Grease Soundtrack (1978): Track by Track

<v Speaker 1>Hey, y'all, this is Dale Selby in Dallas, Texas, and
<v Speaker 1>you are listening to my dogs, Jason and d and
<v Speaker 1>the best podcast anywhere. Sureley, you can't be serious, Booma.
<v Speaker 1>Welcome back, ladies and gentlemen, to the podcast that is automatic,
<v Speaker 1>it's systematic, it's harddromatic. Why it's the Shirley you can't
<v Speaker 1>be serious podcast covering the soundtrack of Gas. You know,
<v Speaker 1>we go together like ram lama a little. This podcast
<v Speaker 1>is supreme. It'll make the girls scream. Ah Yes, radio edit,
<v Speaker 1>thank you very much. Shell Dragon. Ladies and gentlemen, we
<v Speaker 1>are here to talk to you about the songs of
<v Speaker 1>the movie Grease. Yeah.
<v Speaker 2>Today we're gonna be talking about the soundtrack, which is
<v Speaker 2>vitally important to the success of the movie.
<v Speaker 1>Guys, if this is the first time you have tuned in,
<v Speaker 1>this is the second in our set of episodes. The
<v Speaker 1>first we covered the movie itself, and now we're covering
<v Speaker 1>the soundtrack. So if you haven't heard that first episode,
<v Speaker 1>be sure and go back and check that one out.
<v Speaker 1>But today we're talking only songs. We avoided it last
<v Speaker 1>week and now we get to dive into the song.
<v Speaker 1>So here's the thing.
<v Speaker 2>There's twenty three songs on this album.
<v Speaker 1>That's a lot of songs.
<v Speaker 2>That's a lot of songs. And for us, we try
<v Speaker 2>to keep this around an hour or so, we.
<v Speaker 1>Don't have that much. I mean, that's like two minutes
<v Speaker 1>of song.
<v Speaker 2>That's not we're gonna have to burn through these. So
<v Speaker 2>if you're like, man, they're barely grays in the surface
<v Speaker 2>on these, well, you know there's a lot of songs.
<v Speaker 1>Yeah, exactly, okay.
<v Speaker 2>D So for the soundtrack for Grease, we have to
<v Speaker 2>give a shout out to the executive producer of this
<v Speaker 2>particular episode, mister Chris Webber.
<v Speaker 1>Chris Webber, thank you, Chris Webber. Guys, if you want
<v Speaker 1>to be an executive producer for one of our episodes,
<v Speaker 1>it's so easy. You just go over to Patreon dot
<v Speaker 1>com backslash Shirley Podcast and for as little as five bucks,
<v Speaker 1>like I can't even get Starbucks for my twelve year old,
<v Speaker 1>for less than five bucks, you can have access to
<v Speaker 1>all of our secret hidden Patreon episodes where we cover
<v Speaker 1>the one hit wonders of the eighties and beyond. We've
<v Speaker 1>got tons of them out there.
<v Speaker 2>Now you really have a library of great stuff for
<v Speaker 2>you to listen to so checks out over there.
<v Speaker 1>So we truly appreciate you, Chris, We appreciate you all
<v Speaker 1>of our other Patreon family. Thank you guys so much.
<v Speaker 1>Those episodes are some of our most fun episodes to do,
<v Speaker 1>so I love those. Tune in. Hey.
<v Speaker 2>By the way, I want to give a quick shout
<v Speaker 2>out to our good friend Melissa Mingle who came on
<v Speaker 2>and did the Duran Duran episode with us that we
<v Speaker 2>did two years ago.
<v Speaker 1>I think yeah, spoke a little French for us. I
<v Speaker 1>loved it.
<v Speaker 2>I know she's getting ready to move to Colorado Springs
<v Speaker 2>what so we're going to be missing her, but I
<v Speaker 2>think she's going to try and squeeze in a Patreon
<v Speaker 2>episode with us on Kaisha gougu too shy oh perfect
<v Speaker 2>Duran Duran ti In I know, right, fantastic so and
<v Speaker 2>I know she loves Greece. So shout out Melissa and
<v Speaker 2>Mark as they're leaving us. But hopefully we can do
<v Speaker 2>something before you go. Yeah, Okay, before we dive into
<v Speaker 2>the songs, I just want to give you an overview
<v Speaker 2>of how big an album this was in nineteen seventy eight. Okay,
<v Speaker 2>here's the top four albums from nineteen seventy eight.
<v Speaker 1>You ready for this, yes, okay.
<v Speaker 2>Number four somebody we have talked about on the Shirle
<v Speaker 2>You Can't Be Serious podcasts before.
<v Speaker 1>We didn't cover this album, but Billy Joels the Stranger
<v Speaker 1>is number four for nineteen seventy eight. Fantastic album. Okay.
<v Speaker 2>Number three is Rumors by Fleetwood mac iconic I mean,
<v Speaker 2>huge selling album.
<v Speaker 1>Yeah, I mean it's yeah, one of the mammoth ones. Yes,
<v Speaker 1>one of the best selling albums of all time comes
<v Speaker 1>in third place. Number two is Grease, which we're covering today,
<v Speaker 1>and number one from nineteen seventy eight, of course, is
<v Speaker 1>Saturday Night Fever Baby. Oh wow, it's still still in there.
<v Speaker 1>It's still going. Yeah it is. That makes sense. So
<v Speaker 1>Saturday Night Fevers number one in Greece's number two. Yeah,
<v Speaker 1>so two. John Travolta movie soundtracks beat out Rumors.
<v Speaker 2>Yeah, that's right, that's nuts Full RSO Records.
<v Speaker 1>I think Robert Stigwood made some money in nineteen seventy eight,
<v Speaker 1>probably so probably a little bit gracious.
<v Speaker 2>One more quick note for you on the soundtrack. Two
<v Speaker 2>of the bass players as in played bass on this album.
<v Speaker 1>Okay, not first base and second base, not second base,
<v Speaker 1>not their base. David hung Gate is that name? Ring
<v Speaker 1>a bell? Te Yes? And Steve Lucather played the bass,
<v Speaker 1>Yeah he did. Yep. Studio musicians of the seventies, Yep,
<v Speaker 1>that's right. Wow the best, Yeah, total fantastic.
<v Speaker 2>All right, you're ready to dive in track by.
<v Speaker 1>Track, tell me about it, stud all right.
<v Speaker 2>The first song right out of the gate is the
<v Speaker 2>title track called Grease.
<v Speaker 1>All right. So for a movie about the fifties, this
<v Speaker 1>is not a fifties sounding song.
<v Speaker 2>Well, yeah, that's because Robert Stigwood called his good buddy,
<v Speaker 2>mister Barry Gibb and said, Barry, I need a title
<v Speaker 2>song for this this musical I'm doing.
<v Speaker 1>Yeah. So they're on fire still with the number one soundtrack,
<v Speaker 1>like you've said, so what did he say? Okay, so
<v Speaker 1>this is a great story.
<v Speaker 2>So Robert Stigwood decides I need a title song for
<v Speaker 2>this musical. And of course, I mean we've already talked
<v Speaker 2>about how Grease was all a musical. They had songs
<v Speaker 2>already lined up, and Robert stick was like, no, I
<v Speaker 2>need something more.
<v Speaker 1>I need to punch it up.
<v Speaker 2>So he calls this good buddy, Barry GiB who's scorching
<v Speaker 2>hot at this moment. And he says, Barry, I need
<v Speaker 2>a title track for this musical I'm doing.
<v Speaker 1>It's called Grease. And Barry Gibbs like, let me write.
<v Speaker 2>A song called grease. He's like, I can't write a
<v Speaker 2>song called I mean, what is that? And rober Stick
<v Speaker 2>was like, oh, you know, just write grease. Da da
<v Speaker 2>da da da da whatever, you know. And Barry Gibbs like, man, grease,
<v Speaker 2>that's quite a word.
<v Speaker 1>Grease.
<v Speaker 2>So he hangs up the phone and an hour later
<v Speaker 2>he calls back and he says, what do you think
<v Speaker 2>about Greece? Is the word?
<v Speaker 1>Robert Stick was like, sound good to me. Man, you're
<v Speaker 1>the music. Let's go with it. It's funny because in
<v Speaker 1>the musical and in the movie they never actually say
<v Speaker 1>the word grease. I know, they don't say it the
<v Speaker 1>whole time. And so you've got how do I make
<v Speaker 1>a song about a word that is the title but
<v Speaker 1>is not referenced at all in this Now, obviously you've
<v Speaker 1>got the Greasers, you know, and so you've got that
<v Speaker 1>kind of grease, and you've got the car engines, so
<v Speaker 1>you've got that kind of grease. Sure, but you know
<v Speaker 1>what This movie was called in Mexico, right, Maasilena Vasilena.
