Whitesnake's "1987" (1987): Track by Track!

<v Speaker 1>This is a podcast from Minute Media. Hello everybody, and
<v Speaker 1>welcome to the Shirley You Can Be Serious Podcast. I
<v Speaker 1>am d Graves. I am here with my bow, ready
<v Speaker 1>to play on my electric guitar. We've got our special
<v Speaker 1>guest James Buckley today. He's dressed in a bright, shiny
<v Speaker 1>blue suit and we are both going to defend our
<v Speaker 1>friend Jason Colvin who was caught dancing nearly naked and
<v Speaker 1>a leotard on top of a couple of jaguars, just.
<v Speaker 2>Doing a couple of back walkovers, getting ready for the
<v Speaker 2>episode on the hood of a Jaguar.
<v Speaker 1>Well, guys, we are back today to go through White
<v Speaker 1>Snake track by track. If this is your first time
<v Speaker 1>joining us, I know you wanted to listen to White
<v Speaker 1>Snake the album Good News. We're going to give you
<v Speaker 1>every story behind every song on that album, and if
<v Speaker 1>you want to hear the history leading up to the
<v Speaker 1>release of this album, check out our previous episode on Whitesnake.
<v Speaker 1>Here I go again a history and today we are
<v Speaker 1>joined by our very special guest, mister James Buckley.
<v Speaker 3>How you doing, James, wonderful gentlemen, how are you guys today.
<v Speaker 1>Good man, We're glad to have you tell us a
<v Speaker 1>little bit about yourself.
<v Speaker 3>Let's see terminally bald father husbands. During the week I
<v Speaker 3>hang out in courtrooms and wear a tie and watch
<v Speaker 3>a guy in a dress stand up and sit down. Yeah.
<v Speaker 3>On the weekends, I'm an amateur rock and roll star,
<v Speaker 3>which my wife still lets me do every now and then.
<v Speaker 3>I play in a band called Hidden Tracks, which is
<v Speaker 3>a nineties alternative rock cover band, and it's the best
<v Speaker 3>form of therapy. I've found a couple hours beating on
<v Speaker 3>the drums you feel much better about. It's about everything
<v Speaker 3>in life.
<v Speaker 1>Fantastic man. Where can we see you guys play?
<v Speaker 3>Well, we're not going to make it to Dallas anytime soon,
<v Speaker 3>but we'll work mostly around North Louisiana. In South Arkansas,
<v Speaker 3>I live in a place called Monroe, which actually has
<v Speaker 3>some relevance to today's topic. We have somewhat of a
<v Speaker 3>musical history. There's a guy named Lannie Wilson who's a
<v Speaker 3>studio drummer in Nashville with thousands of hoarding credits to
<v Speaker 3>his name. He's from here. Kevin Griffin from Better than
<v Speaker 3>Ezra was born and raised here. More importantly, for our
<v Speaker 3>purposes today, this is also the home of baseball player
<v Speaker 3>Chuck Finley. At some point we.
<v Speaker 1>Have got to talk about him.
<v Speaker 3>That's great.
<v Speaker 1>Now, speaking of baseball, you were telling us just a
<v Speaker 1>minute ago that your introduction to us was our Major
<v Speaker 1>League episode. Is that right?
<v Speaker 3>Yeah? My daughter and I were talking about something Joebu related,
<v Speaker 3>so I started digging around, stumbled across you guys, listen
<v Speaker 3>to the whole episode while driving around town, and was
<v Speaker 3>instantly hooked. I found the episode on the police. You know,
<v Speaker 3>Stuart Copelan's the reason I claim I played drums. So
<v Speaker 3>I was fascinated by that episode and I was hooked.
<v Speaker 3>From that point on, I started emailing you guys, harassing
<v Speaker 3>you endlessly, and now I'm kind of like one of
<v Speaker 3>those diseases white Snate members probably dealt with back in well.
<v Speaker 1>Earlier today, earlier this week, Jason and I were talking
<v Speaker 1>and we were talking about you and Brad Moore. Now,
<v Speaker 1>you guys, we've got slated to join us to talk
<v Speaker 1>about some chains and STP because we're coming up on
<v Speaker 1>the thirtieth anniversary of a couple of their albums. But
<v Speaker 1>Jason's like, yeah, there are biggest longest Patreon members, And
<v Speaker 1>I said I'm sure they're gonna love it if you
<v Speaker 1>call them the biggest longest members we have.
<v Speaker 3>Yeah, little Boogie Nights. Sensation brand is an excellent dude.
<v Speaker 3>Met him to his son as a friend with my daughter,
<v Speaker 3>and I'm proud to proud to know the guy.
<v Speaker 1>The good good. We'll let you guys battle it out
<v Speaker 1>who's the biggest and the longest. But all right, I
<v Speaker 1>know you're a golfer.
<v Speaker 4>Sure, when you hit the ball and it goes in
<v Speaker 4>the rough, it's hard to see.
<v Speaker 1>It is so hard to find.
<v Speaker 4>It's not cool when it's in the rough.
<v Speaker 1>Nobody wants a bunch of rough around there.
<v Speaker 4>You want it in the fair way and you want
<v Speaker 4>it cleaned up so you can see the ball at
<v Speaker 4>all times.
<v Speaker 1>Right, the smoother it is, the easier it is to see.
<v Speaker 4>That reminds me of our sponsor, Manscape dot com.
<v Speaker 1>Oh yeah, manscape dot com. They have got incredibly good products.
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<v Speaker 1>Guys. Don't forget it's easier to see a giraffe on
<v Speaker 1>the plane than it is in the forest. Okay, that's good,
<v Speaker 1>that's really well. Hey, speaking of that, everybody, if you,
<v Speaker 1>dear listener, would like to be one of our Patreon subscribers,
<v Speaker 1>it's super easy. You just go over to patreon dot com,
<v Speaker 1>Backslash Surely Podcast. That's su our el y podcast and
<v Speaker 1>for as little as five bucks month. Number one, you
<v Speaker 1>can become an executive producer of one of our episodes.
<v Speaker 1>But number two you get to listen in to our
<v Speaker 1>super secret nobody knows it but our Patreons episodes. And
<v Speaker 1>we have just started doing that this past month in June,
<v Speaker 1>and we're going to have a new one in July.
<v Speaker 1>But we are covering the one hit wonders of the
<v Speaker 1>eighties and beyond.
<v Speaker 3>That's right.
<v Speaker 2>We did the Buggles video Kid the Radio Star in
<v Speaker 2>our first one. This month, we're doing Frankie Goes to Hollywood.
<v Speaker 2>We're doing Relax. Yeah, and we've got some exciting things
<v Speaker 2>that you can do the higher you go up in
<v Speaker 2>the scale. So check us out on patreon dot com.
<v Speaker 2>Sign up today. We got a new one as a
<v Speaker 2>matter of fact this week.
<v Speaker 1>Yeah, we are executive producer for this particular episode. Is
<v Speaker 1>our newest Patreon. Remember his name is Chad Briggs. Chad,
<v Speaker 1>thank you for hitting us up. Thank you for the support.
<v Speaker 1>We can't tell you how much we appreciate it. Chad
<v Speaker 1>and I exchanged a few emails and we came up
<v Speaker 1>with the idea for Tron versus wargames I think that's
<v Speaker 1>going to be a fantastic one. Guy shows up and
<v Speaker 1>drops a great matchup right off the bat. Also, he
<v Speaker 1>mentioned this is this is my favorite part. He mentioned
<v Speaker 1>that the Sweetish military crush is really hard on dirty dancing.
<v Speaker 5>I'm really curious Swedish military. Swedish military really really likes
<v Speaker 5>strty dancing. I don't know how a movie targeting young
<v Speaker 5>teenage girls.
<v Speaker 1>Somehow ended up as a favorite of the Swedish military,
<v Speaker 1>but that's if.
<v Speaker 2>You are in the Swedish military. Please hit us up
<v Speaker 2>on Facebook.
<v Speaker 3>Or the Swedish Bikini Swim Team.
<v Speaker 1>Anyway, either way, and guys, if you are not financially
<v Speaker 1>in the position to become one of our Patreon members,
<v Speaker 1>no problem. Just go over to whatever your favorite podcast
<v Speaker 1>app is and hit that five star review for us.
<v Speaker 1>And if you want to leave a review that happens
<v Speaker 1>to mention a topic that we've talked about, we'll put
<v Speaker 1>you in a contest to win an awesome custom engraved tumbler.
<v Speaker 1>James has one of those, I believe, and we have
<v Speaker 1>a new review that Jason, why don't you read that
<v Speaker 1>one for us?
<v Speaker 3>Yeah?
<v Speaker 2>Okay, so we got a five star review from our
<v Speaker 2>friend named m N Guy fifty five.
<v Speaker 1>So MN Guy fifty five, Hit us up on Twitter,
<v Speaker 1>hit us up on Facebook, send us an email at
<v Speaker 1>Shirleypodcast at gmail dot com, and let us know who
<v Speaker 1>you are. That's right. If you're D's grandma, we definitely
<v Speaker 1>want to know that, all right. So here's what it says.
<v Speaker 2>Five stars childhood nostalgia at its best. This is a
<v Speaker 2>must subscribe for anyone who grew up in the eighties.
<v Speaker 2>It's such a great miss of music and film that
<v Speaker 2>it seems to touch on every weekend of my nineteen
<v Speaker 2>eighties life, and those were the best times. All the
<v Speaker 2>episodes are home runs, even the ones that I'm not
<v Speaker 2>interested at the outset. It's been great to go back
<v Speaker 2>and watch a lot of the movies discussed with my
<v Speaker 2>late teenage boys, so that I get to share the
<v Speaker 2>best parts of my teenage years with them. I'm so
<v Speaker 2>glad that I found this podcast and I love sharing
<v Speaker 2>it with friends and then reminiscing with them each week.
<v Speaker 1>Number one, thank you MN Guy fifty five for that
<v Speaker 1>awesome review. And that actually is that's how James hit
<v Speaker 1>us up. That's how he found us. We do PG
<v Speaker 1>thirteen episodes that people can listen to with their teenage children.
<v Speaker 2>Hearing people being able to go back and listen and
<v Speaker 2>see stuff with their kids. I mean, that's that's awesome.
<v Speaker 2>That's what we want to do.
<v Speaker 1>Absolutely awesome. And James just mentioned he came to us
<v Speaker 1>through the Major League episode a Major League we did
<v Speaker 1>as a comparison to Bold. Last week, we talked about
<v Speaker 1>the factors involved in the success of this White Snake album.
<v Speaker 1>And obviously David Coverdale is one of them, right, and
<v Speaker 1>obviously John Sykes is one of them. Yeah, but you've
<v Speaker 1>got some non musicians that are key factors in this one.
<v Speaker 1>And Jason, you hit me with a nugget of wisdom
<v Speaker 1>that I thought was on point.
<v Speaker 2>Okay, So I called you last week and I said, listen,
<v Speaker 2>as we're breaking down the players involved in the White
<v Speaker 2>Snake rise to fame, I'm like, this is a retelling
<v Speaker 2>the bull Deram. You've got John Kalodner, who's clearly the coach, right, Okay,
<v Speaker 2>he's the coach.
<v Speaker 1>Huh.
<v Speaker 2>You've got John Sykes, who's clearly crashed Davis.
<v Speaker 1>He's the guy.
<v Speaker 2>He's in the trenches with him. He doesn't like him,
<v Speaker 2>but he's helping him. Make it to the big time.
<v Speaker 1>David Coverdale is nuke leloosh. You're saying that God reached
<v Speaker 1>his hand down and touched David Coverdale's voice.
<v Speaker 2>Absolulutely, and he's screwing around with his quadrophonic wolpunk and
<v Speaker 2>he needs some help to get to the big time.
<v Speaker 1>And so who do they get?
<v Speaker 2>They get Kallaidner to help coach him, They get Sykes
<v Speaker 2>to help guide him, and his Annie Savoy in this
<v Speaker 2>whole deal is clearly the lovely Tonni Katain.
<v Speaker 1>Now there's an interesting comparison, Susan Sarandon in a tight
<v Speaker 1>skirt versus Tonny Katain and a tight skirt. I don't
<v Speaker 1>know which way I'm going to vote on that One's
<v Speaker 1>that's a tough call. What do you think, James Coverdale
<v Speaker 1>nuk lulush, Tony Katay, Andy Savoy?
<v Speaker 3>Can you see it? I can see it? But are
<v Speaker 3>you saying Joe bu can't help with the carve ball?
<v Speaker 1>Just as a quick recap of our last episode, Guys,
<v Speaker 1>if this is your first time listening, the lead up
<v Speaker 1>to this album is pretty incredible. They put together almost
<v Speaker 1>an entirely new band to make this album. John Sykes
<v Speaker 1>and David Coverdale get together, They write the album, they
<v Speaker 1>record the music, except for Coverdale doesn't record the vocals,
<v Speaker 1>and it goes on for two years without him recording
<v Speaker 1>the vocals, at which time Sikes is getting upset. The producer,
<v Speaker 1>Mike Stone is getting upset, and there's a little bit
<v Speaker 1>of talk about maybe we need to find somebody else
<v Speaker 1>to sing this album. Well, obviously that this is David
<v Speaker 1>Coverdale off and so he's ready to get rid of everybody.
