Phil Collins "No Jacket Required" (1985): Track by Track!

<v Speaker 1>Hey girl, I can tell by the look in your
<v Speaker 1>eyes that you're in a land of confusion right now
<v Speaker 1>and you're thinking about throwing it all away. But I'm
<v Speaker 1>here to tell you don't give up. As a matter
<v Speaker 1>of fact, as long as you don't lose my number,
<v Speaker 1>then you and I can still have a big time
<v Speaker 1>at least for one more night. We don't have to
<v Speaker 1>go to some expensive restaurant, you know what I mean,
<v Speaker 1>no jacket required, no fancy dress. Just take me home
<v Speaker 1>and tonight, tonight, tonight, we can listen to the red
<v Speaker 1>ring falling outside, flashing against our windows like a sledgehammer
<v Speaker 1>as we cherish the invisible touch of our earbuds when
<v Speaker 1>we hit play together. And after listening to Jason and
<v Speaker 1>d on the Surely you Can't Be Serious podcast, then
<v Speaker 1>you know it's only a matter of time before I'm
<v Speaker 1>into deep Sue. What your name's not, Sue, Sue Soudy?
<v Speaker 1>Oh well that doesn't matter, just as long as you
<v Speaker 1>know that my name is deaf Dave.
<v Speaker 2>Okay, d Before we get started on today's episode, I've
<v Speaker 2>got a couple of trivia questions. I think this is pertinent,
<v Speaker 2>I think it's interesting. Okay, So Can you name the
<v Speaker 2>last number one hit of the nineteen seventies? No, okay,
<v Speaker 2>it's Rupert Holmes, the Escape, the Pina Colada song?
<v Speaker 3>All right? Right, right? Yeah, which at some point we
<v Speaker 3>got to get together Bradmore and do that one. We've
<v Speaker 3>covered a song that was written by Rupert Holmes. Song
<v Speaker 3>by Rupert Holmes. It's on our Patreon page. Go to
<v Speaker 3>patreon dot com. Backslash Shirly podcast, not backslash, just regular
<v Speaker 3>slash surely podcast and sign up for as little as
<v Speaker 3>five bucks a month.
<v Speaker 2>Okay, so, the last number one hit of the seventies
<v Speaker 2>Rubert Holmes.
<v Speaker 3>Do you like Pina Coladas? Yep? Got all right?
<v Speaker 2>The first number one hit of the nineteen eighties. Do
<v Speaker 2>you have any idea what that is?
<v Speaker 3>Not the same song? All right?
<v Speaker 2>I consider myself a musical expert in the eighties. I
<v Speaker 2>don't know this song. It's called Please Don't Go by
<v Speaker 2>the Case Sunshine band.
<v Speaker 3>Okay, well, I know the band, but I don't know, right,
<v Speaker 3>I don't know that song? All right?
<v Speaker 2>Can you name the last number one hit of the
<v Speaker 2>nineteen eighties? No, Another Day in Paradise by Phil Collins. Oh, okay,
<v Speaker 2>can you name the first number one hit of the
<v Speaker 2>nineteen nineties, No Another Day in Paradise by Phil Collins.
<v Speaker 3>All right, so it's still number one.
<v Speaker 2>He bridged the gap from the eighties to the nineties. Ochay, Yes,
<v Speaker 2>so we're obviously going to be talking about Phil Collins today, which.
<v Speaker 3>I'm excited to do. Yep.
<v Speaker 2>Can you name the artist who had the most number
<v Speaker 2>one hits in the nineteen eighties?
<v Speaker 3>Was it Phil Collins?
<v Speaker 2>Actually is Michael Jackson, who had ten. He had five
<v Speaker 2>off of Bad, which is the crux of my bad
<v Speaker 2>versus thriller argument.
<v Speaker 3>Right, But Phil Collins had seven number one hits. He
<v Speaker 3>had more US Top forty singles than any other artist
<v Speaker 3>throughout the eighties, including Michael Jackson.
<v Speaker 2>There is a case to be made that Phil Collins,
<v Speaker 2>with Genesis and by himself, Yes, was the most consistent
<v Speaker 2>hit maker of the nineteen eighties.
<v Speaker 3>Yes, and I mean we're talking about a mega rock
<v Speaker 3>star at the time of mega rock stars, MTV Full Blast,
<v Speaker 3>Top forty Radio full Blast. And have you seen this guy?
<v Speaker 3>I know, I love him. I mean he's he's short,
<v Speaker 3>he's balding, he's chubby, he can't dance, he can't sing,
<v Speaker 3>he can sing.
<v Speaker 2>Come on, he's just.
<v Speaker 3>An ordinary man.
<v Speaker 2>He does talk like Dick Van Dyke and Mary Poppins
<v Speaker 2>a little bit, so I do. I told you, I said.
<v Speaker 2>He feels like the everyman representing the crowd, like the fans,
<v Speaker 2>you know. Peter Gabriel is like this guy on this
<v Speaker 2>different plane and he's making music and we just like, oh,
<v Speaker 2>he's a rock star. Feels like the mechanic who just
<v Speaker 2>happened to get this amazing gig and knows how to
<v Speaker 2>make incredible rock.
<v Speaker 3>Let's just be clear, I got I got a list here.
<v Speaker 3>Let's be clear about how big this is. Okay. He
<v Speaker 3>is one of only three recording artists who have sold
<v Speaker 3>over one hundred million records, both as solo artists and
<v Speaker 3>separately as principal members of a band. Can you name
<v Speaker 3>the other two?
<v Speaker 2>George Michael No, Michael Jackson, Yes.
<v Speaker 3>The girl is mine, Mine, mine, all McCartney, you got it.
<v Speaker 3>Paul McCartney is the other one. He has won eight
<v Speaker 3>Grammy Awards, six brit Awards, two Golden Globes, one Academy
<v Speaker 3>Award and a Disney Legend Award, which probably meant a
<v Speaker 3>lot more back when he got it than it does now.
<v Speaker 3>He has won an Ivor Novella Award. He's won the
<v Speaker 3>British Academy of Songwriters, Composers and Authors Award. He has
<v Speaker 3>a star on the Hollywood Walk of Fame. He's in
<v Speaker 3>the Songwriters Hall of Fame and Rock and Roll Hall
<v Speaker 3>of Fame as a member of Genesis. In twenty ten.
<v Speaker 2>Not too shabby. He also managed to make Amy Man
<v Speaker 2>jealous because of the Gorilla Love song that he.
<v Speaker 3>Did cartoon Gorilla cartoon, Monkey Love song.
<v Speaker 2>That's it.
<v Speaker 4>That's it.
<v Speaker 2>I broke down the nineteen eighties. I just went year
<v Speaker 2>by year between Genesis.
<v Speaker 3>And Phil Collins. Yes, okay, yeah, quick trivia.
<v Speaker 2>Question for you. Can you name the only year of
<v Speaker 2>the nineteen eighties that he did not have a top
<v Speaker 2>fifteen hit, either with Phil Collins or Genesis.
<v Speaker 3>Yes, I know this. It is nineteen eighty one, which
<v Speaker 3>is crazy because that's the year that In the Air
<v Speaker 3>Tonight came out, which is his most iconic song.
<v Speaker 2>That was the only song that didn't reach the top fifteen.
<v Speaker 3>Yeah, which is nuts, which is nuts, Like, how did
<v Speaker 3>that not happen? I think it was just a little
<v Speaker 3>bit ahead of its time obviously, Yes, And I think
<v Speaker 3>maybe Miami Vice gave it the rocket fuel it needed
<v Speaker 3>to get there. Yeah. And by the way, guys, we
<v Speaker 3>are here talking about no jacket required. This is a
<v Speaker 3>Genesis trinity, if you will. That's right, it is a
<v Speaker 3>Genesis trinity because we are talking about Peter Gabriel So,
<v Speaker 3>which we did last week with our great friend Chad
<v Speaker 3>Briggs at episode, and then next week we're going to
<v Speaker 3>be talking about Genesis and Invisible Touch. All of these
<v Speaker 3>albums came out within roughly a year of each other,
<v Speaker 3>That's right. It's crazy how much you were hearing Phil
<v Speaker 3>Collins's voice on the radio this time. And when we
<v Speaker 3>did our episode on SO, I started off by saying, hey,
<v Speaker 3>as you know, these guys were both the former or
<v Speaker 3>current lead singers of Genesis, but Peter Gabriel had Phil
<v Speaker 3>come and do drums for several of his songs on
<v Speaker 3>what we call the Melt album. They're all called Peter
<v Speaker 3>Gabriel until So happens. But I told that story back
<v Speaker 3>then go back and listen to that. But then on
<v Speaker 3>this album we got Peter Gabriel joining the band for
<v Speaker 3>a song. You know, it's crazy how these guys they
<v Speaker 3>I mean, they're just friends. They're decent guys who happen
<v Speaker 3>to also be mega prolific rock stars.
<v Speaker 2>That's right, So today we're talking about No Jacket Required.
<v Speaker 2>This album was released February eighteenth of nineteen eighty five.
<v Speaker 2>It sells twenty five million copies, twelve million in the
<v Speaker 2>United States alone, is the second biggest selling album of
<v Speaker 2>nineteen eighty five. Can you name the first.
<v Speaker 3>Eighty five No, I don't know.
<v Speaker 2>It's Brothers in Arms by Dire Straits.
<v Speaker 4>Oh.
<v Speaker 3>Perfect, perfect, Oh and that reminds me. Okay. So we also,
<v Speaker 3>just a few weeks ago, finished with our Heart Versus
<v Speaker 3>Brothers and Arms episodes, we had one of our loyal listeners,
<v Speaker 3>mister Lee Matthews, reach out to us by email. He
<v Speaker 3>is from across the pond over in the UK. Yeah,
<v Speaker 3>and he sent us an email going, hey, you know,
<v Speaker 3>Jason Jay, I know you are a Miami Vice fan
<v Speaker 3>and d you'll appreciate this too, And he sent us
<v Speaker 3>a clip from Miami Vice that used Brothers in Arms
<v Speaker 3>the song the last song, how we missed that album?
<v Speaker 3>A great job on catching our miss on that one.
<v Speaker 3>And holy cow, what an impactful moment in the Miami
<v Speaker 3>Vice canon. That was I mean, gee Mane, it was.
<v Speaker 3>It was rough, But I told I told Lee at
<v Speaker 3>the time. When you hear that Peter Gabriel So episode,
<v Speaker 3>if you take a shot every time Jason says the
<v Speaker 3>word so or mentions Miami Vice, you'll be unconscious before
<v Speaker 3>the episode is over.
<v Speaker 2>You're welcome, everybody. So the title for this album is
<v Speaker 2>No Jacket Required. Yes, I've got a funny story on
<v Speaker 2>how that came to be.
<v Speaker 3>Yes, he's hanging.
<v Speaker 2>Out with Robert Plant.
