Beastie Boys' "Licensed to Ill" (1986): Track by Track!

<v Speaker 1>This is a podcast from Minute Media.
<v Speaker 2>Four and three and two and one. Let's go, guys.
<v Speaker 2>It is the Surely You Can't Be Serious? Podcast, Part
<v Speaker 2>two Beastie Boys Licensed Ill.
<v Speaker 3>Today, we're gonna go by track by track through license
<v Speaker 3>to me and.
<v Speaker 2>I thought I had something. I had nothing.
<v Speaker 3>I was just like you are not rhyming and stealing
<v Speaker 3>right there.
<v Speaker 2>I got Ali Baba and the forty Thieves just took
<v Speaker 2>those thoughts right out of my head.
<v Speaker 3>Center stage on the mic, We've got our friend def
<v Speaker 3>Dave back. Dave, how are you doing tonight.
<v Speaker 4>I'm on the cool check in. I'm hanging out with
<v Speaker 4>the Gangster, the Prankston, the King of the app.
<v Speaker 2>That's awesome.
<v Speaker 4>I got some chef Woyer d cooling on the pot.
<v Speaker 4>I can make a court a monkey and still stand still.
<v Speaker 4>I'm ready to talk about life you.
<v Speaker 2>Oh my gosh. Yes, strong, and he's coming strong. So
<v Speaker 2>we're going to talk track by track about Licensed Ill.
<v Speaker 3>Just in case you're jumping in at this point, you
<v Speaker 3>may want to go back to last episode where we
<v Speaker 3>did kind of an overview of the Beastie Boys. We
<v Speaker 3>introduced Dave, we kind of talked about our relationship to
<v Speaker 3>the album and then kind of how the Beastie Boys
<v Speaker 3>got here. Okay, so this was the first rap album
<v Speaker 3>of all time to hit number one on the Billboard charts.
<v Speaker 3>I mean it's it's groundbreaking. Yeah, I think it hit
<v Speaker 3>number one March.
<v Speaker 2>Seventh of e seven.
<v Speaker 3>You know what, it knocked out of the number one spot.
<v Speaker 3>Not in sterio. You're warm though You're close, Dave.
<v Speaker 2>You know what?
<v Speaker 3>It knocked out the number one spot?
<v Speaker 4>I think I do?
<v Speaker 3>Okay, what you got?
<v Speaker 4>It ended the seven week reign of Slippery When Wet.
<v Speaker 3>That's exactly right. Yes, that's exactly right. And it was
<v Speaker 3>number one for seven weeks and then it got knocked
<v Speaker 3>out by an album that we have podcasted on. You
<v Speaker 3>know what, It knocked it out of the number one spot.
<v Speaker 2>I got nothing, Dave.
<v Speaker 5>Joshua Tree, the Joshua Tree, but you too.
<v Speaker 4>Let me tell you something about that. First of all,
<v Speaker 4>Licensed Ill matched Slippery When Wet with seven weeks in
<v Speaker 4>the top spot. But here's the thing. Slippery when Wet
<v Speaker 4>had the benefit of two number one hits. Joshua Tree
<v Speaker 4>had three number one hits, huh, and Licensed to Ill
<v Speaker 4>had none. It had seven singles and only one the
<v Speaker 4>top twenty and that was Fight for Your Right to
<v Speaker 4>Party and it peaked out at number seven. So I'll
<v Speaker 4>look at that, the same day that the album went
<v Speaker 4>number seven, the.
<v Speaker 2>Same day that the album hit number one.
<v Speaker 4>Yeah, so what that tells me is radio was slow
<v Speaker 4>to catch up with what was happening with kids all
<v Speaker 4>across the country. We knew about the Beastie Boys and
<v Speaker 4>we were buying up the album, but radio had not
<v Speaker 4>caught up with this. And we see this album go
<v Speaker 4>to number one and stay there despite lack of airplay
<v Speaker 4>because there were no big hits that charted off of
<v Speaker 4>this album.
<v Speaker 3>Pretty remarkable. I totally you get it. But you know,
<v Speaker 3>despite the lack of radio play, Fight for Your Right
<v Speaker 3>was on about every fourth song on MTV, you know
<v Speaker 3>what I mean.