<v Speaker 1>And I'm not going to say that he was a cow,
<v Speaker 1>but like, I'm pretty sure that the bass player and
<v Speaker 1>the drummer got there notice that they weren't going to
<v Speaker 1>be in the band anymore when they stopped getting checks. Yeah, exactly.
<v Speaker 1>They of course are now trying to hunt down new
<v Speaker 1>members of the band. John Sykes is the last one there.
<v Speaker 1>He knows what's going on, but he's overseas like he's
<v Speaker 1>separate from them. But he's like, do I finish? Do
<v Speaker 1>I quit?
<v Speaker 3>Now?
<v Speaker 1>What do I do? He decides to push on through,
<v Speaker 1>but David Coverdale ultimately calls him and says, hey, sorry, dude,
<v Speaker 1>this isn't going to work out. Well, here's something that
<v Speaker 1>I just found out I didn't know found this out. Today.
<v Speaker 1>We mentioned John Klaudner putting together his new all star band,
<v Speaker 1>the band that we all know as Whitesnake because we
<v Speaker 1>watched all of videos back in the eighties when we
<v Speaker 1>were kids. That's the band that John Kladner puts together.
<v Speaker 1>And one of the guys that he calls up is
<v Speaker 1>a guy named Adrian Vanderberg. Here's what I did not know.
<v Speaker 1>Adrian Vanderberg did the guitar solo for Here I Go Again.
<v Speaker 1>On the album version. We talked about how none of
<v Speaker 1>those guys were actually playing on the album. That is
<v Speaker 1>not correct. Adrian Vanderberg actually did the solo. So he
<v Speaker 1>shows up to John Kallodner's office and John Kladner's like, okay,
<v Speaker 1>you got this band, but I also kind of am
<v Speaker 1>interested in having you play with White Snake. He's like, oh,
<v Speaker 1>White Snake would be really great. And so he's like, well,
<v Speaker 1>I'll tell you what. There's a solo that John Sykes
<v Speaker 1>did for Here I Go Again. Sounds like metal country western.
<v Speaker 1>We need a new guitar solo, and so he sends
<v Speaker 1>Adrian Vandenberg over to the studio to put together a
<v Speaker 1>new solo for this song, And so Adrian Vandenberg is
<v Speaker 1>in there and he's bought this cheap Japanese strat knockoff
<v Speaker 1>and he's noodling away in the studio trying to figure
<v Speaker 1>something out. All of a sudden, he's here's a commotion
<v Speaker 1>outside of his little studio recording area. Voices are starting
<v Speaker 1>to escalate, and you know, David Coverdale's got his studio
<v Speaker 1>voice on, so it's super loud. So he peeks out
<v Speaker 1>the door and sure enough, John Sykes has flown back
<v Speaker 1>and is confronting David Coverdale to his face about what
<v Speaker 1>the heck you do? And so Adrian VanderBurg slowly closes
<v Speaker 1>the door back again, goes back to his cheap Japanese
<v Speaker 1>knockoff stratocaster with that cheap guitar. While there is extreme
<v Speaker 1>fighting going on in the other room, he records one
<v Speaker 1>of the most memorable guitar solos in history.
<v Speaker 2>Wow, that is a great story, man, by the way,
<v Speaker 2>I mean, that's a fantastic story.
<v Speaker 1>I don't want to kill that.
<v Speaker 2>Do you know why David Codell could not sing? Why
<v Speaker 2>his shockers were jammed and he couldn't breathe out of
<v Speaker 2>his right highlight?
<v Speaker 1>Bring some fried chicken. There you go.
<v Speaker 2>Before we get to track by track, I just want
<v Speaker 2>to do a quick overview of this album.
<v Speaker 1>James, did you own this album?
<v Speaker 3>Yeah? This was the summer between my senior years in
<v Speaker 3>high school. You could not cruise the streets of North
<v Speaker 3>Louisiana without having a copy of this somewhere on board.
<v Speaker 3>I actually saw White Snake with the video version of
<v Speaker 3>the band on tour that summer with Motley Crue and
<v Speaker 3>they were mind blowingly good. This was the Vivian Campbell,
<v Speaker 3>Adrian VanderBurg, Tommy Aldridge, Rudy sarzo version, and they were amazing.
<v Speaker 1>You told me that they blew Molly cru up the stage.
<v Speaker 3>That was my impression. I mean, they were saw such.
<v Speaker 3>These were all seasoned pros. Tommy Aldridge have been playing
<v Speaker 3>with people since Black O'carkansas in the seventies. Rudy Sarzegen
<v Speaker 3>was quiet right, and Ozzy Osbourne and the Randy Road
<v Speaker 3>years as had Tommy Aldridge as well. So these were
<v Speaker 3>all pros in top form at the time.
<v Speaker 2>I told you that they played Oklahoma City in nineteen
<v Speaker 2>eighty seven and the next night.
<v Speaker 1>They played Treeport. That's the show you saw right.
<v Speaker 3>Why first nineteen eighty seven, I think, wow, they had
<v Speaker 3>the merchandise booth outside and they had a cool white
<v Speaker 3>snake shirt had the logo in front on the backhead
<v Speaker 3>all the tour days. I had to have one. So
<v Speaker 3>I just told him my size, handed them my twenty
<v Speaker 3>bucks and walked away ahead. Man didn't pay any attention.
<v Speaker 3>School starts. Yeah, about a month and a half later,
<v Speaker 3>and I grabbed my white snake T shirt for some reason.
<v Speaker 3>I hadn't worn it much during the summer, and I
<v Speaker 3>go to school enjoying my day, you know, running my
<v Speaker 3>hands to my luxurious hair. And my principal, who was
<v Speaker 3>also a deacon at my church, and he's a wonderful
<v Speaker 3>godly man in inspiration to us all. He did not
<v Speaker 3>approve of my T shirt because I hadn't realizing on
<v Speaker 3>the back above the tour dates it said white snake.
<v Speaker 3>Whip it out, wipe it off, and slide it in again.
<v Speaker 3>That was not appropriate. I'm not had a long sleeve
<v Speaker 3>shirt in my car. So here I am in late
<v Speaker 3>August wearing a long sleeved shirt over a black white snap. Yeah.
<v Speaker 3>So that'll teach me to read T shirt more closely.
<v Speaker 3>Before I buy them in the future.
<v Speaker 1>Let me guess that made it back to your mom.
<v Speaker 3>Yeah, and she'll probably hear it again be reminded of
<v Speaker 3>that and chew me out. But that's okay. I learned,
<v Speaker 3>I learned a less.
<v Speaker 2>So this album went eight times platinum in the US,
<v Speaker 2>twenty million worldwide. I mean I've always called this album
<v Speaker 2>nineteen eighty seven.
<v Speaker 1>Well that's what they called it in the UK. I mean,
<v Speaker 1>we got two different distributors for this album. In the
<v Speaker 1>US and Canada, you had Deafen Records, but it was
<v Speaker 1>EMI over in Europe, and so in Europe and in
<v Speaker 1>Australia they called this album nineteen eighty seven, and in
<v Speaker 1>Japan it's called surpus Albus.
<v Speaker 3>Yeah, that sounds like something in here in the NC
<v Speaker 3>seventeen Harry Potter movie.
<v Speaker 1>So not only did this album do amazing on the charts,
<v Speaker 1>but slide it in which hadn't been out. I mean
<v Speaker 1>it came out in what eighty four, yep, just three
<v Speaker 1>years later. It went from gold to double platinum in
<v Speaker 1>eighty seven. After the success of this album, I went
<v Speaker 1>back and bought it. Yeah, well, and it's got some
<v Speaker 1>great stuff.
<v Speaker 2>I told you that my buddy on the bus, let
<v Speaker 2>me listen to his Slide It In. Yeah, so I
<v Speaker 2>took my lawnmowing money and bought nineteen eighty seven and
<v Speaker 2>slightly Nice.
<v Speaker 3>I tried to buy Slide It In. I was fourteen
<v Speaker 3>at the time, but my mom did not approve of
<v Speaker 3>the title, so I tried to explain through it just
<v Speaker 3>you know, the mechanical act of putting the cassette in
<v Speaker 3>the player. Once again, that did not fly. So but
<v Speaker 3>I love that. I love that album. That was my
<v Speaker 3>first exposure to Whitesnake. I remember the video for Slow
<v Speaker 3>and Easy on Friday Night Videos. I'd already started oning
<v Speaker 3>to play drums because of Stuart Copeland. But the second
<v Speaker 3>I saw Cozy Powell's fist catch that drumstick in the
<v Speaker 3>video and started playing that big uh yeah, that was fucked.
<v Speaker 3>So but when this album came out in eighty seven,
<v Speaker 3>I was primed, but I didn't anticipate how much I
<v Speaker 3>was going to love it still do. As a matter
<v Speaker 3>of fact, for those.
<v Speaker 1>Of you who don't have the benefit of seeing James
<v Speaker 1>right now, he's literally has his drumsticks in his hands.
<v Speaker 1>It's a little security blanket for you. While we've recorded
<v Speaker 1>the podcast, I'm guessing pretty much.
<v Speaker 2>Yeah, this album never hit number one, but just listen
<v Speaker 2>to this history of the Billboard Hot two hundred. Okay,
<v Speaker 2>so it reached number two on June thirteenth, nineteen eighty seven,
<v Speaker 2>just after my fourteenth bart.
<v Speaker 1>Can I interrupt?
<v Speaker 3>Yes?
<v Speaker 1>So at that point when it hit number two in June,
<v Speaker 1>here is here are the ones that were behind it.
<v Speaker 1>You too is in the number one spot with Josh
<v Speaker 1>for Tree, right, okay, But just as an idea of
<v Speaker 1>how how prevalent glam hair metal rock was at that moment,
<v Speaker 1>Number two is White Snake nineteen eighty seven. Number three
<v Speaker 1>is Girls Girls Girls by Motley Crue. Number four is
<v Speaker 1>Slippery When Wet by bon Jovi, number five is Look
<v Speaker 1>What the Cat Dragged In by Poison, and number six
<v Speaker 1>is Ozzy Osbourne and Randy Roads Tribute. I mean, it
<v Speaker 1>was the summer of hair metal and it was awesome.
<v Speaker 1>That sounds like a surely showcase list right there.
<v Speaker 3>I'm trying to think in that period of time you
<v Speaker 3>could see those guys in concert, I mean in shreet board.
<v Speaker 3>I've seen White Snake, Motley Crue, Poison, David Lee, Ross
<v Speaker 3>S Durell man, you will never have a time like
<v Speaker 3>that again, I don't think.
<v Speaker 1>So listen to this.
<v Speaker 2>So they hit number two June thirteenth, nineteen eighty seven.
<v Speaker 2>They were blocked by the Joshua Tree.
<v Speaker 3>You two.
<v Speaker 1>If you remember, we've.
<v Speaker 2>Done the track by track on night, go back and
<v Speaker 2>listen to that, and then just listen as we go
<v Speaker 2>through nineteen eighty seven. The next week there number two,
<v Speaker 2>then number four. That's the week that Whitney Houston hits
<v Speaker 2>number one with her second album. That blocks Girls, Girls, Girls,
<v Speaker 2>and White Snake for that matter. The Nikky six swears
<v Speaker 2>they outsold Whitney Houston's album, but they got the shaft
<v Speaker 2>by the record company cook the books. We'll talk about
<v Speaker 2>that next week. So this is their chart history. Two
<v Speaker 2>two four four five three four three three three two three.
<v Speaker 1>Blocked by La Bamba two three four two four four three.
<v Speaker 2>Week after week after week they're in the top five
<v Speaker 2>of top five, top five, top five. They don't fall
<v Speaker 2>to number six until January of nineteen eighty eight. That
<v Speaker 2>is a crap ton of albums that they're selling.
<v Speaker 1>Wow.
<v Speaker 2>Albums come and go, but this stayed in the top
<v Speaker 2>five for nearly a year.
<v Speaker 1>Okay, are we ready to go track by track more
<v Speaker 1>than gentlemen. Okay. The first song out of the Gate
<v Speaker 1>is incredible. It's a song called Crying in the.
<v Speaker 6>Ring, Long Lady's burning with a fevers Ladies lonly in
<v Speaker 6>the night, go crazy with the thoughts of retroduction.
<v Speaker 1>Day's wailing on the drums on this one man.
<v Speaker 3>Okay, this album, I consider this one of the best
<v Speaker 3>recorded rock drum performances of the eighties. And this track
<v Speaker 3>I think has probably Angsley Dunbar's best performance on the album.
<v Speaker 3>It's amazing from just from a drumming perspective, but on
<v Speaker 3>top of that you've got Sykes shredding away like nobody's business,
<v Speaker 3>David Boyce wailing in top form. Just an amazing song.
<v Speaker 1>Now, this song was one of the songs that came
<v Speaker 1>from an old album, right this is this is one
<v Speaker 1>from back in their blues day.
<v Speaker 2>This is Satsan Sinners.
<v Speaker 3>Yeah.
<v Speaker 1>And when I when I listen to the song, I'm like,
<v Speaker 1>I can tell the blues like this is that this
<v Speaker 1>is that bluesy No, it's that call and answer that
<v Speaker 1>you get with the blues. But they gear up the
<v Speaker 1>music and they've got that guitar sound I didn't know
<v Speaker 1>this until the day either. The guitar sound that John
<v Speaker 1>Sykes has on this album he got from mister Bob Rock.
