, I mean it was big on the
<v Speaker 3>charts right around the time that this song was getting written.
<v Speaker 3>Which let's talk about that.
<v Speaker 2>Yeah, yeah, that's really interesting.
<v Speaker 3>Okay. So we know that this song is by Dean Pitchford, right,
<v Speaker 3>we know that he's this is the key ingredient to
<v Speaker 3>the movie that he's written that he's you know, this
<v Speaker 3>is my this is my first venture into screenwriting, and
<v Speaker 3>it almost didn't happen. Right. So Kenny Logins is big
<v Speaker 3>at this point. He's done Caddyshack. But in January January twentieth,
<v Speaker 3>nineteen eighty three, Kenny Logins is at a concert in Provo, Utah,
<v Speaker 3>and the lights get dimmed so that he can come
<v Speaker 3>out on the stage and he doesn't see where he's going,
<v Speaker 3>and he steps off the stage onto the floor and
<v Speaker 3>breaks ribs. He rescheduled the concert, but he's in the
<v Speaker 3>hospital and he's about to leave the US and go
<v Speaker 3>to Asia, and Dean Pitchford's like freaking out. It's like,
<v Speaker 3>what am I going to do? And so the guys
<v Speaker 3>are like, you should fly to him in Tahoe and
<v Speaker 3>you guys write the songs over there. He's like great,
<v Speaker 3>And he wakes up the morning he'supposed to fly out
<v Speaker 3>and he's run one hundred and one degree temperature. He's
<v Speaker 3>got strep throat, and he's like, there's no way he's
<v Speaker 3>gonna let me in his room with his wife and
<v Speaker 3>his kids and his injured body when I've got this
<v Speaker 3>strep throat. I mean, the guy's about to go perform
<v Speaker 3>concerts in China. This is you know what do?
<v Speaker 2>He just lives? I feeling fine. That's hard. We should
<v Speaker 2>mention that he had previously worked with Kenny Loggins and
<v Speaker 2>Steve Perry when he wrote that song Don't Fight It Yep,
<v Speaker 2>which was kind of a modest hit number seventeen.
<v Speaker 3>Yeah that's good. No, that's a great song. So let's
<v Speaker 3>talk real quick. We don't get to do a full
<v Speaker 3>history I think on Kenny Loggins in any other episode.
<v Speaker 3>So I'm going to do a quick brief one right. Okay,
<v Speaker 3>So Kenny learned to play guitar by stealing his brother
<v Speaker 3>Dan Danny's song, stealing his guitar while he was the
<v Speaker 3>way at work, he'd go practice his guitar, and that's
<v Speaker 3>how he learned to play. Decided that he would become
<v Speaker 3>a songwriter when he saw his two brothers writing songs,
<v Speaker 3>and ultimately ended up doing pretty well well. Wrote for
<v Speaker 3>Barbar streisand and a Star Is Born, which is how he.
<v Speaker 2>Met the producer of Caddyshack, Peters, John Peters, and that's
<v Speaker 2>how he got involved with caddy Shack, And that's how
<v Speaker 2>he came up with the hit I'm all Right, which
<v Speaker 2>got him started down the road of movie making magic.
<v Speaker 3>Yes, but before he got there, he had been a
<v Speaker 3>good songwriter for a lot of other folks. So the
<v Speaker 3>first song that he wrote was a song called House
<v Speaker 3>at Pooh Corner. Okay, back then, songwriters would get together
<v Speaker 3>that hang out. He hung out with some guys from
<v Speaker 3>the Nitty Gritty Dirt Band who weren't really even very
<v Speaker 3>big at that point either, and they liked his song.
<v Speaker 3>They had a record deal. They're going it looks like
<v Speaker 3>this thing is gonna happen. He's like, super excited. Song
<v Speaker 3>I wrote when I was seventeen is going to become
<v Speaker 3>my first recorded song until they get a call and
<v Speaker 3>like the Disney lawyers are not gonna let this happen.
<v Speaker 3>It's like ah. And so he goes out on a
<v Speaker 3>date that night with his girlfriend and she's like, what's wrong.
<v Speaker 3>And she's like, man, I thought my first big song
<v Speaker 3>was gonna get recorded, but it's got Winnie the Pooh
<v Speaker 3>and I guess, like somebody said something about copyright and
<v Speaker 3>Disney and I don't. I guess it's not going to happen.
<v Speaker 3>And she's like, oh, well, let me give daddy a call.
<v Speaker 3>Her dad was the CEO of the Walt Disney Company.
<v Speaker 3>The green light of the.
<v Speaker 2>Song Wow Wow, how about that?
<v Speaker 3>Yeah? It ends up on the Nitty Gritty Dirt Bands
<v Speaker 3>album Uncle Charlie and His Dog Teddy, which was the
<v Speaker 3>album that had Mister bo Jangles and of course house
<v Speaker 3>It through corner and suddenly he's meeting all kinds of people,
<v Speaker 3>including this guy who used to play for Buffalo Springsfield
<v Speaker 3>named Jim Messina. Okay, so loggins and gets together with Messina.
<v Speaker 3>Messina has been around for a year or two longer,
<v Speaker 3>so he knows the ropes and he's going to produce
<v Speaker 3>Kenny's first album. But they sound so good together and
<v Speaker 3>Messina does so much work on it. They call the
<v Speaker 3>album Kenny Loggins with Jim Messina sitting in Clive Davis,
<v Speaker 3>who we've mentioned before Aerosmith episode and a couple of others.
<v Speaker 3>He listens to this and he says, listen, you guys
<v Speaker 3>are too good to do this. Only once he goes,
<v Speaker 3>I want to sign you to a six year many
<v Speaker 3>songs as you'll give me deal, and I really think
<v Speaker 3>and they're both like hesitant, especially Messina who is wanting
<v Speaker 3>to do different stuff. He's like, just sleep on it. Well,
<v Speaker 3>he slept on it. They did it, and they produced
<v Speaker 3>gobs of good hits through the seventies, but ultimately, as
<v Speaker 3>with many young artists, they started hating each other to
<v Speaker 3>the point that they're doing a live recording, you know,
<v Speaker 3>they're doing their kind of setup, and Kenny gets so
<v Speaker 3>mad he chunks his microphone into the stands, no audience
<v Speaker 3>members there, but chunks into the stands, walks out. Jim
<v Speaker 3>comes over to him. He says, listen, I've been through
<v Speaker 3>this before and I want to end this before we
<v Speaker 3>hate each other. And it was the best thing he
<v Speaker 3>could have said, because they ended it then remained friends ultimately,
<v Speaker 3>both of them obviously super successful guys. But that's what
<v Speaker 3>leads into the soundtrack with Caddyshack, and that's what leads
<v Speaker 3>into the soundtrack with What Loose.
