Top 5 Songs of 1979!

<v Speaker 1>What's up everyone?
<v Speaker 2>This is Dirk Smith, longtime fan of one of the
<v Speaker 2>more radical podcasts out there. It's Surely you Can't Be Serious?
<v Speaker 3>Hello everybody, Welcome back to the Shureley You Can't Be
<v Speaker 3>Serious podcast. Today we are going through our top five
<v Speaker 3>of nineteen seventy nine, plus two honorable mentions. We've been
<v Speaker 3>working on this all day. How do you feel about it?
<v Speaker 1>Well, sometimes you get in those positions where you're like, hey,
<v Speaker 1>we're going to record an episode today and they were like, oh, wait,
<v Speaker 1>no we're not. And so it's scramble as pivot right, alter,
<v Speaker 1>fade back, shoot, And I'm hoping that we score with
<v Speaker 1>this one because we literally put this together in maybe
<v Speaker 1>the last four or five hours.
<v Speaker 3>Yeah, we did nineteen seventy nine. How old are you
<v Speaker 3>in nineteen seventy nine?
<v Speaker 1>I turned four in nineteen seven in October of seventy nine.
<v Speaker 3>Okay, so I turned six in nineteen seventy nine. I
<v Speaker 3>do remember some of these songs playing on the radio
<v Speaker 3>while I'm riding around with my parents or my uncle Mike, grandparents,
<v Speaker 3>that type of thing.
<v Speaker 1>Yep.
<v Speaker 3>So I'm excited to jump into this because I have
<v Speaker 3>great nostalgic memories of a lot of these songs, and
<v Speaker 3>they're awesome songs. So you've already said you've got a
<v Speaker 3>whole list of babies over there.
<v Speaker 1>I got some babies that I couldn't figure out how
<v Speaker 1>to kill, and so I'm honestly hoping you have them
<v Speaker 1>so that I can just mark them off my list
<v Speaker 1>and hopefully talk about other songs, all the songs that
<v Speaker 1>I love from nineteen seventy nine, which is again an
<v Speaker 1>amazing year. If you haven't heard our nineteen seventy eight
<v Speaker 1>Top five, go back and check that one out. That
<v Speaker 1>is one of my favorite episodes of all time. I
<v Speaker 1>was blown away by how many great songs were in
<v Speaker 1>nineteen seventy eight, But again I was having to kill
<v Speaker 1>babies in that situation. I mean, I had fifty songs
<v Speaker 1>that I was choosing from, and so I killed some babies,
<v Speaker 1>and some of the time that I did it, I
<v Speaker 1>was like, wait a minute, this came out in seventy eight,
<v Speaker 1>but it was kind of bigger in seventy nine, So
<v Speaker 1>I'm just gonna push it off to seventy nine and
<v Speaker 1>now over here still with a baby to kill. Okay, Jason,
<v Speaker 1>Before we get rolling for those listeners that we have
<v Speaker 1>that this is their first episode to hear our top
<v Speaker 1>five list. Here are a couple of the things that
<v Speaker 1>you need to know. Number One, if we've ever covered
<v Speaker 1>the album before in one of our prior episodes, we're
<v Speaker 1>not going to bring up a song from that album.
<v Speaker 3>Right.
<v Speaker 1>Also, if we plan to cover the album within the
<v Speaker 1>next year, we're not going to be pulling songs from
<v Speaker 1>that album either. So Pink Floyd the Wall is off
<v Speaker 1>the table, super Tramp Breakfast in America is off the table,
<v Speaker 1>and those are two huge songs.
<v Speaker 3>Well, we did the Patreon episode on September by Earth
<v Speaker 3>Wind and Fire.
<v Speaker 1>That's right, another huge song from nineteen seventy nine.
<v Speaker 3>It absolutely would have made my list, but it is
<v Speaker 3>not eligible because we have already covered it.
<v Speaker 1>Yep, guys, if you haven't tuned into our Patreon page,
<v Speaker 1>please go check it out. You can sign up and
<v Speaker 1>look at all of the songs that we've covered for
<v Speaker 1>absolutely free, and then if you decide, hey, I do
<v Speaker 1>want to hear that episode, you can join our Patreon
<v Speaker 1>for as little as five bucks a month. Just go
<v Speaker 1>to patreon dot com, Backslash Surely Podcast and you can
<v Speaker 1>take a look at our catalog of incredibly fun Patreon
<v Speaker 1>episodes where we usually do one hit Wonders or other
<v Speaker 1>kind of uniquer novel song.
<v Speaker 3>They're fun, yeah, fun, Great, we'll see you over there.
<v Speaker 4>All right.
<v Speaker 3>So here's a couple of things from nineteen seventy nine,
<v Speaker 3>just to get our footing. In nineteen seventy nine, Okay,
<v Speaker 3>you have ESPN, the Happy Meal, and the Susan B.
<v Speaker 3>Anthony Dollar all come out. In nineteen seventy nine, you
<v Speaker 3>have the Iran hostage crisis, you have the Three Mile
<v Speaker 3>Island incident, and then the Steelers beat my beloved Cowboys
<v Speaker 3>in the Super Bowl thirty five thirty one.
<v Speaker 1>Yeah, and I love it. As we're sitting here and
<v Speaker 1>I'm trying to cram for this episode, Jason goes, did
<v Speaker 1>you know in nineteen seventy nine the first robot murder occurred?
<v Speaker 1>I was like, robot murder. He's like, yes, a robot
<v Speaker 1>killed a human being for the first time in nineteen
<v Speaker 1>seventy nine. I was like, what do you have more?
<v Speaker 1>And he said nope. And I'm like, dang, I'll have
<v Speaker 1>to research that last.
<v Speaker 3>Oh, how crazy is that?
<v Speaker 1>I gotta find that story out.
<v Speaker 3>Wow, I thought that was against the robot code.
<v Speaker 1>I'm just wondering if it was a place called Westworld.
<v Speaker 4>I know.
<v Speaker 1>Right, Okay, Okay, enough about seventy nine. Let's jump into
<v Speaker 1>the music. Here we go, starting off number five, Jason
<v Speaker 1>on go first.
<v Speaker 3>Five all right, ded My first song was released in
<v Speaker 3>September of nineteen seventy nine and hits number one on
<v Speaker 3>Casey's Top forty December eighth, nineteen seventy nine. Okay, okay,
<v Speaker 3>very end of nineteen seventy nine. It's the only number
<v Speaker 3>one hit in the US for this band, although they
<v Speaker 3>did have another one reached number three, which you're very
<v Speaker 3>familiar with, all right, And it's the only song to
<v Speaker 3>chart in the UK. This song wasn't even supposed to
<v Speaker 3>be on the album. I love when these things pop up, right, yeah,
<v Speaker 3>all right. So the lead singer of this band wants
<v Speaker 3>to give a gift to his wife, okay, and so
<v Speaker 3>he writes a song for her. It's one of those
<v Speaker 3>deals where it's kind of cheesy, kind of corny. Plays
<v Speaker 3>it for the band and they're like, no, we like it.
<v Speaker 3>It needs to go on the album.
<v Speaker 1>Well, it's just a little too early for Metallica, So
<v Speaker 1>it's not nothing else matters.
<v Speaker 3>That's right, That's right.
<v Speaker 1>Okay.
<v Speaker 3>So here's the interesting thing about this song. Yeah, it
<v Speaker 3>is written for this guy's now wife. But you know
<v Speaker 3>how a lot of times when you write a song
<v Speaker 3>for your girlfriend, oh Sherry for instance, right, and then
<v Speaker 3>a few years down the road, you're like, I freaking
<v Speaker 3>hate that woman, you know. Right, Well, this guy was
<v Speaker 3>smart enough not to use her actual name. Okay, yeah,
<v Speaker 3>all right, you have any guesses so far?
<v Speaker 1>Well, I was thinking about Journey even before you said,
<v Speaker 1>Steve Perry, is it a Journey song?
<v Speaker 3>This is not a Journey song.
<v Speaker 1>Okay, keep going. Okay.
<v Speaker 3>So here's the deal. Even though he did the smart
<v Speaker 3>thing and not use her actual name in this song
<v Speaker 3>or for the title of this song, it would have
<v Speaker 3>mattered because they are high school sweethearts. They've been dating
<v Speaker 3>since nineteen sixty four, they got married in nineteen seventy
<v Speaker 3>and are still together today.
<v Speaker 1>Wow. Okay, right, yeah, okay, I'm so intrigued. How many
<v Speaker 1>more so?
<v Speaker 3>The lead singer of this band left in nineteen eighty
<v Speaker 3>four after perhaps their second biggest song of all time. Okay, okay,
<v Speaker 3>he did have one big hit in nineteen eighty four,
<v Speaker 3>maybe on the fringe of what you might know. The
<v Speaker 3>song is called Desert Moon.
<v Speaker 1>Ringing the Bell for Me so far?
<v Speaker 3>All right, Okay, here's my last best hint. Okay, the
<v Speaker 3>name of this band is named after a river in Hades,
<v Speaker 3>so that's Styx, and the song has to be Lady,
<v Speaker 3>not Lady Dang. Okay you're burning hot though, Okay, you're scorching.