<v Speaker 1>Bob Rock came over and programmed his equipment in order
<v Speaker 1>to get him this totally killer sound. So you've got
<v Speaker 1>this blues e riff and this bluesy vocal, but then
<v Speaker 1>after that starts, you've got an almost black sabbath.
<v Speaker 7>Like riff that goes along with it.
<v Speaker 1>So you've got blues and heavy metal jammed together with
<v Speaker 1>a voice like Robert Plant and you're just like, holy cow,
<v Speaker 1>I got a good album to bad.
<v Speaker 2>This is one of those that John Kladner's like, this
<v Speaker 2>is a great song. It's not produced well, it's not
<v Speaker 2>played well, let's do it right and put it on
<v Speaker 2>this album. And David Coverdelle resisted that at first, and
<v Speaker 2>finally when they talked him into Crying in the Rain,
<v Speaker 2>He's like, well, crap, if I'm gonna do Crying in
<v Speaker 2>the Rain, then let's do here I go again as well.
<v Speaker 1>And was that inspired or what? My goodness? Yeah, greatest
<v Speaker 1>decision of the album for sure.
<v Speaker 2>The funny thing to me is that John Sykes hated
<v Speaker 2>blues right yeah, and he made this blues song into
<v Speaker 2>a rocker.
<v Speaker 3>You know. John started off playing with a new wave
<v Speaker 3>of a British heavy metal band called Tiger's a pent Tank. Yeah,
<v Speaker 3>more of a motorhead riffy vibe going, and then he
<v Speaker 3>went into Finn Lizzy. If you listen to Finn Lizzy's
<v Speaker 3>Thunder and Lightning album, it's the heaviest album in the
<v Speaker 3>band's career and that all goes back to Sykes. So
<v Speaker 3>he was primed for this man.
<v Speaker 1>He really was, you know, who they wanted to have
<v Speaker 1>in Finland before they ended up hiring John Sykes. Wow,
<v Speaker 1>that's great.
<v Speaker 3>D You mentioned the Black Sabbath funny connection, even though
<v Speaker 3>it's it's not really relevant. Ainsley Dunbar in the late
<v Speaker 3>sixties had a band called Ainsley's Dunbar's Retaliation. First Sabbath
<v Speaker 3>album they have. They cover a song by Retaliation called Warning,
<v Speaker 3>so Ainsley's roots man, he goes way back. The solo
<v Speaker 3>section of the song just amazes me every time I
<v Speaker 3>listen to it. Sykes starts off in overdrive and then
<v Speaker 3>takes it up a gear by the end. It's just amazing.
<v Speaker 3>We all let me geek out for a second.
<v Speaker 1>Yeah, that's four men here man, that's our special.
<v Speaker 3>Back in the eighties, a lot of the drummers you
<v Speaker 3>saw for the mainstream pop metal bands would have two
<v Speaker 3>bass drums up on stage, but they didn't really play them.
<v Speaker 3>They were there for show. Maybe big solos. But all
<v Speaker 3>throughout this album, which was a pretty mainstream rock album,
<v Speaker 3>Ainsley Dunbar is playing double bass in all kinds of places.
<v Speaker 3>And he's not a traditional double bass player. And for
<v Speaker 3>the non geeky double bassis when they're playing the bass
<v Speaker 3>drum with each foot that d and Ainsley is all
<v Speaker 3>for the place. He was not traditionally known as a
<v Speaker 3>double bass drum player, but he really uped his game
<v Speaker 3>for this album.
<v Speaker 1>Awesome, Yeah, that's great. It is absolutely blistering speed and
<v Speaker 1>I got to give it up to David Coverdale. He
<v Speaker 1>almost tops it at the end with the wailing screen
<v Speaker 1>that he has the song finishes out it is. It
<v Speaker 1>is a great, great song. Hey, I've got a theory.
<v Speaker 2>Okay, I've got a theory, and I have seen absolutely
<v Speaker 2>nothing that backs this theory up.
<v Speaker 1>But here's my thought. Okay.
<v Speaker 2>Crying in the Rain was first written and laid down
<v Speaker 2>in nineteen eighty two, and the album talks about no
<v Speaker 2>one can see the tears when you're crying in the rain?
<v Speaker 3>Right?
<v Speaker 1>Does that ring a bell to you?
<v Speaker 2>Does that sound familiar?
<v Speaker 1>It's got to be from Blade Runner. Blade Runner had
<v Speaker 1>come out that year. There is an epic speech at
<v Speaker 1>the end of the movie, the life passes by like
<v Speaker 1>tears in the Rain by mister Ricker Hower. Yep, and
<v Speaker 1>I have no doubt that that's where this thare came from.
<v Speaker 1>Good call.
<v Speaker 3>As far as an opening track, this ranks among the
<v Speaker 3>best evera It's hard to beat this as far as
<v Speaker 3>setting the tone for the album.
<v Speaker 2>Coverdal In it right off that black hat and moans part.
<v Speaker 3>If you listen to the Saints and Center's version, it
<v Speaker 3>sounds almost lethargic compared to this one.
<v Speaker 1>It's true.
<v Speaker 2>Yeah, Claudner knew what he was doing when he re
<v Speaker 2>recorded this, reproduced.
<v Speaker 1>It absolutely okay.
<v Speaker 2>Moving on to the next song on the album, This
<v Speaker 2>song is called bad Boys.
<v Speaker 1>I think John Sykes thought, Man, if anybody thinks this
<v Speaker 1>is going to be a blues album after that first song,
<v Speaker 1>I'm gonna put a trust on the second.
<v Speaker 3>I mean, this definitely keeps the momentum going. It's got
<v Speaker 3>that one of those fist pumping rabble rousers that this
<v Speaker 3>dand seemed to excel in.
<v Speaker 2>Oh dude, this is a balls to the wall rocker,
<v Speaker 2>blistering right out of the gate.
<v Speaker 1>And I love the wolf howl. Beget it right. That's
<v Speaker 1>kind of the hook on this one.
<v Speaker 2>That he tried it again on Kitten's Got Claws on
<v Speaker 2>the next album and it just.
<v Speaker 1>Wasn't quite as cool.
<v Speaker 2>That's not as good of a song either, but I
<v Speaker 2>love it. In fact, James, I was going to ask you,
<v Speaker 2>the thing that stands out to me the most on
<v Speaker 2>this one is the symbols.
<v Speaker 3>Oh yeah, he's bashing away like a mad man. You know.
<v Speaker 3>Tommy Aldridge, who joined after David sacked the band. I
<v Speaker 3>ran an old modern drummer interview with him yesterday. I
<v Speaker 3>was trying to go back to those days. He said
<v Speaker 3>that when he joined the band and listened to it,
<v Speaker 3>Tommy is a well known heavy player. He beats the
<v Speaker 3>heck out of his symbols, drums destroys them all. He
<v Speaker 3>said that when you heard the drum parts that Ainsley
<v Speaker 3>had recorded, they sounded like what he himself would have recorded,
<v Speaker 3>he said. David Coverdale later came along and told him that.
<v Speaker 3>You know, when I told Ainsley to record the drum parts,
<v Speaker 3>I told him to have you in mind. So he
<v Speaker 3>was already in that Tommy Aldridge mindset, which involves lots
<v Speaker 3>of bashing on symbols and banging on drums, which I'm
<v Speaker 3>for any day of the week.
<v Speaker 2>Tell me, Elidrid, you mentioned that he's got that mystical
<v Speaker 2>afro that gives him his power, right.
<v Speaker 3>I can't explain it. I saw him in nineteen eighty
<v Speaker 3>seven and he was an absolute madman. Saw him again
<v Speaker 3>about six years ago at the hard Rock Down in Biloxi,
<v Speaker 3>still playing with White Snake, still playing a lot of
<v Speaker 3>the same songs. Afro had a little gray in it,
<v Speaker 3>but he was still playing like Animal and speed Man.
<v Speaker 3>It was amazing, Missed Steff.
<v Speaker 2>I heard David Coverdale talk about this song, and he
<v Speaker 2>feels like this song incorporated a lot of elements of
<v Speaker 2>Fin Lizzy. I mean Coverdale, for as much as he
<v Speaker 2>sort of hated Sykes, gives him a lot of credit.
<v Speaker 2>You know, he gives him a lot of credit on
<v Speaker 2>this album.
<v Speaker 3>I saw him live once. I didn't see him with
<v Speaker 3>White Snake, but in nineteen eighty nine, bon Jovi came
<v Speaker 3>through Monroe and opening was a band called Blue Murder,
<v Speaker 3>which is what Sykes went on to four and after
<v Speaker 3>he left White Snake was him and Tony Franklin and
<v Speaker 3>Carmine Apissy and I tell you, man, they were amazing.
<v Speaker 3>They peeled the paint off the walls of that blaze.
<v Speaker 1>I'm really sure because that John Sykes hasn't had more
<v Speaker 1>music come out since time. I heard an Eddie Trunk
<v Speaker 1>interview with Adrian Vandenberg. Eddie Trunk said he'd heard an
<v Speaker 1>album that probably eight years ago that is phenomenal, but
<v Speaker 1>it's just never been released. They just won't release it.
<v Speaker 1>I don't know what the problem is, but Sykes is
<v Speaker 1>too skilled a musician not to have more music out
<v Speaker 1>there for us.
<v Speaker 3>There was a band came out a few years ago
<v Speaker 3>called the Winery Dogs, and it had Billy Sheehan on bass,
<v Speaker 3>Mike Portnoy from Dream Theater on drums, and guy named
<v Speaker 3>Richie Cottson on vocals and guitar. I think it was
<v Speaker 3>on Eddie Trunk one night where Mike Portanoy said that
<v Speaker 3>this was originally conceived as a project for Sykes and
<v Speaker 3>but he just never showed up. So there you go.
<v Speaker 2>Wow, So Bad Boys seems like a really great live song.
<v Speaker 3>I've heard that some shows the open with a medley
<v Speaker 3>of this and Children of the Night. Yeah, you know
<v Speaker 3>their drummers feet are going to be really tired by
<v Speaker 3>the end of the really keeps the momentum going from
<v Speaker 3>that first track. There's no let up in the site.
<v Speaker 2>Okay, let's get to one of the one of the
<v Speaker 2>heaviest hitters on the album. The song's called Still the Night.
<v Speaker 8>Oh wait, sorry, I hit a.
<v Speaker 1>Wall as if it around your doll telling me I.
<v Speaker 8>Got a.
<v Speaker 1>Okay, this song blows my freaking doors off, as Jason
<v Speaker 1>would say, it blows my skirt up, it blows my
<v Speaker 1>socks off, and blows the powder up my nose. Whatever
<v Speaker 1>you want to say. This song does that. And they're
<v Speaker 1>almost instantly were haters out there who are like, this
<v Speaker 1>is just a led Zeppelin knockoff. Listen, I love led Zeppelin,
<v Speaker 1>but this is not a led Zeppelin song. They did
<v Speaker 1>a lot of borrowing of ideas. But we freaking talked
<v Speaker 1>about bon Jovi, where Richie, Sambora and John sat on
<v Speaker 1>a box of tapes picking out their favorite songs, going
<v Speaker 1>how can we steal something from this, And so you
<v Speaker 1>called me and you're like, hey, I've heard there's a
<v Speaker 1>lot of led Zeppelin, like this is a led Zeppelin
<v Speaker 1>knock off. What do you think? Well, I hear it
<v Speaker 1>like the beginning of the song, the entro of the song,
<v Speaker 1>you've got the call and answer that is very much
<v Speaker 1>like Black Dog. I'm not even a Zeppelin expert, and
<v Speaker 1>I could say, okay, I can hear that, but they
<v Speaker 1>do it in eight bars instead of four. Okay, it's
<v Speaker 1>a little different makeup and it's a totally different riff.
<v Speaker 1>Then you've got this incredible break in the song. It's
<v Speaker 1>like just a couple of minutes in and it goes
<v Speaker 1>to just the tink' what's that sound, James? What's the
<v Speaker 1>tink tink tink that we hear.
<v Speaker 3>In that play on a high hat and a ride
<v Speaker 3>symbol two?
<v Speaker 1>And I bet that you can confirm that that's basically
<v Speaker 1>exactly what led Zeppelin does when it does it's break
<v Speaker 1>and whole lot of love. Oh yeah, it's a similar thing.
<v Speaker 1>They've borrowed these beautiful little bits. And then of course
<v Speaker 1>he's like ooh baby, which sounds like it came comes
<v Speaker 1>right out of Robert playing it's mouth on Babe, I'm
<v Speaker 1>Gonna leave you and then I Love In the video,
<v Speaker 1>I don't even think they did this in the song,
<v Speaker 1>but in the video, I don't. I think it was
<v Speaker 1>Adrian Vanderberg is playing the guitar with the violin bow,
<v Speaker 1>which I mean that is Jimmy Page. Jimmy Page is
<v Speaker 1>the guy who did that. It's the dazed and confused thing.
<v Speaker 1>But I don't think they actually did it for the
<v Speaker 1>recording of the song. They're just playing it on the
<v Speaker 1>synthesizer and it was just a synthesized violin, but they
<v Speaker 1>made it look like a bow on a guitar.