<v Speaker 2>Okay, so the song Footloose is the biggest and only
<v Speaker 2>number one hit for Kenny Loggins. So when he hooks
<v Speaker 2>up with Kenny Loggins, you know, strep throat, broken rib,
<v Speaker 2>He's got to get this in before he flies to Asia.
<v Speaker 2>They knock out a few things. He wants to be
<v Speaker 2>able to go back to them and say, Okay, we're
<v Speaker 2>on it, We've got it, and they did. They had
<v Speaker 2>the gist of it. They finished it up later with
<v Speaker 2>the whole Milo and Ooie Murray.
<v Speaker 3>Dean Pitchford's Mom's name.
<v Speaker 2>Is that right?
<v Speaker 3>Yeah? They threw that in Kenny Loggins like the way
<v Speaker 3>that Milo sounded. And so that's how we got Jack
<v Speaker 3>get back. We've got that list of names.
<v Speaker 2>Because it's pretty cool. Yeah, there's one part in the
<v Speaker 2>song that I want to talk about. I don't know
<v Speaker 2>what to call it, but they it rises in like tension.
<v Speaker 3>Okay, I'll play it right here. What's so that beetles
<v Speaker 3>all over the place. Think you think about the end
<v Speaker 3>of Ferris Buehler's Day Off when he's singing twists and shout.
<v Speaker 3>That's that that same exact build up the scale and
<v Speaker 3>everybody's the tensions rising. That's straight on beetles love it.
<v Speaker 2>And then you get this great yell I'm turning it loose,
<v Speaker 2>and then right back into the the chorus, it's it's
<v Speaker 2>super good love this one. This one was released January eleventh,
<v Speaker 2>nineteen eighty four, reached number one March thirty first, nineteen
<v Speaker 2>eighty four, spent three weeks at number one, and this
<v Speaker 2>is definitely one of the songs that helped knock Thriller
<v Speaker 2>out of its number one spot for ever. Well, you
<v Speaker 2>need to talk about the video real quick, Okay, Okay.
<v Speaker 2>The video pulls straight out of the middle of the
<v Speaker 2>movie and it's the Rage Dance.
<v Speaker 3>Right, and it's the same it's just the same thing
<v Speaker 3>the Purple Ran did, right. I mean, it's all kinds
<v Speaker 3>it's like a extended preview of the movie.
<v Speaker 2>Yeah, and it gives you a taste. So hey, this
<v Speaker 2>movie's coming out, and this looks like a lot of fun.
<v Speaker 3>Right.
<v Speaker 2>Here's the weird thing. Flulus has played three times in
<v Speaker 2>the movie. Okay, the opening credits, yes, where we have
<v Speaker 2>the feet. All it is is the feet moving around,
<v Speaker 2>by the way, the gold sneakers. That's Kenny Loggins's feet, right, Okay.
<v Speaker 2>They play it in the middle when they're at the
<v Speaker 2>country bar at the country Bar.
<v Speaker 3>Okay.
<v Speaker 2>Then they play it at the end for the prom
<v Speaker 2>and let's dance at the party, and that whole thing
<v Speaker 2>is awesome. The problem is they don't play it during
<v Speaker 2>the rage dance scene.
<v Speaker 3>Right right, right right. What you saw in the video
<v Speaker 3>on MTV was not what you were seeing whenever the
<v Speaker 3>song was playing there. So it's a complete yeah.
<v Speaker 2>As a kid, I was like, wait, wait a minute,
<v Speaker 2>this wrong song. They got the wrong reel up top
<v Speaker 2>or something's messed up the wrong song. But they do
<v Speaker 2>save it for the end and it works out awesome.
<v Speaker 3>Yep.
<v Speaker 2>All right, So we want to point out this soundtrack
<v Speaker 2>contained six Billboard top forty hits. Yes, okay, three reached
<v Speaker 2>the top ten.
<v Speaker 3>Yes to reach number one.
<v Speaker 2>Yes, this is one of those.
<v Speaker 3>This is one of those. Next song, Let's hear it
<v Speaker 3>for the boy.
<v Speaker 5>Baby she dog Tom Sween, she ain't that much to
<v Speaker 5>save los anyway.
<v Speaker 3>So this is the other number one song.
<v Speaker 2>Yes, This was released February fourteenth, nineteen eighty four, reached
<v Speaker 2>number one May twenty sixth, nineteen eighty four.
<v Speaker 3>So this song again was written by Dean Pitchford along
<v Speaker 3>with Tom Snow, who had written a slew of big hits.
<v Speaker 3>Tell Me She Laid on Me, She's so shy by
<v Speaker 3>the Pointer Sisters.
<v Speaker 2>She's so shy, going Getting Ready for Love by Bonnie Ray,
<v Speaker 2>Loves Sneaking up on You by Leo Sayer, and I
<v Speaker 2>don't know but I love you, Oh Your Rodstad.
<v Speaker 3>Yeah, little Aaron Neville. So they work together to write
<v Speaker 3>the song, and then of course Denise Williams is the
<v Speaker 3>one that sang the.
<v Speaker 5>Song every time he pulls me launch.
<v Speaker 2>Here's what I know about Denise Williams. She was a
<v Speaker 2>gospel singer, she's a soul singer. So she was the
<v Speaker 2>backup singer for Stevie Wonder on the song Wonderlove Yep.
<v Speaker 3>Also sang back up for ROBERTA. Flax nineteen seventy five
<v Speaker 3>album I Feel Like Making Love?
<v Speaker 2>Do You Like Making.
<v Speaker 3>That one. I think that was a different version.
<v Speaker 2>That's a vacans Okay. So the Day I Die baby, Okay.
<v Speaker 2>One of the things I forgot to mention to you,
<v Speaker 2>Denise Williams actually sang on a song that is kind
<v Speaker 2>of close to your in my Heart. You may recognize
<v Speaker 2>her from this song right here, What would we Do?
<v Speaker 2>What would we Do?
<v Speaker 3>Yes? So Family Ties, it's awesome.