<v Speaker 1>Yeah. I was like, I was like, man, I thought
<v Speaker 1>it was little river band that had Lady in nineteen
<v Speaker 1>seventy nine. Yeah, so Styx's Lady I think actually came
<v Speaker 1>out of like seventy four. Maybe. Okay, so it's sticks,
<v Speaker 1>but I don't know what the song is.
<v Speaker 3>It is Styx, and this song is called Babes Sing.
<v Speaker 4>You know, it's like it you know it?
<v Speaker 1>Oh, great choice, know it's you babe. Man, I don't
<v Speaker 1>even know. That didn't even appear on my radar. I
<v Speaker 1>don't even know how I missed it. I guess said
<v Speaker 1>December seventy nine. Maybe it was just I'm looking too
<v Speaker 1>early in the year or something. But wow, fantastic song,
<v Speaker 1>great one, great one, Thank you.
<v Speaker 3>It's a makeout hit from nineteen seventy nine when we
<v Speaker 3>were running aund around to where we didn't care about
<v Speaker 3>making out.
<v Speaker 1>Uh huh.
<v Speaker 3>I remember rolling around it with my uncle listening to
<v Speaker 3>this song. He liked this song a lot.
<v Speaker 1>Yeah, that's awesome.
<v Speaker 3>All right, to your number five?
<v Speaker 1>All right, okay, my number five. The music was written
<v Speaker 1>by the same guy who wrote the music for The
<v Speaker 1>Boys of Summer and Heart of the Matter.
<v Speaker 3>So those are both Don henleyheads yep, okay, okay.
<v Speaker 1>He wrote it at his house using a four track recorder,
<v Speaker 1>and he was the guitar player for this band. His
<v Speaker 1>name's Mike Campbell. So Mike Campbell writes the song, the
<v Speaker 1>music for this song on his four track. He takes
<v Speaker 1>it in and the lead singer is like, got it.
<v Speaker 1>He is in a mood because of what's been going
<v Speaker 1>on with him and his record company and their record company.
<v Speaker 1>What happened was that same year that they're trying to
<v Speaker 1>put together this album, ABC Records, who was their record label,
<v Speaker 1>tried to sell the band's contract to MCA without asking
<v Speaker 1>the band about it, okay, and so he was just
<v Speaker 1>kind of furious about this, you know, the treatment of
<v Speaker 1>the record company. And so the anger and the angst
<v Speaker 1>behind this song come from that experience. With the record company.
<v Speaker 1>So he listens to this music that Mike Campbell has written,
<v Speaker 1>he writes the lyrics like right over what he's written like,
<v Speaker 1>he doesn't change the arrangement, doesn't know, doesn't add a verse,
<v Speaker 1>or of course he writes it right over. But the
<v Speaker 1>problem was that when they got in the studio and
<v Speaker 1>they tried to record it as a band, they couldn't
<v Speaker 1>get it right. And they've tried it like one hundred
<v Speaker 1>times and couldn't get it right, to the point that
<v Speaker 1>Mike Campbell walked out of the studio and left for
<v Speaker 1>two days, just didn't talk to anybody for two days,
<v Speaker 1>just left, came back.
<v Speaker 3>Have we talked about this song before?
<v Speaker 1>No, okay, we've talked about this band before. Actually we
<v Speaker 1>talked about this band in our last top five nineteen
<v Speaker 1>eighty nine. Okay, that's a little bit of a hint
<v Speaker 1>for you, and keep going. So he came back, they regrouped,
<v Speaker 1>and they nailed it. The name of the album is
<v Speaker 1>called Damn the Torpedoes. That album reached number two, was
<v Speaker 1>at number two for seven weeks, held off every single
<v Speaker 1>week of that seven weeks by Pink Floyd's The Wall.
<v Speaker 1>When they recorded this song. A receptionist in the recording
<v Speaker 1>studio came in heard it and said, that's a hit.
<v Speaker 1>That's a hit. The band performed it for the first
<v Speaker 1>time for their first performance on Saturday Night Live in
<v Speaker 1>nineteen seventy nine. Then when they did Live AID a
<v Speaker 1>decade later, they closed out their set with this song
<v Speaker 1>and they were supposed to appear on the MERV Griffin
<v Speaker 1>Show in person, and they didn't want to appear in person,
<v Speaker 1>so they said, can we just like make a video?
<v Speaker 1>And this was nineteen seventy nine, so they thought this
<v Speaker 1>will be one time that this video shows. Well. Then
<v Speaker 1>of course two years later MTV happens and MTV is
<v Speaker 1>looking for videos by American bands, and so this one,
<v Speaker 1>even though it's a couple of years later, gets some
<v Speaker 1>heavy rotation. So this song, because of the year and
<v Speaker 1>because of what was going on in Iran, has some
<v Speaker 1>import You got it yet? Okay? So Mike Campbell is
<v Speaker 1>the guitarist for a group called the Heartbreakers.
<v Speaker 3>This refugee you got it.
<v Speaker 5>Somehow?
<v Speaker 3>Some classic rock staple.
<v Speaker 1>Man Man, this one. I couldn't get enough of this
<v Speaker 1>when I was a little kid. I just I wanted
<v Speaker 1>this over and over. You don't have to live like
<v Speaker 1>a refugee as such a catchy hook?
<v Speaker 4>It is?
<v Speaker 1>It just you'll sing it all day long.
<v Speaker 3>Gosh, we've got to cover full Moon fever.
<v Speaker 1>Oh man, oh heck yeah.
<v Speaker 3>Tom Patty, Okay, gone too soon? Love it? Great call,
<v Speaker 3>great call?
<v Speaker 1>Okay, thanks?
<v Speaker 3>Number four, number four.
<v Speaker 4>Four.
<v Speaker 3>All right, I think I'm gonna surprise you with this one.
<v Speaker 3>This song, although released in November of nineteen seventy eight,
<v Speaker 3>it peaks out in March of seventy nine. So I'm
<v Speaker 3>going best fit in nineteen seventy nine. Okay, okay, it
<v Speaker 3>hits number sixteen, although I have a really hard time
<v Speaker 3>believing that there are fifteen better songs than this.
<v Speaker 1>Did you look up there?
<v Speaker 4>I did not?
<v Speaker 3>I did not. Okay, all right, so listen to this.
<v Speaker 3>This song was written by Dan Schlitz.
<v Speaker 1>I've got it you keep going though, because I got it,
<v Speaker 1>you got it, I got it. Here is definitely on
<v Speaker 1>my radar.
<v Speaker 3>Keep on going, all right?
<v Speaker 6>All right?
<v Speaker 3>So this song was written by Dan Schlitz in nineteen
<v Speaker 3>seventy six. He shopped it around for a couple of
<v Speaker 3>years in Nashville before it being recorded by Bobby Bain
<v Speaker 3>at the urging of Shell Silverstein, which we talked about.
<v Speaker 3>I light in the attic, the giving tree where the
<v Speaker 3>sidewalk ends all of.
<v Speaker 1>Those Playboy magazine.
<v Speaker 3>Right, yes, Okay, well it didn't do anything, so Johnny
<v Speaker 3>Cash takes a hack at it. It's on Gone Girl, right,
<v Speaker 3>nothing major.
<v Speaker 1>I just got to say, because I know what this is.
<v Speaker 1>When you said Don Slitz, I was like, I know this.
<v Speaker 1>He's working as a computer operator at Vanderbilt University, like
<v Speaker 1>at the graveyard shift. He writes this song. Yeah, and
<v Speaker 1>he goes and meets with his mentor, guy named Bobdill,
<v Speaker 1>who was a songwriter. Yep, and he writes it on
<v Speaker 1>the walk home, except for the last verse.
<v Speaker 3>The last verse comes to him. He says, quote, something
<v Speaker 3>more than me wrote that song. I'm convinced of that.
<v Speaker 3>I really have no idea where that song came from.
<v Speaker 3>Months later, it came to me that it was inspired
<v Speaker 3>by and possibly a gift from my father. His dad
<v Speaker 3>died in nineteen seventy six. Got it from heaven above.
<v Speaker 3>Did you know that this song inspired the name of
<v Speaker 3>a professional football team? I did, not a USFL team.
<v Speaker 3>If you'll remember, in nineteen eighty three, the USFL Wow.
<v Speaker 1>You know, the people who are listening right now both
<v Speaker 1>know that we know that we both know it, But
<v Speaker 1>I don't think that they know what it is yet.
<v Speaker 6>Right?
<v Speaker 3>How about this hint? Yes, this was played on The
<v Speaker 3>Muppet Show despite having references to cigarettes and whiskey.
<v Speaker 1>Wow, this won't be the first time in this episode
<v Speaker 1>that the Muppet Show comes out all right, very good?
<v Speaker 3>Okay, So this hit number one on the country charts
<v Speaker 3>and inspired a movie. And if I say the words, you.
<v Speaker 1>Got to know one to hold them and no one
<v Speaker 1>to fold them.
<v Speaker 3>This is The Gambler by Kenny Rogers.
<v Speaker 5>Please right, you got to know lending to hold them, no,
<v Speaker 5>when to fold, no, when the love, when the run.