<v Speaker 3>Robert Plant the lead singer of Led Zeppelin and the
<v Speaker 3>Honey Drippers and the Honeydripper. You're into the eighties, Robert Plant, Well,
<v Speaker 3>we talked about that. That's right. But he's hanging out.
<v Speaker 2>There at the pump Room in Chicago.
<v Speaker 3>Yes, he said.
<v Speaker 2>Robert Plant is wearing a garish jacket.
<v Speaker 3>Garish. Garish is a very British word.
<v Speaker 2>It is. I just listened to his audio books. You
<v Speaker 2>might have some strange words creeping in this episode.
<v Speaker 3>Okay, it's flamboyant. Maybe it is a good word for
<v Speaker 3>what I am imagining Robert Plant is wearing as his jacket.
<v Speaker 3>Garish is the word he is.
<v Speaker 2>And as he's trying to enter the hotel, this is
<v Speaker 2>the Ambassador or West I believe in Chicago. He goes
<v Speaker 2>to hang out and have a few drinks at the
<v Speaker 2>hotel bar with Robert Plant and their buddies, and the
<v Speaker 2>matre d comes up and says, excuse me, sir, you're
<v Speaker 2>not wearing a jacket. And he's wearing a leather jacket
<v Speaker 2>and say it was a couple thousand bucks. I mean
<v Speaker 2>it was not shabby. He's like, I am wearing a jacket,
<v Speaker 2>and they're like, no, a proper jacket. And he turns
<v Speaker 2>to Rubber Plant and he looks at this weirdrish scarish
<v Speaker 2>jacket he's got on Rubber Plants like see you. And
<v Speaker 2>so Phil said that they would not let him in
<v Speaker 2>number one. And that's as mad as he has ever
<v Speaker 2>been in his life.
<v Speaker 3>Wow, super mad.
<v Speaker 2>So when he's doing the rounds with David Letterman and
<v Speaker 2>Johnny Carson, of course he's retelling the story they wouldn't
<v Speaker 2>let me in. I'm not wearing a jacket, it's too stuffy.
<v Speaker 2>They wouldn't let me in. And so finally the Ambassador
<v Speaker 2>hotel sent him a jacket and said, please stop repeating
<v Speaker 2>this story.
<v Speaker 3>You can come in. You can come in anytime.
<v Speaker 2>You want just please stop telling this story.
<v Speaker 3>Right right, Well, and there's another there was another incident
<v Speaker 3>that happened just before that incident, which is probably why
<v Speaker 3>it made him so mad. But he was. He was
<v Speaker 3>on vacation down in the Caribbean with his family and
<v Speaker 3>tries to go into the hotel bar there and they say, sir,
<v Speaker 3>you'll have to have a jacket. And he's like, well,
<v Speaker 3>I don't have a jacket. And I'm like, well why not?
<v Speaker 3>And he said, well, because I'm on holiday and it's
<v Speaker 3>the Caribbean, Like, why would anybody have a jacket. They
<v Speaker 3>didn't let him in there. I think maybe they gave
<v Speaker 3>him a ridiculous oversized I mean, because he's not a
<v Speaker 3>big guy jacket that he wore there.
<v Speaker 2>And so no jacket required to enjoy this album yep, okay.
<v Speaker 3>Okay album cover. You know why he looks the way
<v Speaker 3>that he does, why he has that red face on there?
<v Speaker 3>Tell me because he wanted to look hot and bothered.
<v Speaker 3>That Those were his words, I want to look hot
<v Speaker 3>and bothered. I don't know that I would ever say that,
<v Speaker 3>especially not for my album cover. I want to look
<v Speaker 3>hot and bothered.
<v Speaker 2>I did hear him talk about how he wanted to
<v Speaker 2>make a dance album or at least something with some
<v Speaker 2>up tempo tracks.
<v Speaker 3>Yeah, as we'll talk about a little bit later on
<v Speaker 3>as the episode goes on. His two previous albums had
<v Speaker 3>all kinds of stuff to do with heartbreak, and so
<v Speaker 3>this one he was looking for something a little on
<v Speaker 3>the cheer read more dancy.
<v Speaker 2>Side, he called those divorce albums, Yeah, and he wanted
<v Speaker 2>to kind of.
<v Speaker 3>Get away from the divorce albums. Right.
<v Speaker 2>So this is actually produced by Hugh Pagem.
<v Speaker 3>Yep, and who I mentioned again in our last episode
<v Speaker 3>when we were talking about Peter Gabriel. So Hugh Pagem
<v Speaker 3>was actually working on the Melt album on Intruder whenever
<v Speaker 3>he and Phil inadvertently discovered the magic of the gated drum,
<v Speaker 3>which if you don't know that term, you will know
<v Speaker 3>the sound because it is the sound of the drums
<v Speaker 3>in the air tonight and about ten or twelve dozen
<v Speaker 3>different albums of the nineteen eighties, because it became the
<v Speaker 3>sound of the eighties, that gated drum beat, which, by
<v Speaker 3>the way, they recorded this album at the Townhouse, which
<v Speaker 3>everybody went to that place to record so they could
<v Speaker 3>get that identical drum sound that Phil Collins and Hugh
<v Speaker 3>Pagem had put together in Face Value very good.
<v Speaker 2>You know, I was doing some research on the Pump
<v Speaker 2>Room in Chicago. Yeah, it actually closed down in twenty seventeen, sadly,
<v Speaker 2>but I came across a sentence where it said the
<v Speaker 2>Pump Room has hosted many celebrities from across the world,
<v Speaker 2>including Morre's the Cat. You remember More's the Cat.
<v Speaker 3>Where's the Cat from the Nine Lives?
<v Speaker 2>Cat food cat food commercials?
<v Speaker 3>Yes, More's the Cat. Wow.
<v Speaker 2>By the way. One of the artists who recorded in
<v Speaker 2>Monts Rat Yes, which we talked about in our Brothers
<v Speaker 2>and Arms Yes, was Eric Clapton, Yes, and producer Phil
<v Speaker 2>Collins right.
<v Speaker 3>Yeah. He had just worked with Eric Clapton producing his
<v Speaker 3>album just before he did this one. And then in
<v Speaker 3>between this one and Eric Clapton, he worked with Philip Bailey,
<v Speaker 3>who we talked about a little bit on our Best
<v Speaker 3>Our Top five of nineteen eighty five because Philip Bailey
<v Speaker 3>had a big hit, probably because Phil Collins was singing
<v Speaker 3>on the song. Yeah, easy Lever, easy Lover.
<v Speaker 2>What a great song man? What is fantastic song?
<v Speaker 3>It definitely is. It should be in the conversation through
<v Speaker 3>great songs of that year.
<v Speaker 2>No Question, by the way, that reached number two in
<v Speaker 2>nineteen eighty five.
<v Speaker 3>Easy Lever did Easy Lever.
<v Speaker 2>Yeah, I believe kept out by I Want to Know
<v Speaker 2>What Love Is by Foreigner.
<v Speaker 3>Which is pretty big song. Yeah. We talked about that
<v Speaker 3>one a few times.
<v Speaker 2>But still that could have been four number ones in
<v Speaker 2>the same year. Yeah, Phil Collins, eighty five was big.
<v Speaker 3>Yeah, all right, before we get.
<v Speaker 2>Started on the track listing, I got a funny story
<v Speaker 2>for you. As Phil's traveling around doing the interview circuit
<v Speaker 2>for no jacket required, some reporters noted that he resembles
<v Speaker 2>Bob Hoskins.
<v Speaker 3>Yes, or Danny DeVito agree, right, well, I mean height
<v Speaker 3>wise anyway, Yeah.
<v Speaker 2>Okay, you know, of course they're all slightly balding. They're
<v Speaker 2>they're kind of stocky either, short, you know whatever. And
<v Speaker 2>so Phil made the comment that we could play the
<v Speaker 2>Three Bears, right they actually like. De Vito contacted him
<v Speaker 2>about maybe doing a live action Three Bears with Kim Basinger.
<v Speaker 3>As Goldilocks Wow.
<v Speaker 2>And Bob Hoskins and Danny Vito and Phil Collins as
<v Speaker 2>the Three Bears.
<v Speaker 3>I love it. I love it. All right, okay, you
<v Speaker 3>ready to jump into this album track number one Sue
<v Speaker 3>Sue Studio. Okay, so let me just start by saying,
<v Speaker 3>what a great eighties sounding drum beat we have coming
<v Speaker 3>out of the gate here, right, That's fantastic. But if
<v Speaker 3>I can pull back on the range just for a
<v Speaker 3>second before we dive into how good this song is,
<v Speaker 3>because it is great. Yes, that's a drum machine. Like
<v Speaker 3>I'm listening to a drum machine. Of course I didn't know.
<v Speaker 3>I mean, I knew Phil Collins was a drummer, yes,
<v Speaker 3>and I knew that he's a good drummer. But until
<v Speaker 3>we started researching Genesis, my familiarity with Genesis was the
<v Speaker 3>eighties Genesis where they were all pop and none of
<v Speaker 3>the prog rock that they did back in the seventies. Right,
<v Speaker 3>And so we'll talk about when we do our Genesis episode,
<v Speaker 3>we'll talk about him getting involved with you and assists
<v Speaker 3>in how all of that happened. But on the ind
<v Speaker 3>between with Genesis, he played for a band called brand X.
<v Speaker 3>Has he heard of this?
<v Speaker 2>I've heard of the band brand X.
<v Speaker 3>Okay, So I just as I was, I caught little
<v Speaker 3>bits of the Phil Collins a drummer first documentary and
<v Speaker 3>kind of ended up in the middle. I think you're
<v Speaker 3>probably watching it on YouTube at the same time, so
<v Speaker 3>we overlapped there. But it was it was Michael Jackson's drummer,
<v Speaker 3>and he's talking about how he picked up the Brand
<v Speaker 3>X album and was blown away by how good the
<v Speaker 3>drumming was, and so he had to go look and
<v Speaker 3>see who this drummer was, and he's like some guy
<v Speaker 3>named Phil Collins. Because it's nineteen seventy six and unless
<v Speaker 3>you were a big Genesis fan, you probably didn't know
<v Speaker 3>who Phil Collins was, right, I mean, I've heard Phil's
<v Speaker 3>eighties drumming. This blew my mind. So I came away
<v Speaker 3>from that going holy crap, like they say he's a
<v Speaker 3>drummer first, Oh heck, yeah he was. I mean that's
<v Speaker 3>I'm amazed, Like he's doing a double bass tap well
<v Speaker 3>before Lars Ulric has even probably got his own drum kit.
<v Speaker 3>Yeah right, And of course I immediately called James Buckley
<v Speaker 3>and I was like, James, you're on call drumming expert
<v Speaker 3>and sometimes co host. I need to know. He's like,
<v Speaker 3>oh yeah, like in the mid seventies, Phil Collins and
<v Speaker 3>Bill Bruford were the top of the prog rock, jazzing
<v Speaker 3>drum pyramid.