<v Speaker 2>Yeah, Denise Williams sang that song with Johnny Mathis. It's
<v Speaker 2>the theme song for Family Ties. The backup singers for
<v Speaker 2>Denise Williams on this song are a guy named George
<v Speaker 2>Merrill and a woman named Shannon Rubicin, and they had
<v Speaker 2>one giant hit in the late eighties called Waiting for a.
<v Speaker 3>Strong So Dean Pitchford and Tom snow So. For the
<v Speaker 3>scene that Let's hear it for the boy comes Up,
<v Speaker 3>they had written a song but it was called Somebody's
<v Speaker 3>Eyes and when Herber Ross heard it, he was like,
<v Speaker 3>this is not the right song for this scene.
<v Speaker 2>We're going to talk about that song here in.
<v Speaker 3>Just a minute. Yes, it's still in the soundtrack, but
<v Speaker 3>it's not. It was not the song that was supposed
<v Speaker 3>to be in that scene. And so they said, okay, well,
<v Speaker 3>let's get back together. Let's try to write something, and
<v Speaker 3>they came up with the line, first, let's hear it
<v Speaker 3>for the boy. They write this upbeat song around that title,
<v Speaker 3>and that's how we get this song.
<v Speaker 2>It's amazing. That's why this song and Somebody's Eyes the
<v Speaker 2>drum beat is exactly the same because every time they
<v Speaker 2>did the dance montage at the end of the day
<v Speaker 2>with Kevin Bacon and Chris Penn, it was set to
<v Speaker 2>Somebody's Eyes. But when they realized that that tone didn't fit,
<v Speaker 2>they just swapped him out. And this was the last
<v Speaker 2>song added to the album. And in fact, they were like, crap,
<v Speaker 2>we need to write another song really quick because we're
<v Speaker 2>ready to go. We need to plug and play here.
<v Speaker 2>And so it was like pressure, pressure, pressure, Ray Parker
<v Speaker 2>Junior's Ghostbusters type.
<v Speaker 3>Of thing, right and or or some sugar on me right,
<v Speaker 3>or we need another song hurry. It looks like a
<v Speaker 3>Lady or a hundred other songs. But that's awesome that
<v Speaker 3>I didn't realize that they had been using one song
<v Speaker 3>and had to change it out, but they kept the
<v Speaker 3>beat the same. That's brilliant. My mind is blown. Great awesome, awesome.
<v Speaker 2>How about this? Let me blow your mind some more. Okay,
<v Speaker 2>we talked earlier in our previous episodes about how Madonna
<v Speaker 2>auditioned for this role. Yeah, okay, she didn't get it.
<v Speaker 3>Uh huh?
<v Speaker 2>Which man, that's right before she blew up. I mean,
<v Speaker 2>if she's in this movie as Ariel, could you see
<v Speaker 2>her singing this song?
<v Speaker 3>Sure?
<v Speaker 2>I was talking to our buddy James Buckley and we
<v Speaker 2>were going back and forth about the eighties possibility of
<v Speaker 2>Tom Cruise and Madonna being in these roles, and then
<v Speaker 2>maybe Madonna singing a song like this. It's that fun
<v Speaker 2>alternate universe we like. I like how this movie or
<v Speaker 2>this song is about. This guy is a total schlub,
<v Speaker 2>but I love him anyway. You can't dance, he can't sing,
<v Speaker 2>he's poor, but I still like him. Yeah, okay, I
<v Speaker 2>got one more thing for you. You're ready for this, Okay.
<v Speaker 2>In the video, Denise Williams is singing with a little boy.
<v Speaker 2>He was in the corner. He had a dunce cap on.
<v Speaker 2>She removes the dunce cap and she's like, oh, you
<v Speaker 2>come with me and let's hear it from my baby, right,
<v Speaker 2>and he is in a tux. This little kid, was
<v Speaker 2>he five or six.
<v Speaker 3>Or seven something like that?
<v Speaker 2>He's dancing around. He's got a top hat on. That
<v Speaker 2>little boy. His name is Aaron Lore. He grows up
<v Speaker 2>to Mary Idina Menzel.
<v Speaker 3>Oh wow, from Wicked and Glee and she sing let
<v Speaker 3>It Go yea and Frozen and Frozen.
<v Speaker 5>Yes.
<v Speaker 2>Wow, that's crazy.
<v Speaker 3>Now that's some deep cuts right there.
<v Speaker 2>How about that that you're not gonna hear anywhere else?
<v Speaker 3>Wow? Nice job?
<v Speaker 2>Yes, or, as John Ravilta calls her, the wickedly talented
<v Speaker 2>one and only a death.
<v Speaker 3>She said that when she went to see this movie
<v Speaker 3>had that scene. Had she been picking the scenes that
<v Speaker 3>her song would appear in, she would have picked the
<v Speaker 3>scene because it's so perfect and it is. It is
<v Speaker 3>spot on the best song to put with that montage
<v Speaker 3>scene of Chris Pandler and How to Dance.
<v Speaker 2>Yeah, eighties were great for music montages.
<v Speaker 3>Yes, Straight out of Rock okay, track number three almost Paradise.
<v Speaker 4>About that dreams Belong to other men? Cluse each time
<v Speaker 4>I got clues.
<v Speaker 1>Beats?
<v Speaker 3>Okay, So why don't we get the lead singer for
<v Speaker 3>lover Boy and the lead singer for Heart together and
<v Speaker 3>see how they sound. Holy crap, their voices blend so
<v Speaker 3>amazingly well.
<v Speaker 6>Done.
<v Speaker 2>There. Really, that was a home run of getting those
<v Speaker 2>two singers at that time in the eighties, Mike Reno
<v Speaker 2>lover Boy. That was the peak of their powers.
<v Speaker 3>Oh absolutely, And this was kind of the beginning of
<v Speaker 3>his soundtrack career as well. I mean he also had
<v Speaker 3>a I mean talk about going along with Kenny Loggins.
<v Speaker 3>He had Heaven in Your Eyes from Top of the Gun. Yeah,
<v Speaker 3>he had Chasing the Angels on Iron Eagle two. He
<v Speaker 3>had Whenever There's a Night from Dream a Little Dream.
<v Speaker 3>I mean, he was rocking up the charts for all
<v Speaker 3>of the eighties.
<v Speaker 2>This is right before Heart's revitalization.
<v Speaker 3>Oh yeah, I mean they were kind of rock stations
<v Speaker 3>came along and we were hearing all kinds of heart
<v Speaker 3>on Class Girl.