<v Speaker 3>You never count your money.
<v Speaker 1>When you're sitting at the table.
<v Speaker 4>There'll be time and of count.
<v Speaker 1>When thats done. I mean, this song is so freaking iconic,
<v Speaker 1>so timeless. There is no generation I think since it's
<v Speaker 1>been released that doesn't love this song. It was the
<v Speaker 1>beginning of the country crossover.
<v Speaker 3>That's right, it really was.
<v Speaker 1>I mean at that time there were not songs that
<v Speaker 1>were crossing over into the mainstream charts from the country,
<v Speaker 1>but this one was. And yeah, inspired the nineteen eighty movie,
<v Speaker 1>which was the highest rated TV film for that year
<v Speaker 1>and then spawned four more sequels made for TV sequels after.
<v Speaker 3>That probably gave us six Pack starring Kenny Rogers, Diane Lane,
<v Speaker 3>and Anthony Michael Hall. In nineteen eighty.
<v Speaker 1>Three, Fantastic won the Grammy four Best Male Vocal and
<v Speaker 1>Best Country Song, which means it launched Kenny Rogers kind
<v Speaker 1>of the enduring career. At that point, he went to
<v Speaker 1>the stratosphere.
<v Speaker 5>When you send the table, There'll be time enough come when.
<v Speaker 1>You got no, and it launched Don Schiltz's career as well.
<v Speaker 1>He could quit his job as the graveyard shift computer
<v Speaker 1>operator in Vanderbilt and becoming full time songwriter. He would
<v Speaker 1>go on to who write several songs, including on the
<v Speaker 1>Other Hand by Randy Travis.
<v Speaker 3>Huh.
<v Speaker 1>On the other hand, Yeah, there's a Golden Band. Yep.
<v Speaker 1>I'm not a country guy, but there are some songs
<v Speaker 1>that just they meet you. This one, however, I bet
<v Speaker 1>you don't know this one. This song entered the UK
<v Speaker 1>charts in two thousand and seven. The Gambler Yes Here's Why.
<v Speaker 1>There was a guy named Matt Stevens who was the
<v Speaker 1>prop forward for the Rugby World Cup and he would
<v Speaker 1>get his acoustic guitar out and play this song in
<v Speaker 1>the dressing room before every game. And so England sort
<v Speaker 1>of adopted it as their unofficial theme song for their
<v Speaker 1>rugby team, and through that it hits the UK charts
<v Speaker 1>in the year two thousand and seven. Nice great song.
<v Speaker 3>Love it all right, d Let's talk about your number four.
<v Speaker 1>Okay, my number four was written and sung the time
<v Speaker 1>by a Swamper. Okay, you know who the Swampers are. No, well,
<v Speaker 1>they're mentioned by Leonard Skinnyard in Sweet Home, Alabama.
<v Speaker 3>Okay, I have heard that reference.
<v Speaker 1>Yes, so the Swampers are the Southern equivalent of the
<v Speaker 1>Wrecking Crew, if you will. They are the studio musicians
<v Speaker 1>who would play at Muscle Shoals. The Muscle Shoals Rhythm
<v Speaker 1>Section was their official name, but we talked.
<v Speaker 3>About that on our Wham Yep.
<v Speaker 1>George Michael went to record Whisper Over and was disappointed,
<v Speaker 1>surprisingly because it was an amazing place. But yeah, check
<v Speaker 1>that one. There is a documentary out there called Muscle
<v Speaker 1>Shoals that is absolutely fantastic. You would be, I mean,
<v Speaker 1>you got You've got so many incredible songs that have
<v Speaker 1>been done with these guys Wreitha, Franklin, many many others.
<v Speaker 1>Leonard Skynyrd obviously. But anyway, George Jackson, one of the
<v Speaker 1>members of the Swampers, and a guy named Thomas Jones
<v Speaker 1>wrote this song and they literally they had nothing to
<v Speaker 1>do one day and they just recorded a demo in
<v Speaker 1>their studio B because they had nothing else to do.
<v Speaker 1>The guy they had singing, George Jackson, was black guy,
<v Speaker 1>and they said, this doesn't have the right feel. This
<v Speaker 1>is more like a rock and roll kind of song,
<v Speaker 1>and his voice just doesn't sound right. So they got
<v Speaker 1>a guest artist to come in and record the vocals
<v Speaker 1>and they're like, wow, this really sounds like another guy
<v Speaker 1>we know. And when they gave it to that guy,
<v Speaker 1>that's when it became a hit. But before that happened,
<v Speaker 1>before they gave it to the singer who made it
<v Speaker 1>a hit, they were recording it and this guy named
<v Speaker 1>Forrest McDonald shows up in the parking lot like he's
<v Speaker 1>in his parents car, and he walks up and he's like, hey,
<v Speaker 1>just you know, interested in the studio. You know, I'm
<v Speaker 1>play guitar a little bit and was wondering, you know,
<v Speaker 1>if I can see what it's like to do or
<v Speaker 1>recording in a studio or whatever. And they're like, well,
<v Speaker 1>we're working on this song. You want to come in,
<v Speaker 1>And so he comes in. He lays down the lead
<v Speaker 1>guitar for the demo and they're like, well it was
<v Speaker 1>great man, thanks a bunch, and he goes gets in
<v Speaker 1>the car with his parents and he leaves like he's
<v Speaker 1>he is a guy from Hollywood, like he was playing
<v Speaker 1>with Van Halen on the Sunset Strip. Was not a
<v Speaker 1>studio musician. But they've got again, got this demo and
<v Speaker 1>they're like, wait.
<v Speaker 3>Wait, this guy just appears out of the blue and
<v Speaker 3>lays down the lead guitar.
<v Speaker 1>Yes, that's exactly what happened.
<v Speaker 3>Like he walked out of the heavens exactly.
<v Speaker 1>Okay, his parents sat in the car with the air
<v Speaker 1>conditioner on while he walked in and laid down a
<v Speaker 1>lead guitar track on one of the most iconic songs of
<v Speaker 1>all time.
<v Speaker 3>What okay, So keep going.
<v Speaker 1>So they have this song, they give it to this
<v Speaker 1>artist and he changes everything except for the course of
<v Speaker 1>the song, like which is the title of the song
<v Speaker 1>as well. He's like that part's great. He changes everything,
<v Speaker 1>but this is the way he puts He's like, I
<v Speaker 1>was feeling really generous that day, so it didn't take
<v Speaker 1>any songwriting credit, despite the fact that it changed all
<v Speaker 1>of the lyrics and he gave them all the songwriting
<v Speaker 1>credit to George Jackson and Thomas Jones. Okay, he has
<v Speaker 1>gone on to say, that was the dumbest thing I
<v Speaker 1>have ever done.
<v Speaker 3>That's a huge mistake, if it's as big as you're saying.
<v Speaker 1>Huge mistake. So the singer comes in, he tries to
<v Speaker 1>record it with the muscle shoals rhythm section. It doesn't
<v Speaker 1>sound as good. Okay. He tries to bring in his
<v Speaker 1>own band, it still doesn't sound as good. So finally
<v Speaker 1>they're just like, well, let's just take the voice off
<v Speaker 1>the demo and put this singer's voice on the demo
<v Speaker 1>and use that, and that is the song that we
<v Speaker 1>have today.
<v Speaker 3>Ooh okay.
<v Speaker 1>In the song, the singer changed some of the lyrics
<v Speaker 1>because he wanted to express his distaste for disco, which
<v Speaker 1>had been popular but was fading in popularity at that moment.
<v Speaker 1>Right for me, I can kind of remember hearing the
<v Speaker 1>song in my young youth in the seventies, but really
<v Speaker 1>it came back to life in full force in nineteen
<v Speaker 1>eighty three because of a Tom Cruise movie where he
<v Speaker 1>performed the song in his underwear.
<v Speaker 3>Oh, this is Bob Seger old time rock and roll.
<v Speaker 5>Just take those old records off show, still listen to
<v Speaker 5>base Today's music got.
<v Speaker 6>The same sound.
<v Speaker 3>I mean this to me is nineteen eighty three Tom Cruise,
<v Speaker 3>Risky Business, all that stuff. That's great. Okay, yes, Bob Seger.
<v Speaker 1>Bob Seger rewrote the lyrics, didn't take any credit, and
<v Speaker 1>so he gets none of the royalty rights for this song.
<v Speaker 1>Has no call on whether the song gets used or not,
<v Speaker 1>although he did say he liked how it was used
<v Speaker 1>in Risky Business. He just thought it was kind of
<v Speaker 1>cool that Tom's standing around his underwear to this.
<v Speaker 3>Now good job.
<v Speaker 1>Sadly it's now being used in Catford commercials. But that's
<v Speaker 1>the twenty first century for you. By the way, the
<v Speaker 1>guitarist name was for Forrest McDonald. He did go on
<v Speaker 1>to have a decent career as a guitarist in studio recording.
<v Speaker 3>So he wasn't an angel.
<v Speaker 1>Wasn't an angel. He was actually a real person.
<v Speaker 3>Okay, all right, to my number three number three three, okay,
<v Speaker 3>So this song was released in June of nineteen seventy nine.