<v Speaker 2>It was absurd how often they were playing the song.
<v Speaker 3>But it was a great video.
<v Speaker 2>Oh we loved it. We loved it. Okay, So we'll
<v Speaker 2>get we'll get to that here, that video when that
<v Speaker 2>comes in. Before we jump full on into the album,
<v Speaker 2>Let's talk a little bit of about the cover of
<v Speaker 2>the album, all right. So it's it's iconic. You've got
<v Speaker 2>this American Airlines Bowen seven twenty seven. You see the
<v Speaker 2>tail on the front cover of the album, and then
<v Speaker 2>when you open it up you realize that the plane
<v Speaker 2>is crashing into the side of a mountain yep, and
<v Speaker 2>it kind of resembles like a joint being crushed out
<v Speaker 2>or something like that. The artwork was created by a
<v Speaker 2>guy named Steven Byram and another guy named World be
<v Speaker 2>Omes and World be Ohms, and it's been it's been
<v Speaker 2>kind of imitated, like Eminem had an album where he
<v Speaker 2>imitated it. But one of the things that you showed
<v Speaker 2>me that I did not know about is the number
<v Speaker 2>on the side that if you hold it up to
<v Speaker 2>the mirror or just read it backwards, the threes become
<v Speaker 2>ease and it says.
<v Speaker 3>Yeah, it's it's three mt a e And if you
<v Speaker 3>turn that around backwards, it's eat me. Even the album
<v Speaker 3>cover is making joke.
<v Speaker 2>So yeah, So Eminem kind of duplicated it on his
<v Speaker 2>album called Kamakazi.
<v Speaker 3>We would kind of be remiss if we didn't talk
<v Speaker 3>about what the album was originally going.
<v Speaker 2>To be called.
<v Speaker 3>Okay, we can't say that, I know we are family friendly.
<v Speaker 3>We'll dance around it a little bit. I do think
<v Speaker 3>it's part of the story how they sort of evolved
<v Speaker 3>from obnoxious teenage frat boy crazy men to respected artists
<v Speaker 3>that we have later on today. So the album was
<v Speaker 3>originally titled Don't be a f right.
<v Speaker 2>Another name for a cigarette in England, right, and Capitol
<v Speaker 2>Records said, no, we're not doing that, right, Okay, So
<v Speaker 2>what does License to Ill mean?
<v Speaker 4>The word ill was simply the opposite of chills. So
<v Speaker 4>it was just a part of the lingo. If you
<v Speaker 4>were whack, right, if you were not cool, if if
<v Speaker 4>you were doing something stupid, you were either ill or
<v Speaker 4>you were illing. And there was a keep in mind
<v Speaker 4>just after the Raising Hell album has come out and
<v Speaker 4>there was a track on there called you Be Illan,
<v Speaker 4>I think we're playing off the license to Kill phrase
<v Speaker 4>and just went with the lingo.
<v Speaker 3>I've got a quick funny story on the title of
<v Speaker 3>the album. Okay. So they were on the Joan Rivers Show. Okay,
<v Speaker 3>this is a while bag. Think back thirty five years.
<v Speaker 3>Joan Rivers had her own talk show and she was
<v Speaker 3>introducing the Beastie Boys and she's like, and here they
<v Speaker 3>are to promote their album License to Kill, and you
<v Speaker 3>can hear these people off screen.
<v Speaker 2>They're like, it's ill.
<v Speaker 3>It's ill, Joan. She's like, I'm sorry, let me do
<v Speaker 3>it again. So they're here to do the record License
<v Speaker 3>to Kill. They're like, Joan, no, it's ill. She's like what.
<v Speaker 3>So they finally get her to say license to Ill,
<v Speaker 3>and she's like, that's a stupid title.
<v Speaker 2>She said, you guys.
<v Speaker 3>Would have gone platinum in four weeks instead of seven
<v Speaker 3>weeks if you had a better title than Licensed to Ill.
<v Speaker 3>But I just thought it was really funny. Joan Rivers
<v Speaker 3>thought it was a really dumb title.
<v Speaker 2>So out of touch.