<v Speaker 2>You've got seventies Heart like Barracuda and Magic Man and
<v Speaker 2>all that, and then you've got eighties Heart, which is
<v Speaker 2>These Dreams and Never and Alone and all those songs.
<v Speaker 2>This was the bridge between those two.
<v Speaker 3>Absolutely, and Wilson.
<v Speaker 2>May have the greatest female rock voice of all time.
<v Speaker 3>She is phenomenal. She's absolutely phenomenal. So this one Dean
<v Speaker 3>Pitchford wrote with Eric Carmon, who is another icon in
<v Speaker 3>the songwriting world, wrote a song on dirty Dance Dancy right,
<v Speaker 3>that the flip of this movie right.
<v Speaker 2>In your eyes.
<v Speaker 6>Yeah.
<v Speaker 2>The song was written in one day, in one twelve
<v Speaker 2>hour sitting. So they went to visit herb Ross in
<v Speaker 2>his studio. They had a piano setup in his office
<v Speaker 2>and when they showed up this, well, we've got a song.
<v Speaker 2>We think it might be good for the love theme.
<v Speaker 3>Right.
<v Speaker 2>So they sat down and Eric Carmon sang the male part,
<v Speaker 2>She sang the female part, the Ann Wilson part, and
<v Speaker 2>when they were done, herb Ross took a deep breath
<v Speaker 2>and he said, I think you've written a classic. In
<v Speaker 2>nineteen eighty four, this was the song that got couples
<v Speaker 2>to the middle of the skate floor skating backwards.
<v Speaker 3>With your girlfriend. Yeah, I can't skate backwards. I would
<v Speaker 3>just dance in a circle at the gymnasium.
<v Speaker 2>One of the interesting things I thought is they were
<v Speaker 2>working with the idea of religion and freedom and sort
<v Speaker 2>of the wrestling of the two that's in the story Footloose, right,
<v Speaker 2>And so they thought about making a song about salvation
<v Speaker 2>or redemption you know, they're kind of working with these
<v Speaker 2>spiritual words, and that's how they landed on Almost Paradise.
<v Speaker 2>Were knocking on Heaven's door. Love It Okay. This song
<v Speaker 2>was released May of nineteen eighty four reached number seven.
<v Speaker 2>This is the third top ten hit. Third by the way,
<v Speaker 2>When they were filming the movie, the song that they
<v Speaker 2>had originally intended to plug in where Almost Paradise was
<v Speaker 2>was the foreigner song I've been Waiting for a Girl
<v Speaker 2>like You.
<v Speaker 6>Oh.
<v Speaker 3>I love that song. I love that song. But the
<v Speaker 3>song's the right thing.
<v Speaker 2>Yeah, yeah, absolutely so.
<v Speaker 3>Pitcher says he remembers there sitting there with Carmen and
<v Speaker 3>tossing out lines and coming up with I thought that
<v Speaker 3>dreams belong to other men, because each time I get close,
<v Speaker 3>they'd fall apart again. And he was like, that's great.
<v Speaker 3>I was really really good. And he's sitting there and
<v Speaker 3>he says, oh, how about this. I feared my heart
<v Speaker 3>would beat in secrecy, And Carmen jumps up from the keyboard,
<v Speaker 3>runs over, hugs him and says, that's great. That's one
<v Speaker 3>of the most brilliant lines I've ever heard. And he says,
<v Speaker 3>We've got a lot to do more We've got to
<v Speaker 3>do a lot more of this writing. And it was
<v Speaker 3>that line I feared my heart would beat in secrecy.
<v Speaker 3>That was sort of the thing that joined them at
<v Speaker 3>the hip after that point.
<v Speaker 2>All right, done with almost Paradise.
<v Speaker 3>Well, couple's move back. All right?
<v Speaker 2>Doing you ready for the next song?
<v Speaker 3>I've been holding out for it? No serious, I have.
<v Speaker 3>This is my favorite song, I mean an entire album.
<v Speaker 3>Let's play, all.
<v Speaker 2>Right, this song is breaking awesome.
<v Speaker 3>Okay, listen to the bild, Listen to the bill, Listen
<v Speaker 3>to the build, Listen to the harmonies coming in, build harmony,
<v Speaker 3>build harmony, and then the drums. Oh my gosh, now
<v Speaker 3>this song. I remember talking to you and you were like,
<v Speaker 3>I don't know how many of these songs hold up,
<v Speaker 3>you know, hold up for I'm like holding out for
<v Speaker 3>a hero. If you turn this on in my house,
<v Speaker 3>every member of my household from nine years old up
<v Speaker 3>to me at forty five will be on the floor
<v Speaker 3>singing and dancing along with the song and losing our minds.
<v Speaker 3>It is so good.
<v Speaker 2>This song's amazing. It's on the tight roll to being
<v Speaker 2>over the top. It's wonderful, and it plays so well
<v Speaker 2>in the movie. Yes, it's during the tractor scene right
<v Speaker 2>where they're playing chicken with the tractors and Wren his
<v Speaker 2>shoelaces caught. He can't get his foot loose, but I
<v Speaker 2>love it. This song was written by Jim Steinman and
<v Speaker 2>the Patrick.
<v Speaker 7>Right, who we've talked about before in the def Leffard episode.
<v Speaker 7>Jim Steinman was the guy that they hired when Mutt
<v Speaker 7>Lang couldn't do it, and he was the one that there.
<v Speaker 7>He was like, all right, that sounds good, and they're like, wait,
<v Speaker 7>we haven't even warmed up yet. He had done Bad
<v Speaker 7>out of Hell, which we talked about back then, and
<v Speaker 7>he had done a lot of stuff with Bonnie Tyler
<v Speaker 7>faster than the Speed of Night.
<v Speaker 3>I mean that's huge, absolutely. I mean she was an
<v Speaker 3>icon of the eighties as well, who I love. I
<v Speaker 3>love her her voices killer. Yeah.
<v Speaker 2>Okay, here's something you may not know. When they brought
<v Speaker 2>in Jim Steinman and they were writing the song, he
<v Speaker 2>started saying, Hey, I got something to show you. On
<v Speaker 2>the keyboard, he's pounding it out right and he literally
<v Speaker 2>was playing so hard that his fingers started to bleed.
<v Speaker 2>Oh wow, And so he's just Dean Pitcher say he's
<v Speaker 2>just pounding the crap out of the keyboard and there's
<v Speaker 2>blood all over the keyboard and Dean pictures like this
<v Speaker 2>guy's freaking awesome.