<v Speaker 2>That part is so freaking awesome. In the middle of
<v Speaker 2>the song that done no no, no no no done
<v Speaker 2>no no no.
<v Speaker 1>No very Cashmere Verry. It is a very But this song,
<v Speaker 1>you can say it's a knockoff, but I mean, don't
<v Speaker 1>listen to greatit Anflete if you will please, that's a knockoff.
<v Speaker 1>This is taking some ideas that Zeppelin had in some
<v Speaker 1>incredible songs and making a fantastic song out of it.
<v Speaker 3>It's a riff for the ages. I mean, the riff
<v Speaker 3>itself almost sounds a little serpentine like a snake. I
<v Speaker 3>understand the Zeppelin comparisons, but Plant and Coverdale or contemporaries.
<v Speaker 3>They both came up probably the same blues rock background,
<v Speaker 3>so obviously they would draw from the same sources. I'm
<v Speaker 3>like you, d I just don't see this being a
<v Speaker 3>blatant ripoff. Yeah, some of the same influences and ideas.
<v Speaker 3>But I used to get angry when people would call
<v Speaker 3>him David cover Version, like the man had never contributed
<v Speaker 3>anything himself. No, the man had a history going back
<v Speaker 3>as far as that one's.
<v Speaker 2>But it's the guy who did that, He's the one
<v Speaker 2>who's like David cover Version. I thought that was really uncool.
<v Speaker 3>David Coverdale songs like Soldier of Fortune by Deep Purple,
<v Speaker 3>which Plant wishes he could sing that well.
<v Speaker 1>But anyway, Plant may do that. But Plant is a
<v Speaker 1>bit of a prima donna himself. And as far as
<v Speaker 1>judgment goes, Jimmy Page thought he was good enough to
<v Speaker 1>do a combination and a tour with him, so I'm
<v Speaker 1>gonna say probably, Okay, he probably did all right. Yeah,
<v Speaker 1>I had the Coverdell Page album in ninety three.
<v Speaker 9>I love that album.
<v Speaker 1>Yeah, And when they when they asked David Coverdale about
<v Speaker 1>you know, isn't this just like another led Zeppelin song?
<v Speaker 1>And he goes, I don't know, but that's a pretty
<v Speaker 1>good category to be in.
<v Speaker 3>I was in a band before my current band and
<v Speaker 3>we played the song. Yeah, time we played it, I
<v Speaker 3>got so excited for the big drum fills leading into
<v Speaker 3>the last chorus. Those are classics, men, I never get
<v Speaker 3>tired of listening to that or air drumming to that.
<v Speaker 2>Coverdale said that this was inspired by jailhouse rock and
<v Speaker 2>a song called rice Pudding by Jeff Beck.
<v Speaker 3>Another Eddie Trunk interview I heard, Coverdale said that he
<v Speaker 3>was going through a box of stuff at his opened
<v Speaker 3>his mother's attic. He found an old cassette with the
<v Speaker 3>basic riff idea from Still of the Night that he
<v Speaker 3>worked on with Richie blackmore of all people.
<v Speaker 1>Uh huh.
<v Speaker 3>He did say that he had kind of a jailhouse
<v Speaker 3>rock idea. So then I gave it to John, and
<v Speaker 3>John took it to another cosmic level.
<v Speaker 1>I believe he said, that's fantastic. Okay, So just to
<v Speaker 1>be clear about what you just said, if I understand
<v Speaker 1>that right, Still the Night was based on a demo
<v Speaker 1>tape that David Coverdale did back in the seventies when
<v Speaker 1>he was with Whitesnake with the amazing, mind blowing talent
<v Speaker 1>of Richie Black.
<v Speaker 3>And even earlier than you know, because Coverdale sang with
<v Speaker 3>Kurp for a while, so I think it's probably even
<v Speaker 3>earlier than that.
<v Speaker 2>Wow, the history of this song is really interesting. They
<v Speaker 2>had a demo for this in nineteen eighty five. This
<v Speaker 2>is the song that they wrote in the South of France,
<v Speaker 2>right off the bat like they had this initially in
<v Speaker 2>spring of nineteen eighty five. We didn't get this until
<v Speaker 2>two years later because he couldn't sing this song right.
<v Speaker 2>And when he sat down when they finally got him,
<v Speaker 2>Keith Olsen says, sit down and let's just give it
<v Speaker 2>a try. He said, okay, I'll try it. Let's see
<v Speaker 2>how it goes. He did it twice. They patched those
<v Speaker 2>two together and that's what you get two times.
<v Speaker 1>Through and you get the blistering vocals of still.
<v Speaker 3>Over Them.
<v Speaker 6>Time for the Nut.
<v Speaker 3>I'll tell you guys, there was something that Coverdale's voice
<v Speaker 3>on this album. I've gone back and listened to earlier stuff.
<v Speaker 3>I don't know if the sinus infection whatever it did
<v Speaker 3>something to his voice. But had to respe your edged
<v Speaker 3>on this album that I really liked. It really seemed
<v Speaker 3>to fit in material.
<v Speaker 1>Yeah. Well, he went through three different producers to finally
<v Speaker 1>get the right sound.
<v Speaker 2>And change the locations to the bambaso.
<v Speaker 1>Yeah, well it doesn't hurt.
<v Speaker 3>Yeah.
<v Speaker 2>I do think it's interesting when Coverdill talks about Psykes.
<v Speaker 2>He really does have some fond memories of making this
<v Speaker 2>album with him. I thought this quote was kind of
<v Speaker 2>neat and kind of sad at the same time. He said,
<v Speaker 2>John's playing and soloing on the nineteen eighty seven album's
<v Speaker 2>truly landmark stuff and so influential to a lot of people.
<v Speaker 2>I hope he's very proud of it, because I am.
<v Speaker 2>They made this incredible album together and they can't even
<v Speaker 2>be in the same room, can't talk, can't celebrate together.
<v Speaker 2>They can't even give each other a high five on
<v Speaker 2>this album. Okay, we got to talk about the video.
<v Speaker 2>This is the video that Marty Callner comes up with.
<v Speaker 2>This video, they film it. He looks at him, He says,
<v Speaker 2>these guys don't know each other. We need another day
<v Speaker 2>of shooting. I need thirty five to intercut some interesting stuff.
<v Speaker 2>Claudie Schiffer backs out. Tawny Katine walks in the door
<v Speaker 2>and he's like, oh my gosh, you are the answer
<v Speaker 2>to our prayers. You are the video vixen for this.
<v Speaker 2>She says, Okay, let's do this. He calls Geffen and
<v Speaker 2>they say, tell Coverdale to go screw himself. I'm not
<v Speaker 2>giving you another doe. And so Marti Cullner talked to
<v Speaker 2>his wife, and his wife said, if you believe in
<v Speaker 2>these guys, then let's loan them the money. And so
<v Speaker 2>he used his own personal money to finish the still
<v Speaker 2>of the Night video use Tony Katine, and this paused
<v Speaker 2>the album to sell a million copies in ten days.
<v Speaker 1>Yeah, I can tell that it's different. Like he shot
<v Speaker 1>the Tawny Katin part in sixteen millimeter and if you
<v Speaker 1>look at it, you can tell that that part is
<v Speaker 1>not as crisp and clear as the on stage presence.
<v Speaker 1>I really really love the big circle with David Coverdale
<v Speaker 1>leaning back like yes Neo on the matrix with his
<v Speaker 1>Mike stand. It is an amazing touch. But day one
<v Speaker 1>they had a plan, they had it storyboarded out. This
<v Speaker 1>is what we're going to do. Day two, Marty Culner
<v Speaker 1>had this style that he called jazz where instead of
<v Speaker 1>having it all planned out, they just kind of riffed.
<v Speaker 1>They just made up stuff. All that Tawny Katane footage,
<v Speaker 1>that's what you get.
<v Speaker 2>Yeah, I mean you can tell when you look at it.
<v Speaker 2>She's so beautiful that it just bypasses all logic. He's like,
<v Speaker 2>look at me with your sunglasses on and then rip
<v Speaker 2>them off real click, Who cares?
<v Speaker 3>I'm in right, look at me at the end.
<v Speaker 2>Sure, sit over there and I'm going to squirt some
<v Speaker 2>water on you.
<v Speaker 1>So in our last episode, we talked about how this
<v Speaker 1>video led to their success because it ended up in
<v Speaker 1>the lap of Sam Kaiser, who was the MTV executive
<v Speaker 1>at that point, that made it the hip clip of
<v Speaker 1>the week. It was all because Marty Culner made this sacrifice,
<v Speaker 1>put his own money in to make this video. And
<v Speaker 1>as we know, he made two more videos for him
<v Speaker 1>on this album as well, and those were made on
<v Speaker 1>the cheap too. They were all cheaply done videos. It
<v Speaker 1>was all with Marty Culner's basically charity to help them.
<v Speaker 1>Now we talk about the success that this album had
<v Speaker 1>and as a result, you know, David Coverdale went from
<v Speaker 1>three million dollars in debt to mega wealthy, and he
<v Speaker 1>gave each of his band members a four hundred thousand
<v Speaker 1>dollars bonus. Now not the guys who recorded the album,
<v Speaker 1>but the new band members. They're the ones that cut
<v Speaker 1>the four hundred thousand dollars bonus. So right around Christmas time,
<v Speaker 1>they show up to Marty Cliner's house. Marty Culiner is
<v Speaker 1>talking to his wife, you know, because they've said, hey,
<v Speaker 1>we're going to come over, and he's like, this is it.
<v Speaker 1>This is where we're going to get our bonus for
<v Speaker 1>helping him out right, And she's like, oh, yeah, what
<v Speaker 1>do you think is going to be? And they both
<v Speaker 1>talk to each other and they kind of agreed it's
<v Speaker 1>going to be a million dollars. He's going to give
<v Speaker 1>us a check for a million dollars, And so they
<v Speaker 1>walk in. It's around Christmas time. He hands them a present.
<v Speaker 1>He says, please just don't open this. Don't open this
<v Speaker 1>until after we're gone, and they're like, oh my gosh,
<v Speaker 1>this is going to be so good. He's embarrassed and
<v Speaker 1>how good it is you think? So they hang out
<v Speaker 1>for a little while. Then David Coverdale and Tawny Katane
<v Speaker 1>leave and as they're walking out the door, still of
<v Speaker 1>the night video is on TV play and so it's
<v Speaker 1>just like it's right there on the airwaves, right there
<v Speaker 1>out on the front. They walk out the door, Marty
<v Speaker 1>and his wife open up the present and it is
<v Speaker 1>a framed, poorly shot picture of David Coverdale and Tawny Katane.
<v Speaker 1>I like, maybe Beck is behind the picture, and so
<v Speaker 1>they tear off the back of the picture. They are
<v Speaker 1>looking in the frame and literally nothing, no money, no
<v Speaker 1>nothing for the guy that made them. I mean, we
<v Speaker 1>made them without him. There is no white snake. And
<v Speaker 1>so the rest of the story is he got it
<v Speaker 1>all back when he shot videos for their next album.
<v Speaker 1>That's right, They were going to shoot their next video,
<v Speaker 1>which he was charging them a million dollars apiece for
<v Speaker 1>in order to get his money back. He and David
<v Speaker 1>were on less good terms at that point. And then
<v Speaker 1>David got upset because he said, I heard that you
<v Speaker 1>were shooting a kiss video yesterday. Wouln't you understand that
<v Speaker 1>we are the band of the eighties? Where are you
<v Speaker 1>shooting a kiss video? And Marty Callner said, oh, you're
<v Speaker 1>the band of the eighties. Well, it's nineteen eighty nine, David,
<v Speaker 1>what are you going to do next year?
<v Speaker 3>Yikes?
<v Speaker 1>All right.
<v Speaker 2>By the way, in the still of the night video,
<v Speaker 2>you have the cool circle which it looks like he's
<v Speaker 2>a cat on the fence singing against the moon. It's like,
<v Speaker 2>it's like the best signal. You have the first appearance
<v Speaker 2>of the white jaguar in that video, and at the
<v Speaker 2>very end, like as the song is closing. I don't
<v Speaker 2>know why this always tickles me, but David Coverdell is
<v Speaker 2>arrested and like thrown into the back of the van,
<v Speaker 2>and when the doors shut it says sex police.
<v Speaker 1>He's arrested by the sex police. And when I was
<v Speaker 1>a kid, I was like, uh, I hope I never
<v Speaker 1>get arrested by the sex police. I don't know. It's
<v Speaker 1>a good thing.
<v Speaker 3>That would be an interesting version of a penal code.
<v Speaker 2>VH one ranked this as the twenty seventh best hard
<v Speaker 2>rock song of all time.
<v Speaker 1>It's fantastic, one of the best. I'm gonna put this
<v Speaker 1>in number two. That's my number two favorite song on
<v Speaker 1>a whole album.
<v Speaker 3>Okay, yeah, They're with you, that's fair.
<v Speaker 2>So speaking of greatest songs of all time, we're on
<v Speaker 2>the song number four. This song is called Here I
<v Speaker 2>Go Again, I Don't Know, and.
<v Speaker 1>The songs.