<v Speaker 4>Yeah, this album. I cannot overstate how massive this album
<v Speaker 4>was for me my graduating class. We were in tenth
<v Speaker 4>grade at the time. It came out in eighty six.
<v Speaker 4>I discovered in early eighty seven. This took over our school.
<v Speaker 4>We absolutely went nuts over this album and this group.
<v Speaker 4>It really defined that school year for all of us.
<v Speaker 4>Not only is it still the number one selling debut
<v Speaker 4>album and def jam history, it is the top selling
<v Speaker 4>debut album for Columbia Records, and it proved to be
<v Speaker 4>a perennial seller, stayed as a top seller in their
<v Speaker 4>catalog list, and even as of the two thousands, it
<v Speaker 4>was selling like five hundred thousand units a year, so
<v Speaker 4>it has continued to be a massive hit.
<v Speaker 3>What high school did you go to?
<v Speaker 4>I was at Hardway High School in Columbus.
<v Speaker 3>Give a shout out to the Fighting Farmers or whatever
<v Speaker 3>they are.
<v Speaker 4>Shout out to the Hardaway Hawks class of eighty nine. Yes,
<v Speaker 4>my crew, cool kid Chris clayboy E in the Chiff
<v Speaker 4>Bad Goldie Rocks the boyd Wonder.
<v Speaker 2>So did you say that your mascot was the Hogs.
<v Speaker 4>Hawks Hawks like the Atlanta Hawks.
<v Speaker 2>Well? See, okay, So here's the connection that Dave and
<v Speaker 2>I discovered whenever he started emailing us about this, because
<v Speaker 2>I don't even remember what it was that spawned the
<v Speaker 2>original email where you said, Hey, if you guys ever
<v Speaker 2>do Beastie boys run DMC, I'm all in. But he
<v Speaker 2>pointed out that he was from Columbus, Georgia, which has
<v Speaker 2>a good story which we'll tell later on. I was
<v Speaker 2>actually born in Columbus, Georgia. I didn't grow up there,
<v Speaker 2>but I was born there when I moved to Arkansas,
<v Speaker 2>where we were the Hogs, not the Hawks. But it's
<v Speaker 2>just kind of crazy that there's a coincidental connection between
<v Speaker 2>Dave and I and that it should happen to circle
<v Speaker 2>itself around. Wow.
<v Speaker 4>It was released in November of eighty six. By February two,
<v Speaker 4>it was certified gold and platinum on the same day.
<v Speaker 4>By April they had gone multi platinum at three million
<v Speaker 4>units sold, and by twenty fifteen it had been certified diamond,
<v Speaker 4>which means ten million units sold of just this first album.
<v Speaker 3>I saw it in the Walmart five dollars bind.
<v Speaker 2>The other day. That's the CD I have in my car,
<v Speaker 2>and once again I will promote by that CD. Spend
<v Speaker 2>the five bucks. The sound quality is much better on
<v Speaker 2>the CD than it is on Spotify or YouTube or
<v Speaker 2>album music or any of those things.
<v Speaker 3>There's something better about having a CD or record tangibly
<v Speaker 3>in your hand, too, much more personal connection, I think. Okay, Dave,
<v Speaker 3>you mentioned November of eighty six, it's actually November fifteenth
<v Speaker 3>of eighty six. We just crossed the thirty fifth anniversary
<v Speaker 3>two days ago today. We're recording on November the seventeenth,
<v Speaker 3>two days ago, this album turned thirty five years old.
<v Speaker 2>Now, I just want to say this. We posted something
<v Speaker 2>on Facebook about this, and they grew up after this album.
<v Speaker 2>They've so much as said this was just kind of
<v Speaker 2>a goof album and that they were being goofy, and
<v Speaker 2>that's how the songs came about. And we'll get into
<v Speaker 2>all of that, but this album and Dave is a
<v Speaker 2>testament to it right now. This album was a huge, momentous,
<v Speaker 2>life changing thing for a whole lot of folks out there.
<v Speaker 2>When we did that post on Facebook, it lit up.
<v Speaker 2>Everybody loved this album when it came out, and I
<v Speaker 2>think it's that same kind of thing that happened, you know,
<v Speaker 2>about five years later with the with the grunge movement.