<v Speaker 3>Yeah, that's I mean, I can see it. I mean
<v Speaker 3>with this song is so intense. It's like the galloping
<v Speaker 3>of a horse, right. It's it's the White Night riding
<v Speaker 3>up to save the day. It's the Superman too good.
<v Speaker 2>It's good good.
<v Speaker 3>This song is well. The lyrics are awesome, the music
<v Speaker 3>is awesome, and it lasts. I mean, you put this
<v Speaker 3>song out right now, Well, I don't listen.
<v Speaker 2>They showed her of the movie because they wanted her
<v Speaker 2>to sing it with a sense of urgency, and I
<v Speaker 2>think that comes across.
<v Speaker 3>Oh yeah, totally. The immediacy of the song is perfect
<v Speaker 3>in everything.
<v Speaker 2>Okay, I've got to play you something. This blew me
<v Speaker 2>away in the same way that we talked about during
<v Speaker 2>our bon Jovie episode, when Desmond Child had written parts
<v Speaker 2>of Living on a Prayer, but he plucked them from
<v Speaker 2>other songs that he had done previously. So Jim Steinman
<v Speaker 2>had a solo album called Bad for Good, and there's
<v Speaker 2>a song on there called Stark Raving Love. Ready for This, Yes,
<v Speaker 2>all right, here's the beginning.
<v Speaker 3>Okay, well, identical, identical, identical, until you get to the voice,
<v Speaker 3>until you.
<v Speaker 2>Get meet loafing. You can take a right turn right there.
<v Speaker 3>Oh my gosh. Wow. Yeah, that's fun. And that came
<v Speaker 3>out in eighty one, so just I mean, they're recording
<v Speaker 3>the songs to this in eighty three, so that was
<v Speaker 3>just two years before that he had put that out.
<v Speaker 2>Yeah, but we talked about how you know, you think
<v Speaker 2>you've got a good idea and maybe it doesn't hit
<v Speaker 2>for whatever reason, and you think, I don't care. This
<v Speaker 2>is still good, like this is better than it received,
<v Speaker 2>and so he pulls it out again, dusts it off
<v Speaker 2>and says, I'm gonna try this again with Bonnie Tyler.
<v Speaker 3>Yeah, and they tried the song again only four years
<v Speaker 3>later in the movie Short Circuit Too. No, right, I
<v Speaker 3>everybody remember that, right, I mean, the movie is so
<v Speaker 3>bad that Steve Gutenberg wouldn't even do it.
<v Speaker 2>It was also in Shrek too.
<v Speaker 3>Yeah, that's right now. That one actually was pretty good.
<v Speaker 3>I liked that they had a different singer. It was
<v Speaker 3>Jennifer Sonders. But you know, having kids in the early
<v Speaker 3>two thousands, I was very familiar with that and yeah,
<v Speaker 3>she did a good.
<v Speaker 6>Job with that one.
<v Speaker 2>This Yeah, that was good, very good. This song was
<v Speaker 2>released April thirteenth, nineteen eighty four. This only reached number
<v Speaker 2>thirty four in the US. Are you kidding me?
<v Speaker 3>That's nuts? Okay, that is nuts. I am just spiking
<v Speaker 3>the football, as you say, best song, Shorter Footloo's best
<v Speaker 3>song in a while.
<v Speaker 2>Okay, all right, Hey, I've got deep cuts for you.
<v Speaker 3>Okay, okay, all right.
<v Speaker 2>There's a cover version of this song that was made
<v Speaker 2>for the TV series Cover Up in nineteen eighty four.
<v Speaker 2>It was sung by Miss eg Daily, she played Dottie
<v Speaker 2>in Pee Wee's Big Adventure. Oh okay, okay, we done.
<v Speaker 3>With this one. Yep, all right everyone.
<v Speaker 2>That's it for holding down for a hero. Hit stop
<v Speaker 2>on your tape player, kick it out, flip it over,
<v Speaker 2>first song on side two, dancing in the sheets.
<v Speaker 3>Okay. So it's interesting that, I mean, you've said this
<v Speaker 3>on almost every episode that we've had. It's musical, but
<v Speaker 3>I can remember hitting stop on my tape player and
<v Speaker 3>flipping it over to hear this song. And I love
<v Speaker 3>dancing doing my break dancing to this song right here,
<v Speaker 3>which is why it's the perfect song for the prohibited
<v Speaker 3>dancing that's going on at the local drive in. That's
<v Speaker 3>the scene from the movie where Ariel puts the tape
<v Speaker 3>in and everybody starts dancing a long while they're playing
<v Speaker 3>video games or eating French fries or whatever to this
<v Speaker 3>incredibly good song.
<v Speaker 2>Yeah, she pulls out the boom box in the movie,
<v Speaker 2>hits play under tape player on the boom box, and
<v Speaker 2>the whole place, including the girls in the bathroom or
<v Speaker 2>jamming out to this song. And it's a little bit naughty.
<v Speaker 2>You've got the dancing in the sheets that implies not
<v Speaker 2>just dancing's going on. This is exactly why dance song
<v Speaker 2>about fornication. And then and that scene is great because
<v Speaker 2>John Litzko's character, Reverend Shawn Moore, shows up and he
<v Speaker 2>hits stop on the tape player. He doesn't say anything.
<v Speaker 2>She's just odd and shocked. Oh my dad is here.
<v Speaker 2>I'm gonna be in big trouble. And he says, your
<v Speaker 2>mom thought you'd run out of money, so here's some
<v Speaker 2>cash for you. And it's almost like.
<v Speaker 3>It's more. It doesn't yell at her, he doesn't say
<v Speaker 3>any condemnation of her, but you see it in his face.
<v Speaker 2>Yeah, it's a heart ranging scene. Yeah, it's always all right.
<v Speaker 2>Here's what I know about Shalamar. Okay, I've got I've
<v Speaker 2>got a little bit some just very few facts on Shalamar.
<v Speaker 3>Well, there aren't very many facts that I have.
<v Speaker 2>Here's the one thing that I found interesting about Shalamar,
<v Speaker 2>all right. Jody Wattley used to be in Shallamar.
<v Speaker 3>Right.
<v Speaker 2>She had a bunch of big hits in the late eighties,
<v Speaker 2>including looking for a New Love and Don't You Want Me?
<v Speaker 2>And some kind of Lover. I mean, she was a
<v Speaker 2>bit big player, but she left Shalamar right before they
<v Speaker 2>recorded the song. Do you know who Shallamar's number one
<v Speaker 2>fan was, no, the thriller himself, mister Michael Jackson. Wow,
<v Speaker 2>he was a big fan of Shallamar.