<v Speaker 3>I was in a couple of bands. In one band
<v Speaker 3>we did Loving a Stranger and Slow and Easy and
<v Speaker 3>my God, that was fun. Yeah, that was such a
<v Speaker 3>bless and another band we did Here I Go Again
<v Speaker 3>and Still the Nights. This would have been in the
<v Speaker 3>early twenty teens and people were still loving these songs.
<v Speaker 3>I always remembering back in high school. Man, all the
<v Speaker 3>girls at my school, I don't try to get the
<v Speaker 3>tony hair like after that summer. Yeah, I was obly
<v Speaker 3>okay with that. Okay.
<v Speaker 1>The first part of this song is like you're at
<v Speaker 1>church on the moon. I mean, it's like it's like
<v Speaker 1>an aura of beautiful warm light is surrounding your body
<v Speaker 1>and you have the reverence you might have before the
<v Speaker 1>religious lea.
<v Speaker 2>The Lord Almighty, like the sunshiny. It's like the gospel.
<v Speaker 9>Man, Yeah, I love it.
<v Speaker 2>This song for me is totally equated to the Summer
<v Speaker 2>of eighty seven.
<v Speaker 1>When you say summer of nineteen eighty seven, I say,
<v Speaker 1>here I Go. I hear that music, that beginning keyboard intro,
<v Speaker 1>I immediately imagine Tawny Katain doing a cart wheel on top
<v Speaker 1>of a black and white Jaguar.
<v Speaker 3>Yes, as one should. Yeah, this is power ballad royalty.
<v Speaker 3>I mean, this is the song so nice they had
<v Speaker 3>to recorded Bryce right.
<v Speaker 1>Yeah. So the original version of the song came out,
<v Speaker 1>like we said in eighty two on the Saints and
<v Speaker 1>Sinners album. With that one, you had John Lord playing
<v Speaker 1>the beginning organ and it sounded like you're in a
<v Speaker 1>church in smalltown, Oklahoma, as opposed to on the Moon.
<v Speaker 1>And this is again another one he did with Bernie
<v Speaker 1>Marston back then, like Crying in the Rain.
<v Speaker 2>Let's listen to that nineteen eighty two version right here. Okay, okay,
<v Speaker 2>it's a great song, but it was played masterfully in
<v Speaker 2>nineteen eighty seven. They took a good song and said,
<v Speaker 2>you know what, let's polish this up and make it great.
<v Speaker 1>John Klaudner hit the nail on the hest. This is
<v Speaker 1>a hit song. You just didn't play it right, didn't
<v Speaker 1>do it Wright record it right?
<v Speaker 3>Yeah? Yeah, I mean they bumped up the bpms just
<v Speaker 3>a little bit, gave it just a bit more drive.
<v Speaker 3>That's the original. It feels a little plotting almost. It
<v Speaker 3>is a great song, but you look what they did
<v Speaker 3>to this in nineteen eighty seven compared to that one
<v Speaker 3>that there really is no comparison.
<v Speaker 1>And then, of course we have a key lyric change
<v Speaker 1>instead of instead of the old lyric, we say like
<v Speaker 1>a drifter, I was born to wagga law was It
<v Speaker 1>was the original lyric like a what'd you call me?
<v Speaker 3>And I believe that was Lord Coverdale's exit. Yeah.
<v Speaker 1>He did not want any misinterpretation of what he was
<v Speaker 1>saying there, and so we changed as a drifter, which
<v Speaker 1>is a much better It's fine with me.
<v Speaker 3>Yeah.
<v Speaker 1>So then we have even a third version of the song.
<v Speaker 3>No, I don't know.
<v Speaker 1>The radio edit if you will, that's the version that
<v Speaker 1>actually topped the charts.
<v Speaker 3>It wasn't the.
<v Speaker 1>Video version, although we know that. I mean, if you
<v Speaker 1>grew up in nineteen eighty seven, you heard as much
<v Speaker 1>from that video version as you did from the radio version.
<v Speaker 1>Absolutely not more.
<v Speaker 2>I call this one the Casey Kasum version because it
<v Speaker 2>was on the radio, it was played as a single,
<v Speaker 2>it reached number one, and it's not even the best
<v Speaker 2>version of the song.
<v Speaker 3>Well, he assembled an interesting crew for this one. On drums,
<v Speaker 3>he had Denny Carr Macy you know from Heart, Yes, yeah, bantros,
<v Speaker 3>and he had David Coverdale singing obviously, and on guitar
<v Speaker 3>he had someone near and dear to Jason's heart. Yes,
<v Speaker 3>from Giants?
<v Speaker 1>How does Dan Huff keep coming up? Okay, wait that happen?
<v Speaker 2>Dan Huff was the lead man for Giant, who had
<v Speaker 2>one great song in nineteen ninety called I'll See You
<v Speaker 2>in My Dreams. I'm playing it right here for the
<v Speaker 2>third freaking time.
<v Speaker 1>Don't here it is I'll.
<v Speaker 2>See You in my Dreams. That song is awesome, It's incredible.
<v Speaker 2>Dan Huff making another appearance. He actually played the guitar
<v Speaker 2>on danger song.
<v Speaker 3>That's how he was involved with a lot of He's
<v Speaker 3>done a lot of production and songwriting in the country
<v Speaker 3>music industry, and he's been involved a lot of Christian
<v Speaker 3>rock bands. Yeah, the man's all over the place.
<v Speaker 1>He's got a great voice, man. Yeah. He actually produced
<v Speaker 1>an album for Taylor Swift. You know, I did not
<v Speaker 1>know that boom blew your mind on Dan Hunty.
<v Speaker 2>When we do Taylor Swift, I'm going to play I'll
<v Speaker 2>See You in My Dreams again. This song hitting number
<v Speaker 2>one October tenth, nineteen eighty seven. And here's the thing
<v Speaker 2>that really is interesting to me. So when I'm a
<v Speaker 2>so I'm a freshman in nineteen eighty seven, I didn't
<v Speaker 2>know that this song was on Saintsan Centers five years before.
<v Speaker 1>So in my Spanish book.
<v Speaker 2>When we get to the music section, it shows the
<v Speaker 2>top ten list and there's Here I Go Again. I'm
<v Speaker 2>looking at it in the fall of eighty seven, I'm like,
<v Speaker 2>how did my Spanish book know that Here I Go
<v Speaker 2>Again was going to be a top ten hit?
<v Speaker 1>As a freshman?
<v Speaker 3>It blew me away.
<v Speaker 1>So we mentioned in our last episode that Tony Katine
<v Speaker 1>did not drink. That was her little deal like. She
<v Speaker 1>was like, I don't drink, so I'm not going to
<v Speaker 1>join you for a drink. But then David Coverdale won
<v Speaker 1>her affection by asking her for a spot of tea.
<v Speaker 1>But Tommy Katane had some other demons that she was fighting.
<v Speaker 2>She loved the cocainea.
<v Speaker 1>What year was it she was married to Chuck Finley,
<v Speaker 1>think nineties, early two thousand something like that. We were
<v Speaker 1>talking about just to bring it back to major league.
<v Speaker 1>We're talking about the picture for the Cleveland Indians, that's right.
<v Speaker 1>But they made his theme song not wild Thing, but
<v Speaker 1>something else.
<v Speaker 2>So Tony Katine and Chuck Finley were riding in a
<v Speaker 2>car together and they are having a fight. This is
<v Speaker 2>when he's an active baseball pitcher, and she decides that
<v Speaker 2>she didn't like his smart mouth. So she's wearing stilettos
<v Speaker 2>and decides to kick him so hard that it puts
<v Speaker 2>him on the disabled list. So when he finally comes
<v Speaker 2>back and takes the mound in Chicago, Chicago White Sox
<v Speaker 2>against the White the broadcast guy plays, here I go again.
<v Speaker 1>He got fired by the way. He didn't make it
<v Speaker 1>to the next game. I would have given him a promotion, but.
<v Speaker 3>I just realized that I only I'm separated by white
<v Speaker 3>snake from four degrees, I have an old sportswriter Buddy
<v Speaker 3>used to interview Chuck all the time, and Chuck was
<v Speaker 3>married to Tony so Hey fort degrees from David Coverdale.
<v Speaker 1>There you go, you and and Tommy Lee if you
<v Speaker 1>want to get into.
<v Speaker 2>That, Yeah, Nicky six talks about this how Tommy Lee
<v Speaker 2>used to bang Tony Katain.
<v Speaker 1>You can't say bang on.
<v Speaker 2>The red used to bang her brains out right. They
<v Speaker 2>used to shoot up together, which is hilarious. That she
<v Speaker 2>doesn't drink but loves cocaine. Well, it's like you talk
<v Speaker 2>Vanity and Nikki six. She yelled at him for drinking
<v Speaker 2>a Coca cola and then they'd be shooting heroin.
<v Speaker 3>That.
<v Speaker 1>Yeah, it's the logic.
<v Speaker 2>But Molly Crue and White Snake toured together in nineteen
<v Speaker 2>eighty seven, and there's you know, the queen of rock
<v Speaker 2>and roll, Tony Katain was with this guy. Now with
<v Speaker 2>this guy, no problem, I guess. I do think it's
<v Speaker 2>interesting though, that Molly Crue did not like White Snake.
<v Speaker 2>They thought they were Wait.
<v Speaker 1>It just occurred to me. White Snake was hired to
<v Speaker 1>open for Motley Crue, but as it turns out, Tommy
<v Speaker 1>Lee opened for David govert Dale.
<v Speaker 2>I listened to the Heroin Diaries by Niki six, right.
<v Speaker 2>They thought White Snake was uptight and not cool and
<v Speaker 2>not willing to party and not willing to burn down
<v Speaker 2>the hotel, and anytime they invited him to go do anything,
<v Speaker 2>they were Villian Campbell turned him down one time because
<v Speaker 2>he had to practice, and Nicky six is like, practice,
<v Speaker 2>what are you talking about?
<v Speaker 1>Practice?
<v Speaker 2>On the Girls, Girls Girls tour, Nicky six invited Robin
<v Speaker 2>Crosby to come and check out the concert.
<v Speaker 1>Who and Robin Crosby opened for Tommy Lee.
<v Speaker 2>Robin Crosby used to bang Donna Gataine before Tommy Lee. Well,
<v Speaker 2>Robin Crosby was great friends with Nicky six, and when
<v Speaker 2>he came he Robin Crosby's like, man, white Snak is
<v Speaker 2>killing him. They're awesome, And Nicky six is like, man,
<v Speaker 2>screw you. They're not that and he's like, oh, crab,
<v Speaker 2>they're killing it. And so that caused Nikki six to
<v Speaker 2>sort of be like, ah, man, I don't like these guys.
<v Speaker 1>They were killing them on stage and you even.
<v Speaker 3>Back that up, Oh, they were amazing.
<v Speaker 2>Let's talk about the video. So the video opens with
<v Speaker 2>Marty Coalner's black Jaguar, David Coverdale's white Jaguar that had
<v Speaker 2>broken down a couple of years before.
<v Speaker 1>She's now up there in a white dress.
<v Speaker 2>They called in Paula Abdul to choreograph Tony Katine.
<v Speaker 1>Paula Abdul yes that.
<v Speaker 2>Paula Abdul shows up and says straight up cold hearted,
<v Speaker 2>and she.
<v Speaker 1>Says, well, show me what you can do. Well, Tony
<v Speaker 1>Katan grew up.
<v Speaker 2>A gymnasts, a dancer, and a dancer, and she says, well,
<v Speaker 2>check this out cart will walk over splits.
<v Speaker 1>Paul Abdul's like, I'm out of here, guys. You don't
<v Speaker 1>need me for this. She's got it.
<v Speaker 2>And that video with Tony Katin on the hood of
<v Speaker 2>the Jaguars is maybe one of the most iconic video
<v Speaker 2>images of the eighties.
<v Speaker 1>No argument. I can remember at thirteen years old, my
<v Speaker 1>buddy sitting next to me and we're watching MTV and
<v Speaker 1>he's like, you're ready, She's gonna look at me. You're ready,
<v Speaker 1>She's gonna look at me, and she comes out of
<v Speaker 1>that car window looks right at us.
<v Speaker 10>She's looking at me, kind of like how Susannah hass
<v Speaker 10>always looked at me in the video for Alda, like
<v Speaker 10>in Egyptian.
<v Speaker 2>That's another sh That's that's a good one too.
<v Speaker 3>Did it right? There's any increase in sales for Jaguars
<v Speaker 3>after that video.
<v Speaker 1>Yes, sure, I think so. Yeah. And Blue power Suit's
<v Speaker 1>probably would.
<v Speaker 3>Mind the Blue power suit myself.
<v Speaker 2>These days, all right now, listen, six months after the
<v Speaker 2>release of the Here I Go Again video, MTV calls
<v Speaker 2>Marty Callner out of the Blue and says, Marty, we
<v Speaker 2>have analyzed this frame by frame and you can see
<v Speaker 2>Tony Kataine's nipple and Marty Caulner's like, guys, it's been
<v Speaker 2>six months. Nobody has seen a nipple already. He's like,
<v Speaker 2>is it really worth the time, the money, and the
<v Speaker 2>effort to cut it down? And they said yes.
<v Speaker 1>Yeah.
<v Speaker 2>So the question is, have you guys seen the original
<v Speaker 2>version with the nipslip.