<v Speaker 2>It spoke to those people who they were ready for
<v Speaker 2>something new, they were ready for a rebellion, and these
<v Speaker 2>guys were obviously rebelling against the establishment.
<v Speaker 3>Okay, we ready to go, Ready, all right, we are
<v Speaker 3>diving in. Track by track. First, one out of the
<v Speaker 3>gate is a song called Rhyming and Stealing.
<v Speaker 1>The Rest.
<v Speaker 2>All right.
<v Speaker 3>They're coming hard right out of the gates with the
<v Speaker 3>strong led Zeppelin rock samples. I think they're doing the
<v Speaker 3>smart thing by catching the rock crowd right out of
<v Speaker 3>the game.
<v Speaker 2>Absolutely. This drum beat is one of the most unmistakable
<v Speaker 2>drum beats in drumming history. And they get a nice
<v Speaker 2>little record scratch right at the beginning that plays as
<v Speaker 2>a part of the rhythm. It's boom boom, blah blah bump,
<v Speaker 2>and it's kicking butt right out of.
<v Speaker 4>The game Monster start to the album. You just immediately
<v Speaker 4>top down, turn it up. Now. I'm fifteen years old
<v Speaker 4>in nineteen eighty seven. I had never heard led Zeppelin,
<v Speaker 4>never heard When the Left be Breaks. This was new
<v Speaker 4>to me. I was offended later when I found out
<v Speaker 4>that led Zeppelin had stolen from Hot Start to the album.
<v Speaker 4>The verses everything they're written away to kind of frame
<v Speaker 4>the Beastie Boys as pirates a love song. It's a
<v Speaker 4>home run right out of the gate.
<v Speaker 2>The idea for me, at least.
<v Speaker 3>The ryman and stealing, I mean they're stealing hooks and
<v Speaker 3>stealing beats and stealing bits of songs and then setting
<v Speaker 3>their own rhymes to it.
<v Speaker 2>I mean, just the samples on this song alone.
<v Speaker 3>You've got When the Levee Breaks by led Zeppelin, You've
<v Speaker 3>got Sweet Leaf by Black Sabbath, and then you also
<v Speaker 3>have I Fought the Law by the Clash.
<v Speaker 2>Let's just think about this just for a second. So
<v Speaker 2>they're referring to Ali Baba and the forty thieves. That's unquestionable,
<v Speaker 2>right they repeat that one. They start off by talking
<v Speaker 2>about Mutiny on the Bounty and Captain Blygh. They're also
<v Speaker 2>talking about Pieces of eight and these are all like
<v Speaker 2>literary references, but they've obviously got this rap beat. They
<v Speaker 2>talking about being an ill bee boy and are already talking
<v Speaker 2>about brass Monkey. So we party, we are intelligence, we rock,
<v Speaker 2>and we also hip hop. It's like, here's all of
<v Speaker 2>us all right out here in front, and we're a
<v Speaker 2>little smart too. Okay.
<v Speaker 4>I love the references. What strikes me, and this is
<v Speaker 4>gonna be true throughout the album, is that even though
<v Speaker 4>it's easy to kind of look at them as as
<v Speaker 4>almost a comedy approach or a parody of hip hop,
<v Speaker 4>they're bringing the goods. They are bringing the goods that
<v Speaker 4>every track is awesome, and they've got the quality, they
<v Speaker 4>got the skills, they got the production and the rhymes.
<v Speaker 4>It's just I'm a big fan. It's awesome.
<v Speaker 2>I'm with you.
<v Speaker 3>I can tell the bridge where they say Ali Baba
<v Speaker 3>and the forty Thieves about twenty times. You can't hardly
<v Speaker 3>miss that reference. You know, the other stuff kind of
<v Speaker 3>flies under the radar, do you guys? Watch the thirty
<v Speaker 3>for thirty on ESPN. Yeah, I caught one the other day.
<v Speaker 3>I was a big nineteen eighty six New York Mets fan,
<v Speaker 3>and so I watched that thirty for thirty and they
<v Speaker 3>were using Ryman and Steeling as putting it to the
<v Speaker 3>highlight videos for that year, So that was pretty cool.