<v Speaker 1>So that's really the sexual innuendo that they're going for
<v Speaker 1>in the movie, and that's the kind of grease that
<v Speaker 1>the song should have been about. But I think that
<v Speaker 1>what he did with it is brilliant. So here's the
<v Speaker 1>interesting thing.
<v Speaker 2>They got Frankie Valley, you know, former fifties heart throb
<v Speaker 2>to sing this song.
<v Speaker 1>Yeah, Frankie Valley had been the lead singer for the
<v Speaker 1>four seasons. So you got sy Bay Baby and then
<v Speaker 1>Big Girls Don't Cry, Walk like a man. Oh what
<v Speaker 1>a night? I mean, just a ton Oh what a night?
<v Speaker 1>There you go. Just before this, like nineteen seventy four,
<v Speaker 1>he had a solo hit with a song called My
<v Speaker 1>Eyes Adored You. Interesting. How would he? I wonder if
<v Speaker 1>he had any idea that this random song that he's
<v Speaker 1>doing for this random movie based on a musical is
<v Speaker 1>going to be his final number one hit. Well, so
<v Speaker 1>here's the deal they offered him.
<v Speaker 2>They said, do you want to do Beauty School Dropout
<v Speaker 2>where you'll appear in the movie, or do you want
<v Speaker 2>to sing the title track.
<v Speaker 1>He's like, that's a no brainer.
<v Speaker 2>The music is what Lives Forever, not the movie. Nice
<v Speaker 2>and so he's like, I'll sing the title track.
<v Speaker 1>Yeah, And so they didn't know where to put the
<v Speaker 1>song in the movie. And then they had done this
<v Speaker 1>cartoon because this initially they had talked about this being
<v Speaker 1>a completely animated movie, and so there was a big
<v Speaker 1>production done for the animation, which you get in the beginning,
<v Speaker 1>but they had a different song for it. They put
<v Speaker 1>the grease music over that, and they're like, wow, fit's perfectly.
<v Speaker 2>It's like it was written to it. Yeah, pretty incredible.
<v Speaker 2>By the way, Frankie Valley was not on a record
<v Speaker 2>label at the time, huh. So Robert Sig was like,
<v Speaker 2>no problem, we'll put your single on Rso.
<v Speaker 1>My gosh, this guy. Yeah.
<v Speaker 2>Here's the interesting tidbit about this song. The director of
<v Speaker 2>the movie, Randall Kleisner, he hated the song. He hated
<v Speaker 2>this song because it was two seventies.
<v Speaker 1>Yeah.
<v Speaker 2>He wanted everything to sound fifties, and so he fought
<v Speaker 2>for a song written by Paul Williams and Charles Fox.
<v Speaker 1>Are we talking about Rainbow Connection? Paul's Williams, Yeah, Lilinis Wow,
<v Speaker 1>Lilinus And Charles Fox, who wrote the Happy Day's theme
<v Speaker 1>song perfect. I mean, yeah, I mean that I would
<v Speaker 1>probably back him. Had I not had hindsight to look
<v Speaker 1>back on, I would have been, like, guys, he's right.
<v Speaker 1>Let Paul Williams musical genius. Let the guy who wrote
<v Speaker 1>the Happy Days themes, let them give us the themes
<v Speaker 1>of the song.
<v Speaker 2>And yet he would be wrong, because this went on
<v Speaker 2>to be a number one hit August of nineteen seventy eight.
<v Speaker 2>Book Run through the Top four Sure, number four, Boogie
<v Speaker 2>Ugi Ugie by Taste of Honey, okay, number three, Miss
<v Speaker 2>You by Rolling Stones Okay, yeah, three times a Lady
<v Speaker 2>by the Commodore's number two Yeah, and then of course Grease.
<v Speaker 1>I cannot but think of Buckwheet when you say three
<v Speaker 1>times maybe.
<v Speaker 2>By the way, Peter Frampton is playing guitar on this song,
<v Speaker 2>oh wow, Barry Gibb is singing background vocals. And of
<v Speaker 2>course we mentioned before this is not in the play
<v Speaker 2>at all, written specifically for the movie.
<v Speaker 1>All right.
<v Speaker 2>Next song on the album is a song called Summer.
<v Speaker 1>Nights Some Love a.
<v Speaker 3>Girl.
<v Speaker 1>So this is I mean, number one magical song. Yeah.
<v Speaker 1>But just to throw this back, so this this is
<v Speaker 1>really our kind of introduction of the two characters. They're
<v Speaker 1>kind of introducing themselves, and you've got this great back
<v Speaker 1>and forth of guys perspective versus girls perspective. But you
<v Speaker 1>have to think for just a second. This original musical,
<v Speaker 1>Sandy wasn't from Australia, right, and so you have to go, well,
<v Speaker 1>how did these two not know each other and not
<v Speaker 1>know that they would end up in the same high
<v Speaker 1>school together. Well, in the original musical, Andy Dombowski was
<v Speaker 1>of Polish Catholic descent, and she went to a private school.
<v Speaker 1>She went to a Catholic school, and so when he
<v Speaker 1>met her, Danny lied and said he went to Lake
<v Speaker 1>Forest in Chicago. And so when they end up together,
<v Speaker 1>it's still a big surprise, but it's because she's just
<v Speaker 1>moved into the public school from the private school and
<v Speaker 1>he's been there the whole time.
<v Speaker 2>Once again, I don't really understand the fact that Sandy
<v Speaker 2>doesn't bother to call him when her change, her plans changed, right.
<v Speaker 1>Dude, This was the fifties, man. People didn't pass out numbers.
<v Speaker 1>You just have to telephone numbers. No, not a different time, man.
<v Speaker 2>Okay, all right, So obviously this was written for the
<v Speaker 2>play when it moved to Broadway. In the original stage play,
<v Speaker 2>the song here was called Foster Beach about that little tidbit?
<v Speaker 1>All right, blow your socks after that, go Foster Beach. Yeah.
<v Speaker 2>Now, then, here's one thing I found on this When
<v Speaker 2>Riz says in the song, because he sounds like a drag,
<v Speaker 2>almost certainly the stage play had a are inserted right there. Really, yeah, okay,
<v Speaker 2>I love this song. You get the guys and the
<v Speaker 2>bleachers and they're bebopping and they're combing their hair and telling, uh,
<v Speaker 2>you know, the sexual locker room type of stories. And
<v Speaker 2>she's telling the girls how sweet he was and how
<v Speaker 2>how loving. And the girls are like, oh, does he
<v Speaker 2>have a car? Did he spend a lot of money
<v Speaker 2>on you? And the guys were like, god, did she
<v Speaker 2>get busy?
<v Speaker 1>You know, what's the deal. So have you heard of
<v Speaker 1>no Ches d Orano by Angelica Maria and ral Vale?
<v Speaker 1>Have not?
<v Speaker 3>Let's have a listen now, interesting, this would be great
<v Speaker 3>I think for your wife Spanish class.
<v Speaker 1>That's right, everyone translate the songs right here. So this
<v Speaker 1>song reached number one in the Mexican charts in nineteen
<v Speaker 1>seventy nine.
<v Speaker 2>Wow, that's higher than the American version. I know the
<v Speaker 2>American version reached number five.
<v Speaker 1>As a single. Not one another Perfect, How about that
<v Speaker 1>great song? Love the song?
<v Speaker 2>At the end, you have this big high falsetto from
<v Speaker 2>John ta Volta.
<v Speaker 1>Oh, it clingches it because you're expecting him to stay
<v Speaker 1>in that same chest voice that he's had the whole song,
<v Speaker 1>and he drills it up all the way to meet
<v Speaker 1>her like he's singing maybe higher than she is. They
<v Speaker 1>are after it. Man. Oh, and he does the point
<v Speaker 1>to the sky in that blend of the two scenes. Oh,
<v Speaker 1>it's a movie.
<v Speaker 2>It's great and it's so seventies. I love it, Okay.
<v Speaker 2>Next song on the album is a song called Hopelessly
<v Speaker 2>Devoted to You.
<v Speaker 1>It's not it's not the fust now. I told you
<v Speaker 1>when I listen to this song, it's all kinds of
<v Speaker 1>country to me. You got that steel guitar, I mean it,
<v Speaker 1>And you said, didn't really seem like that to you.
<v Speaker 2>Well, I just have it stuck in time for the
<v Speaker 2>summer of seventy eight on every radio station that was
<v Speaker 2>hot one hundred.
<v Speaker 1>You know, well, I told you that Olivia Newton John
<v Speaker 1>had done country music before this, right right? This was
<v Speaker 1>actually on the country chart, her first top twenty hit
<v Speaker 1>in like two years. Interesting. Yep.