<v Speaker 1>I actually have a memory of this from the time
<v Speaker 1>because the rumor, you know, it had been out for
<v Speaker 1>maybe three months, four months, and the rumor started to
<v Speaker 1>go around. Yeah, guys, I think you can actually see it,
<v Speaker 1>and I'm like, no, no, And so I think that
<v Speaker 1>the first time that I tried to watch it is
<v Speaker 1>the edited version, because I was like, dude, I told
<v Speaker 1>you no nipple.
<v Speaker 3>I have paused every second of this video.
<v Speaker 2>I got my VHS tape, I recorded it, I've adjusted
<v Speaker 2>the tracking.
<v Speaker 1>I can't see anything.
<v Speaker 3>Ladies.
<v Speaker 1>Have you guys heard.
<v Speaker 2>The Bowling for Soup song called nineteen eighty five?
<v Speaker 1>Yes, and we heard it. I sent the video to you.
<v Speaker 3>I know what.
<v Speaker 11>Was on the hood up?
<v Speaker 1>Yeah. So this popped up a little Patrick Swayze esque
<v Speaker 1>debate for about two seconds, and then we put it
<v Speaker 1>to rest pret quickly because we had a text exchange
<v Speaker 1>where I had read on some songfacts dot com that
<v Speaker 1>Connie Katain was in the Bowling for Soup video nineteen
<v Speaker 1>eighty five, which is I mean the whole video. It
<v Speaker 1>came out in the early two thousand, two thousand and
<v Speaker 1>one or two or something like that, right, and the
<v Speaker 1>whole video is all a throwback to eighties royalty rock.
<v Speaker 3>Right.
<v Speaker 1>You got Robert Palmer, You've got Moley Crue, you've got
<v Speaker 1>run DMC, you got all those guys. Right, And there's
<v Speaker 1>a lady across the street who, with my low resolution
<v Speaker 1>video on my phone, looks very much like the Tawny Katain.
<v Speaker 1>So I was like, yes, Connie Kataine. And then there
<v Speaker 1>was talk about the wife and the housewife, and I said,
<v Speaker 1>you guys, realize this is Tawny Katine. And Jason says, no,
<v Speaker 1>this is somebody named Joey House. Joey House, And I
<v Speaker 1>said what And I went and looked at IMDb and
<v Speaker 1>sure enough, that's the list. So a little bit of research,
<v Speaker 1>I have to agree with Jason. That is not Kawnie
<v Speaker 1>Kataine on the radio. But man, she is a lookalike.
<v Speaker 1>She looks close.
<v Speaker 2>In fact, one of her IMDb credits she was in
<v Speaker 2>a movie quote unquote movie one of those late nights
<v Speaker 2>that we used to watch on Cinemax called of a
<v Speaker 2>Sex Addict.
<v Speaker 1>Yeah. What was her character's name. Her character's name is Tawny. Yeah.
<v Speaker 1>I think a lot of people probably saw the similarity there.
<v Speaker 1>But the nineteen eighty five video ends with Miss Joey
<v Speaker 1>House dancing rather scantily clad on the hood of a car. Yes,
<v Speaker 1>it's iconic. Yeah.
<v Speaker 3>When the Fall of eighty seven he hit every school
<v Speaker 3>dance this this song got played. Yeah, everyone not.
<v Speaker 2>Tended, absolutely one hundred percent.
<v Speaker 1>So we mentioned that this song was an early song.
<v Speaker 1>This one sounds like a self driven I'm gonna go
<v Speaker 1>pull myself up by my own bootstraps song, and it
<v Speaker 1>turns out that's not what it's about at all. David
<v Speaker 1>Coverdale wrote this back in the seventies, came up with
<v Speaker 1>the lyrics when he was going through marital troubles with
<v Speaker 1>his wife at the time, Julia Borkowski. I like it
<v Speaker 1>better as the I'm Gonna pull myself up by my
<v Speaker 1>own bootstraps into Frank the Tank. Let's rock and roll.
<v Speaker 2>Thank Frank the Tank. This song was featured in twenty
<v Speaker 2>sixteen on a Walmart back to school commercial.
<v Speaker 1>I'd say, let's not talk about.
<v Speaker 11>That all right, moving on, Yeah, but I was thinking
<v Speaker 11>in this case, maybe we should hit the jake button,
<v Speaker 11>take the cassette tape, turn it around and slide it
<v Speaker 11>in again.
<v Speaker 1>Yes, yes, I love it. I love it. So this
<v Speaker 1>is the first song inside to give me all your loves.
<v Speaker 6>Away.
<v Speaker 1>Okay, this song makes me feel like a dog without
<v Speaker 1>a bone.
<v Speaker 3>Very reminiscent of earlier White Snake stuff, the kind of
<v Speaker 3>shuffle boogie woogie number, but with a more modern production
<v Speaker 3>and better play.
<v Speaker 1>You can answer me on this one. It sounds like
<v Speaker 1>he's hitting those drums really, really hard.
<v Speaker 3>Yeah. A lot of that was the eighties production. You know,
<v Speaker 3>they had so much reverb in all the snare drums.
<v Speaker 3>They sounded like they were monstrous.
<v Speaker 1>Nice a.
<v Speaker 8>Night.
<v Speaker 3>Yeah, the production of this whole album is amazing. You
<v Speaker 3>listen to with the good quality headphones, the guitars or massive.
<v Speaker 3>David Coverdale's voice is astounding and the drums just sounds huge. Yeah,
<v Speaker 3>and it's really evident on this song.
<v Speaker 2>This was released February of nineteen eighty eight, So we're
<v Speaker 2>moving all the way through eighty seven.
<v Speaker 1>We're now into eighty eight.
<v Speaker 2>This reached number forty eight on the Hot one hundred
<v Speaker 2>and number twenty two on the Rock charts.
<v Speaker 1>This one, to me is more finger snapping than Headbank.
<v Speaker 1>Great lead off to the second side.
<v Speaker 3>The original album version, John Sykes played an amazing guitar
<v Speaker 3>solo right one reason on the single, Vivian Campbell recorded
<v Speaker 3>a different solo for the single for this song, which
<v Speaker 3>I mean, I think that's the only thing Vivian ever
<v Speaker 3>actually recorded with White Snagan's tenure with the band, That's
<v Speaker 3>exactly right.
<v Speaker 1>Yeah, So Vivian Campbell left the band after this tour,
<v Speaker 1>and his alleged reason was because he had musical differences,
<v Speaker 1>and there was a little bit of talk about how
<v Speaker 1>Adrian Vandenberg wanted it to be just a one guitar band.
<v Speaker 1>But I think the real reason is that Tawny Kataine
<v Speaker 1>hated Vivian Campbell's wife and had her band from the record.
<v Speaker 1>As Jason puts it, you don't mess with Queen Beech.
<v Speaker 1>Don't mess with the Queen. You got to know your place.
<v Speaker 3>You don't remember the video for this one, I do.
<v Speaker 1>It was like a live concert one right.
<v Speaker 3>No, Tony and I just I still laugh thinking about
<v Speaker 3>because every time it flashes to Rudy Sarzov, he's licking
<v Speaker 3>in his face, so it's obviously the pre COVID era,
<v Speaker 3>but I mean every time he's licking that baslick.
<v Speaker 1>I remember in one of the videos they cut to
<v Speaker 1>David Coverdale licking Tony Katine's leg. They like the slip
<v Speaker 1>of the tongue. You know, right, you did mention it though,
<v Speaker 1>no Tony Katain in this video.
<v Speaker 3>It was fairly just a straight formance for video. You
<v Speaker 3>had Adrian Vandenberg standing back there being call and Dutch
<v Speaker 3>and Tommy back there shaking his effront. So yeah, it
<v Speaker 3>was it was a different approach as far as our
<v Speaker 3>videos went.
<v Speaker 1>It did not perform as well as the ones that
<v Speaker 1>had Tony Katain, and that's very true. Did not and
<v Speaker 1>it's a great song, so she's definitely a key ingredient.
<v Speaker 1>And we were talking about how much influence she had.
<v Speaker 1>She made the call on who was going to be
<v Speaker 1>managers for the band, like Dave Defen wanted Doc McGee
<v Speaker 1>to be the band, and she said, no, I want
<v Speaker 1>Howard Kaufman. And David Geffen stands up at his desk
<v Speaker 1>and puts both his hands on his desk and says, no,
<v Speaker 1>it's going to be Doc McGee. And she stands up
<v Speaker 1>on the other side, puts her hands on the desk
<v Speaker 1>and says, no, it's going to be Howard Kaufman. And
<v Speaker 1>she won that freaking battle. How do you beat David
<v Speaker 1>Geffen in a call on who's managing the biggest band
<v Speaker 1>that you have on the label? And this is a
<v Speaker 1>woman who did a walkover on the hood of a car.
<v Speaker 1>It's impressive.
<v Speaker 3>Yeah. Pavian Campbell, if you look at he had kind
<v Speaker 3>of a similar background to John Sykes. He came from
<v Speaker 3>a band called Sweet Savage. We're kind of one of
<v Speaker 3>those New Way of British heavy metal bands. I think
<v Speaker 3>Metallica covered one of their songs at one point. Then
<v Speaker 3>he went to do O, so you know, he had
<v Speaker 3>the heavy Sabbath type riffs. Then there was the brief
<v Speaker 3>stay in White Snake, and after that I think he
<v Speaker 3>did okay for himself.
<v Speaker 2>Don't y'all think he landed on his feet in def Leppard?
<v Speaker 2>My gosh, Yeah, how many years has it been.
<v Speaker 3>I think he joined Leopard in ninety two.
<v Speaker 1>Yeah, wow, So you replaced Steve clad Oh yeah, that's incredible.
<v Speaker 1>It's interesting, you know, like we said, they didn't write
<v Speaker 1>the solos to these songs. They had to make them
<v Speaker 1>their own. And I mean, obviously we're talking about two
<v Speaker 1>of the most proficient guitar players of the day at
<v Speaker 1>that time. But Adrian Vandenberg said it was actually pretty agreeable.
<v Speaker 1>They just said, you want to do the solo on
<v Speaker 1>this one, you want me to do it, and they're
<v Speaker 1>just like, I'll do it, Okay, I'll do the other one.
<v Speaker 1>There you go. And it was that easy. That's cool.
<v Speaker 1>I mean, it's great whenever guys who have that much
<v Speaker 1>skill and ability can be humble and just say you
<v Speaker 1>take this one. I'll think next one, yeah, okay. Next
<v Speaker 1>song on the album is another major, beautiful rock ballad
<v Speaker 1>called is This Love? So we mentioned in our Top
<v Speaker 1>Gun soundtrack episode that Kenny Loggins sang danger Zone in
<v Speaker 1>the tone of Tina Turner because in nineteen eighty five
<v Speaker 1>TEENA Turner was on absolute fire huge. She was huge,
<v Speaker 1>and she was everywhere, and somebody came to David Coverdale
<v Speaker 1>and said, hey, would you write a song for Tina Turner? Oh,
<v Speaker 1>I would love to do that. So he and John
<v Speaker 1>Sykes are together writing this album in the south of
<v Speaker 1>France and he starts kind of humming and singing the
<v Speaker 1>song and John Sykes comes over and he's like, what
<v Speaker 1>is this, What are you doing. He's like, well, I'm
<v Speaker 1>trying to write this song for Tina Turner and Sikes
<v Speaker 1>is like, cool, I'll help, and sits down and they
<v Speaker 1>work together and it's this beautiful moment where they're just
<v Speaker 1>playing off of each other and they create this incredibly
<v Speaker 1>beautiful song and they take it to David Geffen and
<v Speaker 1>he says, what is this and they're like, this is
<v Speaker 1>the song we wrote for Tina Turner. It's Tina Turner song.
<v Speaker 1>He goes, no, this is a white snake song. Yeah, yeah,
<v Speaker 1>and that's how it ends up on the album.
<v Speaker 2>That's fantastic, a song written for Tina Trder and this
<v Speaker 2>is one of the biggest hits on the album.
<v Speaker 1>This reached number two in December.
<v Speaker 2>Of eighty seven, blocked only by George Michael's Faith at
<v Speaker 2>number one.
<v Speaker 1>Just a throwback. I didn't realize how many eighty seven
<v Speaker 1>albums that we've covered, but we covered Faith, but George
<v Speaker 1>Michael it was Against an Excess, which also came out
<v Speaker 1>in eighty seven we mentioned that you too, Joshua Tree.
<v Speaker 1>We covered that one it was number one, and held
<v Speaker 1>out White Snake Whenever this album came out, it debuted
<v Speaker 1>at number eight and Joshua Tree was at the number
<v Speaker 1>four position. At the number eight position was signed to
<v Speaker 1>The Times by Prince, which we covered as well. Eighty
<v Speaker 1>seven was a miraculous year for music.
<v Speaker 3>There is something about David Coverdale's voice that really lends
<v Speaker 3>itself to these balls. If it was some other band
<v Speaker 3>trying to save this, I mean, these lyrics would probably
<v Speaker 3>be incredibly cheesy if say it was Warrant or somebody
<v Speaker 3>trying to sing it.
<v Speaker 2>This is on the Makeout List of eighty seven and
<v Speaker 2>eighty eight agreed.