<v Speaker 4>This is one of the few tracks on the album
<v Speaker 4>that was not released as a single, but it is
<v Speaker 4>one of my favorite.
<v Speaker 3>This one should have been a single.
<v Speaker 4>So when they went on the License to Ill tour,
<v Speaker 4>you know, they only had this one album, so they
<v Speaker 4>didn't have a large repertoire to bull from. They basically
<v Speaker 4>performed this entire album. There was only one track off,
<v Speaker 4>but they did not do They started with Ryman and
<v Speaker 4>Steel and I remember it very clearly. Their opening act
<v Speaker 4>was Fishbone. They were a hardcore punk band, but when
<v Speaker 4>the VC Boys came on, those lights came on and
<v Speaker 4>flooded the crowd, and then the when the levee breaks,
<v Speaker 4>drum beat comes in they come stomping out on the stage.
<v Speaker 4>The place went absolutely nuts awesome.
<v Speaker 3>So with the drum beat for Ryman and Steeling.
<v Speaker 2>Ad Rock and Mike Dee went over to MCA's house
<v Speaker 2>and he had set up the loop.
<v Speaker 3>Had it strung all across his house where he had
<v Speaker 3>looped manually the drum.
<v Speaker 2>Beat for when the levee breaks.
<v Speaker 3>Today, Hey, we would do that on a computer, it'd
<v Speaker 3>be no problem. This was a ton of effort, but
<v Speaker 3>it sounded fantastic today.
<v Speaker 2>On garage band there's a button. There's a loop button,
<v Speaker 2>and it'll give you a whole list of loops that
<v Speaker 2>you can use. But back in nineteen eighty six, it
<v Speaker 2>was a new thing. It was something not many other
<v Speaker 2>folks for doing it. So even though these guys are goofy,
<v Speaker 2>even though they're hip hop, he is still bringing some
<v Speaker 2>smarts and some savvy to even the music that they're producing.
<v Speaker 2>All right.
<v Speaker 3>That brings us to song number two on the album.
<v Speaker 3>This song is called the New Style.
<v Speaker 2>And on the cool check in set a stage.
<v Speaker 6>On the mic and with putting it on wax, it's the.
<v Speaker 3>New Style four and three's and one on the mic.
<v Speaker 3>This stuffer's lie, what.
<v Speaker 6>Never got more?
<v Speaker 3>Just a great song right off the back. This was
<v Speaker 3>released as the third single released No Remember six of
<v Speaker 3>eighty six.
<v Speaker 2>Yeah, so this one he actually they've sampled some other
<v Speaker 2>things what have you got on? Samples on this one justly?
<v Speaker 3>Okay, So this song samples drop the Bomb by Trouble Funk, Yeah,
<v Speaker 3>Peter Piper by run DMC, Yep, cool is Back by
<v Speaker 3>Funk Inc. Two three Break by the b Boys, Click
<v Speaker 3>of the Switch by ACDC.
<v Speaker 2>That's it.
<v Speaker 4>The song is great. I love the song. I'm down
<v Speaker 4>with MCA, Mike D and U ain't I got more
<v Speaker 4>juice than Picasso's Got paint. It is the third single
<v Speaker 4>from the album. So the part where it breaks down
<v Speaker 4>and he says, let me clear my throat, that was
<v Speaker 4>an inside joke. So last week I explained that Elo
<v Speaker 4>Coolja had been making home demos and sending them to
<v Speaker 4>record labels, and it was the one that was sent
<v Speaker 4>to Deaf Jam that Adam Horovitz found and gave it
<v Speaker 4>to Rick Rubin. Well, as it turns out, at the
<v Speaker 4>beginning of that tape, the demo before I Need to
<v Speaker 4>Beat Star, you hear Ell say on tape let me
<v Speaker 4>clear my throat. Well, for whatever reason, the Beast Boys
<v Speaker 4>thought that was hilarious. They got a big kick out
<v Speaker 4>of that. So that is the reference that's in a
<v Speaker 4>new style when he says let me clear my throat.
<v Speaker 4>That was an inside joke for them because it came
<v Speaker 4>off of ELL's original demo that he had seen in
<v Speaker 4>This one.