<v Speaker 2>So this song was written specifically for the movie. This
<v Speaker 2>is the one we talked about last week. Was written
<v Speaker 2>halfway through the filming of this movie.
<v Speaker 1>Yeah, they had to come back and refilm the scene.
<v Speaker 1>That's why she's all by herself out on the back porch,
<v Speaker 1>you know, mooning at the moon or whatever. It's just
<v Speaker 1>mooning at the moon, pining at the moon. I don't
<v Speaker 1>know that's a game. She's out just out there on
<v Speaker 1>the forge by yourself. Yeah, you know, longing for coming.
<v Speaker 2>Yeah, definitely. So this song was written by John Furr.
<v Speaker 2>This is the same guy who wrote have You Ever
<v Speaker 2>Ever Been?
<v Speaker 1>Mellow?
<v Speaker 2>And Magic? Some of her biggest hits. Right, She had
<v Speaker 2>it in her contract that she had to have a
<v Speaker 2>solo and they got done film and they're like, whoops,
<v Speaker 2>where's Olivia's solo?
<v Speaker 1>Yeah, I mean she did kind of do a little
<v Speaker 1>bit of a solo for her reprise of sander d
<v Speaker 1>but not really not really a full song.
<v Speaker 2>And so they said, okay, well write something get after it,
<v Speaker 2>and so they came up with this, nominated for an
<v Speaker 2>Oscar Best Original Song.
<v Speaker 1>Yeah, I mean, you got an album full of hits,
<v Speaker 1>and they come up with this on the fly, and
<v Speaker 1>it is turns out to be the best performing as
<v Speaker 1>far as awards go, of all of the songs. I
<v Speaker 1>love the song.
<v Speaker 2>This reached number three in the Hot one hundred and
<v Speaker 2>nineteen seventy eight This to Me Screammes summer of nineteen
<v Speaker 2>seventy eight. I was old enough to remember nineteen seventy eight.
<v Speaker 1>I know you were not. That's okay. By the way.
<v Speaker 2>The song that beat it out for Best Original Song
<v Speaker 2>for the Oscar Yeah, last Dance.
<v Speaker 1>By Donna Summer, which we've talked about before in the play.
<v Speaker 2>This is where the song It's Raining on Promni goes.
<v Speaker 1>Oh yeah, yeah, yeah, Well we'll talk about that song
<v Speaker 1>here in just a minute.
<v Speaker 4>Yes we will.
<v Speaker 1>So, I said they just churned this out, but are
<v Speaker 1>actually said. I spent the longest period writing the lyrics
<v Speaker 1>of any song I've ever written. This song, said every
<v Speaker 1>thesaurus and every rhyming dictionary I had, just trying to
<v Speaker 1>really make it work properly. Really Yeah, well he nailed it.
<v Speaker 1>This is a beautiful song. I love it, which and
<v Speaker 1>she delivers it so well. The whisper softness of her
<v Speaker 1>voice is I mean it's just going to melt any heart.
<v Speaker 2>By the way, When John Travolta spoke at the Oscars
<v Speaker 2>in twenty twenty three, after a living John had passed away,
<v Speaker 2>he said, quote, they've touched our hearts, They've made a shine,
<v Speaker 2>and they become deer finds that you will always remain
<v Speaker 2>hopelessly devoted to.
<v Speaker 1>Moving on to maybe the most important, biggest song in
<v Speaker 1>the album.
<v Speaker 2>This song is called You're the One that I Want.
<v Speaker 2>I defy you not to tap your toes and bob
<v Speaker 2>your head when the song comes on.
<v Speaker 1>When this song comes on and you're at a wedding,
<v Speaker 1>there are any theater people there, they are running to
<v Speaker 1>the dance floor. That's it. And then there's going to
<v Speaker 1>be a back and forth between the guys and the
<v Speaker 1>girls as they do all of the choreographed moves together.
<v Speaker 1>That's it. And so we talked about the best Award
<v Speaker 1>Performing song with the last song. This one is also
<v Speaker 1>brand new for the album. It's also by John Farr
<v Speaker 1>and this is one of the greatest selling singles of
<v Speaker 1>all time.
<v Speaker 2>Yeah, it's like still like the number one karaoke song
<v Speaker 2>in Mexico or something like that. Yeah, I mean, let's
<v Speaker 2>talk about the movie for a second. When Sluttie Sandy
<v Speaker 2>comes out, it is jaw dropping shocker. I don't care
<v Speaker 2>who you are if you're not impacted emotionally by that scene.
<v Speaker 2>I mean, it is such a punch in the face
<v Speaker 2>when I first saw it, and it's so much fun. Right,
<v Speaker 2>And she's like, listen, dude, I need a man. Get
<v Speaker 2>your crap together.
<v Speaker 1>And he's like, I better get my crap together. So
<v Speaker 1>Randall Kleisner is filming the drive in scenes, right, and
<v Speaker 1>it's at this point that they've finally put her in
<v Speaker 1>the costume. They're not about to shoot the scene, obviously,
<v Speaker 1>but they want to see how it's gonna look. And
<v Speaker 1>he's in the middle of filming all of these drive
<v Speaker 1>in parts, and all of a sudden, there's this big
<v Speaker 1>commotion and he sees this woman this big hair coming
<v Speaker 1>out and he does it. He's like, who is that?
<v Speaker 1>What's going on? Why is this lady here causing all
<v Speaker 1>this trouble? Oh? Yeah, it was her. She looked so different.
<v Speaker 2>Yeah, she said, you know what, as soon as I
<v Speaker 2>got out of the trailer and people started to pay
<v Speaker 2>special attention to me, People that I saw every day,
<v Speaker 2>people that I hung out with my friends. She's like, clearly,
<v Speaker 2>I've been doing something wrong my entire life, and it's awesome.
<v Speaker 2>She looks amazing, all right.
<v Speaker 1>This song reached.
<v Speaker 2>Number one on the Hot one hundred that summer. It
<v Speaker 2>was the second single.
<v Speaker 1>Here's the thing.
<v Speaker 2>It was written specifically for the movie. The stage play
<v Speaker 2>has the song called kiss It in This Spot. The
<v Speaker 2>Broadway play has a song called all Choked Up. But
<v Speaker 2>when they added You're the one that I Want into
<v Speaker 2>the movie. Basically every musical ever since then plays this song.
<v Speaker 1>Obviously, I mean obviously, Yeah, it's no brand. And again
<v Speaker 1>Randall Kleisner didn't like the way that this fit in
<v Speaker 1>with the other songs. He was not happy with this song.
<v Speaker 2>Okay, anything else to say about this Gangbuster song?
<v Speaker 1>Best part of the movie. Yeah, it's revelatory. I did.
<v Speaker 1>I mentioned to Brock. Brock and I had lunch today,
<v Speaker 1>my eighteen year old, and he he loves the music
<v Speaker 1>from this, but he's like, it does kind of bother
<v Speaker 1>me that she has to go and put on slutty
<v Speaker 1>clothes in order to get the man. At the end
<v Speaker 1>of this. I'm like, really, He's like, well, no, not really,
<v Speaker 1>but I'm supposed to say that, but it does seem
<v Speaker 1>like wrong. You know, if you're a parent, you wouldn't want,
<v Speaker 1>you know, the kid to think, Oh, I gotta go
<v Speaker 1>dress slutty in order to get the man. And I'm like,
<v Speaker 1>I really feel like they're number one. This is just goofing,
<v Speaker 1>Like this movie is just supposed to be fun. It
<v Speaker 1>is is so fun. It's not so to be some
<v Speaker 1>big social commentary. This is about, you know, hanging out
<v Speaker 1>and ricing cars, getting late exactly. That's what everything boy
<v Speaker 1>wants to hear about. You know, we don't. This is
<v Speaker 1>not She's not pressured into sex or anything like that.
<v Speaker 1>She just dressed in some tight pants, put on some lipstick,
<v Speaker 1>faunted her hair. That's right.
<v Speaker 2>And you and I both agree that he didn't run
<v Speaker 2>out to the car the back seat and she lose
<v Speaker 2>her virginity.
<v Speaker 1>Right off the bat. She just wanted to dazzle him
<v Speaker 1>and she did it. Yeah, Sandy, Sandy, tell me about it. Okay,
<v Speaker 1>great song. I hate to be done with it so fast.
<v Speaker 1>We got to move on. Yeah, okay.
<v Speaker 2>Next song on the album is a song called Sandy.
<v Speaker 1>At the drive in branded food. What will they say Monday?
<v Speaker 2>Yeah, it's trended at the drive in.
<v Speaker 1>So this is the point where the audience members start
<v Speaker 1>chucking tomatoes at me. I don't really like this song.
<v Speaker 1>This is I mean, of all of the mega hits,
<v Speaker 1>on this one and the fact that it was released
<v Speaker 1>as a single is surprising to me. This is a
<v Speaker 1>skipper for me. I mean, wow, I just don't.