<v Speaker 3>Well, okay, So the producer Dean Pitchford, you know, wrote
<v Speaker 3>the song with Bill Wolfer. Bill Wolfer is the guy
<v Speaker 3>who played the keyboard and synthesizer on Billy Jean.
<v Speaker 2>Yeah, there's some connection there.
<v Speaker 3>Yeah. So Shalamar was one of those executive creations, not
<v Speaker 3>quite a boy band, but in that kind of same vein.
<v Speaker 3>There was a concert promoter named Dick Griffy and he
<v Speaker 3>decided to put together some studio musicians who are really good,
<v Speaker 3>and then he got together with a guy named Don
<v Speaker 3>Cornelius who had created Soul Training, and they had some
<v Speaker 3>good dancers. And you put these dancers who are really
<v Speaker 3>good with these musicians who are really good, and that's
<v Speaker 3>how you get Shallamar.
<v Speaker 2>Yeah, it's danger close to Millie Vanilli, although these guys
<v Speaker 2>do sing their own stuff. One of the guys I
<v Speaker 2>mentioned that Michael Jackson was a big fan of Shallamar.
<v Speaker 2>One of the original members of Shalamar. His name is
<v Speaker 2>Jeffrey Daniel. They got to be on the British Top
<v Speaker 2>of the Pop show and that's when Michael Jackson saw him, like, man,
<v Speaker 2>this guy's awesome. I need to get him as my choreographer.
<v Speaker 2>And that's how he got the job as the choreographer
<v Speaker 2>for Michael Jackson's Bad video.
<v Speaker 6>Oh wow, all right, let's move on to the next song,
<v Speaker 6>the second by Kenny Loggins.
<v Speaker 2>It's a song called I'm Free Heaven Helped the Man.
<v Speaker 3>It's a good beginning.
<v Speaker 2>Dude, I'm spiking the football on this one. You're saying
<v Speaker 2>this is my favorite song on the entire album.
<v Speaker 3>Oh wow, that's solid, bro.
<v Speaker 2>Man, I love all the songs, but this one just
<v Speaker 2>has that energy and that great chorus and the children
<v Speaker 2>chorus singing I'm free. I love it.
<v Speaker 3>And it'd be interesting.
<v Speaker 8>You know.
<v Speaker 3>You pointed out last episode that in Purple Rain, you
<v Speaker 3>don't go more than ten minutes without a song coming in.
<v Speaker 3>It'd be interesting to check that out as far as
<v Speaker 3>Footloot goes. Yeah, because you've got a couple of different
<v Speaker 3>montage scenes of things happening and there's always music behind it,
<v Speaker 3>and we know the song was built on the soundtrack,
<v Speaker 3>so it'd be interesting to see how long you go
<v Speaker 3>in the movie without here in music. I bet it's
<v Speaker 3>not very long.
<v Speaker 2>I bet it's kind of the same thing. Yeah, Yeah,
<v Speaker 2>And this song is actually used as that swell of
<v Speaker 2>emotion when when Wren wins the argument at the town council.
<v Speaker 2>So anyway, yes, this song was released February fourteenth, nineteen
<v Speaker 2>eighty four. Yeah, Reach number twenty two one, I mean
<v Speaker 2>another hit.
<v Speaker 3>Yeah, another hit, and this one's this one is seems
<v Speaker 3>to kind of encapsulate what's going on with the movie,
<v Speaker 3>like the fact that you're the character is beaten down
<v Speaker 3>by this kind of ridiculous restrictive idea, and he breaks free, right,
<v Speaker 3>he conquers it. He conquers his fear, which leads him
<v Speaker 3>to conquer the opposition, and they get their wish and
<v Speaker 3>finally I'm free.
<v Speaker 2>Let's talk about the music video this one for just
<v Speaker 2>a second, okay. And so this one's about Kenny Loggin's
<v Speaker 2>breaking out of prison and then he meets a gang,
<v Speaker 2>like a street gang, and he has a picture of
<v Speaker 2>his girlfriend. He's looking for his girlfriend. His girlfriend in
<v Speaker 2>the video of Virginia Madison.
<v Speaker 3>Wow, yeah, wow.
<v Speaker 2>She looks great. You know, she's young and major babe
<v Speaker 2>in the eighties.
<v Speaker 3>What movie was she in that we talked about.
<v Speaker 2>She was in Highlander two.
<v Speaker 3>Highlander two.
<v Speaker 2>That Islander two.
<v Speaker 3>You said that was the best part of the movie.
<v Speaker 3>That's it, Virginia Madden, that's it.
<v Speaker 2>That's it.
<v Speaker 3>So here's an interesting thing like this. Okay. So this
<v Speaker 3>movie came out in eighty four. Yes, Dean Pitchford in
<v Speaker 3>eighty six or so is going to speak at this
<v Speaker 3>film festival. He gets picked up at the airport by
<v Speaker 3>this kid who obviously you know, he's trying to work
<v Speaker 3>in the industry. So he's done his research and talking
<v Speaker 3>to him about footloose, and he's like, you know, and
<v Speaker 3>I love how it's kind of autobiographical. And Dean Pitcher's like,
<v Speaker 3>what do you mean. He goes, well, like, you know,
<v Speaker 3>you were from Honolulu and then you know, you had
<v Speaker 3>to move out to Kansas City, Missouri. And Dean Picture's like, wow,
<v Speaker 3>it was kind of autobiographical. Didn't even realize that's you
<v Speaker 3>moved from, you know, I mean, imagine the difference between
<v Speaker 3>Honolulu and Kansas City, Missouri back in the sixties.
<v Speaker 2>Awesome, all right, Moving on song number seven on the album.
<v Speaker 2>This song is called Somebody's Eyes.
<v Speaker 3>Okay, wait before you push play, let's listen to the
<v Speaker 3>first beat of the song, the first measure of the song. Okay,
<v Speaker 3>thinking about let's hear it for the boy and the
<v Speaker 3>fact that it's the exact same beat, and go there
<v Speaker 3>it is. That's it, that's it. That's crazy. I believe
<v Speaker 3>I never realized that before. Identical beat.
<v Speaker 2>But the songs are so different, they have totally different tone.