<v Speaker 3>It peaks out at number sixteen October of nineteen seventy nine.
<v Speaker 3>This song is about a woman who's cheating on her boyfriend.
<v Speaker 3>The boyfriend happens to be the narrator of this song,
<v Speaker 3>and at the end of the song, she discovers that
<v Speaker 3>her boyfriend is cheating too. And it's not the Pina Colada.
<v Speaker 4>I can see a.
<v Speaker 1>Nikolada song, but that's it can't be what it is?
<v Speaker 1>All right, all right, keep going.
<v Speaker 3>Stay with me on this Okay. The writer of this song,
<v Speaker 3>who we talked about a little bit during our nineteen
<v Speaker 3>eighty four episode, says that this is a true story
<v Speaker 3>that he watched through the window as his girlfriend got
<v Speaker 3>out of a corvette and gave the driver a long,
<v Speaker 3>loving kiss. Oh why the song was almost called I
<v Speaker 3>Freaking Hate Corvette drivers. Okay, I do think if you
<v Speaker 3>play the song Nothing Can Change This Love by Sam Cook,
<v Speaker 3>you will get a hint of this song.
<v Speaker 1>Well, I'm not familiar with the Sam Cook songs.
<v Speaker 3>You play this song from Sam Cook and see if
<v Speaker 3>you happen to recognize it.
<v Speaker 1>Okay, yeah, bog a million, Okay, So I had a
<v Speaker 1>song in my head that I was wondering about, and
<v Speaker 1>that song sounds like it is this journey.
<v Speaker 3>This is journey.
<v Speaker 1>Is this loving touch and squeezing.
<v Speaker 3>It is loving touching squeezing it. Good job you figured
<v Speaker 3>it out.
<v Speaker 7>Yeah said we try love him, touch him speezevam job.
<v Speaker 3>Excellent job. So here's the deal. Steve Perry calls this
<v Speaker 3>song love justice because true story discovered his girlfriend cheating
<v Speaker 3>on him. Well, guess what I'm cheating two now the
<v Speaker 3>end of the song. I know I've told you this
<v Speaker 3>story before. I was on a ski trip one time,
<v Speaker 3>back before cell phones when all you can do is
<v Speaker 3>look out the car and play cassettes and count cows
<v Speaker 3>and stuff like that. So me and my college buddies
<v Speaker 3>we counted the nas at the end of this song.
<v Speaker 1>That's right.
<v Speaker 3>No, no, there's twenty two nas perverse and it repeats
<v Speaker 3>seven times. That's one fifty four nas. But here's the thing.
<v Speaker 3>It never once occurred to me that maybe the non
<v Speaker 3>nana nas are like a child playground going and manh yeah,
<v Speaker 3>that never occurred to me until I started thinking about
<v Speaker 3>the nos. The nas, The nas love a touch and
<v Speaker 3>squeezing by journey. Okay, all righty to your number three?
<v Speaker 1>Okay, my number three. This band had had some songs
<v Speaker 1>before this, but this was their first song without any strings.
<v Speaker 3>Okay.
<v Speaker 1>They recorded this song without their string section, and they're
<v Speaker 1>like any of these guys, and they fired them. So
<v Speaker 1>by the time this song is recorded and done, there's
<v Speaker 1>only four members left of this band. This is this
<v Speaker 1>band's highest charting song. The singer of this song actually
<v Speaker 1>came up with the rhythm by looping some other sounds together. Okay,
<v Speaker 1>And even though he did that, he still counts in
<v Speaker 1>at the beginning of the song. He still goes one, two, three, four,
<v Speaker 1>even there's no drummer, no to like he's already got
<v Speaker 1>the rhythm, okay, because he just liked how the count
<v Speaker 1>in sounded, even though it's already on like a drum loop. Okay,
<v Speaker 1>all right. So this song has been used as theme
<v Speaker 1>song for Astronauts. In nineteen seventy nine, when the song
<v Speaker 1>came out, the band, as kind of a tongue in
<v Speaker 1>cheek joke, dedicated it to Skylab because Skylab was at
<v Speaker 1>that point falling to Earth.
<v Speaker 3>Okay, I remember that.
<v Speaker 1>And so this song has a part in it where
<v Speaker 1>it's got a word. Now. I always thought, listening to
<v Speaker 1>the song that the word was the name Bruce, and
<v Speaker 1>I thought they were singing to Bruce Springsteen, right, Bruce.
<v Speaker 1>And I'm apparently not the only one because there are
<v Speaker 1>so many people that thought that this word was Bruce
<v Speaker 1>that they started singing that word instead of the word
<v Speaker 1>that they use, which is Bruce.
<v Speaker 3>What and the word groose.
<v Speaker 1>If you're wondering, you know, since that is the lyric
<v Speaker 1>that is the song, what that word means. It doesn't
<v Speaker 1>mean anything what. It is just a placeholder, scatty lyric
<v Speaker 1>that he threw in there and then, like Maurice White
<v Speaker 1>with body.
<v Speaker 3>Yeah, yeah, he did not.
<v Speaker 1>Let the lyric get in the way of the groove,
<v Speaker 1>and he kept the word groose to. This song is
<v Speaker 1>about a girl who thinks she's too good for the
<v Speaker 1>guy she's with. She feels like he is bringing her down.
<v Speaker 3>This is e l O, don't bring me down.
<v Speaker 5>Poos.
<v Speaker 1>So I'm not sure if they shortened their name because
<v Speaker 1>Electric Light Orchestra was very long to say, or because
<v Speaker 1>they fired their string section and they were no longer
<v Speaker 1>an orchestra. Okay, yeah, that's good.
<v Speaker 3>That's a good clue, Yeah, Ello, yell, I love that song.
<v Speaker 3>Don't Bring Me Down.
<v Speaker 1>I got I've got two traveling Wilbury so far.
<v Speaker 3>In this way? Wow, I didn't even think about that.
<v Speaker 1>And Tom Patty, I don't think I have a number one.
<v Speaker 1>George Harrison my campbell too. My campbell was that's three.
<v Speaker 1>I got three.
<v Speaker 3>That dang right on to my number two.
<v Speaker 1>I guess so okay, two alight.
<v Speaker 3>I'm gonna dance around this one for a little bit
<v Speaker 3>because I don't want you to get it right off
<v Speaker 3>the bat.
<v Speaker 1>Okay.
<v Speaker 3>This was released in September of nineteen seventy eight. It
<v Speaker 3>does peak out at number five in January of nineteen
<v Speaker 3>seventy nine. When it peaks out at number five, the
<v Speaker 3>four songs in front of it easily could have been
<v Speaker 3>considered for this list. Number four is you Don't Bring
<v Speaker 3>Me Flowers? Love it Barbistro in Okay. Number three is
<v Speaker 3>My Life by Billy Joel. Almost made my list. Maybe
<v Speaker 3>it'll be on yours. We'll see. Number two is La
<v Speaker 3>Freak by Chic one of your favorites. Love it, and
<v Speaker 3>number one is Too Much Heaven by the Beegis that's huge?
<v Speaker 1>Yeah, we covered that one.
<v Speaker 3>Now, then this song was written by a person that
<v Speaker 3>we've already talked about, okay, and was inspired by when
<v Speaker 3>he was in high school. At the time, they didn't
<v Speaker 3>have call waiting, and so he was sitting at a
<v Speaker 3>dinner table with his parents and the phone rings, and
<v Speaker 3>then the operator would interrupt and say these three words.
<v Speaker 3>You have another phone call. And then they got a
<v Speaker 3>third phone call, all for this guy named David, because
<v Speaker 3>it was multiple girls calling the house to speak with
<v Speaker 3>him at the same time.
<v Speaker 1>So this guy named David. Yes, he also included his
<v Speaker 1>middle name whenever he no. Okay, so it is not
<v Speaker 1>davidly Roth.
<v Speaker 3>The subject of this is about love, but it really
<v Speaker 3>is about what love.
<v Speaker 1>Is not, okay.
<v Speaker 3>So, for example, it's not in the way that you
<v Speaker 3>hold me. It's not in the way that you say
<v Speaker 3>you care.
<v Speaker 1>You're doing such a good job of not singing the
<v Speaker 1>lyrics that I know, but keep going.
<v Speaker 3>It's not the way that you treat my friends. It's
<v Speaker 3>not the way you'll stay to the end. It's not
<v Speaker 3>the way you look or the things that you say
<v Speaker 3>that you'll do. Here's your last hint. They knew this
<v Speaker 3>was going to be a hit, and so they talked
<v Speaker 3>to their guitarists. They said, you got to bring it, man,
<v Speaker 3>this is a great song. We need a killer guitar solo.
<v Speaker 3>And when he played the guitar solo, the band was
<v Speaker 3>jumping up and down in the control room because he
<v Speaker 3>freaking slays it.
<v Speaker 1>Okay, I didn't want to interrupt you. Okay, hold the
<v Speaker 1>line by Toto.
<v Speaker 4>That's it.
<v Speaker 3>Bobby Kimball's sweaty, cocaine fueled vocals on this so freaking awesome.
<v Speaker 3>I love this song.