<v Speaker 2>Okay, well, we've taken a step down from the big hitters.
<v Speaker 1>But I still like it. It's still fun.
<v Speaker 2>It's it's not a cranker, you know. But listen to
<v Speaker 2>the creation of this song. I love the story of
<v Speaker 2>this Okay.
<v Speaker 1>Yeah.
<v Speaker 2>So after John Travolta learned that they were having to
<v Speaker 2>come up with a solo for Olivia Newton John to
<v Speaker 2>fulfill her contract. He's like, well, I want a solo too, Guys,
<v Speaker 2>make me one, right, So he went to Alan Carr
<v Speaker 2>and said, I want a song on my own. Write
<v Speaker 2>me a song. So Alan Carr goes to this guy
<v Speaker 2>named Louis Saint Louis. I love this name, right, He's
<v Speaker 2>gonna come up here in just a minute, it's right,
<v Speaker 2>And they say, hey, we need a song, write us
<v Speaker 2>a song. So he's like, crap, I got to write
<v Speaker 2>a song like instantly because they're getting ready to do this.
<v Speaker 1>So he got together with.
<v Speaker 2>Screaming Scott Simon of Shannana talked about there here in
<v Speaker 2>a second. So he's sitting at a car and he's like,
<v Speaker 2>oh man, okay, I got to write a song. Okay,
<v Speaker 2>what are we doing here?
<v Speaker 1>Okay?
<v Speaker 2>And he comes up with stranded at the drive in Brandon,
<v Speaker 2>a fool. What will they say Monday at school? He's like, oh, yeah,
<v Speaker 2>that's good. That's good.
<v Speaker 1>I got it.
<v Speaker 2>So he races back to the hotel, writes the song
<v Speaker 2>in twenty minutes.
<v Speaker 1>Okay.
<v Speaker 2>The next day, first thing in the morning, seven thirty
<v Speaker 2>in the morning, shows up at Alan Carr's office, says,
<v Speaker 2>here it is.
<v Speaker 1>What do you think?
<v Speaker 2>Alan Carr looks at it, listens, likes it, approves it.
<v Speaker 2>Ten thirty am. He takes it to the like the
<v Speaker 2>music producer. He okays it. Then Robert Stigwood at one
<v Speaker 2>pm he okays it. Then John Travolta at four pm
<v Speaker 2>he approves it. Four days later he had a ten
<v Speaker 2>thousand dollars check. Like two days later he had a
<v Speaker 2>new navy blue Honda prelude. One week later they filmed
<v Speaker 2>the scene. It was fast I mean he's super quick,
<v Speaker 2>getting it written, recorded, filmed, all within about.
<v Speaker 1>A week plus. He had a new car. By the way,
<v Speaker 1>this is the.
<v Speaker 2>Spot in the film where alone at the drive in
<v Speaker 2>movie goes. Yeah, that's an instrumental that we'll talk about here.
<v Speaker 1>In just a second. Ye. So Louis Saint Louis, Yeah,
<v Speaker 1>has had quite a bit of stuff done. He was considerable.
<v Speaker 1>He just passed away a couple of years ago. But
<v Speaker 1>he was the composer of the song hold Me Close
<v Speaker 1>to You, which was featured in All the Right Movies
<v Speaker 1>nineteen eighty three. Really, Tom Cruise, Lea Thompson, there you go,
<v Speaker 1>Craig T. Nelson, Lea Thompson.
<v Speaker 2>All right, d take the needle the record, take the
<v Speaker 2>record off, carefully, flip it over because you don't want
<v Speaker 2>to scratch it. Side too of the record, and the
<v Speaker 2>first song is called Beauty's Go drop.
<v Speaker 1>Out your Story satoo te a teenage ne'er do well.
<v Speaker 1>So this song meatres Frankie Avalon, Big Heart Throb of
<v Speaker 1>the nineteen fifties and sixties, Beach Blanket Bingo, a lot
<v Speaker 1>of stuff with a netfood at cello. Huh. It was
<v Speaker 1>originally they offered it to Elvis to come sing this part. Yes,
<v Speaker 1>that's right, and he turned it down. Now that becomes
<v Speaker 1>pinny it here in a little bit when we talk
<v Speaker 1>about Sandra d right, because Elvis did make an appearance
<v Speaker 1>in the song. But there's word of the story.
<v Speaker 2>Okay, we'll get to that here in just a second.
<v Speaker 2>But like you said, this was offered to Elvis. It
<v Speaker 2>was also offered to Frankie Valley. Yep, we said no,
<v Speaker 2>I'd rather do the title song. When they filmed this,
<v Speaker 2>Frankie Avil was forty years old, but he still heart
<v Speaker 2>throbbed to these girls.
<v Speaker 1>Yeah, young women, for girls who were born in who
<v Speaker 1>were born in like the late forties, which these girls were.
<v Speaker 1>He was their teen heart throw teen crush, right. Yeah.
<v Speaker 2>So I thought this was funny as he's sort of
<v Speaker 2>acting out this part. He's on the white stairs and
<v Speaker 2>they're all doing their little dance routine.
<v Speaker 1>They had pillows on the ground because he's scared of
<v Speaker 1>heights and just in case he's slipped and fell right
<v Speaker 1>by the way in Greece live. I thought this was cool.
<v Speaker 2>Boys to Men sings this song to Carly ray Jepson.
<v Speaker 1>Wow, pretty cool, right, Yeah, that's great.
<v Speaker 2>This is I think where Frenchy is on display. All
<v Speaker 2>she does is act with her face and her eyes and.
<v Speaker 1>Her she was so in love with Frankie Avalon, she
<v Speaker 1>did not have to act. She's so cute in this
<v Speaker 1>pink care with their pink care. Yeah, and you get
<v Speaker 1>the boys at the end dressed as angels, said that
<v Speaker 1>they were they didn't mind having fun, but that the
<v Speaker 1>chords they used to hold them up and ratchet them in.
<v Speaker 1>We're a little tight on a cry as you know,
<v Speaker 1>if you've ever been in those harnesses, it's a nut squeezer.
<v Speaker 2>By the way, did you know that Deede Kahan refused
<v Speaker 2>to change her hair color for the final scene in Greece.
<v Speaker 1>Yeah, it was supposed to be blue, like a cotton
<v Speaker 1>candy blue. It had gone from cotton candy pink to
<v Speaker 1>cotton candy blue. But she's like, guys, this is supposed
<v Speaker 1>to be fun. This is going to be a distraction
<v Speaker 1>if I'm out there with blue hair. Let's make me
<v Speaker 1>a blonde and that because blondes have fun.
<v Speaker 2>Right, And actually dynamnof stands in for where she was
<v Speaker 2>supposed to buy the cotton candy because she didn't want
<v Speaker 2>to do that, okay, all right. Next song on the
<v Speaker 2>album is called look at Me. I'm Sandra d.
<v Speaker 1>W I can Okay, So this is Rizzo's big song, well,
<v Speaker 1>one of the two, yeah for sure. Right mentioned in
<v Speaker 1>our first episode on Greece that there there was a
<v Speaker 1>death of not one, but two icons of the fifties
<v Speaker 1>and sixties in relationship to this song, right right, tell me,
<v Speaker 1>so tell me about it. There's there's there was an
<v Speaker 1>actor in the original stage production, original musical. There's an
<v Speaker 1>actor named Salmonio Calminio Junior. Okay, yeah, if you've seen
<v Speaker 1>Rebel without a Cause, of the three people, he's not
<v Speaker 1>James Dean and Natalie Wood like, he's the he's the
<v Speaker 1>troubled youth that's hanging out with them, right, and not
<v Speaker 1>Thurston Hell the third right, and I showed you his picture.
<v Speaker 1>He is absolutely the spitting image of Daniel Russo, right,
<v Speaker 1>I mean he is Ralph Macchio one hundred cent. That's
<v Speaker 1>exactly like bringer illegitimate father. For sure. He had done
<v Speaker 1>quite a few shows and he was in the midst
<v Speaker 1>of rehearsing for a play called PS Your Cat Is Dead. Okay, okay,
<v Speaker 1>this is out in West Hollywood, yeah, he comes home
<v Speaker 1>from rehearsals. He's parks in the parking garage, walking to
<v Speaker 1>his house, and out of nowhere, this guy appears, stabs
<v Speaker 1>him straight in the heart and leaves him for dead.
<v Speaker 1>What yep. His neighbors come to help him. They're like, okay,
<v Speaker 1>let's get you up, and as soon as they lift
<v Speaker 1>him up, he drops stone cold dead. The guy who
<v Speaker 1>killed him was this a guy named Lionel Ray Williams,
<v Speaker 1>who was a pizza delivery guy would just go around
<v Speaker 1>and rob people. He got sentenced to fifty seven years
<v Speaker 1>for this murder and several robberies, but ended up getting
<v Speaker 1>paroled after just twelve years. Got parole in nineteen ninety.