<v Speaker 3>Hit the US Hot Black Singles reached number twenty two.
<v Speaker 2>Okay, so I'm gonna throw this out there. It says
<v Speaker 2>part of the lyrics say because I'm October thirty first,
<v Speaker 2>that's my date of birth. I got the party and
<v Speaker 2>you know what I did the smurf. Now, I'll say
<v Speaker 2>as Ad Rock was born on October thirty first. It
<v Speaker 2>is actually his birthday October thirty first, in addition obviously
<v Speaker 2>to being Halloween. But what's the smurf?
<v Speaker 4>It must be a dance. He does the smurf, the
<v Speaker 4>Popeye and the Jerry Lewis. He likes Bullwinkle, but he
<v Speaker 4>doesn't like Brutus love it.
<v Speaker 3>I feel like we've got like the fourth Beastie Boy
<v Speaker 3>with us today. Moving on to track number three, This
<v Speaker 3>song is called She's Crapty.
<v Speaker 2>Around. So I just want to say. The lyric that
<v Speaker 2>always jumps out of me at this one is the
<v Speaker 2>cab driver recognized the girl from the back of her head.
<v Speaker 3>So wildly, Oh my gosh. The one that jumps out
<v Speaker 3>to me is her name is Lucy, but they call
<v Speaker 3>her Loose.
<v Speaker 2>What do you think about this one, Dave?
<v Speaker 4>I like it. It's catchy. I wouldn't put it in
<v Speaker 4>the top tier of the songs on the album, but
<v Speaker 4>I never skip it. That led Zeppelin sample drives it again.
<v Speaker 4>I was ignorant of led Zeppelin when I was experiencing
<v Speaker 4>this album. New it's kind of cliche for rap at
<v Speaker 4>the time, but I loved it. I absolutely loved what
<v Speaker 4>they did in this era, which is basically brag about themselves.
<v Speaker 4>A lot of these tracks on here come down the
<v Speaker 4>subject matter is just talking about how great they are.
<v Speaker 4>She's Crafty is an exception. She's Crafty actually tells a
<v Speaker 4>bit of a story. There's a couple on here that
<v Speaker 4>tells stories, and she's crafty as one of them. So
<v Speaker 4>it's a little bit of a of a change up
<v Speaker 4>as far as that goes. What they're doing is they're
<v Speaker 4>switching between lines, they're switching off parts, and it's something
<v Speaker 4>that run DMC had kind of made their trademark that
<v Speaker 4>was just with two MC's and VC Boys are taking
<v Speaker 4>the next level with three. All I can say it's catchy,
<v Speaker 4>it's funny. I think it's a funny story. He wakes
<v Speaker 4>up necking the middle of the floor and he'd taken
<v Speaker 4>the bed and the chest of drawers.
<v Speaker 2>This one is from led Zeppelin The Ocean, which is
<v Speaker 2>on Houses of the Holy. It's unmistakable Zeppelin, Like I
<v Speaker 2>know you not all of us were familiar with it
<v Speaker 2>at the time, but there's no question what it is
<v Speaker 2>when you hear it.
<v Speaker 4>Rap developed out of a club scene and a breakbeat
<v Speaker 4>culture which they were cutting between records and playing different
<v Speaker 4>records and cutting between them, and that developed, as rap did,
<v Speaker 4>into this sample based approach to the music. And we
<v Speaker 4>were getting sampling and other tracks already before now. But
<v Speaker 4>what Rick Rubin did was he just kind of brought
<v Speaker 4>it out to the foe. Instead of making it a
<v Speaker 4>fill or a little extra gag in the song, he
<v Speaker 4>built the whole song around these samples. He's coming to
<v Speaker 4>the table with a love for hip hop and a
<v Speaker 4>love for rap, but fully educated on rock and roll,
<v Speaker 4>and he's able to take what he had already done
<v Speaker 4>for RUNDI and c and take it to the next
<v Speaker 4>level with this album. So he's just I guess they
<v Speaker 4>got clearance on on these led Zeppelin songs and all
<v Speaker 4>the samples that are throughout the album.