<v Speaker 2>Phil was the genesis drummer, happy to be the drummer,
<v Speaker 2>happy to be kind of the background vocalist. But when
<v Speaker 2>you're replacing Peter Gabriel, they need to find a singer.
<v Speaker 2>He doesn't really want the job. He says, how about
<v Speaker 2>we just do instrumentals and they're like, we're not doing instrumentals,
<v Speaker 2>talking about we got to find a singer. Well, they
<v Speaker 2>would interview singers, they'd find guys and he's like, no,
<v Speaker 2>you need to do it more like this, and he
<v Speaker 2>would sing it.
<v Speaker 3>Yeah, because he did all the backup for Peter Gabriel,
<v Speaker 3>and so he was like, this is the way you
<v Speaker 3>do it. And he would show them and they couldn't
<v Speaker 3>get it, and they're like, Phil, you're singing better than
<v Speaker 3>everybody else. And he was like, okay, well let me
<v Speaker 3>give it a shot.
<v Speaker 2>Let me give it a shot. Let me give it
<v Speaker 2>a shot. And then what do we get.
<v Speaker 3>The album that came out. I mean, the people thought
<v Speaker 3>the band was dead when Peter Gabriel left. He leaves
<v Speaker 3>and their very first album is a better seller than
<v Speaker 3>any album that they'd had that's right, that's right.
<v Speaker 2>When they discovered their drummer could also be the singer,
<v Speaker 2>he said, was like finding a five dollars bill in
<v Speaker 2>the couch.
<v Speaker 3>It's probably a little better, right, It's great.
<v Speaker 2>So Sis Studio was the first single released in the UK.
<v Speaker 2>Second single released in the US. This is released in
<v Speaker 2>April of nineteen eighty five. In the US, it hits
<v Speaker 2>number one for the July weekend nineteen eighty five. This
<v Speaker 2>nineteen eighty five top ten is killer.
<v Speaker 3>Just to take you back, this is July of nineteen
<v Speaker 3>eighty five. You just saw Back to the Future for
<v Speaker 3>the first that's it, or the second time, the third time,
<v Speaker 3>and you just got in your car and you turned
<v Speaker 3>on the radio and you're listening to Phil Collins song
<v Speaker 3>nine times out of ten.
<v Speaker 2>That's it. That's it. So let me give you Actually,
<v Speaker 2>I'm gonna start at number twelve. You've got Goonies Are
<v Speaker 2>Good Enough by Cydey Lappero, which we just talked about.
<v Speaker 2>Go back and listen to that number eleven Glory Days
<v Speaker 2>by Bruce Springsteen. Yeah, check out our Born in the
<v Speaker 2>USA podcast. You have number ten Angel by Madonna. Okay,
<v Speaker 2>you have voices carry at number nine by Till Tuesday.
<v Speaker 3>Yep, don't forget to sign up for our Patreon. Number
<v Speaker 3>eight Every Time You Go Away by Paul Young. Yep.
<v Speaker 2>Number seven You Give Good Love Whitney Houston's first number
<v Speaker 2>one hit. Number six Would I Lie To You? By
<v Speaker 2>the Eurythmics. Check out our one crazy summer episode we
<v Speaker 2>just did exactly. Number five The Search Is Over by Survivor,
<v Speaker 2>which we're getting ready to cover against Chicago here in
<v Speaker 2>a few weeks.
<v Speaker 3>Right right.
<v Speaker 2>Number four Heaven by Brian Adams.
<v Speaker 3>Yep, go check that's eight our most popular YouTube episode.
<v Speaker 3>It's the one without our faces on it.
<v Speaker 2>Right, let's say something right crazy Number three Raspberry Beret
<v Speaker 2>by Prince There You Go. Number two of You to
<v Speaker 2>a Kill by Duran Duran and number one is the
<v Speaker 2>studio that is a murderer's row of hits that we've
<v Speaker 2>talked about.
<v Speaker 3>Yeah, I can tell you that in this past week,
<v Speaker 3>my son said to me, as we're driving the car,
<v Speaker 3>if you could go back to any time in your life,
<v Speaker 3>when you go back to I was like, nineteen eighty
<v Speaker 3>five was pretty dang good. It's pretty good.
<v Speaker 2>In July of eighty five, this hits number one Yeah,
<v Speaker 2>he does receive some criticism because it sounds too similar
<v Speaker 2>to another song.
<v Speaker 3>I can hear that. Yeah, yeah, I can hear that.
<v Speaker 3>It's not a copy, but it doesn't. It definitely does have.
<v Speaker 2>It's dancy, it's up tempo, it's synth heavy.
<v Speaker 3>Yeah. And you know, we've talked about this a million times,
<v Speaker 3>Like you know, bon Jovi and Richie Sambora sat on
<v Speaker 3>a box of cassette tapes and went through them one
<v Speaker 3>by one to try to figure out what songs they
<v Speaker 3>could steal to make their own songs. This is as
<v Speaker 3>it whenever Olivia Rodrigo, who is a current artist right now,
<v Speaker 3>when of her songs came out that sounded very similar
<v Speaker 3>to an Elvis Costello song, and people were like, you
<v Speaker 3>need to sue her, and he was like, no, this
<v Speaker 3>is the language of rock and roll, Like I probably
<v Speaker 3>borrowed that that sound from somebody else who borrowed it
<v Speaker 3>else from that else. That's it's ridiculous. This is the
<v Speaker 3>way we build music. So yeah, the fact that it's
<v Speaker 3>got a similar sound to nineteen ninety nine is not
<v Speaker 3>a deal killer for me at all on this one.
<v Speaker 2>What does sisudio mean?
<v Speaker 3>Yeah, no, I I myself. Actually, as I was listening
<v Speaker 3>to this, probably a couple of years ago. At this point,
<v Speaker 3>I was like, what is that? Like? What is that?
<v Speaker 3>So I had to I went and looked it up, right,
<v Speaker 3>and this goes back to what I was. What I
<v Speaker 3>came in with is we're listening to a drum machine. Here,
<v Speaker 3>we've got we've got the world one of the world's
<v Speaker 3>top drummers, and he's using a drum machine. But the
<v Speaker 3>way that he came up with several of these songs,
<v Speaker 3>including the Sudio, was that he would do the drum
<v Speaker 3>beat and they would just listen to it over and
<v Speaker 3>over again and try to improvise lyrics and melodies over
<v Speaker 3>the drum beat. And for this particular song, the scatting
<v Speaker 3>that he did studio, there is no one named Sisudio.
<v Speaker 3>It's just that was the scatting do pop she be
<v Speaker 3>bop bop that came out of his skimpy Sudio. That's it.
<v Speaker 3>That's what came out of his mouth. And when he good,
<v Speaker 3>when he went back to try to replace it with
<v Speaker 3>some other name, nothing worked worked, and well there you go. Yeah.
<v Speaker 2>By the way, one of his daughters now has a
<v Speaker 2>horse named studio.
<v Speaker 3>Very nice. Okay, Well, since you opened that door, I'm
<v Speaker 3>gonna go ahead. I'm gonna go ahead and bring this
<v Speaker 3>little nugget to you. Okay. So you know I asked
<v Speaker 3>you before the show. I was like, do you know
<v Speaker 3>who Mary Steam Virgin is married to? And you said
<v Speaker 3>Ted Danson? Do you know who she was married to
<v Speaker 3>before that? No, she was married to Malcolm McDowell. Oh yeah,
<v Speaker 3>Clockwork Maklae star Trek. He was mister Rourke on the
<v Speaker 3>reboot of Fantasy Island. He was, Yes, he's he's been.
<v Speaker 3>He's a very well known British actor, right. And they
<v Speaker 3>had a child whose name is Charlie McDowell. By the way,
<v Speaker 3>if you look at his picture, he looks like an
<v Speaker 3>exact cross between Mary Steam Virgin and Malcolm McDowell.
<v Speaker 5>Okay.
<v Speaker 3>And he is married to Lily Collins. Yeah, Phil's daughter,
<v Speaker 3>who is also a actress herself, has been in several
<v Speaker 3>like that.
<v Speaker 2>She was in a series She's the Girl now.
<v Speaker 3>Okay, So she was in the blind Side as the daughter,
<v Speaker 3>and she's been in several other series. Is Lily Collins
<v Speaker 3>on the blind Side? Yep? And so I'm just thinking
<v Speaker 3>to myself in Phil's family tree. You've got Mary Stein Virgin,
<v Speaker 3>You've You've You've got Malcolm McDowell, You've got yes, Malcolm McDowell,
<v Speaker 3>You've got Ted Danson, and you've and you've got uh.
<v Speaker 3>I mean, he's got sons that are also major recording artists.
<v Speaker 3>I sent you a song today from Simon Collins, who
<v Speaker 3>had a band called Sound of Contact. Has a very
<v Speaker 3>similar sounding voice to his dad. Nick Collins is the
<v Speaker 3>one who kind of helped produce the documentary that just
<v Speaker 3>came out. He is a very prolific drummer and played
<v Speaker 3>drums for Genesis when Phil lost his ability to do so.
<v Speaker 2>Wow.
<v Speaker 3>I mean it's he has got an impressive lineup of family.
<v Speaker 3>And his brother is like a knighted cartoonist, like one
<v Speaker 3>of the most famous political and satirist cartoonists from the
<v Speaker 3>UK just passed away a couple of years ago. And
<v Speaker 3>it's funny because if you look at him, he's got
<v Speaker 3>the same base, but he's like normal height, and so
<v Speaker 3>they stand together and it looks it looks like twins.
<v Speaker 3>You sent to me like it was like a one frame.
<v Speaker 2>It was like something you would see in like Cosmo
<v Speaker 2>or even Playboy, right and I'm.
<v Speaker 3>Like, this is funny.
<v Speaker 2>D wait, what do you does?
<v Speaker 3>Exactly right? But it's funny. You're like, oh, Clive Collins,
<v Speaker 3>I see that right.
<v Speaker 2>Yeah, okay, I want to talk about the video for
<v Speaker 2>a second because I've told you. I think I've already
<v Speaker 2>said it. But Phil Collins has that very everyman type
<v Speaker 2>of quality about So they shot this video at a
<v Speaker 2>very ordinary man yes, yes, so they shot this video
<v Speaker 2>at the Princess Victoria, which is a pub in London
<v Speaker 2>owned by Richard.
<v Speaker 3>Okay, Virgin Records, which produced this album of course, yep.
<v Speaker 2>And it's like him and his band and he's up
<v Speaker 2>there in front of like four people, and you can
<v Speaker 2>tell he just finishes a song and there's like a
<v Speaker 2>smattering of like barely clapping, and then he's like, all right,
<v Speaker 2>thank you, thank you again, thank you. You know the
<v Speaker 2>old He says, well, we got one more song for you.