<v Speaker 1>Don't know what happened to him since then. Just be
<v Speaker 1>careful when you ordered dominos. Okay. So this happens in
<v Speaker 1>seventy six. They're making preparations and filming in seventy seven,
<v Speaker 1>and they've got this whole lyric that's devoted to this actor.
<v Speaker 1>So they're like, we got to change that. This is awkward.
<v Speaker 1>So what they do instead is they've got that picture
<v Speaker 1>of Elvis. She's singing to Elvis, concerned about his pelvis.
<v Speaker 1>They're filming in the scene. As it turns out, the
<v Speaker 1>film the scene on the exact day that Elvis dies.
<v Speaker 1>What that is unbelievable. It's crazy, Elvis, Elvis, let me
<v Speaker 1>be keep your pelvis far from me. So this song
<v Speaker 1>also name checks Doris day Rock Hudson Annette, which we
<v Speaker 1>can assume is a net Finicella.
<v Speaker 2>Obviously, Troy Donahue, which we talked about that in our
<v Speaker 2>Godfather episode.
<v Speaker 1>Yeah, he's the He's the awkward Godfather too, the awkward
<v Speaker 1>new boyfriend of Talia Shagrin. I've got something for you. Yeah,
<v Speaker 1>tell me all right. For forty five.
<v Speaker 2>Years now, I've always wondered what Hey fong ghoul, I'm
<v Speaker 2>Sandra D.
<v Speaker 1>Hey bongol? Oh, yeah, I know what it means.
<v Speaker 2>This is the americanized version of an Italian profanity.
<v Speaker 1>Yes, few to the moon. See they told me it's
<v Speaker 1>go fornicate yourself in the posterior. Yeah, okay, which is
<v Speaker 1>the equivalent of a few or f off. Yeah, hey
<v Speaker 1>f off, I'm Sandra D. Yeah.
<v Speaker 2>Next song, big song. This song is automatic systematic hydromatic.
<v Speaker 1>This is grease lightning.
<v Speaker 3>Why's breeze lightning to.
<v Speaker 1>You? In check and cut up and Chrome. So before
<v Speaker 1>we get going on how awesome this song is, I
<v Speaker 1>just need to say, for one of our true fans,
<v Speaker 1>Deaf Dave song supposed to be sung by the Beach Boys. What. Yeah,
<v Speaker 1>the I don't know how the Beach Boys were going
<v Speaker 1>to come into the mechanic shop that they had at
<v Speaker 1>the school or whatever, but the original plan was that
<v Speaker 1>the Beach Boys were going to come in and sing
<v Speaker 1>this song. I think you've got Dave's full attention at
<v Speaker 1>this well. Can you just imagine this song being sang
<v Speaker 1>by that It's the harmonies would be different, but they
<v Speaker 1>would be better, but just not the same. Not rights.
<v Speaker 2>See, here's the weird thing that I learned when I
<v Speaker 2>studying this.
<v Speaker 1>This is Kanicki's big number.
<v Speaker 2>Yeah, like Kanicki is supposed to be singing its grease
<v Speaker 2>line and which makes total sense.
<v Speaker 1>His car, it's his car, right.
<v Speaker 2>And John Trifold is like, no, I'm taking this one.
<v Speaker 1>Yeah, He's like that song sounds like a hit, and uh,
<v Speaker 1>this is my movie. You guys all have jobs because
<v Speaker 1>I'm here. Yeah, so I'm gonna sing this one. Yeah.
<v Speaker 1>And he made some people mad, but what are you
<v Speaker 1>gonna do? Suck it to it, Yeah.
<v Speaker 2>Robert Stigwood was like, John is the boss. Yeah, and
<v Speaker 2>of course John got the director hired, So who do
<v Speaker 2>you think is gonna side with him?
<v Speaker 1>Exactly?
<v Speaker 2>This song was inspired by the nineteen fifty nine Big
<v Speaker 2>Bopper song White Lightning.
<v Speaker 1>Around moderns and definitely do sound similar. Sure, it's got it.
<v Speaker 1>It's definitely got a Jerry Lee Lewis vive to it
<v Speaker 1>as well. I have a little trouble with some of
<v Speaker 1>the lyrics on this one. Not the ones that were profane, yeah,
<v Speaker 1>but the beginning of the song it talks about it
<v Speaker 1>being automatic, and then it talks about having four on
<v Speaker 1>the floor. Which is it? Brother? You can't have both?
<v Speaker 1>Clearly don't know anything about cars.
<v Speaker 2>Right during the filming of this, they grab some saran
<v Speaker 2>rap and dance around the car and kind of rub
<v Speaker 2>it on their crotch.
<v Speaker 1>I don't know what that what's that supposed to mean?
<v Speaker 1>What is that about? Well, I guess they used to
<v Speaker 1>do that in the fifty some I don't know. It
<v Speaker 1>was a misconception that you could use saran rap as contraceptive.
<v Speaker 1>There you go, and how many people were born because
<v Speaker 1>of that misconception. I wondered. It's possible a lot. Yeah.
<v Speaker 1>By the way, you mentioned the profanities in this song,
<v Speaker 1>there are several uh huh which When this song was
<v Speaker 1>released as a single, it only made it to number
<v Speaker 1>forty seven, probably because there were a lot of radio
<v Speaker 1>stations that would not play this song. You mean they
<v Speaker 1>didn't have a cleaner version for the single, yess not.
<v Speaker 1>Oh wow? Have you seen the sleeve to this single?
<v Speaker 1>You remember the beginning of the not the beginning of
<v Speaker 1>the movie where it's where it's Danny and Sandy on
<v Speaker 1>the beach, but like when we're coming to the high
<v Speaker 1>school for the first time and you see Danny for
<v Speaker 1>the first time talking to the girls and he turns around,
<v Speaker 1>he's got the cigarette in his mouth and that eating grin. Yep,
<v Speaker 1>that is the look that they have on the cover
<v Speaker 1>of the single. That's it. It's a great first shot.
<v Speaker 2>Yeah, for sure, great song, great fun, great point in
<v Speaker 2>the movie. One of the things Jeff Conway talks about
<v Speaker 2>is during the filming of Grease Lightning in the movie,
<v Speaker 2>they were supposed to be like carrying him and they
<v Speaker 2>accidentally dropped him. He heard his back, Yeah, and supposedly that's
<v Speaker 2>when he got his first taste of painkillers that became
<v Speaker 2>a lifelong affliction and an addition to drugs that he
<v Speaker 2>really suffered a lot of years.
<v Speaker 1>Yeah, eventually kill him.
<v Speaker 2>Yeah, Okay, moving on. The chicks will scream for the next.
<v Speaker 1>Song, will they? I don't think so. This song is
<v Speaker 1>called It's Raining on prom Night and the words of
<v Speaker 1>butt heead. Oh what the hell is this crap? Oh
<v Speaker 1>you're quoting butthead on the Grease Sounddragon. This is terrible.
<v Speaker 2>Hey, Amanda Janet loves this song.
<v Speaker 1>Okay, sorry, man, I would like this song better if
<v Speaker 1>Robert Smith sang it. Wow, this is terrible. I like,
<v Speaker 1>I heard this song, and I'm like, is this a joke?
<v Speaker 1>Be is she gonna like bust out in a great
<v Speaker 1>singing here in a second? No, she really just sings
<v Speaker 1>like this the whole time. It's awful. Yeah, it's genuinely bad.
<v Speaker 2>I mean, the song is sappy, But you're saying you
<v Speaker 2>don't like her voice.
<v Speaker 1>I don't like her voice. The song actually probably could
<v Speaker 1>have been good, Like if you'd had Olivia Newton John
<v Speaker 1>singing this song, I probably would have loved it. Well,
<v Speaker 1>there you go. Yeah, but this this Cindy bullens I'm
<v Speaker 1>out yep.
<v Speaker 2>So this goes in the spot where Hopelessly Devoted was
<v Speaker 2>supposed to.
<v Speaker 1>Be brilliant move there, yep.
<v Speaker 2>And it's actually played when Sandy and Danny are kind
<v Speaker 2>of trying to patch things up at the jew Box.
<v Speaker 1>He's like, Hey, Sandy, want to talk to you, and
<v Speaker 1>she's like, what about She's playing this song from the
<v Speaker 1>jew Box and the dinar don't make me laugh? Yeah? Yeah.