<v Speaker 1>Yeah, it's fantastic. So so David must be David.
<v Speaker 3>It was his last name, David Page.
<v Speaker 1>I was like, that's not Porch, it's Page, gotcha, Okay, yeah,
<v Speaker 1>David Page. Wow. I would not have guessed that David
<v Speaker 1>Page was a big heartbreaker, but you know, I only
<v Speaker 1>saw him in his later years.
<v Speaker 3>You can sing and play the keys.
<v Speaker 1>Yeah, that's true. And boy did Steve Luke atter bring
<v Speaker 1>it when he did that guitar iconic song, great one.
<v Speaker 3>Go back to our total episodes, which aren't we think
<v Speaker 3>are some of our best episodes. Yeah, that's great, great,
<v Speaker 3>all right, you're number two, sir, all right, number two.
<v Speaker 3>When the singer sang this song, she was in a backbrace. Okay.
<v Speaker 1>She had been an accident and been like rehabbing for
<v Speaker 1>six months before she sang it. Oh, Okay, So before
<v Speaker 1>I get there, I'll tell you about the songwriter. The songwriter,
<v Speaker 1>his name is Dino Ferrabs. Good old Dino, good old
<v Speaker 1>Dino Ferrabs.
<v Speaker 3>Okay.
<v Speaker 1>Now, a lot of people put a lot of meaning
<v Speaker 1>behind this song. Different groups have adopted this song because
<v Speaker 1>it is such an anthem of a song.
<v Speaker 3>Okay.
<v Speaker 1>But he says, this song came about when I got
<v Speaker 1>fired from writing for Motown Records. Okay. He had been
<v Speaker 1>writing for them as a staff writer for seven years
<v Speaker 1>and they fired him. And so he was sitting on
<v Speaker 1>his bed, didn't know what he was going to do,
<v Speaker 1>didn't know if he was going to make it. He
<v Speaker 1>turned on the TV and he heard his song being
<v Speaker 1>performed by Rare Earth for this movie called Generations. Okay,
<v Speaker 1>he said it was an omen. I knew I was
<v Speaker 1>going to make it. Now he's not Dono nobody. He
<v Speaker 1>wrote for Rare Earth a song that you know called
<v Speaker 1>I Just Want to Celebrate. Yeah, I do know that song.
<v Speaker 1>So the guy with that credit got fired from Motown. Well,
<v Speaker 1>another guy who had worked for Motown named Freddy Parron
<v Speaker 1>had also left them, and these guys got together with
<v Speaker 1>Deno Ferbris. Now Freddy Parrin was also no slouch.
<v Speaker 3>I recognize his name.
<v Speaker 1>Wrote ABC and I Want You Back by the Jackson five. Huh.
<v Speaker 1>They got together, they did well. They wrote the Peaches
<v Speaker 1>and Herb song Reunited.
<v Speaker 3>Reunited and it feels so good.
<v Speaker 1>That's the one. And then they had this song and
<v Speaker 1>they didn't know who to give it to. They had
<v Speaker 1>tried it a couple of times, couldn't figure out how
<v Speaker 1>to give it to, and eventually they just said, Okay,
<v Speaker 1>the next diva that comes along that we get the
<v Speaker 1>opportunity to record with, we're going to give her this song.
<v Speaker 1>And as it turns out, this singer's production company, her
<v Speaker 1>record company called and said, hey, we're looking for help
<v Speaker 1>on the production of her version of this song called Substitute,
<v Speaker 1>which was a Righteous Brother song that she's now covering. Okay, okay,
<v Speaker 1>and so they said, well, we've got this other song.
<v Speaker 1>She agreed to put their song on as the side
<v Speaker 1>B to this Righteous Brother's Substitute song.
<v Speaker 3>Okay.
<v Speaker 1>Now, once they were done recording the two songs, there
<v Speaker 1>wasn't anybody in the studio that thought that the Righteous
<v Speaker 1>Brothers song was better. Right, everybody said that is the
<v Speaker 1>superior song. We should make that one the A side
<v Speaker 1>and substitute the B side. But the record company president
<v Speaker 1>said no, We said, this is a side that's B side,
<v Speaker 1>and that's the way we're releasing it, and that's the
<v Speaker 1>way it got released.
<v Speaker 3>Interesting. Okay, I love this. But because the world is
<v Speaker 3>not stupid, right, Aya, Jay's.
<v Speaker 1>Started playing this song at discos. Radio stations started playing
<v Speaker 1>this song as a single, and it got so much
<v Speaker 1>popularity that eventually the record label said, okay, let's do
<v Speaker 1>it again and we'll flip it this time. So eventually
<v Speaker 1>this song was released as the A side. It reached
<v Speaker 1>number one in March of nineteen seventy nine. It won
<v Speaker 1>the Grammy. It is the only song, by the way,
<v Speaker 1>that has won a Grammy for Best Disco Record, because
<v Speaker 1>it was the first time and the last time that
<v Speaker 1>the Grammy's ever had that as a category. Okay, so
<v Speaker 1>this is a full on disco song. V H one
<v Speaker 1>said that this was the number one dance song of
<v Speaker 1>all time.
<v Speaker 3>Wow.
<v Speaker 1>So the rest of what the songwriter Diino Feribus said
<v Speaker 1>when he was jumping up and down on the bed
<v Speaker 1>was I'm going to make it. I will be a songwriter.
<v Speaker 1>I will survive.
<v Speaker 8>Your mind keep thinking I could never live without you, Bama.
<v Speaker 9>So but then I've spent so many nights thinking how
<v Speaker 9>you're getting wrong?
<v Speaker 3>And I was wrong?
<v Speaker 4>Did I learn how to get it?
<v Speaker 3>This is Gloria gaynor I will survive.
<v Speaker 1>So not only did Freddy Parrin write this song produce
<v Speaker 1>this song, he also is the guy playing the piano
<v Speaker 1>at that intro.
<v Speaker 3>Nice this is a karaoke al timer, absolutely.
<v Speaker 1>Sure, weren't you in.
<v Speaker 9>One trying to hurt him good bye didn't.
<v Speaker 3>Play?
<v Speaker 1>And this one. I remember watching the movie In and
<v Speaker 1>Out Yes, where Kevin Klein is trying to decide whether
<v Speaker 1>he's gay or not, and like, the answer to the
<v Speaker 1>question is if you hear the song and start dancing,
<v Speaker 1>you must be gay. And I have to say, then,
<v Speaker 1>by golly, I'm gay, and so is everyone else in
<v Speaker 1>the world, because if you can hear this song and
<v Speaker 1>not start dancing, then you must be dead.
<v Speaker 3>Well you're there, ladies and gentlemen. I do agree, though
<v Speaker 3>this is a I mean disco Maybe it's got to
<v Speaker 3>be the Pinnacle Discus song.
<v Speaker 1>Of all the time, right, Absolutely fantastic, And here's another
<v Speaker 1>tidbit for you. Forty years later, Luria Gaynor would again
<v Speaker 1>win a Grammy or Best Roots Gospel Album in twenty nineteen.
<v Speaker 3>Good for her.
<v Speaker 1>She has since become a Christian and attributes as added
<v Speaker 1>lyrics to the song to profess her faith as well.
<v Speaker 3>Interesting, Yeah, okay, very good, good for her. We're under
<v Speaker 3>our honorable mentions. Already, here we are. And there's a
<v Speaker 3>story I'm dying to tell you. But and I don't
<v Speaker 3>want you to steal it from me, but I'm gonna
<v Speaker 3>I'm gonna duck and dodge one more song and hope
<v Speaker 3>that you don't have it. Okay, all right, all right,
<v Speaker 3>so your first, my ferrible mention, my first honorable mention.
<v Speaker 1>We'll go back and forth. Okay, all right.
<v Speaker 3>So this song was written by the singer of this
<v Speaker 3>song and Kenny Loggins. Okay, Kenny Loggins, world famous for
<v Speaker 3>a million soundtrack songs like Footloose and danger Zone. All right,
<v Speaker 3>playing with the boys.
<v Speaker 1>This is well before all of those, that's right, Okay,
<v Speaker 1>This is back on your mam and don't dance.
<v Speaker 3>And right after Loggins on Usina, welcome to a corner.
<v Speaker 1>Yeah, okay, this.
<v Speaker 3>Is the same time as right before I'm all right
<v Speaker 3>and all this stuff for Caddyshack.
<v Speaker 1>Yeah, that's right, all right.
<v Speaker 3>So this song reaches number one in April of nineteen
<v Speaker 3>seventy nine. It's declared the Song of the Year and
<v Speaker 3>Record of the Year in nineteen eighty and is in
<v Speaker 3>the Grammy Hall of Fame. Okay, all right, Yeah, So
<v Speaker 3>here's the interesting thing about this song. I think the
<v Speaker 3>first eight months of nineteen seventy nine, if you just
<v Speaker 3>looked at the number one hits the first eight months,
<v Speaker 3>very few of them are non disco songs, right right.
<v Speaker 3>This is one of those non disco songs.
<v Speaker 1>Okay.
<v Speaker 3>Here's the other interesting thing. Kenny Loggins released this song
<v Speaker 3>in nineteen seventy eight, five months before the now more
<v Speaker 3>famous version has been released, and it really didn't do anything.