<v Speaker 3>Oh yeah, this is this is a sad song. This
<v Speaker 3>is not this is not what you want for the
<v Speaker 3>guys learning how to dance. This is you know, she's
<v Speaker 3>depressed and she's wandering the streets and such.
<v Speaker 4>Got a energy.
<v Speaker 8>Somebody size, somebody size.
<v Speaker 2>This is a song about Ariel can't get away because
<v Speaker 2>everybody's got their eyes on her. She can't break free
<v Speaker 2>because somebody is always watching her. This is not let's
<v Speaker 2>hear it for the boy and learn how to dance. Right,
<v Speaker 2>But this is a great song.
<v Speaker 3>Oh, yeah, fantastic song. I remember calling you whenever we
<v Speaker 3>first started listening to this album again and saying, I
<v Speaker 3>think this song would have been a mega hit had
<v Speaker 3>it not been surrounded by so many super ultra awesome
<v Speaker 3>mega hits. Right, Like, this is a really good song,
<v Speaker 3>but it's just it's kind of drowned out by being
<v Speaker 3>surrounded by so many good songs. Yeah.
<v Speaker 2>This was also released in nineteen eighty four. It reached
<v Speaker 2>number sixteen on the Adult Contemporary chart. It's not bad, Yeah,
<v Speaker 2>a very respectable position. And this was used to pace
<v Speaker 2>the dance songs.
<v Speaker 3>Like we said before, Yeah, this is a This is
<v Speaker 3>a song that I could see parents listening to more
<v Speaker 3>than the kids. Yeah, this was a skipper for me
<v Speaker 3>when I was playing the tape for sure.
<v Speaker 2>Though my mom loved this song.
<v Speaker 3>I like a little better now that I'm older, but
<v Speaker 3>it's still probably it's still gonna.
<v Speaker 2>In the musical, this song is sung by Rusty.
<v Speaker 3>Yeah, it's a different dynamic and they changed the words
<v Speaker 3>a little bit too, and it's more a plot point
<v Speaker 3>in the musical than it is in the movie.
<v Speaker 2>Yeah, good song.
<v Speaker 3>Song sang by Carla Bonoff. She's still doing stuff. She's
<v Speaker 3>still touring and doing stuff. She's more like I think,
<v Speaker 3>has more made more of her career being a songwriter.
<v Speaker 3>She's done a ton of work for other folks, but
<v Speaker 3>she's still performing, doing great stuff.
<v Speaker 2>Okay, will be ready for the next one.
<v Speaker 3>We better be all right.
<v Speaker 2>The next song is called The Girl Gets Around.
<v Speaker 3>And this is a rocker by the Red Rocker rockiness
<v Speaker 3>rock rock, rockety.
<v Speaker 2>Rock song on the album Yeah, this was my introduction
<v Speaker 2>to Sammy Hagar. Oh really, I didn't know who he
<v Speaker 2>was before this song.
<v Speaker 3>Yeah. Well this is and it's perfect. It is again perfect.
<v Speaker 3>This is the second song that you have in the movie,
<v Speaker 3>and it's the point where we're telling you Ariel is
<v Speaker 3>the wild preacher's daughter. Right at first lines of the song, Well,
<v Speaker 3>she'd like you to think she was born yesterday. With
<v Speaker 3>their innocent looks and her little town ways when she
<v Speaker 3>smiles at me. She's got angels in her eyes. But
<v Speaker 3>I've seen how she moves, and this girl really cooks.
<v Speaker 3>She taught me some tricks she can't learn and books.
<v Speaker 2>This is played when she crawls out of the car
<v Speaker 2>and she's standing with her foot on one car and
<v Speaker 2>her foot on her boyfriend's car, and they're going full
<v Speaker 2>speed ahead at a semi yes right, and she's a
<v Speaker 2>psycho on wheels. At this point, I'm like, what is
<v Speaker 2>what is Ren doing chasing this girl?
<v Speaker 3>And then they defy the laws of physics somehow the
<v Speaker 3>evil boyfriend manages to pull her entire body in and
<v Speaker 3>a seating position from her ankle.
<v Speaker 2>He grabs her peaky towel and pulls her in. Great song,
<v Speaker 2>total rocker. I mean, the variety that we have on
<v Speaker 2>the soundtrack is really great. You've got rock songs, you've
<v Speaker 2>got dance songs, you've got ballads, you've got pop gold.
<v Speaker 3>You got it all, you really do. There's all kinds
<v Speaker 3>of music to appeal to all kinds of audiences in
<v Speaker 3>this one, and it's all just hook after hook after hook.
<v Speaker 3>Now this one didn't, this one didn't get released.
<v Speaker 2>This is the only one that did not get released as.
<v Speaker 3>A single, which is kind of crazy. I mean, if
<v Speaker 3>if it had been, it probably would have been in
<v Speaker 3>our sites more than it is. But just the fact
<v Speaker 3>that it didn't get released probably is why we don't
<v Speaker 3>remember it from the album. Yep.
<v Speaker 2>Right after this one, we have I Can't Drive fifty five,
<v Speaker 2>and then another year or so later.
<v Speaker 3>The band what was that called? Yeah, Yeah, Roth something
<v Speaker 3>rather yeah.
<v Speaker 2>And then of course in nineteen eighty five he joins
<v Speaker 2>van Halen flashback to our van Halen van Hagar episodes. Okay,
<v Speaker 2>another great song. I'm not skipping it, no, in fact,
<v Speaker 2>I'm turning it up.
<v Speaker 3>Yeah, you're crawling out the window.
<v Speaker 2>I'm crawling out the window, and I'm buying my hands
<v Speaker 2>up looking at the semi like all right. Last song
<v Speaker 2>on the album. This song is called never.
<v Speaker 3>Okay.
<v Speaker 2>This song was played during the Rage Dance. This is
<v Speaker 2>the rage Dance song.
<v Speaker 3>The Punch Dance, Punch Dance. This is the scene where
<v Speaker 3>you had to have four different body doubles for Kevin
<v Speaker 3>Bacon because he's dancing better than he can dance and
<v Speaker 3>doing gymnastics better than can do gymnastics, and is physically
<v Speaker 3>stronger and better built than Kevin Bacon actually was. But again,
<v Speaker 3>huge memorable scene. It's been parodied multiple times in different places.
<v Speaker 3>The song is performed by a band called Moving Pictures.
<v Speaker 2>Yeah. They're an Australian band.
<v Speaker 8>Yeah.
<v Speaker 3>Apparently they never got paid any money for this.
<v Speaker 2>This is a really sad story.