<v Speaker 1>This was written for the stage play. So I had
<v Speaker 1>to look her up. I'm like, is this legit? Is
<v Speaker 1>she actually a singer? Yes? She was actually a singer
<v Speaker 1>for quite some time. Sang backup for Elton John and
<v Speaker 1>for Rod Stewart yep. And then around twenty twelve she
<v Speaker 1>came out as transgender and has changed her name from
<v Speaker 1>Cindy Bulloons to Sidney Bulloins. There you go, all right?
<v Speaker 1>Moving on? Okay.
<v Speaker 2>The next song is an instrumental called Alone at the
<v Speaker 2>Drive in.
<v Speaker 4>Movie Snoozefest Hit.
<v Speaker 1>The next song, what the heck?
<v Speaker 2>Yeah, let's let's do a quick drive by on this one.
<v Speaker 2>This was written for the stage play. This is where
<v Speaker 2>Sandy the song fit in the movie. Sandy's much better
<v Speaker 2>song than this one, and you don't even like Sandy
<v Speaker 2>So right, So this was composed by James Gadstaff for
<v Speaker 2>the nineteen seventy two Broadway version.
<v Speaker 1>Right, moving on, moving on.
<v Speaker 2>Okay, we're about to get knee deep in Shannana. Okay,
<v Speaker 2>do you remember when Shaannana had its own TV show?
<v Speaker 1>I used to watch the show a little bit. I
<v Speaker 1>didn't remember it until we came back to it and
<v Speaker 1>and you mentioned to me which I had always misheard,
<v Speaker 1>this lyric. But Bowser from Shannaa is referenced by fresh Prints,
<v Speaker 1>and parents just don't understand that's it. I'm please put
<v Speaker 1>back to Bell Bottle Brady. It's Bowser from Shaunana. And
<v Speaker 1>if you see Bowser, you totally recognize him. He's this tall,
<v Speaker 1>gangly guy who has a great goofy look to him,
<v Speaker 1>and they've all got the greasier look. But Shannaa was
<v Speaker 1>this band that was devoted to bringing back fifties songs
<v Speaker 1>or covering fifties that's It songs, which they did in
<v Speaker 1>their variety show as well. But we've got several in
<v Speaker 1>a row on the album that is that are by them.
<v Speaker 1>They are also the band that is singing the songs
<v Speaker 1>at the dance.
<v Speaker 2>In the movie, and we also talked about how one
<v Speaker 2>of the guys from Shaannana helped Jim Ferr write the
<v Speaker 2>song Sandy.
<v Speaker 1>Oh.
<v Speaker 2>Okay, Yeah, so they're around, they're doing stuff. Yeah, okay.
<v Speaker 1>So this song is called blue Moon you saw them? Okay.
<v Speaker 1>So this song is an old song. It was written
<v Speaker 1>by Richard Rogers and Lorenz Heart for the movie Hollywood
<v Speaker 1>Party nineteen thirty four. Well, say what you will about that.
<v Speaker 1>There is no way I remember it from anything except
<v Speaker 1>American Werewolf from London and the Marcels.
<v Speaker 2>Were singing three different versions of the same song in
<v Speaker 2>American World in London. Yeah, you have Bobby Vinton, Sam
<v Speaker 2>Cook and the Marcels.
<v Speaker 1>Yeah.
<v Speaker 2>By the way, this song has been covered by Billie Holliday,
<v Speaker 2>Elvis Presley, Dean Martin, the Supremes, New Editions, daf Dave
<v Speaker 2>and Cindy Lauper. This is the last dance at the
<v Speaker 2>dance in the movie when they all moon the camera.
<v Speaker 1>Okay.
<v Speaker 2>The next Shannana song is called rock and Roll is
<v Speaker 2>Here to Stay.
<v Speaker 1>So this song actually also came out in nineteen fifty eight,
<v Speaker 1>when the movie's supposed to be taking place. It was
<v Speaker 1>by Danny and the Juniors, written by David White. It
<v Speaker 1>is exactly like their first hit, which was at the Hot.
<v Speaker 1>It sounds like the same song. Like every time this
<v Speaker 1>song starts, I'm like at the I the Hot. Oh wait,
<v Speaker 1>wrong song. Yeah, it is literally the same exact music
<v Speaker 1>that they have just changed the lyrics to and tragically,
<v Speaker 1>we've learned in the twenty first century, they're wrong. Rock
<v Speaker 1>and roll is not here to stay. Yeah, it has died. Well,
<v Speaker 1>the heart of rock and roll is rarely beat. That's good. Hey.
<v Speaker 2>By the way, we talked about this when we did
<v Speaker 2>our Kujo Christine Dead Zone episode. We talked about Danny
<v Speaker 2>and Juniors. This was featured in the movie Christine. Tragically,
<v Speaker 2>the lead singer of Danny and the Juniors killed himself.
<v Speaker 2>We talked about how death surrounded the movie Christine, and
<v Speaker 2>that's one of the stories. We told them go back
<v Speaker 2>and check that episode out.
<v Speaker 1>So the next song on the album is called Those
<v Speaker 1>Magic Changes. So this song Don't Talk, Don't Talk to You.
<v Speaker 1>I'm trying to count.
<v Speaker 2>This is the point of the movie where Duty and
<v Speaker 2>Frenchy are dancing and he's stomping around trying to try
<v Speaker 2>to dance keep step.
<v Speaker 1>So this song is not an old song. This is
<v Speaker 1>a this is a Shannana song.
<v Speaker 2>I don't know if you remember last episode I talked
<v Speaker 2>about how Jim Jacobs, when he first got a guitar,
<v Speaker 2>tucked his parents into give him a guitar. He learned
<v Speaker 2>like three chords and the first song he ever wrote
<v Speaker 2>was those Magic Changes.
<v Speaker 1>It's fantastic. There you go, fantastic all right.
<v Speaker 2>Next song is called hound Dog by Shannanah.
<v Speaker 1>You and No Mod. So now you might expect me
<v Speaker 1>to say this is an Elvis song, right, but it
<v Speaker 1>turns out this was actually originally recorded by Big Mama Thornton,
<v Speaker 1>you back in nineteen fifty two. It wasn't until later
<v Speaker 1>on that Elvis made it the hound Dog. Elvis took
<v Speaker 1>it and made his own, and little Forrest Gump showed
<v Speaker 1>him how to dance like what you're doing your hips there.
<v Speaker 2>Yes, so this song was written a long time ago
<v Speaker 2>performed by Big Mama Thornton, but we know it is Elvis.
<v Speaker 1>By the way, you know who did the voice of
<v Speaker 1>Elvis for Worst Count? No, Kurt Russell? Are you serious? Yeah? Perfect? Yeah? Perfect?
<v Speaker 1>I love it. Okay.
<v Speaker 2>So hound Dog has been a song that has been
<v Speaker 2>fought over and battled with the royalties and the controversies
<v Speaker 2>and the rights to this song.
<v Speaker 1>And it's one of those where I think it's going
<v Speaker 1>to be in constant litigation, which is pretty bad for
<v Speaker 1>one of the best selling singles of all time. Wow. Yeah,
<v Speaker 1>that's a lot of money at stake. Yep. All right, now,
<v Speaker 1>we could dive deep on hound Dog, but we got
<v Speaker 1>to keep rolling. There's a lot of songs here. The
<v Speaker 1>next one is so important to the movie though, we
<v Speaker 1>can't overlook it. This is born to hand Jive.
<v Speaker 2>Once again, I dare you not to move your hips
<v Speaker 2>and your feet to this song.
<v Speaker 1>So this is a little bit different than the original
<v Speaker 1>hand jive that I know. Okay, cat name we Willie,
<v Speaker 1>that's the way that one starts. And this one's called
<v Speaker 1>born to hand Jive, which is still I mean, it's
<v Speaker 1>the same music. So there have been a bunch of
<v Speaker 1>variations of the hand jive song, but all of them
<v Speaker 1>have the Bo Diddley beat. This one is a Shawn
<v Speaker 1>Ona original, but it's key to the movie, right. Yeah.
<v Speaker 2>This is the fifth song at the dance. This is
<v Speaker 2>when things really start to take off. This is when
<v Speaker 2>Cha Cha and Danny.
<v Speaker 1>Are tuning in Tokyo. Yeah, that's right.
<v Speaker 2>Patti Simcox gets their dress listed over ahead in this song.
<v Speaker 2>So a lot of stuff happening right here. Crater Face
<v Speaker 2>gets tapped out and he flips off Vince Fontaine.
<v Speaker 1>I wonder if that was before or after he put
<v Speaker 1>the aspirin in Marty's drink. Yeah, in a coke. I
<v Speaker 1>just picked up on that this time through. Yeah all right.
<v Speaker 1>Next on song is called Tears on My Pillow. Once
<v Speaker 1>again we got another piece of gold from nineteen fifty eight.