<v Speaker 3>So basically, the two writers of the song each released
<v Speaker 3>a version, one you know well and one you've probably
<v Speaker 3>never heard. Now listen to this. It was produced by
<v Speaker 3>Ted Templeman. Does that ring a bell to you?
<v Speaker 1>Sure? Ted Templetman was the producer for Van Halen.
<v Speaker 3>Okay, So here's the deal. He cut up the masters
<v Speaker 3>because he didn't like the way the drums sounded and
<v Speaker 3>literally took scissors to the master tape, to the horror
<v Speaker 3>of the band, and frankenstein them together to get a
<v Speaker 3>working track. This song haunted him like he just never
<v Speaker 3>felt like it was right okay, And so finally he
<v Speaker 3>just got so frustrated with it. He cut it and
<v Speaker 3>he pasted it, and he worked on it, and he
<v Speaker 3>couldn't really get it and just didn't really like it
<v Speaker 3>and never really satisfied him. This is all templeament, Ted Templeman.
<v Speaker 3>He plays it for the Warner Brothers executives and he
<v Speaker 3>Ted Templeman says, I think we just should just trash it.
<v Speaker 3>It's just not working, And they say, are you freaking crazy?
<v Speaker 3>This song is great?
<v Speaker 1>So this is a solo artist that sings this song.
<v Speaker 3>No, it's a it's a band.
<v Speaker 1>Is it the Doobie Brothers, Yes it is, Okay, keep going.
<v Speaker 3>Michael McDonald and Kenny Loggins write this song. They based
<v Speaker 3>this song on the four season's songs Sherry and Walk
<v Speaker 3>Like a Man, which we talked about a little bit
<v Speaker 3>in our Billy Joel Innocent Man episode. Yes here's a
<v Speaker 3>funny story for you, Okay, Michael Jackson is on a
<v Speaker 3>phone call with Elizabeth Taylor. It's already funny, and he
<v Speaker 3>knows he's being filmed. Okay, right, he's being videotape for
<v Speaker 3>some documentary or some stupid thing. But he tells Elizabeth
<v Speaker 3>Taylor that he sang backup vocals on this song.
<v Speaker 1>Michael Jackson sang backup vocals.
<v Speaker 3>Well, he told Elizabeth Taylor that he did. Turns out
<v Speaker 3>he was joking, but Entertainment Tonight brought that it was
<v Speaker 3>like a lead story and ended up with egg on
<v Speaker 3>their face because he was totally telling a lie and
<v Speaker 3>was a total joke.
<v Speaker 1>Oh my gosh, this is fantastic.
<v Speaker 3>Do you have any idea what the song is?
<v Speaker 1>Is this what a fool believes?
<v Speaker 6>It is what a fool believes.
<v Speaker 1>Michael McDonald has such a distinctive voice, and I never
<v Speaker 1>really think of him when I think of the Doobie
<v Speaker 1>Brothers because I think of their other music. Right, but
<v Speaker 1>have you seen the have you seen the s CTV?
<v Speaker 1>Rick moranis pretending to be Michael McDonald bit where like
<v Speaker 1>he's running around the studio.
<v Speaker 3>It's so funny. He keeps leaving that he runs.
<v Speaker 1>Back in and so Michael McDonald tells his story. He's like, Okay,
<v Speaker 1>so the first time that I saw that on TV,
<v Speaker 1>I'd been hanging out with one of the Doobie brother
<v Speaker 1>like the lead guitarist for the Doobie Brothers, and he
<v Speaker 1>said he had just bought like the best weed he'd
<v Speaker 1>ever had, and we both smoke this joint. And then
<v Speaker 1>I leave his hotel room and I go to my
<v Speaker 1>hotel room. Pat Simmons, I think is guitarist. I go
<v Speaker 1>to my hotel room. I turn on the TV and
<v Speaker 1>I see me. He was like, am I really watching
<v Speaker 1>this right now? Or is this the drug?
<v Speaker 3>Wow? Yeah, that keyboard is so hypnotic at the beginning.
<v Speaker 3>It's just a great toe tapper number one hit nineteen
<v Speaker 3>seventy nine. Okay, the honorable mention.
<v Speaker 1>All right, My honorable mention is where I got thrown
<v Speaker 1>off the track last time with Bruce Springsteen, when I
<v Speaker 1>threw you off the track. Sorry about that, Okay. This
<v Speaker 1>is the song that was written by Bruce Springsteen. He
<v Speaker 1>wrote it for Elvis.
<v Speaker 3>Is this man for Man?
<v Speaker 1>No?
<v Speaker 3>Ok.
<v Speaker 1>He wrote this song for Elvis, who is his hero.
<v Speaker 1>He sent it to him in nineteen seventy seven. Unfortunately,
<v Speaker 1>also in nineteen seventy seven he died. Yes, so Elvis
<v Speaker 1>obviously did not record the song. It probably would have
<v Speaker 1>been a great song for Elvis to record it, okay,
<v Speaker 1>very much his sound all right. So at the time,
<v Speaker 1>Bruce Springsteen couldn't record it because he's in this big
<v Speaker 1>fight with his record label and he's not recording any
<v Speaker 1>new albums, right, and so he's thinking, Okay, maybe I
<v Speaker 1>can give it to a friend of mine. So he
<v Speaker 1>gives it to his friend named Robert Gordon. Robert Gordon
<v Speaker 1>releases it and it doesn't really do anything, okay, and
<v Speaker 1>then the group that does the song that you and
<v Speaker 1>I know, their producer says, hey, this is a good
<v Speaker 1>song for you guys. Now. The difference is they're a
<v Speaker 1>female group, and it's because they're a female group that
<v Speaker 1>this song moves from being less predatory because it's talking
<v Speaker 1>about how you keep saying these things like you don't
<v Speaker 1>want me, but I don't believe you a liar because
<v Speaker 1>when we kiss.
<v Speaker 3>Oh you got it yet?
<v Speaker 1>No bye.
<v Speaker 4>Oh.
<v Speaker 3>We talked about this the other day. You dropped this nugget.
<v Speaker 3>This is the pointer Sisters Fire, We talked about this
<v Speaker 3>on our Beverly Hills Cops soundtrack.
<v Speaker 1>Yes we did now this. They obviously had a lot
<v Speaker 1>of success with a couple of the songs on Beverly
<v Speaker 1>Hills cop soundtrack By.
<v Speaker 9>Day that night They're taking me home. You say you
<v Speaker 9>want to stay, I say I wanna be alone.
<v Speaker 1>But this is their most successful song, went to number two.
<v Speaker 3>Number two. This is a great song. I love it.
<v Speaker 1>Okay, what's your other honor.
<v Speaker 3>Other honorable mention. I've been hanging on to this one. Okay, yep.
<v Speaker 3>So the song was released July of nineteen seventy nine,
<v Speaker 3>reached number one October of nineteen seventy nine. Okay, this
<v Speaker 3>was actually kind of a landmark release in the disco era.
<v Speaker 3>I'm not ready to give it up just yet.
<v Speaker 1>Here you go.
<v Speaker 3>The birth of this song comes from when the singer
<v Speaker 3>of this song was acting in a movie in nineteen
<v Speaker 3>seventy eight. He was already the singer of a famous
<v Speaker 3>band and was interested in maybe going solo. So he
<v Speaker 3>approaches the film's musical director and asks him, thinking about
<v Speaker 3>quitting this band, thinking about going solo, do you know
<v Speaker 3>any producers who might be interested in producing my record?
<v Speaker 3>And this guy says, how about me and changes pop
<v Speaker 3>culture history.
<v Speaker 1>Okay, I got an idea.
<v Speaker 3>The lyrics of this song, although unconfirmed, I believe is
<v Speaker 3>inspired by the movie Star Wars.
<v Speaker 1>Oh.
<v Speaker 3>Okay, and I'm going to read the lyrics to you
<v Speaker 3>because you've heard him a million times but maybe haven't
<v Speaker 3>really heard them. Okay, Hey, yeah, Thunk says, keep on
<v Speaker 3>with the Force, don't stop till you get enough.
<v Speaker 1>There's the lyric. That's the don't stop telling you good enough?
<v Speaker 1>Is Michael Jackson.
<v Speaker 3>That's it. That's what I thought it was with the
<v Speaker 3>Force with the Force?
<v Speaker 1>Yeah, interesting, how about that? Yeah? I mean, well that
<v Speaker 1>it's the right time, the right time to be doing
<v Speaker 1>that kind of thing. So the movie had to be
<v Speaker 1>The Wiz. The Wiz and Quincy Jones, I'm guessing was
<v Speaker 1>the music record That's a Whiz.
<v Speaker 3>That is how Quincy Jones and Michael Jackson got together.
<v Speaker 1>Wow, that's a great one.
<v Speaker 3>By the way, this is the first song to feature
<v Speaker 3>Michael with all the squeals and the screams and the
<v Speaker 3>and all that goes to use that quite a little
<v Speaker 3>bit throughout the eighties.