<v Speaker 1>There's a lot of slow dancing of this song. Oh
<v Speaker 1>my gosh.
<v Speaker 3>I ran an interview with Coverdale. He said that you know,
<v Speaker 3>they were in the south of France, and I guess
<v Speaker 3>there was some tension with him and Sykes already. It
<v Speaker 3>said that he kept daylight hours and Sykes kept what
<v Speaker 3>he called owl hours. But this is one of those
<v Speaker 3>rare occasions where they passed where David was coming to
<v Speaker 3>studio and John was leaving, and like d Sid he asked,
<v Speaker 3>what are you working on? There is that's a new song,
<v Speaker 3>and that Sykes jumped into it feet first.
<v Speaker 1>It's awesome.
<v Speaker 2>This song reached number thirty eight on the Adult Contemporary chart.
<v Speaker 1>Twenty fifteen. Classic Rock Magazine ranked it as the number
<v Speaker 1>seven song on the Power Ballad List's Greatest.
<v Speaker 2>Pocus clearly belongs to the top power ballads.
<v Speaker 1>So we mentioned earlier. First video that Marty Coulner did
<v Speaker 1>for him was Still the Night, and then they got
<v Speaker 1>together to record both this video and the Here I
<v Speaker 1>Go Again video at the same time. And you obviously,
<v Speaker 1>I mean it's it's like a part two to Here
<v Speaker 1>I Go Again. There's no question, and I think that
<v Speaker 1>was probably a huge factor in its success. Not that
<v Speaker 1>it's not an amazing song anyway, but anymore Tawny Katane
<v Speaker 1>and Jaguars I can get in nineteen eighty seven sign
<v Speaker 1>me Up.
<v Speaker 2>She looks amazing in this video.
<v Speaker 1>I would describe this song and that video together as heartbreaking.
<v Speaker 1>It wrenches you to your soul to watch her and
<v Speaker 1>listen to cover day of sing this song.
<v Speaker 3>Kind of an unsung hero on this album is Don Airy,
<v Speaker 3>who provided the keyboards. Love the songs Okay yeah, on
<v Speaker 3>this song. It really helps keep that steady, atmospheric background
<v Speaker 3>for David to sing over in the guitar. I think
<v Speaker 3>he may not have got enough attention to bridgework on
<v Speaker 3>this album.
<v Speaker 2>I think it's interesting that around the same time you
<v Speaker 2>had another song by Mister Mister called is This Love
<v Speaker 2>and a song by Survivor called is This Love?
<v Speaker 1>Yep. Survivor even said is this love that I'm feeling?
<v Speaker 3>Right?
<v Speaker 1>It is? Okay, love it? I mean, what can we say?
<v Speaker 1>Clear winner couples move out to the middle of the
<v Speaker 1>dance floor. All right, we're ready to move on, move
<v Speaker 1>it on. The next song on the album is Children
<v Speaker 1>of the Night. Okay, David Coverdale's voice aside from the
<v Speaker 1>moment the guitar is pumping and solid, but very plain.
<v Speaker 1>Star of the beginning of this song to me is
<v Speaker 1>the drums. Absolutely, it's like a rapid fire triplet in
<v Speaker 1>your face. That the beat is not quite what you
<v Speaker 1>would expect, and the difference that it makes the song.
<v Speaker 3>Oh, that was more than Ainsley Dunbar double bass playing.
<v Speaker 3>We were talking about that. It's kind of just a propulsive,
<v Speaker 3>locomotive feel to the song, like it's a train coming
<v Speaker 3>right at you. Whitesnake make the ballads, the rockers and
<v Speaker 3>the head bangers. This is a definite head banger. Man.
<v Speaker 3>I cannot listen to this one without risking a neck injury.
<v Speaker 1>Okay, I'm gonna blasphe me a little bit here. I
<v Speaker 1>really like the intro. I really like the chorus. The
<v Speaker 1>pre chorus is so kind of catchy tuney that I'm
<v Speaker 1>thinking of the New York Seltzer commercials. It's I feel
<v Speaker 1>like we kind of dripped into a jingle right there
<v Speaker 1>at the pre chorus. But it's overall a very good song.
<v Speaker 2>This song was written to begin concert non so David
<v Speaker 2>Coverdelle talks about how certain songs have certain places in
<v Speaker 2>the concert. This one was designed with you know, drop
<v Speaker 2>the curtain, turn off the lights, are you ready to rock?
<v Speaker 1>Children of the Night.
<v Speaker 2>That's the whole purpose of this song was start of
<v Speaker 2>the concert. The interesting thing to me is this, I
<v Speaker 2>think is probably the weakest track on the album. I
<v Speaker 2>still love it, I still know all the words and
<v Speaker 2>still absolutely love it. But Kalodner is the guy who
<v Speaker 2>said this song is going on the album, and David
<v Speaker 2>Coverdell was like, I like the song looking for Love
<v Speaker 2>better and collother's like Nope, Children of the Night. So
<v Speaker 2>then we'll talk about looking for love here in this minute.
<v Speaker 1>Yeah, so important for our folks who are listening overseas.
<v Speaker 1>The American version of this album had tracks that were
<v Speaker 1>missing from it that you guys got. You guys got
<v Speaker 1>a couple extra tracks on the release overseas that we
<v Speaker 1>didn't have until twenty eighteen, I think, yeah, the thirtieth anniversary. Yeah,
<v Speaker 1>twenty seventeen anniversary versions the first time we got to
<v Speaker 1>get those songs on the album. It's not the best song,
<v Speaker 1>but it's fun. I wouldn't have picked it over the
<v Speaker 1>other one. No, wouldn't it be.
<v Speaker 3>It's just a fun, brainless, hard rocking song. The guys
<v Speaker 3>who played could not have messed this up if they tried.
<v Speaker 3>But yeah, I guess on the overall rankings this would
<v Speaker 3>be a little lower. Yeah. Still a kick ass song, though.
<v Speaker 1>Yeah it is.
<v Speaker 3>This whole album really gave me a new appreciation for
<v Speaker 3>Amesley Done for I had barely heard of him at
<v Speaker 3>the time. I thought the drummer was Tommy Algeorge until
<v Speaker 3>I bothered to read the liner notes.
<v Speaker 2>Yeah, he's killing it on this album.
<v Speaker 3>Oh, Yeah, it's amazing.
<v Speaker 2>You know you mentioned something to me yesterday. I think
<v Speaker 2>you said White Snake and Coverdale are like Ozzy Osbourne.
<v Speaker 2>There's a lot of different players, but he always plays
<v Speaker 2>with the best.
<v Speaker 3>Yeah. And it always doesn't matter who the musicians are.
<v Speaker 3>That artist always seems to have a certain sound. He
<v Speaker 3>always assembles a group of players who stay true to
<v Speaker 3>that sound. They may add their own embellishments, but Ozzie
<v Speaker 3>did that, Dio did that. David Coverdale definitely has done that.
<v Speaker 1>Okay, are we done with Children to Night?
<v Speaker 3>I think so, yes, sir?
<v Speaker 1>All right. Moving on to the next song on the album,
<v Speaker 1>called Straight for the Heart. Mark me down as a
<v Speaker 1>huge fan of this one. I'm skipping this song. Get
<v Speaker 1>out of here.
<v Speaker 8>This song.
<v Speaker 1>No, this song is like what you would expect to
<v Speaker 1>hear on Growing Pains when they were trying to do
<v Speaker 1>a heavy keyboards on this one as great as down
<v Speaker 1>areas on every other thing, they don't belong in the song.
<v Speaker 1>I mean, the guitars are still shredding because you still
<v Speaker 1>got John Psykes, but the melody, the keyboards, it's just
<v Speaker 1>it's not good. Definite.
<v Speaker 2>Oh you're out, dude, You're out because a lot of fun.
<v Speaker 2>I love the chorus. It never really slows down. It
<v Speaker 2>just continues that fun, pumping summer of a seven song.
<v Speaker 1>James Sweet for You.
<v Speaker 3>Oh, I like this when it's not one of the
<v Speaker 3>first ones I'm gonna go to, but I'm not gonna
<v Speaker 3>skip it. It's it's just up tempo fun Coverdale was
<v Speaker 3>kind of singing in the more higher end of his range,
<v Speaker 3>and I like that. I kind of liked the guitar
<v Speaker 3>and keyboard interplay on the song It's not when. If
<v Speaker 3>I was making my Essential White Snake list, it probably
<v Speaker 3>wouldn't make the top ten. But I liked the song.
<v Speaker 1>He made fun of me earlier.
<v Speaker 2>He's like, you love all these cheesy power ballad stuff,
<v Speaker 2>and I'm.
<v Speaker 1>Like, yes, I do, Yes do Guilty right, Guilty of love?
<v Speaker 3>If you will.
<v Speaker 1>Who.
<v Speaker 2>This song was originally called Love Drives You Crazy. It
<v Speaker 2>has never been played live.
<v Speaker 1>Before a c see you guys agree crime, they agree
<v Speaker 1>with me? Stinker. No, It's a little bit soccer and rock,
<v Speaker 1>but it's fun.
<v Speaker 3>Even the cheesier ones this band could still make sound great.
<v Speaker 3>So yeah, I like the song.
<v Speaker 1>All Right, We're ready for the last song. The last
<v Speaker 1>song on the last song on the American version of
<v Speaker 1>the album, that's right Here We Go. This is Don't
<v Speaker 1>Turn Away. So this is a song that's playing when
<v Speaker 1>Daniel son is watching Ali Live Her Life after breaking
<v Speaker 1>up again. This one I actually like better. I like
<v Speaker 1>this one better than the last song. But this is
<v Speaker 1>this is the very eighties heartbreak montage music Let's freaking Go. Yes,
<v Speaker 1>I love this one as well. Yeah, I mean, I've
<v Speaker 1>got no problem with that. I love eighties montage movie breakup,
<v Speaker 1>all of that.
<v Speaker 2>Give it to me, Okay, I am spiking the football.
<v Speaker 2>This is the most underappreciated song on the album.
<v Speaker 1>I love it.
<v Speaker 2>I absolutely am a huge fan of this one.
<v Speaker 1>Dan's where are you on this one?
<v Speaker 3>So I like it too. It's kind of deceptive. You
<v Speaker 3>start off think it's going to be another White Snake ballad,
<v Speaker 3>but then by the time that chorus gets here, the
<v Speaker 3>whole stone song that starts building. By the end, it's
<v Speaker 3>just a headbanging rocker.
<v Speaker 1>The way it closes is awesome. Does have a great
<v Speaker 1>build for sure.
<v Speaker 2>Originally cold, I Don't Walk Away. This is another one
<v Speaker 2>of those where David Coverdell's messing around in an old
<v Speaker 2>box in his mom's attic and comes across a couple
<v Speaker 2>of old tapes and he came across this one, played
<v Speaker 2>it for Sikes and he said, Sykes is the one
<v Speaker 2>who breathed life into this one.
<v Speaker 3>Sich shreds on this one. He really does, particularly towards
<v Speaker 3>the end.
<v Speaker 2>As you mentioned, David Coverdale said that in the era
<v Speaker 2>of social media, this is the one song that he
<v Speaker 2>keeps sort of hearing about from fans where they said,
<v Speaker 2>you know what, that's a song that I really like.
<v Speaker 2>And it's kind of surprised him over the years that
<v Speaker 2>it keeps coming up.
<v Speaker 3>I wonder if they're performing live.
<v Speaker 1>Ummmm, never played live?
<v Speaker 2>Is what I have in my notes that this is
<v Speaker 2>a perfect mid concert break song.
<v Speaker 3>Well, you'd ride into the drum solo. I think they
<v Speaker 3>do the drum solo on Crime in the Rain. I
<v Speaker 3>think that's where they had the drum solo.
<v Speaker 2>Usually this is on the unofficial makeout list of Make
<v Speaker 2>eighty seven Love It.
<v Speaker 1>So that's the end of the album right there. So
<v Speaker 1>there are a couple of bonus tracks that we're going
<v Speaker 1>to tell you. We got to talk about the bonus tracks,
<v Speaker 1>so we mentioned that John Kladner said, no, we're not
<v Speaker 1>putting that song on the album. There was another song
<v Speaker 1>that they're not putting on the album. But John Claudner
<v Speaker 1>worked for Geffen and he had no power across the
<v Speaker 1>pond with EMI, and they said, we're putting these extra
<v Speaker 1>two songs on the album. I think there was some
<v Speaker 1>question about how good they sounded on the vinyl version
<v Speaker 1>of the album. Is the reason why they didn't put
<v Speaker 1>them on, or maybe just John Kladner just decided they
<v Speaker 1>weren't strong enough songs. As we mentioned, John Kalladner made
<v Speaker 1>virtually every creative decision to be made about this album.
<v Speaker 1>And before we jump into these bonus tracks, I just
<v Speaker 1>wanted to touch this is a really memorable album cover.
<v Speaker 1>Yeah it is. And John Klaudner is the guy who
<v Speaker 1>hired the artist to do the album cover, but it
<v Speaker 1>was David Coverdale who said, Hey, I would like to
<v Speaker 1>do kind of a Celtic amulet that has these water
<v Speaker 1>and fire type of themes to it. And it is
<v Speaker 1>a very very cool and I don't know it just
<v Speaker 1>the album cover really to me captures the visual for
<v Speaker 1>what the sound of the band is, powerful, regal, but
<v Speaker 1>breaking down some walls.