<v Speaker 2>This song is called the Studio and they're like, ay, whatever,
<v Speaker 2>and then when he starts playing, it draws a crowd
<v Speaker 2>and everybody's clapping. And this song is infectious, it's pop gold,
<v Speaker 2>it's fun.
<v Speaker 3>And the horns you get the phoenix horns from Earth
<v Speaker 3>Wind and Fire I love it.
<v Speaker 2>It's fantastic.
<v Speaker 3>It is a great album opener. Just shows what you
<v Speaker 3>can do with a drum machine and a little improv.
<v Speaker 3>It's incredible, really okay. And before we move on to
<v Speaker 3>the next song, one more tidbit on his family. Yes,
<v Speaker 3>Nick Collins, that plays the drum that played the drums
<v Speaker 3>form when he couldn't play for Genesis. Yes, a year
<v Speaker 3>and a half ago started a band called The Effect.
<v Speaker 3>Guitarist for The Effect is Trev Lucather, son of Lucather
<v Speaker 3>of Toto.
<v Speaker 2>That's great, okay. Second song on the album, This song
<v Speaker 2>is called only You Know and I Know another killer upbeat.
<v Speaker 2>You got the horns, you got the keys, you got
<v Speaker 2>the guitar, You've got the Phoenix horns, which is from
<v Speaker 2>Earth Wind and Fire. Ok So it's real strong horns
<v Speaker 2>that you get in those kind of soulful records, dancy poppy.
<v Speaker 2>It's good fun.
<v Speaker 3>This song is. I really like how it picks up
<v Speaker 3>at the chorus, Like the the verse is good. The
<v Speaker 3>chorus is great, like he brings it in the chorus,
<v Speaker 3>and I really like how it songs.
<v Speaker 2>He's got a knack for making infectious grooves. Stuff we
<v Speaker 2>like to listen to whether you got irritated with Collins
<v Speaker 2>in the eighties. It's because his songs were so successful.
<v Speaker 2>They're on the radio all the time. Now, there is
<v Speaker 2>a line in this song that he got from real life,
<v Speaker 2>and I thought this was funny. So he met a
<v Speaker 2>girl at the Rainbow Club in La She became a
<v Speaker 2>second wife. Her name is Jill Tavelman. But when she
<v Speaker 2>introduced him to her mother, he says, Hi, how you doing, ma'am,
<v Speaker 2>I'm Phil Collins. She turned to her daughter and said, well, honey,
<v Speaker 2>as they say, love is blind, I did not.
<v Speaker 3>I'd not heard that story. But as soon as you
<v Speaker 3>went there, I was like, oh, no, I know what
<v Speaker 3>she's gonna say. Yeah, ouch, thank you.
<v Speaker 2>Okay, I've got to tell you this story in regards
<v Speaker 2>to the song against All Odds Okay, which I believe
<v Speaker 2>may be the best song of nineteen eighty four. I
<v Speaker 2>absolutely love it. It's a beautiful power ballad. So for
<v Speaker 2>the Academy Awards, they contact Phil and they say, hey,
<v Speaker 2>against All Odds is gonna be is nominated for an
<v Speaker 2>Academy Award, and he was over the moon. Phil is
<v Speaker 2>a big movie buffa. He's a like a historian. He
<v Speaker 2>loves the Academy Awards, so he reroutes his whole tour
<v Speaker 2>so he can go and perform against all odds at
<v Speaker 2>the Academy Awards. Yeah, And they're like, oh, well you're
<v Speaker 2>not going to perform it and he's like, what do
<v Speaker 2>you mean? I'm the singer, right, this is my song,
<v Speaker 2>I wrote it, I sing it, and for all history,
<v Speaker 2>that's how it works. And they're like, no, not this year,
<v Speaker 2>and he says, well why not? Like what's the reasoning?
<v Speaker 2>They said, Well, this is a movie event. We only
<v Speaker 2>want movie people involved with the Academy Awards. Does that
<v Speaker 2>make any sense to you at all?
<v Speaker 3>No? Okay, then why would you have an Academy Award
<v Speaker 3>for a song?
<v Speaker 4>So?
<v Speaker 2>Right, exactly. So, along with his rejection from performing this song, yeah,
<v Speaker 2>Denise Williams performs Let's Hear It for the Boy and
<v Speaker 2>Ray Parker Junior performs Ghostbusters, so that doesn't hold any water. No,
<v Speaker 2>So leading up to the Awards he is pissed, like
<v Speaker 2>he's He's like, yeah, what's the deal. You guys are
<v Speaker 2>taking myself? Who is performing my song?
<v Speaker 3>Right?
<v Speaker 2>And they're like, well, we have a dancer who's gonna
<v Speaker 2>lip sync it what so some strongly worded letters are
<v Speaker 2>sent back and forth.
<v Speaker 3>Anyway, he goes to the awards ceremony and as it starts,
<v Speaker 3>all eyes are on him, right, and this poor dancer
<v Speaker 3>gets up there and does just a terrible it's like
<v Speaker 3>maybe the most embarrassing performance of all time. What the
<v Speaker 3>actual heck? I know right, like she did something really
<v Speaker 3>good for somebody involved at the Academy to get this spot.
<v Speaker 2>Yes, it's oh my god, it's so insane. Anyway, the
<v Speaker 2>song loses to I Just Called to Say I Love
<v Speaker 2>You by Stevie Wonder. I hate that song.
<v Speaker 3>I hate that song.
<v Speaker 2>And Phil came out pretty strong against that song. He said,
<v Speaker 2>Stevie Wonder is one of my heroes, but I have
<v Speaker 2>serious doubts that that song was actually written specifically for a.
<v Speaker 3>Movie, right.
<v Speaker 2>Uh so they just kind of bad feelings all around
<v Speaker 2>for him. The good news In two thousand, he eventually
<v Speaker 2>wins his Academy Award for You'll Be in My Heart.
<v Speaker 2>He even got to sing it right the bad News.
<v Speaker 2>That night, he beat the song Blame Canada, which is
<v Speaker 2>Trey Parker Matt Stone, and they went scorched earth on
<v Speaker 2>over that song.
<v Speaker 3>I'lso beat out an Amy Man song. But you'll have
<v Speaker 3>to go check out our Patreon page to hear that story. Mike,
<v Speaker 3>you love song all right. Next song on the album
<v Speaker 3>is a song called Long Long Way to Go. Okay,
<v Speaker 3>wait to bring it back down. It's pretty moody, yeah,
<v Speaker 3>I mean we just we finished with two toe tapping
<v Speaker 3>dance hits and then we moved into a very dirge like,
<v Speaker 3>politically motivated song.
<v Speaker 2>This song is actually considered to be one of his
<v Speaker 2>most famous, well known songs that was not released as
<v Speaker 2>a single.
<v Speaker 3>Right.
<v Speaker 2>This is also my first Miami Vice crossover. Okay, yes,
<v Speaker 2>and this song it sounds heavy, yeah, And so they
<v Speaker 2>used it for a heavy moment in Miami Vice when
<v Speaker 2>Tubbs's girlfriend and son were killed and he was at
<v Speaker 2>their funeral.
<v Speaker 3>So was used in Miami Vice.
<v Speaker 2>And Phil Collins has you know, got a heavy connection
<v Speaker 2>to Miami Vice. A lot of his songs were used.
<v Speaker 2>We talked about Peter Gabriel songs in his use in
<v Speaker 2>Miami Vice. So here's a list of the songs of
<v Speaker 2>Phil Collins that were used in Miami Vice. Okay, so
<v Speaker 2>you've got a song called I Don't Care Anymore? You've
<v Speaker 2>got take Me Home, which we're going to talk about
<v Speaker 2>here in a second. Yep, you've got long, long way
<v Speaker 2>to go, you've got against all odds, you've got a
<v Speaker 2>song called Life as a Rat Race, which was a
<v Speaker 2>rewrite of a demo for this album that was originally
<v Speaker 2>called The Man with the Horn. Oh okay, And then
<v Speaker 2>of course you've got in the Air Tonight, which maybe
<v Speaker 2>the most iconic moment of Miami Vice history.
<v Speaker 3>Right, okay.
<v Speaker 2>He played Phil the Shill, Fill the Shill in I
<v Speaker 2>think season two of Miami Vice.
<v Speaker 3>Right, He's like a con man. And and just so
<v Speaker 3>that our listening audience knows, Phil is not a musician
<v Speaker 3>that became an actor. He's an actor that became a musician.
<v Speaker 3>Tell me so. When he was I mean when he
<v Speaker 3>was very young, he like he got his first drums,
<v Speaker 3>Like he got a plastic drum at three, and by
<v Speaker 3>four and five he got some real drums, and they were,
<v Speaker 3>you know, doing a makeshift drum set for him. But
<v Speaker 3>and I sent you a cartoon that his brother had
<v Speaker 3>drawn of him pounding on the drum as a little kid. Right,
<v Speaker 3>But he was really he was an actor from a
<v Speaker 3>very early age. He played the part of the Artful
<v Speaker 3>Dodger in the musical Oliver at West End, like that
<v Speaker 3>the Broadway of London is where he was performing, like
<v Speaker 3>so big bragging rights for his family that Hey, my kids,
<v Speaker 3>my kid is playing the artful Dodger. And he was
<v Speaker 3>actually friends with Jack Wilde, who is the actor that
<v Speaker 3>played the artful Dodger in the movie Oliver that came
<v Speaker 3>out in the sixties.
<v Speaker 5>Oh yeah, okay, I do anything for you anything, Yes,
<v Speaker 5>it's And so when he became a teenager, older teenager,
<v Speaker 5>he decided, I don't want to be an actor anymore.
<v Speaker 3>Like they had given him all kinds of training to
<v Speaker 3>be an actor because he has shown such promise as
<v Speaker 3>a little kid. You know, you're a very young man.
<v Speaker 3>And he's like, nope, I want to go try to
<v Speaker 3>be a musician instead.
<v Speaker 2>He was in A Hard Day's Night that was cut out.
<v Speaker 2>Oh and then he got to go to Pinewood Studios.
<v Speaker 2>He got a part as an extra in Chitty Chitty
<v Speaker 2>Bang Bang. Okay, the Ian Fleming Kids book. Right cut
<v Speaker 2>out of that one as well.
<v Speaker 3>Uh huh.
<v Speaker 2>And he's like, I guess they didn't like my face, right,
<v Speaker 2>you know, right, So but yeah, young Phil was an actor. Yeah,
<v Speaker 2>and when he got this script from Miamivice. You know,
<v Speaker 2>Miami Vice had a reputation of bringing in musical people
<v Speaker 2>and doing cameos.
<v Speaker 3>He's like, oh, yeah, it'll be fun. He gets the script,
<v Speaker 3>he's reading and he's like, I'm on every page. Yeah.