<v Speaker 1>The original song was written, was written by Sylvester Bradford
<v Speaker 1>and Al Lewis and recorded by Little Anthony and the
<v Speaker 1>Imperials and got a great, great iconic song.
<v Speaker 2>The one thing I remember about the movie in regards
<v Speaker 2>to this song, this is where Blanche actually dances the
<v Speaker 2>assistant to the Secretary and world class xylophone player.
<v Speaker 1>By the way, covers of this song, not only do
<v Speaker 1>you have Sean or Not covering this song, but in
<v Speaker 1>nineteen ninety he had a cover by little Miss Kylie
<v Speaker 1>No Majors got to number one on the UK Singles chart.
<v Speaker 2>Really Michael Hutches's ex girlfriend Kylie Minogue and world class
<v Speaker 2>babe herself.
<v Speaker 1>There you go. Okay, next song is called mooning. Just
<v Speaker 1>what do you got for me on this? Not much?
<v Speaker 2>So this is from the musical, it's not in the movie.
<v Speaker 2>This is when Roger, who actually as I understand it
<v Speaker 2>is the Petsy character, and Jan actually sing this is
<v Speaker 2>their big number. And this song was written by Louis
<v Speaker 2>Saint Louis and Cindy Bollen's not much on this one.
<v Speaker 1>I don't really like this one. This is a skipper
<v Speaker 1>for me. Yeah, another one that they are well informed
<v Speaker 1>to have left it out of the movie, no doubt,
<v Speaker 1>and just replace it with the three guys actually mooning
<v Speaker 1>the camera. That's it, Okay, take the needle off the record.
<v Speaker 1>It's time to flip the record over to the last side.
<v Speaker 1>Side four. We start off with Freddie my Love. This
<v Speaker 1>one is at least better. She sounds more like the
<v Speaker 1>I can't remember the group that did a Leader of
<v Speaker 1>the Pack. She sounds more like her okay in this one,
<v Speaker 1>but it's still not a song I'm going to come
<v Speaker 1>back to. Okay.
<v Speaker 2>So this was written for the nineteen seventy one musical.
<v Speaker 2>This is Marty's big number in the musical.
<v Speaker 1>If you remember.
<v Speaker 2>Marty is like dating all these marines and she's like
<v Speaker 2>a pin pal and sports perfume on her notes and
<v Speaker 2>stuff like that.
<v Speaker 1>Yeah, and so this is written to her.
<v Speaker 2>Pinpal Marine Preddy ah Ready my love Rereddy my Love
<v Speaker 2>Marty or she know like Cherry.
<v Speaker 1>So this song was largely came from the nineteen fifty
<v Speaker 1>six hit called Eddie My Love, which was by The
<v Speaker 1>Teen Queens and Scott Miller. The guy who wrote it
<v Speaker 1>said it was closely based to Eddie My Love but
<v Speaker 1>also slightly period dying I Met Him on a Sunday
<v Speaker 1>by the Charells and be My Baby by Ronnie Spector.
<v Speaker 2>Go back to our Dirty Dancing episode to hear the
<v Speaker 2>full story.
<v Speaker 1>On be My Baby and what a story all right.
<v Speaker 2>Next song on the album is a song called rock
<v Speaker 2>and Roll Party Queen.
<v Speaker 1>They cut this one from the movie and that was
<v Speaker 1>the right call. That's all I have to say about that.
<v Speaker 1>This is from the musical.
<v Speaker 2>This was the song that Roger, who's the Putsy character,
<v Speaker 2>and Doody sing.
<v Speaker 1>I mean in the movie.
<v Speaker 2>Putsy and Doody are funny side characters.
<v Speaker 1>We don't need a number from them. No, moving on,
<v Speaker 1>moving on, Okay, This one's a biggie. Yeah, it is
<v Speaker 1>a biggie. This song is called there are Worse Things
<v Speaker 1>I could do. There are worse things I could do
<v Speaker 1>then go with a boy all.
<v Speaker 4>Too, even though the neighborhood.
<v Speaker 1>Thinks I'm trashy and Okay.
<v Speaker 2>So this is a song by Stockard Channing. Yep, she
<v Speaker 2>willed this into the movie. Yeah, this, They were gonna
<v Speaker 2>cut this right, and she's like, no, this has to
<v Speaker 2>be in the movie.
<v Speaker 1>And this is honestly a good addition. This is I
<v Speaker 1>think she made the right call. She's not a singer,
<v Speaker 1>doesn't have a singer's voice, but she delivers this song
<v Speaker 1>in an epic way, and it lets you know the
<v Speaker 1>heart of Rizzo and that she's suffering, like she puts
<v Speaker 1>on a she puts on a front that she's suffering.
<v Speaker 1>So perfect call on her part. The song had to
<v Speaker 1>be in the movie. It's super important for her character, absolutely,
<v Speaker 1>and with a good singer, it's an incredibly good song.
<v Speaker 1>I mentioned to you that, like, my kids are familiar
<v Speaker 1>with a lot of these from Glee, and the Santana
<v Speaker 1>character sings this song in Glee and she knocks it
<v Speaker 1>out of the park. It's a good song. It's a
<v Speaker 1>good song, it's an important song, and it's very relevant
<v Speaker 1>to the story.
<v Speaker 2>Yeah, okay, So the next song on the album is
<v Speaker 2>called look at Me. I'm Sandra D the reprize.
<v Speaker 3>Good me.
<v Speaker 2>To be.
<v Speaker 1>Something and they see oh.
<v Speaker 4>So scared.
<v Speaker 2>And I'm sure this is actually sung by Olivia Newton John.
<v Speaker 1>I like a better one in Olivia Newton John's so
<v Speaker 1>sweet and sad and she's self reflective and goodbye to
<v Speaker 1>Sandra D. Good piano in the back and leading you
<v Speaker 1>like a dog into what's coming next.
<v Speaker 2>This is where we get the hint of what's coming,
<v Speaker 2>but we're not sure exactly what's gonna come. By the way,
<v Speaker 2>I've got a little nugget for you on Sandy the character. Okay,
<v Speaker 2>so we mentioned in the stage play her name is
<v Speaker 2>Sandy Dubowskibowski. In the movie, her name's Sandy Olsen.
<v Speaker 1>Right.
<v Speaker 2>They needed to change your character from you know, a
<v Speaker 2>Polish Catholic Chicago girl to an Australia girl, so they
<v Speaker 2>switched it to Olsen. Why they selected the name Olsen
<v Speaker 2>because when they were originally looking at the character for Sandy,
<v Speaker 2>they considered actress and margaret.
<v Speaker 1>Okay, that's her given last name. Wow, okay, that's all right,
<v Speaker 1>good tippit'st Olsen. There you go nice, Okay, all right.
<v Speaker 1>Next song, Biggie, been waiting the whole album to get here.
<v Speaker 1>This song is called We Go Together.
<v Speaker 2>Wap bam boom.
<v Speaker 1>So this is what was playing when I picked up
<v Speaker 1>Brock for lunch today, and he's like, what are they?
<v Speaker 1>What are they? Stringer and rang and danga banga banger?
<v Speaker 1>What is that? He loves the song, but he's like,
<v Speaker 1>I don't know what the heck they're saying. Right there,
<v Speaker 1>chang chang chaney changed abop. I love this song. Oh
<v Speaker 1>it's great, This is fun, This is a great This
<v Speaker 1>the whole movie is just this fun experience. And this
<v Speaker 1>is the perfect fun song to put as the caper
<v Speaker 1>on the movie.
<v Speaker 2>Absolutely, so we go right from You're the One that
<v Speaker 2>I Want, which is blowing our socks off two we
<v Speaker 2>Go Together. This song is like a signature in the
<v Speaker 2>yearbook saying have a great summer, let's be friends forever,
<v Speaker 2>too good to be forgotten, true love always. You know,
<v Speaker 2>all that stupid yearbook crap, But it's it captures the
<v Speaker 2>tone of the last day of school and the fun
<v Speaker 2>like when you're checking your books.
<v Speaker 1>Out the door, I signed your crack exactly. That's a crap.
<v Speaker 2>It's like the closing track for the album. And this
<v Speaker 2>is where they get in the car and they fly
<v Speaker 2>to heaven and she dies.
<v Speaker 1>I also told that to Rocky's like that's stupid. He's like,
<v Speaker 1>why would she drives? Like, well, remember in the song.
<v Speaker 1>He's like, he saved her from drowning and that's the hint.
<v Speaker 1>And he's like, still stupid, and I was like, yeah,
<v Speaker 1>it is. It's still stupid. They get in the car,
<v Speaker 1>they fly to the clouds. Yes, it's a fairy tale. Okay,
<v Speaker 1>it is a fairy tale, all right. This is such
<v Speaker 1>a fun moment too. In the movie, every character kind
<v Speaker 1>of they've got their arms around each other.