<v Speaker 1>He so was. I was hanging out with friends, the
<v Speaker 1>people I've known for a few years now talking to
<v Speaker 1>this girl. You remember Chris Hancock that did the intro
<v Speaker 1>for us for the Brian Adams, Yeah, I did. Okaynans
<v Speaker 1>Canadian Chris married a Hispanic girl from la Her name's Victoria,
<v Speaker 1>but she goes by Dulce and her dad was like
<v Speaker 1>ran a market there. Like he was a guy, an
<v Speaker 1>immigrant who had come over and he pulled himself up
<v Speaker 1>by his bootstraps and all this other stuff. And she's
<v Speaker 1>mentioned that she like new Dimebag Daryl and guy from Panthera,
<v Speaker 1>the guy from pant Area, and she's mentioned a couple
<v Speaker 1>other people, and then just off handedly the other night,
<v Speaker 1>she's like, oh, I remember, you know, like I had
<v Speaker 1>been in this video for the Damon Waynes or the
<v Speaker 1>you know, the Keenan ninety free Wayne Show. I'm like,
<v Speaker 1>you're in a Keenan Ivory Waynes. She's like, oh yeah,
<v Speaker 1>just in the audience and a deal she goes but
<v Speaker 1>like it through that, I like I got to meet
<v Speaker 1>this and have dinner with this the record producer. I
<v Speaker 1>can't remember what his name is. He's a black guy
<v Speaker 1>and like Russell Simmons. She's like, no, I think his
<v Speaker 1>daughter is an actress. Are you talking about Quincy Jones.
<v Speaker 3>She's like, yeah, Quincy. I'm like, you think, what.
<v Speaker 1>Who his daughter?
<v Speaker 9>What?
<v Speaker 7>Thriller?
<v Speaker 6>What?
<v Speaker 1>And oh I had no idea he did all these
<v Speaker 1>I'm like, oh my gosh, yeah, she had no idea.
<v Speaker 1>It's great. Wow, it was great.
<v Speaker 3>It's great because she probably acted like a normal human being.
<v Speaker 3>Where I would be on the floor, I would it.
<v Speaker 1>Would be a pile of gear I would Okay, so
<v Speaker 1>we're onto my second honorable Yes, all right, I'm not
<v Speaker 1>gonna dwell on this one very long. I will tell
<v Speaker 1>you that this was the seventh top forty hit for
<v Speaker 1>this particular artist. I will tell you that a lyric
<v Speaker 1>in the song is probably referring to the comedian Richard
<v Speaker 1>Lewis Okay because he bought a ticket for the West Coast,
<v Speaker 1>gave him the stand up routine in La Okay. And
<v Speaker 1>if you haven't got it from that, all, I'm going
<v Speaker 1>to say Tom Hanks and drag and Peter's Sclerey, don't
<v Speaker 1>forget Peter.
<v Speaker 3>Scalarre, no doubt, no doubt, and Buddies. Yes, I didn't
<v Speaker 3>know this was hong was written about Richard Lewis.
<v Speaker 1>The line in the song closes shop, moved out, bought
<v Speaker 1>a ticket for the West Coast. He gives him The
<v Speaker 1>stand of routine in la is widely underestoed to be
<v Speaker 1>about Richard Davis.
<v Speaker 3>Yes, so this song is My Life by Billy Joel.
<v Speaker 8>Got a call from No Manuise to do you say
<v Speaker 8>love the American Way?
<v Speaker 1>I love it. And if you don't attribute this success
<v Speaker 1>of that show to this song, you need to pay
<v Speaker 1>attention to how long that intro is, because very few
<v Speaker 1>TV sitcom intros back in nineteen eighty were as long
<v Speaker 1>as this one. And it's because they played this song. Now,
<v Speaker 1>they didn't have Billy Joel as the lead singer on
<v Speaker 1>this one. They had somebody else singing the song from
<v Speaker 1>Sounded like Guy. And then I guess when they released
<v Speaker 1>the DVD set of Bosom Buddies in the nineties, they
<v Speaker 1>couldn't use this song because they no longer had the
<v Speaker 1>licensing rights for it. So they've got some other lame
<v Speaker 1>o song playing instead of this song. Why even bother?
<v Speaker 1>Why even bother?
<v Speaker 3>Right, return to Cinder, and here's a.
<v Speaker 1>Little bit of tid bit of trivia that you probably
<v Speaker 1>don't know. Those guys singing the high pitch chorus in
<v Speaker 1>the back. That is Peter Seterra and Donic Dakis of Chicago.
<v Speaker 3>Ah right, that is cool. Love that song. I love it.
<v Speaker 3>That's probably my first or second out.
<v Speaker 1>Of this list.
<v Speaker 3>Yeah, I had it circled and it just didn't quite
<v Speaker 3>make the cover.
<v Speaker 1>I love it.
<v Speaker 3>Great song.
<v Speaker 1>So I've got one new discovery that I've got to
<v Speaker 1>throw in here. Okay, all right, you usually got I
<v Speaker 1>usually want to go this. I'm like, oh hey, this
<v Speaker 1>is a good song. Now this one's a little bit
<v Speaker 1>different for me. This song was written by the lead
<v Speaker 1>singer for this band, a producer named Vinnie Pinicche, and
<v Speaker 1>Desmond Child, and as a matter of fact, it is
<v Speaker 1>Desmond Child's first hit. And Desmond Child said, this was
<v Speaker 1>not a time in history that people were bringing in
<v Speaker 1>outside songwriters, like the lead singer would write a song,
<v Speaker 1>the guitarist, the bass player, somebody that would write a song.
<v Speaker 1>They didn't bring somebody from the outside. But because disco
<v Speaker 1>was so popular at this time, this rock band literally said,
<v Speaker 1>let's show everybody how easy it is to write a
<v Speaker 1>disco song. Well, it came back and bit him in
<v Speaker 1>the ass because it's one of their most popular songs.
<v Speaker 1>To this day. Desmond Child refers it to it as
<v Speaker 1>a ginormous hit, million copies sold. The bass player, who
<v Speaker 1>has to sing the high pitched background parts, hates this song.
<v Speaker 1>Hates it with the fashion and this is a band
<v Speaker 1>that I have publicly said I do not like. But
<v Speaker 1>here's how it's a new discovery for me. The New
<v Speaker 1>Fall Guy movie has a cover of this song and
<v Speaker 1>then also like they it's one of those ones where
<v Speaker 1>they take the cover of the song and then the
<v Speaker 1>composer like makes it big and epic sound. Yeah. I've
<v Speaker 1>been listening to it every morning at the gym, every morning.
<v Speaker 4>This is this has.
<v Speaker 3>Gotta be I was made for Lemon. I kiss. There's Gene.
<v Speaker 1>There's Gene singing along.
<v Speaker 3>I don't think that's Gene. I think that's Paul Man.
<v Speaker 1>No, it's Gene doing the do doo doos. Okay, Okay, okay,
<v Speaker 1>So Paul Guy, it is worth the watch, Okay. I
<v Speaker 1>mean you love the show and you still haven't seen
<v Speaker 1>it yet, right I have not? Okay, definitely worth a
<v Speaker 1>watch for you. The karaoke scene alone is worth it.
<v Speaker 1>But I just wanted to play for you the kind
<v Speaker 1>of this is like, this kind of epic moment in
<v Speaker 1>the movie. And here's how they redid the song. This
<v Speaker 1>is the cover is by a band called Young Blood,
<v Speaker 1>and then the composer for the movie is dominiclu Lewis.
<v Speaker 1>But this is how they redo it.
<v Speaker 4>Because a girl, I was made for you, Girl, you
<v Speaker 4>made for me.
<v Speaker 9>I was made for lo any you baby, you will
<v Speaker 9>made for love and.
<v Speaker 7>Can't get a love your baby?
<v Speaker 4>Can you get love?
<v Speaker 3>The friend?
<v Speaker 1>It does. It's a great scene in the movie.
<v Speaker 3>All right, so maybe we've got a chance of making
<v Speaker 3>you a kiss fan here.
<v Speaker 1>I don't know if I'd go that far, but yeah, okay,
<v Speaker 1>so there you go. That was my sort of new
<v Speaker 1>discovery for the nineteen seventy nine years.
<v Speaker 3>Okay, so just a couple of my first outs, I mean,
<v Speaker 3>My Life was a first out. Heart of Glass by
<v Speaker 3>Blondie was a first out. In the City by the
<v Speaker 3>Eagles is a great song.
<v Speaker 1>It almost made my last. There were there were several
<v Speaker 1>Eagles songs that were babies I had to kill.
<v Speaker 3>Yeah, for sure. Let me play this song for you
<v Speaker 3>and see if you recognize it. This was kind of
<v Speaker 3>one that I flew under my radar, and then when
<v Speaker 3>I heard it again, I was like, man.
<v Speaker 8>You packed the morning, a hot stir it up and
<v Speaker 8>a hot struggle for something to say.
<v Speaker 3>You love to.
<v Speaker 2>Lay without closing the door.
<v Speaker 7>I didn't stand in your way.
<v Speaker 1>Recognize it? Yeah, yeah, yeah, I just am trying to
<v Speaker 1>remember what the name of the song is in the
<v Speaker 1>artist did I miss you more just when I needed
<v Speaker 1>you most? That's great?