<v Speaker 2>And he contacts the director. He's like, I haven't acted
<v Speaker 2>in like twenty five years, and he's like, ah, to
<v Speaker 2>be fun.
<v Speaker 3>You'll be doing You'll be fine. Yeah. And he has
<v Speaker 3>a major character on Miami Vice. I mean he goes
<v Speaker 3>on and is the star of his own movie.
<v Speaker 2>We'll get to that here in fink now before we
<v Speaker 2>move on. I think this is a good chance to
<v Speaker 2>tell you do you know who sings backup on this song?
<v Speaker 3>Uh? This one has Sting? That's right. Yeah.
<v Speaker 2>Sting and Phil Collins didn't know each other until they
<v Speaker 2>met when they recorded the do you Know It's Christmas
<v Speaker 2>song band Aid, which was like a couple of months
<v Speaker 2>before this was recorded. Uh huh, and they became fast friends.
<v Speaker 2>So when Live Aid came calling and so Steing contacted
<v Speaker 2>him and says, hey, are you doing this this Live
<v Speaker 2>Aid Bob Geldoff thing, and feels like, yeah, I think
<v Speaker 2>I'm gonna And Sting's like, well, let's do it together.
<v Speaker 2>So Phil and Sting decide they're going to team up
<v Speaker 2>and perform at Live Aid together as like a team.
<v Speaker 2>Oh okay, right, And so, of course Steing had just
<v Speaker 2>broken up with the Police. He hasn't really established.
<v Speaker 3>His band just yet, you know.
<v Speaker 2>So Hey, here's my buddy, Phil, Phil, you want to
<v Speaker 2>come on stage. Let's do a couple of songs. We'll
<v Speaker 2>do a couple of years, couple of mine, and we'll
<v Speaker 2>team up and we'll do it, which I think is
<v Speaker 2>really cool, fantastic.
<v Speaker 3>Right.
<v Speaker 2>So they do in the air tonight, they do Long,
<v Speaker 2>Long Way to Go this song. Okay, they do against
<v Speaker 2>all odds, and then they do every Breath you take together.
<v Speaker 3>Nice.
<v Speaker 2>Okay, that's awesome, which I think is really cool.
<v Speaker 3>Yeah, no, that's great. Now.
<v Speaker 2>Then Geldoff says, hey, why don't you perform in Philadelphia
<v Speaker 2>as well? Okay, So leading up to this, he asked Phil,
<v Speaker 2>hey you do it in London. If you hop on
<v Speaker 2>a concord, you could make it to Philadelphia in time
<v Speaker 2>just barely to perform both contents.
<v Speaker 3>Oh wow. And so Phil's like, well, I mean I don't.
<v Speaker 3>I don't want to be the only one who does this.
<v Speaker 3>He's like, no, no, no.
<v Speaker 2>Duran Durant's going to do it too.
<v Speaker 3>He's like, okay, well's yeah, that sounds like fun.
<v Speaker 2>I'll do it, well Duran. Duran bails out and so
<v Speaker 2>but Phil had already committed.
<v Speaker 3>Yeah. So he does these four songs with sting. He
<v Speaker 3>hops on the concord. Okay, now get this.
<v Speaker 2>There's a TV crew following him around recording this whole deal,
<v Speaker 2>of course, and he bumps into Share, who is on
<v Speaker 2>the plane, and she sees all these cameras and stuff,
<v Speaker 2>and so she goes to the bathroom. She comes back,
<v Speaker 2>she's like, Phil, what's going on. He's like, you don't
<v Speaker 2>know this live aid and she's like, no, I don't
<v Speaker 2>know anything about it.
<v Speaker 3>He's like, wow, I've just performed at Wembley. I'm going
<v Speaker 3>to Philadelphia. And she's like, can you get me on?
<v Speaker 3>And he's like, I'm not a talient agent, but your Share,
<v Speaker 3>I mean, come with me and we'll do this. Right.
<v Speaker 2>So Share is like, I'll join you and we'll do
<v Speaker 2>this in Philadelphia. Okay, let me back up a second.
<v Speaker 2>His buddy Robert Plant like leading up to this event,
<v Speaker 2>says are you doing this deal live aid? And it
<v Speaker 2>feels like, yeah, I'm doing it. And Robert Plant's like,
<v Speaker 2>maybe you can get me on, and feels like you're
<v Speaker 2>Robert Plant, you can get yourself on. So anyway, Phil
<v Speaker 2>contacts Bob Geldoff and says, Robert Plant wants to do something.
<v Speaker 2>So and this is months before and Robert Plant says,
<v Speaker 2>maybe I'll call Jimmy as in Jimmy Page, which, of
<v Speaker 2>course led Zeppelin had not gotten back together since John
<v Speaker 2>Bonham's death. Okay, so Phil is already doing his own thing,
<v Speaker 2>and then next thing he knows he's going to drum
<v Speaker 2>for Robert Plant, who's going to do a couple of songs.
<v Speaker 2>Jimmy Page is going to join him. Also, all of
<v Speaker 2>a sudden, John Paul Jones is involved.
<v Speaker 3>So it is literally all of led Zeppelin and Phil
<v Speaker 3>is taking the place of John Bonham.
<v Speaker 2>Yes, but all of this I think Phil had his
<v Speaker 2>head in the sand a little bit. He didn't realize
<v Speaker 2>that he was stepping into a led Zeppelin reunion. Okay, Yeah,
<v Speaker 2>so he performs at Wimbley, He hits the Concorde, bumps
<v Speaker 2>into Chaer. He's going over to Philadelphia. They you know,
<v Speaker 2>Robert said, hey, we're going to do a couple of
<v Speaker 2>led Zeppelin songs. Phil knows all the songs, he's a
<v Speaker 2>fan of led Zeppelin. Well he gets over there. Well,
<v Speaker 2>the drummer from Chic has been rehearsing with these three guys,
<v Speaker 2>and of course they're back together on stage for reunion.
<v Speaker 2>And feels like, wait a minute, I maybe I need
<v Speaker 2>to bow out, like this is not my They're like, no,
<v Speaker 2>you in Roubert place.
<v Speaker 3>You can't bow now.
<v Speaker 2>This is we're getting ready to go on stage. So
<v Speaker 2>it feels like, well, okay, I guess I'll join you.
<v Speaker 2>So he talks to I think his name is Tony Thompson.
<v Speaker 2>He's the drummer for Chic, and he's like, hey, listen,
<v Speaker 2>two drummers, what where are you going to do? What
<v Speaker 2>do you you know?
<v Speaker 3>What are you thinking?
<v Speaker 2>Well he's like not interested in hearing anything from Phil.
<v Speaker 2>So Phil feels like I got Robert Plant involved in this,
<v Speaker 2>and now I'm like the fifth wheel, right, and I'm
<v Speaker 2>stepping into a led Zeppelin reunion, of which I was
<v Speaker 2>not fully aware that this is what was happening.
<v Speaker 5>Right.
<v Speaker 2>So Phil catches the Concord comes back. He plays on
<v Speaker 2>stage with led Zeppelin as the reunion, but it is
<v Speaker 2>billed as a disaster afterwards. And guess who gets the blame?
<v Speaker 3>Phil Phil? Of course, yeah, he.
<v Speaker 2>Says, if you go back and look, and I did.
<v Speaker 2>He says, I'm playing air drums. He says, I'm just
<v Speaker 2>trying to hide and not get in the way, and
<v Speaker 2>he's just not hitting anything. And he took the he
<v Speaker 2>took the blame for it. That's tragedy, and led Zeppelin
<v Speaker 2>has done everything they can to scrub it from the
<v Speaker 2>Live Aid history.
<v Speaker 3>So huh.
<v Speaker 2>Kind of interesting.
<v Speaker 3>So what did Share perform?
<v Speaker 2>So the rest of the story is Phil does his set.
<v Speaker 2>He also plays with Eric Clapton. He also plays in
<v Speaker 2>the led Zeppelin reunion. Clapton played in the Leeds Clapton No.
<v Speaker 2>Clapton played on his own at Live Age, Phil played
<v Speaker 2>with him. Phil joined led Zeppelin in the reunion, of
<v Speaker 2>which he says he really didn't realize that was what
<v Speaker 2>was happening. He was supposed to see We Are the
<v Speaker 2>World at the end, but he was so embarrassed and
<v Speaker 2>so humiliated and felt like a jerk, and he's like,
<v Speaker 2>I know, I'm out of here, I'm going to the hotel.
<v Speaker 2>So when he got back to the hotel, he turned
<v Speaker 2>on and for the end and they're singing we know
<v Speaker 2>the World, and all the people are there together, and
<v Speaker 2>who does he see singing we are the world?
<v Speaker 5>Sure?
<v Speaker 2>Sure Share managed to get on stage, get a microphone,
<v Speaker 2>had no idea this was happening. Next thing you know,
<v Speaker 2>she's singing at live aid.
<v Speaker 3>Wow, that's crazy, that's fun, what a what a good story,
<v Speaker 3>that's fantastic.
<v Speaker 2>I kind of went all over the place, but.
<v Speaker 3>Okay, I think we got to keep moving.
<v Speaker 2>Next song on the album is a song called I
<v Speaker 2>Don't Want to Know.
<v Speaker 3>Okay, so this is one that you needed the album for, right, Yeah,
<v Speaker 3>not a single could have been a single. So I
<v Speaker 3>think it sounds like it's it had that single potential.
<v Speaker 3>And if I had heard it over and over on
<v Speaker 3>the radio again, I'm I'd have fallen in love with
<v Speaker 3>it like I did the other song.
<v Speaker 2>I think he just has a knack for writing catchy, hooky,
<v Speaker 2>fun up tempo stuff.
<v Speaker 3>Yeah, and so the lyrics of this song are really
<v Speaker 3>all about she's not going to get me back. She
<v Speaker 3>can try, she can cry, I'm not coming back now.
<v Speaker 3>We kind of touched on this that the first two
<v Speaker 3>solo albums that he did were basically a love letter
<v Speaker 3>to his wife, who had divorced him, right, and he
<v Speaker 3>was just doing everything now. He didn't wasn't very tactful
<v Speaker 3>about it, Like if I saw you drowning, I wouldn't
<v Speaker 3>lend a hands. Probably not the way to win your
<v Speaker 3>wife back, but that was what it was.
<v Speaker 2>Neither is putting a paint can on the piano.
<v Speaker 3>Yeah. Yeah, So there's a there's a whole other, whole
<v Speaker 3>other story there where she I mean, we want to
<v Speaker 3>go there? Yeah, let's go there, and so so here
<v Speaker 3>it is. So whenever Genesis hits it big with Phil
<v Speaker 3>singing his wife, he's like, hey, we're making it big.