<v Speaker 2>This is the best white snake cover apart from slide
<v Speaker 2>it in Oh Yeah, where.
<v Speaker 1>He had the cleavage of the model there, it's like
<v Speaker 1>snake necklace.
<v Speaker 2>Yes, so let's play the first bonus track. This one's
<v Speaker 2>called Looking for Love.
<v Speaker 6>I'm asking myself, why is it all my.
<v Speaker 8>So far?
<v Speaker 3>Looking a little.
<v Speaker 6>In my revection strange and insteading.
<v Speaker 4>Looking for the.
<v Speaker 1>Start off very airy in this one, very glitterally to me.
<v Speaker 1>This song is way better than Straight for the Heart,
<v Speaker 1>like way better. This is one of the stronger tracks
<v Speaker 1>of all of the tracks on the album, and I
<v Speaker 1>gotta to use a Jason analogy. This is the scene
<v Speaker 1>in Miami Vice where this is driving along because he
<v Speaker 1>accidentally shot Crockett looking wistfully into the distance as he
<v Speaker 1>drives his Ferrari. I love this song. This song could
<v Speaker 1>have been a hit with a video.
<v Speaker 2>Absolutely put Tony Katain walking around, you know, brushing her
<v Speaker 2>hair or sunglasses.
<v Speaker 1>This is a hit song. Tarney Katine sitting in a
<v Speaker 1>lazy boy watching TV. And I'm still going to watch
<v Speaker 1>this video. You squirt some water on her. This is
<v Speaker 1>a hit. I love this one. This is the song
<v Speaker 1>that used to audition drummers.
<v Speaker 3>I can see that because it's you gotta be able
<v Speaker 3>to cover all your basses on this one. It's a
<v Speaker 3>real dynamic song and you start off slow and you
<v Speaker 3>come in with that massive sounding snare drum hit, and
<v Speaker 3>then from then on it just steadily builds. So, yeah,
<v Speaker 3>you gotta be able to cover all your bases on
<v Speaker 3>this one. I think it's a great song. I don't
<v Speaker 3>see why it wasn't included on the original track listing, and.
<v Speaker 1>Either it should have been.
<v Speaker 2>And I'm not going to argue this is a better
<v Speaker 2>song than the Straight for our David Coverdale says this
<v Speaker 2>is one of his favorite White snakess.
<v Speaker 1>Yeah, I love this song.
<v Speaker 2>It's that sort of is this love, sort of the
<v Speaker 2>haunting vocals.
<v Speaker 1>He's much more singing in his chest voice on this one.
<v Speaker 1>He's not hitting those high notes like he normally does.
<v Speaker 1>This is much more of that old blue sound that
<v Speaker 1>he had. But it is heartfelt, it is genuine, and
<v Speaker 1>I think it's fantastic. Want to live here say, John
<v Speaker 1>Claudner is wrong and this is the true unsung, underappreciated
<v Speaker 1>song on this album.
<v Speaker 2>And John Claudner's gonna say eight times platinum anything.
<v Speaker 9>More on this one.
<v Speaker 3>It's a great song. I agree with every thing you
<v Speaker 3>guys have said. It would not have been out of
<v Speaker 3>place on the original album.
<v Speaker 2>It has all the elements of a White Snake song.
<v Speaker 2>It should have been on the album, all right. So
<v Speaker 2>let's wrap it up with the last song. This song
<v Speaker 2>is called You're Gonna Break My Heart Again.
<v Speaker 1>Okay, if it's me making this album, I'm getting rid
<v Speaker 1>of Straight for the Heart. I'm putting those two as
<v Speaker 1>the last songs on the album. This is such a
<v Speaker 1>strong closer. It reminds you of who the band is.
<v Speaker 1>It's kicking butt. It's got that solid, pumping bass as
<v Speaker 1>it comes in. I think this is a great hinding
<v Speaker 1>to this album. I probably would have preferred the European
<v Speaker 1>version when I was buying out.
<v Speaker 2>I think that's fair. I think that's fair. I think
<v Speaker 2>Klaidner was wrong.
<v Speaker 1>I can't argue the results. Say but didn't you just
<v Speaker 1>say Atimes Platinum.
<v Speaker 2>I think these are two stronger songs than Children of
<v Speaker 2>the Night and Straight for the Heart.
<v Speaker 3>I can't really argue. And I think it's a great song.
<v Speaker 3>It's got all those essential White Snake elements we talked about,
<v Speaker 3>a great melody, great playing. I mean, it would not
<v Speaker 3>have been out of place amongst the rest of the songs.
<v Speaker 2>They were just really on their game in eighty seven.
<v Speaker 2>I mean Sikes and Coverdale and Katain, they were it
<v Speaker 2>in eighty seven.
<v Speaker 1>You know. Okay, guys, this is the end of the album,
<v Speaker 1>This is the end of the history. And some stuff
<v Speaker 1>happened after this.
<v Speaker 3>I mentioned the.
<v Speaker 1>Marty Collner episode, but there's a little bit more to
<v Speaker 1>the end of this story.
<v Speaker 2>Yeah, Sadly, all things must come to an end. David
<v Speaker 2>Coverdale and the Queen of rock and Roll Tiny Contained
<v Speaker 2>sadly got divorced just a few years after this album
<v Speaker 2>came out. So I've got a story for you on
<v Speaker 2>why they actually got divorced.
<v Speaker 1>Oh I don't know this, Go go ahead tell me so.
<v Speaker 1>In her defense, Toney Katain said that she was a
<v Speaker 1>bit of a spender. Okay.
<v Speaker 2>She said that David got all bent out of shade
<v Speaker 2>because she was spending seventy thousand dollars a month, holy crap,
<v Speaker 2>shopping and shoes and you know, queen of rock and
<v Speaker 2>roll stuff.
<v Speaker 1>David Coverdale said, seventy thousand a month.
<v Speaker 2>I wish it was thirty five thousand.
<v Speaker 8>Dollars a day.
<v Speaker 1>He goes and I've got the receipts to prove it. Yes.
<v Speaker 2>Well, okay, that honey drenched million dollars only takes you
<v Speaker 2>so far.
<v Speaker 1>I guess well, there's two kinds of sex that you
<v Speaker 1>pay for. One is illegal and the other one's more expensive. Okay, guys,
<v Speaker 1>we're going to go into our Shirly showcase. We have
<v Speaker 1>a special guest, Adam Mishski, who is going to give
<v Speaker 1>his opinion on these two monumental albums. Let's hear what
<v Speaker 1>he has to say.
<v Speaker 12>Hi, everyone, I'm so glad that Jason and d gave
<v Speaker 12>me the opportunity to give a quick comparison of these
<v Speaker 12>two massive albums from nineteen eighty seven. I love the
<v Speaker 12>harder stuff back in the eighties. I still do today,
<v Speaker 12>and I got both of these albums the day that
<v Speaker 12>they came out. I think that one of these albums
<v Speaker 12>is age better than the other, and I definitely have
<v Speaker 12>a favorite between the two Girls. Girls Girls starts off
<v Speaker 12>with wild Side and the title track, which is one
<v Speaker 12>of the best one to two punches of any metal
<v Speaker 12>album of the eighties. These two songs are the two
<v Speaker 12>best on the album by a mile. I think that
<v Speaker 12>Dancing and Glass is probably the third best song on Girls, Girls, Girls,
<v Speaker 12>but it's such a far cry from the first two
<v Speaker 12>songs after Dance and Glass.
<v Speaker 3>Maybe you can talk about.
<v Speaker 12>Your All I Need, but that's only because MTV refused
<v Speaker 12>to play the video. I didn't even know there was
<v Speaker 12>a video for it until a couple of years ago.
<v Speaker 12>It's an okay song at best, but it's not going
<v Speaker 12>on any playlist that I have. Everything after the title
<v Speaker 12>track just feels like filler. They didn't play much of
<v Speaker 12>it on tour nineteen eighty seven, and that was even
<v Speaker 12>though they played over one hundred dates that year, So
<v Speaker 12>in my opinion, this is Motley Cruz's weakest album of
<v Speaker 12>their first five releases. Then you have White Snake's self
<v Speaker 12>titled eighty seven album, which was a monster and sold
<v Speaker 12>over nine million copies. It opens with the re done
<v Speaker 12>version of Crying in the Rain, and I assume that
<v Speaker 12>longtime White Snake fans were wondering where their bluesy influence went.
<v Speaker 12>That bluesy swagger they used to have is definitely gone
<v Speaker 12>by the time that Bad Boys starts, and then Still
<v Speaker 12>the Night defines what White Snake is for a majority
<v Speaker 12>of the fans. That song alone shot them a superstardom.
<v Speaker 12>I'm sure that Coverdale is still cashing massive checks off
<v Speaker 12>of the success. I wasn't a huge White Snake fan
<v Speaker 12>prior of the album. I'd seen some of the videos
<v Speaker 12>on MTV, but this album was definitely my go to
<v Speaker 12>in nineteen eighty seven and eighty eight. It had four
<v Speaker 12>massive singles and videos, and White Snake really took advantage
<v Speaker 12>of MTV at its peak. Overall on this album, I'm
<v Speaker 12>not skipping a song until song number eight, which is
<v Speaker 12>Straight for the Heart. That's a song that probably should
<v Speaker 12>have been replaced by looking for Love on the US release.
<v Speaker 12>Coverdell has said that looking for Love is the best
<v Speaker 12>song that he wrote with Psychs, and I have no
<v Speaker 12>doubt had it been included on the US version and
<v Speaker 12>released as a single with a video, the album would
<v Speaker 12>have sold at least another million copies. I think it's
<v Speaker 12>pretty obvious where I fall in the comparison. So, even
<v Speaker 12>with two of the songs being re recordings of earlier songs,
<v Speaker 12>White Snakes self titled eighty seven album is phenomenally.
<v Speaker 3>Better than Girls, Girls, Girls.
<v Speaker 12>The hits are bigger, there's more of them, and there's
<v Speaker 12>maybe only one skip around the entire album. This album
<v Speaker 12>is a top ten album for me overall. Thanks everyone
<v Speaker 12>for listening and take care.
<v Speaker 1>Adam, were you sitting in when we were recording? Hey,
<v Speaker 1>great minds think alike. That's what I gotta say. My goodness.
<v Speaker 2>We haven't given our final judgment on Girls, Grost Girls
<v Speaker 2>compared to White Snake yet, but man, he hit basically
<v Speaker 2>the same thing as we talked about.
<v Speaker 1>You can't deny that the White Snake album introduces us
<v Speaker 1>to an entirely different band than the White Snake before.
<v Speaker 1>And I mean I got to point out that he's
<v Speaker 1>on the exact same page of what the skipper song
<v Speaker 1>is on this album.
<v Speaker 2>Hey, not only did he pick the skipper the same
<v Speaker 2>one that you picked, yeah, but he also was a
<v Speaker 2>lover of looking for Love.
<v Speaker 1>Yeah. I mean, I can't say you're right enough. I
<v Speaker 1>don't know if I'm going to agree with you on
<v Speaker 1>which album is best. You guys will have to tune
<v Speaker 1>in next week to find out what we think about Girls,
<v Speaker 1>Girls Girls and whether it tops this one out or whether,
<v Speaker 1>like Adam said, White Snake is the clear winner. Adam,
<v Speaker 1>thank you very much.
<v Speaker 3>We sure appreciate it.
<v Speaker 1>Okay, guys, that's the end of our coverage of this album,
<v Speaker 1>tracked by track. We hope you enjoyed it. We hope
<v Speaker 1>we introduced you to a couple of new songs here
<v Speaker 1>at the end. If you're an American listener like us,
<v Speaker 1>go back and check this album out again. Be sure
<v Speaker 1>and leave a review and a five star rating on
<v Speaker 1>our podcast app if you would. And James can't tell
<v Speaker 1>you thank you enough for coming in here and doing
<v Speaker 1>this with us, and thank you so much for your
<v Speaker 1>support of our podcast for the last however many months
<v Speaker 1>years it's been.
<v Speaker 3>I had an absolute blast, guys. I mean, this is
<v Speaker 3>an album that's near and dear to my heart, so
<v Speaker 3>getting discussed with you guys, it was a blast at
<v Speaker 3>an absolutely great time. But we can do it again sometimes.
<v Speaker 1>Hey, why don't you come back next week and talk
<v Speaker 1>Girls Girls Girls.
<v Speaker 3>With us, Sex, drugs and rock and roll.
<v Speaker 1>I'm there, all right, sweet, So guys, be sure and
<v Speaker 1>join us next week. We are going to be comparing
<v Speaker 1>this album to the Girls, Girls Girls album by Motley Crue.
<v Speaker 1>The bands, I mean, they've played together on tour started
<v Speaker 1>off with White Snake opening for Motley Crue and kind
<v Speaker 1>of ended up with White Snake saying We're going to
<v Speaker 1>go headline our own show, see you guys later. Fantastic,
<v Speaker 1>can't wait to dive into that one.
<v Speaker 2>The dregs of Heroin next week, and somehow they managed
<v Speaker 2>to pump out a pretty great alum, pretty incredible