<v Speaker 3>Yeah. The lead singer, Alex Smith said, we were just
<v Speaker 3>the lowest part of the food chain. We got gobbled
<v Speaker 3>up by companies and people that suddenly stopped existing and
<v Speaker 3>when we asked where our money was the things you
<v Speaker 3>get talked into doing anyway. Yeah, we got to record
<v Speaker 3>a sound City and the record plant, but a couple
<v Speaker 3>of bucks would have been nice. Hence we never played
<v Speaker 3>this song.
<v Speaker 2>They didn't get any money for this, no royalties. Are
<v Speaker 2>you Kidney on an album of this size?
<v Speaker 3>Yeah? Yeah, the guitarist said, we performed it. It was
<v Speaker 3>written by the guys that made the movie and we
<v Speaker 3>got nothing from it. Someone made a lot of money
<v Speaker 3>out of the song, but it wasn't us.
<v Speaker 2>It's too bad. Yeah, and I don't blame him for
<v Speaker 2>never playing the song.
<v Speaker 3>Yeah.
<v Speaker 2>No.
<v Speaker 3>And I haven't heard other songs by this band, but
<v Speaker 3>he's got a stellar eighties sounds to his voice, and
<v Speaker 3>the beginning of the song is very very eighties with
<v Speaker 3>that synthesizer. It's a great song, and I mean the
<v Speaker 3>memorableness of the song obviously comes from the scene in
<v Speaker 3>the movie, but it's still powerful.
<v Speaker 2>Yeah, it's good. In fact, there is a Japanese version
<v Speaker 2>of this song recorded by the singer m I E.
<v Speaker 2>Which apparently she's a pretty big deal. I don't know
<v Speaker 2>who she is, but so Japanese. She's Japanese, which is
<v Speaker 2>probably the reason why I don't know anything about her.
<v Speaker 2>But it was big success in Japan. It took the song,
<v Speaker 2>changed the lyrics, and made.
<v Speaker 3>The Japanese cool. Okay.
<v Speaker 2>So that finishes up the track list. There's a couple
<v Speaker 2>of songs that we didn't talk about that are actually
<v Speaker 2>in the movie that I think are worth mentioning.
<v Speaker 3>We should at least mention them.
<v Speaker 2>Okay. So You've got Hurt So Good by John Cougar Mellencamp, huge, big,
<v Speaker 2>big song.
<v Speaker 3>Yeah.
<v Speaker 2>I don't know why that was in the movie and
<v Speaker 2>not on.
<v Speaker 3>The soundtrack, probably because it was on his album that
<v Speaker 3>he wanted to sell a lot of probably his album
<v Speaker 3>and not their album. Yep.
<v Speaker 2>Then you also have I've been waiting for a Girl
<v Speaker 2>like You. Yeah by Foreigner Right, which we talked about,
<v Speaker 2>was originally kind of slotted where the almost Paradise song
<v Speaker 2>was supposed to go in.
<v Speaker 3>Huh.
<v Speaker 2>Then you have Bang your Head by Quiet Riot Metal Health. Yes,
<v Speaker 2>they take the tape away from Rin and give him
<v Speaker 2>a flip in the chin, telling me better watch his attitude.
<v Speaker 2>That song is not on the soundtrack anywhere. Quiet Riot
<v Speaker 2>was huge in nineteen eighty four.
<v Speaker 3>Yeah, I can remember having that album, having the LP
<v Speaker 3>on that one.
<v Speaker 2>Oh nice the LP.
<v Speaker 3>Yeah, him in a leather stray jacket with the metal
<v Speaker 3>doctor Doom face on.
<v Speaker 2>Okay, I'm gonna throw this at you is going to
<v Speaker 2>blow your mind.
<v Speaker 3>Okay.
<v Speaker 2>So I listened to the audio commentary and I felt like,
<v Speaker 2>this is like the evil Stepchild that they locked in
<v Speaker 2>the basement they don't tell anybody about. But there was
<v Speaker 2>a footloose rap song.
<v Speaker 3>Okay.
<v Speaker 2>We talked about the diversity on this album. Okay, So
<v Speaker 2>there was a rap that Kevin Bacon actually performs in
<v Speaker 2>the movie and you can see him do it. Okay,
<v Speaker 2>now you got to look closely. But it's right after
<v Speaker 2>the town council meeting. So they have the victory at
<v Speaker 2>the town council and the next scene is they're riding motorcycles.
<v Speaker 3>Okay, okay, and you can see if.
<v Speaker 2>You look closely, Kevin Bacon is clearly mouthing words. That
<v Speaker 2>was where that rap was gonna be. But the producer
<v Speaker 2>and Dean Pitchford watched the movie and they hated it
<v Speaker 2>so much they went to Herbert Ross. You know, Herbert
<v Speaker 2>Ross is a stubborn guy, and so Herbert Ross is like,
<v Speaker 2>what's wrong. He's like, well, I don't really want to say,
<v Speaker 2>and he's like, well, go ahead, it's fine, and he's
<v Speaker 2>like the rap. I can't handle the rap. He's like, okay, well,
<v Speaker 2>then it's out. So Herbert Ross was like, okay, fine.
<v Speaker 2>But if he had gone in like pounding the fists,
<v Speaker 2>like you gotta take this wrap thing out, it sucks.
<v Speaker 3>Yeah, heard Ross, No.
<v Speaker 2>Way, I'm not. So they pulled it so it's out.
<v Speaker 2>I can't find it, I can't see it, I can't
<v Speaker 2>listen to it. But if you watch that part of
<v Speaker 2>the movie, you can see mouthing the words.
<v Speaker 3>All right, Dear Shirley fans, Now my interest is peaked.
<v Speaker 3>If anybody out there knows the wrap that was supposed
<v Speaker 3>to go in footloose. We got to know what that is.
<v Speaker 2>Lay it on us.
<v Speaker 3>Yeah. You can find us on Facebook at Shirley Podcast.
<v Speaker 3>You can find us on Twitter at Shirley Podcast. Come
<v Speaker 3>back next week where we will do part two of
<v Speaker 3>this comparison, looking at possibly the best album of the
<v Speaker 3>entire decade of the eighties.
<v Speaker 2>If you like the eighties, you've got to come back
<v Speaker 2>next week.
<v Speaker 3>We're talking about it next week.
<v Speaker 2>Purple Rain, track by track, that's a.
<v Speaker 3>Mighty long time, but I'm
<v Speaker 4>Just suck it.