<v Speaker 3>We got to go tour the US. And his wife
<v Speaker 3>at the time is like, who used to be a
<v Speaker 3>backup singer in his original band in high school? You know,
<v Speaker 3>they met when they were eleven. They've known each other
<v Speaker 3>for decades, and she's like, you know, you're putting your
<v Speaker 3>the band as a priority over me, and you've done
<v Speaker 3>it for years and I'm not going to deal this anymore.
<v Speaker 3>And he was He was like, but I have to
<v Speaker 3>go do this. You know, I have to work. We
<v Speaker 3>have to make it big in the US if we're
<v Speaker 3>going to make it at all. And she said, if
<v Speaker 3>you go do this, I'm not going to be here
<v Speaker 3>when you get back, right, And she was true to
<v Speaker 3>her word.
<v Speaker 6>She was.
<v Speaker 3>She found another guy while he was off on tour
<v Speaker 3>because he left anyway thinking I'll work it out.
<v Speaker 2>He told her, he said, just wait a couple of weeks,
<v Speaker 2>I'll be home.
<v Speaker 3>Yeah.
<v Speaker 2>Well, they were getting their house redecorated, and.
<v Speaker 3>And one of the.
<v Speaker 2>Painters, she was very blatant, like, that's the dude, that's
<v Speaker 2>who I've been with.
<v Speaker 3>What are you gonna do about it? Right, and kind
<v Speaker 3>of in his face about it. Yeah.
<v Speaker 2>And so when he performed in the Air tonight, I
<v Speaker 2>think on top of the Pops he had a paint
<v Speaker 2>can on the piano as a nod.
<v Speaker 3>Yeah. Yeah. It was a tumultuous relationship, but one that
<v Speaker 3>he always wanted to get back together until he finally
<v Speaker 3>decided I don't care anymore. I don't care anymore. And
<v Speaker 3>I think this song is in that same vein of hey,
<v Speaker 3>it's over.
<v Speaker 2>Rumor has it? The Phil divorced his second wife by facts,
<v Speaker 2>Did you hear this.
<v Speaker 3>No, this is Jill.
<v Speaker 2>This is Jill.
<v Speaker 3>Yeah, we'll talk about Jill here in just a second. Okay.
<v Speaker 2>Next song on the album One More Night.
<v Speaker 3>All right, couples move to the center of the dance floor.
<v Speaker 2>This is a makeout classic from nineteen eighty five. I
<v Speaker 2>think this is great. I like the verses actually more
<v Speaker 2>than I even like the chorus and the chorus is
<v Speaker 2>a number one hit feeling song.
<v Speaker 3>Both hooky melodies and the verse and the chorus for sure.
<v Speaker 3>This is his second number one after Against All Odds. Okay.
<v Speaker 2>This is released in January of eighty five. It hits
<v Speaker 2>number one March and eighty five in the States. Here's
<v Speaker 2>your top five all yeah, yeah, okay? Now.
<v Speaker 3>Number five We are the world coming up like a
<v Speaker 3>on its way up, not on its way down. Gotcha? Yeah.
<v Speaker 2>Number four lover Girl by Tina MARIEEP talked about her
<v Speaker 2>on our Top Gun soundtrack episode It's Right. Number three
<v Speaker 2>Can't Fight This Feeling by Ario speed Wagon, which we.
<v Speaker 3>Will be covering soon when we do Ario speed Wagon
<v Speaker 3>versus who are we doing them against?
<v Speaker 2>Rush?
<v Speaker 3>That's the spoiler. We just spoiled it.
<v Speaker 2>Number two is Material Girl, which never made it to
<v Speaker 2>number one. Wow, because one more night held it off
<v Speaker 2>at number one until we are the world was like, no,
<v Speaker 2>we're not bowling everything out of the way. This song
<v Speaker 2>was used in the movie The Color of Money. Okay Scorsese,
<v Speaker 2>Tom Cruise, Paul Newman.
<v Speaker 3>Yeah, kind of a part to the Hustler. Yes, yeah,
<v Speaker 3>This music video Tom Cruise with a perm Yeah yeah yeah.
<v Speaker 2>This music video was shot at that same the studio
<v Speaker 2>pub they call it the Princess Victoria, owned by Richard Branson,
<v Speaker 2>and the song the lyrics are like, before we end
<v Speaker 2>this relationship, just give me one more night to try
<v Speaker 2>to work this thing out, right, great song, number one hit,
<v Speaker 2>makeout classic absolutely okay, all right, hit stop on your
<v Speaker 2>tape player, kick it out, flip it over for side two.
<v Speaker 2>Side two starts off with a song called Don't Lose
<v Speaker 2>My Number.
<v Speaker 3>I'm hoping against hope that you've got the story behind
<v Speaker 3>this song.
<v Speaker 2>I have the story.
<v Speaker 3>Yeah, I don't know if you're gonna be happy with it. Okay,
<v Speaker 3>I mean this is a this isn't a love song,
<v Speaker 3>right like, it seems like a cloaking dagger, spies and
<v Speaker 3>shadows and right chasing on the street kind of stuff.
<v Speaker 3>What's going on here?
<v Speaker 2>Billy, don't forget my number if you're not anywhere that
<v Speaker 2>I can't find you.
<v Speaker 3>Billy is my contact that I have.
<v Speaker 2>Right, So people, this is like the studio people are like,
<v Speaker 2>what does this song mean?
<v Speaker 3>Yeah, it feels like I don't know.
<v Speaker 2>I don't know, right, They're just words that came out
<v Speaker 2>of my mouth and I wrote them down and it
<v Speaker 2>became a number four hit.
<v Speaker 3>Well, I mean that works.
<v Speaker 2>This song is released July first, basically the same day
<v Speaker 2>that Sus Studio hits number one. Okay, number five you
<v Speaker 2>have Oh Sheila by Ready for the World.
<v Speaker 3>I heard that today. Everybody thought that was Prince in disguise?
<v Speaker 3>Right that Sheila is Sheila e right right? Yeah?
<v Speaker 2>Yeah. Number four, don't lose my number of Phil Collins, Yeah, okay.
<v Speaker 2>Number three Freedom by Whim.
<v Speaker 3>That's one of my favorites. Yeah, go ahead.
<v Speaker 2>Number two Cherish by Cooling the Gang.
<v Speaker 3>Oh yeah, cool Gang re Emerging. Yes, and then number
<v Speaker 3>one Money for Nothing by Dire Straits. Can't beat that. Man,
<v Speaker 3>did you watch this video?
<v Speaker 2>Oh man, this is such a great eighties video. So
<v Speaker 2>it's a music video about making music videos. Okay, So
<v Speaker 2>it starts off and it feels sitting on a desk
<v Speaker 2>like the every dude he is, and he's talking to
<v Speaker 2>a reporter and he's like, so anyway, that's why I
<v Speaker 2>call it No Jacket Required, which I thought was a
<v Speaker 2>great book, right, right, And his assistant comes in. It's
<v Speaker 2>like filled the director for your next music video wants
<v Speaker 2>to talk to you. And he's like, oh great, send
<v Speaker 2>him in whatever. And the director comes in. Phil sticks
<v Speaker 2>out his hand and he walks right by and he
<v Speaker 2>looks at him. He's like John Wayne. It feels like
<v Speaker 2>Robert Redford, and he's like Gary Cooper and he's like
<v Speaker 2>Clint Eastwood and they just keep kind of this weird exchange, right,
<v Speaker 2>and you're made to feel uncomfortable because the director is
<v Speaker 2>so weird. But then they both look at each other
<v Speaker 2>at the same time and they go Al Craigs right,
<v Speaker 2>And I was like.
<v Speaker 3>Who in the heck is mal Craigs?
<v Speaker 6>Right?
<v Speaker 2>This has to be an inside joke. So Mal Craigs
<v Speaker 2>was like the head of the roadies for Phil calls,
<v Speaker 2>so it's some joke some guy on his crew that
<v Speaker 2>he's just like making a joke. So but the video
<v Speaker 2>is like, what is this video is going to be
<v Speaker 2>about right. So you have a scene where Phil is
<v Speaker 2>clearly mad Max right, and you have the Old West
<v Speaker 2>and he's a cowboy, and then you have him parodying
<v Speaker 2>like the David Lee Roth California girls.
<v Speaker 3>Yes, he's doing the dance.
<v Speaker 2>He's dancing and one of the girls is Jill, his wife,
<v Speaker 2>which I thought was kind of cute. And then you
<v Speaker 2>got you got the showgun. They're making fun of that.
<v Speaker 2>You might think video from the cars. This one guy
<v Speaker 2>is trying to convince him that, you know, you raise
<v Speaker 2>your crossbow and you shoot the guy and he and
<v Speaker 2>he hits himself with an arrow and there's like blood.
<v Speaker 2>It feels like, oh, you know, I don't think this
<v Speaker 2>is really me. So the whole video is about making
<v Speaker 2>a video. It was really cute.
<v Speaker 3>It's really fun. Yeah, great eighty stuff. I loved it.
<v Speaker 3>That's fantastic. So the video starts off, This isn't another
<v Speaker 3>interesting thing that you're going to tell us about. Yes,
<v Speaker 3>the video starts off and they're naming history like they're
<v Speaker 3>naming some Western history movie stars, right, John Wayne and
<v Speaker 3>Clint Eastwood, Robert Redford, yes, Gary Cooper, Yes. Now, among
<v Speaker 3>the all the awards that Phil has gotten. He got
<v Speaker 3>an honorary degree from the Berkeley College of Music in music.
<v Speaker 3>He also got an honorary degree in history. Really, can
<v Speaker 3>you tell us why?
<v Speaker 4>Well?
<v Speaker 2>I do know that he has a lifelong love and
<v Speaker 2>sort of fascination with the Alamo. Yeah, and he became
<v Speaker 2>a collector of all these documents, relics, weapons, even of
<v Speaker 2>the Alamo. And I do know in twenty fourteen he
<v Speaker 2>donated his entire private collection to the Alamo, under the
<v Speaker 2>condition that the public could see it. Yeah, and he
<v Speaker 2>became awarded honorary Texan.
<v Speaker 3>That's awesome in twenty fifteen. Yes, I think that's really good.
<v Speaker 3>It's fantastic.
<v Speaker 2>He actually does the narration for the tour.
<v Speaker 3>That's so crazy. I know I would have you would
<v Speaker 3>have a guy, you know from England, a blue collar
<v Speaker 3>England accent, giving you the tour information for the album.
<v Speaker 2>I saw a video where Phil is waving around a
<v Speaker 2>sword that belonged to somebody important, that Santana or one
<v Speaker 2>of the losers some.
<v Speaker 3>Of the Sorry, sorry for all of our Texas listeners.
<v Speaker 2>They don't you know, you don't get to keep the
<v Speaker 2>sword for the winners, all right. Next song on the album, Yeah,
<v Speaker 2>song called who said I would.