<v Speaker 2>They're dancing, they're hugging. It's everybody's friends, and you know
<v Speaker 2>we'll be friends always, and even know they won't. Right,
<v Speaker 2>we know that Rizzo's gonna be pregnant in six weeks,
<v Speaker 2>and that's how it's gonna be.
<v Speaker 1>All my high school friends. You will be happy to
<v Speaker 1>know that I did stay cool. It's right this, I mean,
<v Speaker 1>this should be the end of the album. It really
<v Speaker 1>should It really should be the end of the album,
<v Speaker 1>but they had to They needed length for the album
<v Speaker 1>and so they had to tack another couple of songs on.
<v Speaker 1>So let's let's hit those and then move on to
<v Speaker 1>final judgment.
<v Speaker 2>Robert Stigwood is not gonna do one album when he
<v Speaker 2>could sell for two, you know.
<v Speaker 1>So next song on the album is an old song
<v Speaker 1>from the fifties. Again. This is called Love Is a
<v Speaker 1>Many Splendored Thing.
<v Speaker 2>Okay, so we get this at the beginning when they're
<v Speaker 2>at the beach and everything's loves and hugs and kisses.
<v Speaker 2>It reminds me of that scene an airplane where.
<v Speaker 1>It totally does you know, ted ted when will you
<v Speaker 1>be back? I can't tell you that it is classified. Yeah.
<v Speaker 2>This won an Academy Award for the Best Original Song
<v Speaker 2>in nineteen fifty six for the movie Love Is a
<v Speaker 2>Mini Splendored Thing.
<v Speaker 1>YEP, written by Sammy Faine and lyrics by Paul Francis Webster.
<v Speaker 1>Best performing version was a version by The four Aces
<v Speaker 1>goutted up the number two on the UK singles chart. Wow.
<v Speaker 2>It's been covered by Ben Crosby, Frank Sinatra, Shirley Bassi,
<v Speaker 2>the Old Finger, Nat King, Cole and Barry Manilow.
<v Speaker 1>It's a good song.
<v Speaker 2>It's cheesy, it's corny. It adds that sort of corny tone.
<v Speaker 1>In the beginning we feel to the movie Yep, for sure, and.
<v Speaker 2>Then you get punched in the face with the title
<v Speaker 2>track Grease, which also happens to be the very last
<v Speaker 2>song on the album.
<v Speaker 1>It's a Grease reprize, and I gotta say, if you're
<v Speaker 1>not going to end on we go Together, this is
<v Speaker 1>not a bad substitute. It's a great song. Clear the
<v Speaker 1>album out as you begin. I love it. Yeah, great song. Well, okay,
<v Speaker 1>so we started this discussion. It's interesting when we originally
<v Speaker 1>talked about doing Grease, we talked about comparing it to
<v Speaker 1>the Rocky Horror Picture Show, right, and it was going
<v Speaker 1>to be movie to movie, album to album, and we
<v Speaker 1>basically said, it's so lopsided that it's not really even
<v Speaker 1>a fair compared, right. Neither one of us really like
<v Speaker 1>Rocky Horror Picture Show. So what we didn't mention in
<v Speaker 1>our first episode, Barry Bostwick was the Danny character in
<v Speaker 1>the stage version of Greece after having done so well
<v Speaker 1>as the key guy in the Rocky Horror Picture Show.
<v Speaker 1>So there's perfect tie in there, but again, it's just
<v Speaker 1>too lopsided. I mean, Rocky Horror Picture Show is a
<v Speaker 1>unique animal, and we're going to find something in compared
<v Speaker 1>it to. But this was not the right movie, right, absolutely.
<v Speaker 1>But what we did decide to do was go, Okay,
<v Speaker 1>let's compare the movie to the soundtrack because they're both huge. Yeah. Absolutely,
<v Speaker 1>So here we are final judgment. You got to pick
<v Speaker 1>one or the other. What do you say, mister Calvin?
<v Speaker 2>Okay, So, I have a really strong relationship with this movie.
<v Speaker 2>I saw it in nineteen seventy eight with my mom
<v Speaker 2>when I was kindergartener. I saw it again when it
<v Speaker 2>came out in nineteen ninety eight to theaters.
<v Speaker 1>We danced in the aisles. I mean, I'm not kidding
<v Speaker 1>the people I was with, we're going bonkers for this movie.
<v Speaker 1>And I own the soundtrack. I love it.
<v Speaker 2>I love the songs on this It's kind of an
<v Speaker 2>unfair fight because in the movie you do get the
<v Speaker 2>songs as well.
<v Speaker 1>So for me, it's an easy call.
<v Speaker 2>I would take the movie every day of the week
<v Speaker 2>because you get John Travolta's incredible performance, you.
<v Speaker 1>Get Olivia Newton, John be An, America's Sweetheart.
<v Speaker 2>Plus you get all of the songs and all the
<v Speaker 2>fun and the humor and just the fun of the movie.
<v Speaker 2>And the soundtrack's got a lot of skippers. It's much
<v Speaker 2>like the Saturday Night Fever album we talked about. There's
<v Speaker 2>a lot of great songs, there's a lot of skippers,
<v Speaker 2>but in the movie you get both. So I'm taking
<v Speaker 2>the movie every day of the week.
<v Speaker 1>So this one truly is I mean, without the movie,
<v Speaker 1>the soundtrack isn't as good. Sure, and without the soundtrack,
<v Speaker 1>the movie isn't as good. So it is a very
<v Speaker 1>difficult comparison. But I think you kind of hit the
<v Speaker 1>nail in the head with the soundtrack. You've got a
<v Speaker 1>lot of extra thrown in. That's a problematic number one.
<v Speaker 1>Number two is, as I mentioned, this is all about fun.
<v Speaker 1>This music and this movie are all about fun. If
<v Speaker 1>you're having fun with the album, it's because you're thinking
<v Speaker 1>about the movie. If you're having fun out at a
<v Speaker 1>party or at a wedding because of the songs on
<v Speaker 1>this album, it's because you recreating the dance moves in
<v Speaker 1>the moments from this movie. Without the movie, the soundtrack
<v Speaker 1>just isn't really a thing. And so I have to
<v Speaker 1>agree with you. It has to be a movie. I
<v Speaker 1>want to see the action. I want to watch what happens.
<v Speaker 1>And I want you to take out all of that
<v Speaker 1>Cindy Mullins and Louis Saint Louis garbage that's in there
<v Speaker 1>and just give me the good, full stake of the
<v Speaker 1>movie and soundtrack. Yeah, I'm totally with you.
<v Speaker 4>All right.
<v Speaker 1>Well, there you go, folks. If you got to pick
<v Speaker 1>who you gonna pick, You're gonna pick the movie. What
<v Speaker 1>my mother? Yeah, So we want to hear from you.
<v Speaker 1>Do you love the movie? Do you love the soundtrack?
<v Speaker 2>Which song is your favorite?
<v Speaker 1>Which character is your favorite?
<v Speaker 2>Email us, hit us up on Facebook, hitus up on Twitter.
<v Speaker 2>We want to hear from you. D Next week, we've
<v Speaker 2>got something really special coming up. We've talked about it,
<v Speaker 2>we've teased it up. We're finally gonna do it. Top
<v Speaker 2>five eighties movie vehicles.
<v Speaker 1>It is really really hard and I still don't know
<v Speaker 1>what my top five arm. But we have decided that
<v Speaker 1>there are so many awesome vehicles out there. We're going
<v Speaker 1>to first do movies, then we're going to cover TV
<v Speaker 1>TV because you get a whole other slew of cars
<v Speaker 1>that are socially there. And then we have given James
<v Speaker 1>Bond its own unique category because there are a million
<v Speaker 1>James Bond movies and every single one of them has
<v Speaker 1>an amazing car. Absolutely, so it's it's perfect. We're gonna
<v Speaker 1>have We're gonna have a slew of great episodes from
<v Speaker 1>this idea of top five vehicles. Come back next week.
<v Speaker 1>It's gonna be a lot of fun dad coming. I
<v Speaker 1>forgot to mention that Margaret Travolta is in the movie
<v Speaker 1>Margaret Travolta, John Travolta's sister who was acting before he
<v Speaker 1>was acting, she was like she was She was the
<v Speaker 1>Fawns's interesting connection. She was the Fawns's and Chatchi's like
<v Speaker 1>aunt or whatever. And then she ended up playing like
<v Speaker 1>Scott Bayo's mom and Charles in Charge and some other
<v Speaker 1>TV show that was really yep. But she's one of
<v Speaker 1>the waitresses that's that's watching him on TV. She looks
<v Speaker 1>like John Travolta in address. She kind of does yeah, yeah,
<v Speaker 1>why ah