<v Speaker 3>Who is that Randy Van Warmer?
<v Speaker 1>Yeah, that's I mean, I don't know him from anything else.
<v Speaker 1>That's a great. That is a great. It's a sweet song,
<v Speaker 1>your discovery. Yeah, yep, Okay, here we are. We've waited
<v Speaker 1>all this time. We are to your number one one.
<v Speaker 1>All right.
<v Speaker 3>I'm scared that this is your number one too, because
<v Speaker 3>I just like, this is such a great song, Like
<v Speaker 3>it is undeniably great. Okay, don't think it's gonna be okay,
<v Speaker 3>all right. So this song was released in July of
<v Speaker 3>nineteen seventy nine, peaked at number forty seven, didn't even
<v Speaker 3>make the top forty, but is rock iconic. Here's the
<v Speaker 3>quote by the guy who wrote the song. Okay, I
<v Speaker 3>love this quote. He said, you know, during the time
<v Speaker 3>of writing these songs, he said, we went through hundreds
<v Speaker 3>of riffs every day, and we would write them down,
<v Speaker 3>we work on them, but this one we thought it's
<v Speaker 3>really good. It stuck out like a dog's balls.
<v Speaker 1>We definitely do not have this day number one.
<v Speaker 3>So okay, all right, So this is the first song
<v Speaker 3>by this band to chart in America. It was originally
<v Speaker 3>supposed to be produced by the brothers in this band.
<v Speaker 3>They had an older brother who had a little bit
<v Speaker 3>of success in the music industry, became a producer produced
<v Speaker 3>their first few albums. But the record company said, we
<v Speaker 3>want you guys to go a little bit more mainstream.
<v Speaker 3>We want you to produce a little bit more radio
<v Speaker 3>friendly hits. So they brought in another producer and his
<v Speaker 3>name was Eddie Kramer. They worked it with him a
<v Speaker 3>little bit and it did not work. So they went
<v Speaker 3>to the record company and they said, you got to
<v Speaker 3>get rid of this guy. It's not working. So they
<v Speaker 3>bring in maybe the greatest producer of all time, mister Lega,
<v Speaker 3>and his meticulous, hard working style went really well with
<v Speaker 3>the band, who is blue collar and hardworking and ready
<v Speaker 3>to hash out every note. So I know what it
<v Speaker 3>is as a person of faith, I was a little
<v Speaker 3>bit concerned about the title of this song, but It's
<v Speaker 3>about a highway in Australia where there are no stop signs,
<v Speaker 3>no speed limit and nobody slows down.
<v Speaker 1>So this song is Highway to Hell by a CDC.
<v Speaker 4>You got it.
<v Speaker 3>One of the last times we hear Von Scott stuck
<v Speaker 3>out like a dog's falls.
<v Speaker 1>You gotta love those Irish Australian immigrants, man, yep, Bonnie's got.
<v Speaker 3>Love this song.
<v Speaker 1>Man.
<v Speaker 3>It is a instant turn it up to eleven, put
<v Speaker 3>another plate on as we're pump and iron. Great song.
<v Speaker 1>Well, this is fantastic because I can't think that my
<v Speaker 1>song could be any different than your song. But there
<v Speaker 1>is a connection between the two.
<v Speaker 3>Okay, all right, all right, And I was wrong.
<v Speaker 1>I was wrong. I didn't think the song was top forty.
<v Speaker 1>He actually at number three. It actually hit number three,
<v Speaker 1>so it's actually a pretty big song. Okay. But the
<v Speaker 1>inspiration for this song starts back in nineteen twenty four,
<v Speaker 1>where there's a contest and the underdog beats the older
<v Speaker 1>statesman of this competition in a huge surprise, and it's
<v Speaker 1>one where like it's nineteen twenty four, so it's basically
<v Speaker 1>whoever gets the most claps wins. Well when this younger
<v Speaker 1>guy called low Stokes finishes his performance. He thinks he's
<v Speaker 1>lost because nobody clapped. But what has happened is they're
<v Speaker 1>all struck dumb by how incredible his performance is. And
<v Speaker 1>the guy he beats is a guy named John Carson.
<v Speaker 1>And so there's a poet named Stephen Vincent Binney that
<v Speaker 1>reads a news article about this competition, and so he
<v Speaker 1>writes a rather long poem. He's a Pulitzer Prize winning poet.
<v Speaker 1>He writes a long poem called the Mountain Whipper Will.
<v Speaker 3>I'm not even I don't even have it encircled yet.
<v Speaker 1>No. So this poem is then read by the lead
<v Speaker 1>singer of this band when he was in high school.
<v Speaker 1>Now he goes on to have a musical career. He's
<v Speaker 1>the lead singer. He also plays an instrument for the band,
<v Speaker 1>and the band is named after him. It's his band,
<v Speaker 1>that's what it's called, right, yeah. And so they are
<v Speaker 1>recording their album called Million Mile Reflections. They have all
<v Speaker 1>the songs that they're going to do, and all of
<v Speaker 1>this sudden they go, wait, we don't have a song
<v Speaker 1>with your instrument in it. Okay, got it yet? Have you?
<v Speaker 3>I'm not even close?
<v Speaker 1>Okay, This song was in Urban Cowboy, played at Mickey
<v Speaker 1>Gilly's restaurant or bar or whatever. This song I Told
<v Speaker 1>You would Come Back Up Again was in The Muppet Show,
<v Speaker 1>played out by Love a Clue and his jug Huggers.
<v Speaker 3>Love It Glue and his jug Huggers.
<v Speaker 1>They had to change a lyric to the song because
<v Speaker 1>it was the Muppet Show. Yeah, they changed son of
<v Speaker 1>a bitched, son of a Gun, And since that time,
<v Speaker 1>the lead singer of this band also changes that. I
<v Speaker 1>actually saw him perform this many years ago. He was
<v Speaker 1>at the Billy Graham Revival and he played this song
<v Speaker 1>because it's his most popular song.
<v Speaker 3>Oh yeah.
<v Speaker 1>And so to give you a little bit more information
<v Speaker 1>that I think will just probably give it away. That
<v Speaker 1>contest back in nineteen twenty four was the Atlanta Fiddler's Convention.
<v Speaker 3>I got it you ahead, yil Son. This is double
<v Speaker 3>Windown Georgia.
<v Speaker 1>The Devil went down to Georgia. He was looking for
<v Speaker 1>a soula steel.
<v Speaker 3>He was in a band because he was way behind,
<v Speaker 3>and he was willing to make a deal when he
<v Speaker 3>came up. And you're right there, totally connected.
<v Speaker 1>There you go, that's funny.
<v Speaker 3>This is Charlie Daniels Band.
<v Speaker 1>The Charlie Daniels Band. Yes, sir, oh, I love it.
<v Speaker 1>Another one of those songs that just almost wasn't there.
<v Speaker 1>It was they finished the album, they went, wait, we
<v Speaker 1>don't have a fiddle song, and so they went away
<v Speaker 1>for two days, came back. He had thought about this
<v Speaker 1>poem that he read, which, by the way, lying from
<v Speaker 1>the poem, listen to my fiddle, Kingdom, come, Kingdom, Come Johnny.
<v Speaker 4>Here, rising up your bowel and play your fiddle hard.
<v Speaker 1>Because Hailsbrokeclus in Georgia. The devil deals and hard. And
<v Speaker 1>if you and you get the shining fiddle nat of
<v Speaker 1>Gold and you lose, the devil gets your soul. It's
<v Speaker 1>a great one.
<v Speaker 4>Wow.
<v Speaker 1>They put it on the album and it is by
<v Speaker 1>far they are known for that song.
<v Speaker 3>If you ask me, name a Charlie Daniels song that's
<v Speaker 3>yellow one down in Georgia.
<v Speaker 1>Yeah, this is just one of those songs that is.
<v Speaker 1>I mean, I've been playing this song with my family
<v Speaker 1>in the car on long ride vacations for the last
<v Speaker 1>twenty two years.
<v Speaker 4>Yeah, I love it.
<v Speaker 3>Great, great one man has a great one, epic epic
<v Speaker 3>song truly.
<v Speaker 4>All right, Well that's the.
<v Speaker 3>End of our episode.
<v Speaker 4>What what do you think?
<v Speaker 3>How do we do? Which ones do we hit on?
<v Speaker 3>Which ones did we miss on? We'd love to hear
<v Speaker 3>from you. I hit us up on Facebook, hit us
<v Speaker 3>up on Twitter, shoot us an email at Trileypodcast at
<v Speaker 3>gmail dot com. All right, guys, join us here next
<v Speaker 3>week we're gonna have another great episode. We'll see back here.
<v Speaker 9>I was tired of my lad.
<v Speaker 3>We've been together too long, not a going out recods.
<v Speaker 1>That's the problem is I led you in. I tricked
<v Speaker 1>to you at the beginning. I had Bruce Springsteen, but
<v Speaker 1>it was because I thought that Bruce was Bruce. That's
<v Speaker 1>what happened. Oh all right, don't.
<v Speaker 3>I couldnot let go of that in that old time.
<v Speaker 1>What was this I