<v Speaker 3>Okay, So the first little intricate, little clip that's maybe
<v Speaker 3>just ten seconds long at the beginning of it total
<v Speaker 3>gives me total risky business vibes of you know, he's
<v Speaker 3>racing against the clock to try to get all of
<v Speaker 3>the furniture put back before the parents get home.
<v Speaker 2>My egg Joel.
<v Speaker 3>But the song itself, this is like Susu Studio Part two.
<v Speaker 6>To me.
<v Speaker 3>This is almost identical chord progression and beat, it's upbeat,
<v Speaker 3>it's fun. Yeah, this is a great concert song. You know.
<v Speaker 2>This was not released as a single from No Jacket Required,
<v Speaker 2>but they released the live version of it and it
<v Speaker 2>became a top one hundred hit in nineteen ninety one
<v Speaker 2>hit number seventy three.
<v Speaker 3>Well something.
<v Speaker 2>Hey, this album is packed full of songs. Right, if
<v Speaker 2>they didn't get a hit the first time round, maybe
<v Speaker 2>they get it the second time round.
<v Speaker 3>Yeah, exactly. Yeah, they made this to be a potential
<v Speaker 3>single on every single song, right yep.
<v Speaker 2>Okay, next song on the album. Yeah, this song is
<v Speaker 2>called Doesn't Anyone Stay Together Anymore? Okay, I'm ready for
<v Speaker 2>this story. I've been waiting for this one.
<v Speaker 3>This song is about people getting divorced at the time
<v Speaker 3>that he wrote it, Phil was not actually getting divorced,
<v Speaker 3>but had been divorced, and his manager was getting divorced
<v Speaker 3>and had friends getting divorced. And I'll tell you this,
<v Speaker 3>you know, since you mentioned that he divorced Jill by facts, right,
<v Speaker 3>that original band that he put together back in grade
<v Speaker 3>school was a band called The Real Thing. And one
<v Speaker 3>of the backup singers for the band was Andrea Burtelly
<v Speaker 3>Andy uh huh, Andy, his first who later became his
<v Speaker 3>first wife, the one that had the paint can to
<v Speaker 3>remind her.
<v Speaker 5>Yes.
<v Speaker 3>And the other backup singer was a friend named Lavinia
<v Speaker 3>Lang huh. And while Phil was still married to Jill
<v Speaker 3>and on tour he ran into Lavinia Lang again and
<v Speaker 3>they hit it off in a big way. And I
<v Speaker 3>think he sent the facts not too long after. Yeah, yeah,
<v Speaker 3>doesn't anyone stay together anymore?
<v Speaker 2>Now, you got to tell the story about when he
<v Speaker 2>performed this.
<v Speaker 3>Do you know this story? Well, so the this is nuts, right,
<v Speaker 3>this is absolutely nuts. So obviously by this time in history,
<v Speaker 3>he's he's already huge, right and so, and huge not
<v Speaker 3>only in the US, but of course in his home
<v Speaker 3>country right of Britain, right right, Well, in the eighties,
<v Speaker 3>Britain had a prince. His name was Charles, Prince Charles,
<v Speaker 3>and Prince Charles had his fortieth birthday and they were like,
<v Speaker 3>who do you want to perform? And he said Phil Collins,
<v Speaker 3>of course, and Phil performed this song right, not realizing
<v Speaker 3>that just a few short weeks later, Charles and Diana
<v Speaker 3>would be also not staying together anymore.
<v Speaker 4>Yeah.
<v Speaker 2>He told a story on his audio book where he
<v Speaker 2>and Diana became pretty good friends, and so he was
<v Speaker 2>friendly with her even though she was royalty whatever, and
<v Speaker 2>so he said, one day he went to the dentist
<v Speaker 2>and had some dental work, and he came out and
<v Speaker 2>a BMW pulls up and somebody rolls down the window
<v Speaker 2>and they're like, Phil, Phil, it's Princess Diana yelling at
<v Speaker 2>him from her car, right, and she says, what are
<v Speaker 2>you doing here? You're like, I've gone from donal work,
<v Speaker 2>you know, and she's like, marvelous, I just had a colonoscopy.
<v Speaker 2>She said, you haven't done that.
<v Speaker 3>They're great.
<v Speaker 2>Then she drives off and he turned to his assistant.
<v Speaker 2>He's like, did that just happen?
<v Speaker 3>Is this the drugs worn off yet?
<v Speaker 6>Right? Oh?
<v Speaker 3>My gosh, that's hilarious.
<v Speaker 2>I thought that was a great story I.
<v Speaker 3>Just had They're wonderful. They are not wonderful, by the way.
<v Speaker 3>That is a lie that she was being sarcastic. Either
<v Speaker 3>that or she was still coming down from whatever.
<v Speaker 4>Right.
<v Speaker 2>I like this song. I think it's the fun I
<v Speaker 2>think this could have been hit as well.
<v Speaker 3>You had the Princess of Wales's joke about her bungle
<v Speaker 3>holes in him. That's fantastic.
<v Speaker 2>That's that's how comfortable people are with Phil Collins. I
<v Speaker 2>told you Phil Collins, despite being the second wealthiest drummer
<v Speaker 2>in the world and maybe the greatest drummer in the world,
<v Speaker 2>he still seems like a guy who would get a
<v Speaker 2>blotch of barbecue sauce on his shirt and not know
<v Speaker 2>about it. You know, he just he just seems like
<v Speaker 2>an every guy.
<v Speaker 3>You know he does. But yes, second only to Ringo
<v Speaker 3>Star in drummer wealth in the UK and probably the
<v Speaker 3>most money paid out in a divorce from his third wife,
<v Speaker 3>who we haven't even gotten to yet. Yeah, yeah, something
<v Speaker 3>like twenty five pounds or something.
<v Speaker 2>Well, yes, yeah, anyway, yeah, next song on the album.
<v Speaker 2>This song's called inside Out.
<v Speaker 3>So Phil is definitely playing the drums and not the
<v Speaker 3>drum machine on this one.
<v Speaker 2>Yeah he's banging away. Yeah, it's that gated drum sound.
<v Speaker 2>I think, oh yeah, this is a great song. I
<v Speaker 2>think this could be a hit as well.
<v Speaker 3>Every single one.
<v Speaker 2>Yeah, this reached number nine on the Hot Rocks chart. Okay,
<v Speaker 2>so in some sense it was a hit even though
<v Speaker 2>it wasn't released as a single. This is a great
<v Speaker 2>concert song. I think just this whole album is just
<v Speaker 2>so much fun.
<v Speaker 3>Yeah, you think they missed the boat. I'm not releasing
<v Speaker 3>this as a single.
<v Speaker 2>Well, everything he released turned to gold, right, I think
<v Speaker 2>this could have turned to gold as well.
<v Speaker 3>Sure.
<v Speaker 2>I got a quote for you from Phil Collins on
<v Speaker 2>his popularity. He said, I know I was starting to
<v Speaker 2>annoy everybody on the periphery, But in my defense, I
<v Speaker 2>only wrote the song one time.
<v Speaker 3>You know, we mentioned he's the second wealthiest drummer, next
<v Speaker 3>only to Ringo Star. But he had the occasion when
<v Speaker 3>he was a much younger, much poorer drummer to play
<v Speaker 3>with a different beetle and to give us that story,
<v Speaker 3>we're gonna bring back Chad Briggs. Chad.
<v Speaker 4>So.
<v Speaker 6>Phil Collins obviously was not part of the original Genesis
<v Speaker 6>he did come fairly early on, but he was an operator, right,
<v Speaker 6>I mean he he knew the music scene and the
<v Speaker 6>music scene in London at that time, was I mean
<v Speaker 6>it was, it was amazing. So there was a story.
<v Speaker 6>And this reminds me of your story of Mary Clayton
<v Speaker 6>from the Dirty Down Seat soundtrack. Right. He gets a
<v Speaker 6>call late at night and they're saying, Phil, Phil, they're
<v Speaker 6>doing recording, they need a percussionist. It's like, guys, come on,
<v Speaker 6>I just got out of the bath and just watching TV.
<v Speaker 6>And no, no, no, this is this is George Harrison
<v Speaker 6>Abby Road. You need to get down here. Jumps into
<v Speaker 6>a taxi, screaming at the taxi driver. You know, get
<v Speaker 6>me to this place, get me, get me, get me.
<v Speaker 6>He shows up, He walks into this room and there
<v Speaker 6>there's Ringo playing drums, George Harrison on guitar, Klaus Foreman
<v Speaker 6>on bass, Billy Preston on piano, Badfinger guitars, Murray's on keyboards,
<v Speaker 6>and guess who's the producer, Phil Spector.
<v Speaker 2>Oh wow, okay.
<v Speaker 6>Again again I'd throwback to dirty Dancing.
<v Speaker 3>Yep.
<v Speaker 6>They spend they spend hours playing. Now they put Collins
<v Speaker 6>on conga. He's not a conga player, right, and so
<v Speaker 6>he's not sure if they're recording him, and he just
<v Speaker 6>keeps playing. Spector finally says all right, all right, Phil,
<v Speaker 6>you're on and his fingers are bloody. By this point,
<v Speaker 6>he's just not sure what's going on. Everyone leaves, they're
<v Speaker 6>in a different room. Someone tells him, all right, Phil,
<v Speaker 6>you can go, and he walks away. He's a teenager
<v Speaker 6>at this point. He doesn't know what's going on. The
<v Speaker 6>album comes out, he's not credited, and he knows that
<v Speaker 6>they used a slightly different version of the song, but
<v Speaker 6>it kind of eats away at Collins for years, right,
<v Speaker 6>and then you fast forward to the nineteen eighties. Phil
<v Speaker 6>Collins is a superstar on his own right now, he's
<v Speaker 6>still thinking about this album. He's still thinking about how
<v Speaker 6>he was not credited for anything on this George Harrison piece.
<v Speaker 6>So he mentions this to one of George Harrison's friends.
<v Speaker 6>Did they use me? Did they not use me? A
<v Speaker 6>couple of days later, he gets a package in the
<v Speaker 6>mail from George Harrison with the tape inside and a
<v Speaker 6>note saying, we found the master tapes. You want to
<v Speaker 6>listen to it. There's even a note saying, was this you?
<v Speaker 6>And it's the conga drums and it sounds horrible, right,
<v Speaker 6>it's overdone, it's sort of a little bit offbeat. And
<v Speaker 6>Collins is just sitting there going, oh my god, Oh
<v Speaker 6>my god, I just screwed up so badly. I screwed
<v Speaker 6>up so badly. How could I you know? And he's
<v Speaker 6>just thinking George Harrison, I mean, he's like the King,
<v Speaker 6>and man, how did I screw up like this? The
<v Speaker 6>punchline is the tape was fake. George Harrison heard about
<v Speaker 6>this request. He put the band back together, re recorded
<v Speaker 6>everything they'd done that night, but then turned to the
<v Speaker 6>person they brought into, a percussionist, and said, do it
<v Speaker 6>be like half beat ahead?
<v Speaker 3>Just ruin it?
<v Speaker 6>Okay, just ruin it. It was just the cruelest prank
<v Speaker 6>that they played on Phil Collins. But I can't imagine
<v Speaker 6>the effort you have to put in to say, all right,
<v Speaker 6>all right, yeah, well we'll not just say that, yeah
<v Speaker 6>we didn't use you. We're gonna drive it in and
<v Speaker 6>try to make you think that no, you were never
<v Speaker 6>part of it.
<v Speaker 3>In the great story, fantastic, Oh my gosh, that was awful.
<v Speaker 2>All right, last song on the tape, but not the
<v Speaker 2>last song on the CD. This song is called take
<v Speaker 2>Me Home.
<v Speaker 3>Okay, if I may quote Jason Colvin for the episode,
<v Speaker 3>this is the best song on the album, and I'm
<v Speaker 3>spiking the football. This This is sonic perfection, This is
<v Speaker 3>eighties gold. The harmonies and filled to the chorus are
<v Speaker 3>so fantastic, far away favorite song of the album.
<v Speaker 2>You were just playing that and when you hit that
<v Speaker 2>big chorus, my eyes watered up. That's what happens.
<v Speaker 3>It's so good. You're going to start pumping your fist
<v Speaker 3>and take me home, take me Home, singing along with it. Man,
<v Speaker 3>it's just so good. Now, here's the crazy thing for
<v Speaker 3>my entire life. I thought that this song was very
<v Speaker 3>much like Home Sweet Home by Motley Crue. It's about
<v Speaker 3>like I'm tired of the road. I want to get back.
<v Speaker 3>It's not what it's about. Tell me blew my mind.
<v Speaker 2>Yeah.
<v Speaker 3>So this is from the perspective of someone who is
<v Speaker 3>in a mental asylum, who always has that hope of
<v Speaker 3>you know, somedamn, I'm gonna get out here and I'm
<v Speaker 3>I'm going to go back to my home, even though
<v Speaker 3>they really have no recollection of what their home was
<v Speaker 3>really ever like, and it's based on kN Kesey's book
<v Speaker 3>One Flew Over the Cuckoo's Nest, which of course came
<v Speaker 3>out Best Picture in nineteen seventy five. Here I Was
<v Speaker 3>Born Jack Nicholson. Very impactful movie. But geez, what a
<v Speaker 3>great song. That doesn't make me think of that movie
<v Speaker 3>at all.
<v Speaker 2>It's a wonderful song, an absolute banger. I don't know
<v Speaker 2>how this didn't get to number one. It only reached
<v Speaker 2>number seven.
<v Speaker 3>Yeah, this was the lowest, the lowest, right.
<v Speaker 2>It was the lowest.
<v Speaker 3>This was of all of the singles on this album.
<v Speaker 3>This was his lowest, which I mean, how many people
<v Speaker 3>would love to have had a number seven song? Of course, right,
<v Speaker 3>but I just blows my mind, like why why why
<v Speaker 3>would this one? Do you want to hear the six
<v Speaker 3>better songs? You know that I do?
<v Speaker 2>Okay, So Take Me Home tops out at number seven, right, which, no,
<v Speaker 2>it needs come on, this needs to be higher. Number
<v Speaker 2>six is Your Love by the Outfield, which is a
<v Speaker 2>banger song.
<v Speaker 3>Dude, huge again for the third time in this episode.
<v Speaker 3>Go check out our Patreon page that you can hear
<v Speaker 3>the full story on that song. Right.
<v Speaker 2>Number five Live to Tell, which one of Madonna's best songs.
<v Speaker 3>Okay, it's kind of a.
<v Speaker 2>Softer ballad from her. Number four is what Have You
<v Speaker 2>Done for Me Lately? By Janet Jackson.
<v Speaker 3>Sure, I don't think it's better than this. As a
<v Speaker 3>matter of fact, I don't think that the Madonna song
<v Speaker 3>is either your your love. I can see being ahead
<v Speaker 3>of it. Okay, yeah.
<v Speaker 2>Number three, why can't this be loved? By Van Halen.
<v Speaker 3>It's a good one, okay, yeah.
<v Speaker 2>Number two West End Girls by the Pet Shops.
<v Speaker 3>Oh gosh, that was huge. A yeah.
<v Speaker 2>And then number one is the Greatest Love of All
<v Speaker 2>by Whitney Houston. Yes, okay, I mean it was a
<v Speaker 2>rocket ship.
<v Speaker 3>Yeah. Well, so there's at least there's at least a
<v Speaker 3>handful of definite. You know, maybe these songs are better
<v Speaker 3>on all of them, but gee, that is This is
<v Speaker 3>why we talk about the eighties, guys, because back when
<v Speaker 3>it's so good, you've had a top ten like that.
<v Speaker 2>I want to talk about the video of this song
<v Speaker 2>real quick, okay, yeah, because this took time, effort, for sight, discipline.
<v Speaker 2>Even parts of this video are filmed in London, Paris, Tokyo,
<v Speaker 2>New York, Sydney, Breman, Memphis, La you know, Hollywood, Stockholm,
<v Speaker 2>San Francisco, Kyoto, Chicago, Saint Louis, Houston. So you've got
<v Speaker 2>to kind of dedicate yourself to making a video all
<v Speaker 2>around the globe, right, And it's you know, here I am.
<v Speaker 3>He's at the Golden Gate Ridge, Take me Home. I'm
<v Speaker 3>at the Sydney Opera House. Take me Home. You know,
<v Speaker 3>I'm in New York. Take me Home. I think it's
<v Speaker 3>so great. And then the end of the video, he
<v Speaker 3>finally gets home. He's excited to be home. He opens
<v Speaker 3>the door and his wife's immediately have you been at
<v Speaker 3>the PUBA game? Always something funny with him.
<v Speaker 2>Yeah, yeah, okay, I sent you a song this week
<v Speaker 2>called Home by Bone Thugs and Harmony. Yeah, And I
<v Speaker 2>listened to it and it's obviously it's rap, yeah, but
<v Speaker 2>I thought it was awesome.
<v Speaker 3>Yeah.
<v Speaker 2>And then Phil is bringing the take Me Home chorus
<v Speaker 2>in there.
<v Speaker 3>So this is great because Bone Thugs and Harmony. I mean,
<v Speaker 3>I wasn't listening to rap at the time. This was
<v Speaker 3>round two thousand something like that.
<v Speaker 6>Yeah.
<v Speaker 3>Yeah, so I wasn't really listening to rap in the
<v Speaker 3>year of two thousand, but I had to be under
<v Speaker 3>a rock not to hurt hear of bone Thugs and harmony.
<v Speaker 3>And so these guys did what all kinds of rap
<v Speaker 3>musicians have done for many decades now, which is sample
<v Speaker 3>some music. And they wanted to sample this take Me
<v Speaker 3>Home song because they love it, right, because it's a
<v Speaker 3>fantastic song.
<v Speaker 2>It's irresistible.
<v Speaker 3>And so they say, they say to him, hey, can
<v Speaker 3>we is it okay? They asked permission. They didn't, you know,
<v Speaker 3>they didn't like two live crew it. They went and
<v Speaker 3>asked for permission for it, and he was like yeah, yeah, okay, Yeah,
<v Speaker 3>that'll be fine. And they're like will you be in
<v Speaker 3>the video? And he's like, ah, you know, I don't
<v Speaker 3>really know. They go to London to meet him and
<v Speaker 3>say please, please, we want you to be in the video.
<v Speaker 3>We want you to and by him agreeing to do that,
<v Speaker 3>then they get that full chorus. They get him singing
<v Speaker 3>take Me Home, and he's in the video and he's
<v Speaker 3>just he's very in the background until it's that take
<v Speaker 3>me Home point, and then he's just looking at the
<v Speaker 3>camera singing the song.
<v Speaker 2>It's great, It's so great.
<v Speaker 3>That is really great.
<v Speaker 2>Yeah, all right, let's go to the last song on
<v Speaker 2>the CD.
<v Speaker 3>This song is called we said Hello goodbye, not to do.
<v Speaker 6>And we black.
<v Speaker 3>Phois. It's okay. So we have a min along kind
<v Speaker 3>of classical interlude here, and then we get an echoe piano. Yes,
<v Speaker 3>and it's got very much that Jackson Brown feel to
<v Speaker 3>me of just him at the piano on the stage.
<v Speaker 3>They got the piano's got a little bit of an
<v Speaker 3>echo effect on it, a little delay, and then the
<v Speaker 3>drums come in, and those drums coming in are so
<v Speaker 3>ringo star okay. And then when he's playing like he's chanting,
<v Speaker 3>like to me, he's channeling Ringo on this one. This
<v Speaker 3>would say this is a ringo drum riff if I
<v Speaker 3>could call one.
<v Speaker 2>All right, step back, okay, d This is the best
<v Speaker 2>song on the album I Am spiking the football.
<v Speaker 3>Wow.
<v Speaker 2>This song went with every graduation video from my years
<v Speaker 2>of growing up, so there's like eighty eight to ninety
<v Speaker 2>two was like a part of every graduation video. Turn
<v Speaker 2>your head, don't look back, set your sales for a
<v Speaker 2>new horizon. It's a perfect graduation song.
<v Speaker 3>Yeah.
<v Speaker 2>I love this song and I absolutely love take Me Home.
<v Speaker 2>But this song was not released as a single until
<v Speaker 2>it was on the Plane for Keeps soundtrack. Oh wow,
<v Speaker 2>it didn't chart, but to me, it just this makes
<v Speaker 2>me wipe tears. I absolutely love this song.
<v Speaker 3>Okay, so wow, that's coming strong on that one. That's impressive.
<v Speaker 3>I love it.
<v Speaker 2>I absolutely love it.
<v Speaker 3>All right, people, that is no jacket required. That's the
<v Speaker 3>end of it. Yeah. So we've gone through two of
<v Speaker 3>the three and we've done a pretty good job of
<v Speaker 3>not talking about Genesis as much as it obviously is
<v Speaker 3>in this conversation of Peter Gabriel and Phil Collins. But
<v Speaker 3>come back next week and we will be talking all
<v Speaker 3>kinds of Genesis because we're going to be talking about
<v Speaker 3>the album in Visible Touch.
<v Speaker 2>See you next week.
<v Speaker 7>I guess Holmes Holmes Rupert Holmes on our Patreon episode.
<v Speaker 3>That is not sung by Rupert Holmes, but it is
<v Speaker 3>a good one. You should come check it out. You
<v Speaker 3>can go do that by going to our Patreon page. Yes, yes,
<v Speaker 3>I'm totally interrupted the let's let's that interrupts a flow?
<v Speaker 6>Start over?
<v Speaker 3>Fine, it's fine, you sure?
<v Speaker 4>Sure?
<v Speaker 3>Well now now the flow isn't ready