<v Speaker 3>I read an article with Jimmy Page. They're asking him
<v Speaker 3>about it, and he's like, well, we didn't really give permission,
<v Speaker 3>and he goes, I briefly thought about doing something legally
<v Speaker 3>about it. He's like, but in the end, I was
<v Speaker 3>flattered by it, so I just let it go.
<v Speaker 4>The whole issue that legal issues surrounding sampling was forced
<v Speaker 4>by the Beast of Boys second album, which was not
<v Speaker 4>produced by Rubin. It was Paul's Boutique in nineteen eighty nine,
<v Speaker 4>and that is a masterpiece of production and technique, and
<v Speaker 4>it's just nothing but samples. But it's also an album
<v Speaker 4>that could It's no longer possible today because the rules
<v Speaker 4>and the laws have changed and it would be too
<v Speaker 4>expensive at this point to ever do again with this album.
<v Speaker 4>Man with Paul's Boutique really kind of shaped copyright law
<v Speaker 4>and shaped entertainment law when it comes to sampling.
<v Speaker 2>I gotta say, I know that this isn't a big
<v Speaker 2>hit for you, but it was at this point in
<v Speaker 2>the listening that I started dancing in my seat, like,
<v Speaker 2>as I'm going through the album and this is a
<v Speaker 2>good song, next song, this is a good song by
<v Speaker 2>song number three, I'm starting to dance in my seat
<v Speaker 2>as I'm driving to work in the morning.
<v Speaker 4>You can't help but just enjoy yourself. They just make
<v Speaker 4>it a fun vibe to the whole thing, all.
<v Speaker 3>Right now, then we are now onto the next song
<v Speaker 3>called Pussy and Effect. Yes, yes, you don't stop the place.
<v Speaker 3>See he forgotten mind the bottles of seconds between it and.
<v Speaker 2>You don't stop? Did they that? They sampled that later on?
<v Speaker 2>That's in another song, isn't it?
<v Speaker 3>That's that's I want to Sex you up by Color
<v Speaker 3>Me Bad? Right?
<v Speaker 2>Are you serious?
<v Speaker 3>Let's check it rota Oh my gosh.
<v Speaker 2>The and you don't stop he's saying, is in color
<v Speaker 2>Me Bad, I want to sex you up. I gotta
<v Speaker 2>hear this. No, it's not. It's very well, could do them.
<v Speaker 4>I don't know that that sounds like slit Rick and
<v Speaker 4>Lotty Dotty. Slit Rick and Dougie Fresh teamed up to
<v Speaker 4>a song called Lotty Dotty to the TikTok you don't stop, Okay, okay,
<v Speaker 4>Lottie Dotty, we like to partty. We don't cross trouble,
<v Speaker 4>we don't bother nobody with just some guys. That's on
<v Speaker 4>the mic, and when we rock up on the mic,
<v Speaker 4>we rock the mic.
<v Speaker 7>Yeah, wow, I can keep going.
<v Speaker 2>All right.
<v Speaker 3>So Posse in effect has three songs that it sampled,
<v Speaker 3>Catch a Groove by Juice, Change the Beat by B Side,
<v Speaker 3>and pee Wee's Dance Yes by Jove.
<v Speaker 4>Yeah, I remember ye.
<v Speaker 3>Pee Wee's dance as in pee Wee Herman.
<v Speaker 4>Yes, he took the the from Joskie Love. You know.
<v Speaker 4>That was pee Wee Herman's little dance routine. And Joe
<v Speaker 4>Ski was this guy's one hit wonder as far as
<v Speaker 4>I know, But he had a rap about pee Wee Herman.
<v Speaker 3>That is awesome. We need to play a clip on
<v Speaker 3>that right here.
<v Speaker 4>I don't know how to call it we herd it
<v Speaker 4>And that's from Tequila, I guess.
<v Speaker 3>Oh fantastic.
<v Speaker 2>Yeah, I was gonna say that that may be what
<v Speaker 2>pee Rehearman was whatever was in that song, but that
<v Speaker 2>was originally from Tequila, okay, which is what, of course
<v Speaker 2>she does the dance to on top of the bar.
<v Speaker 4>Right in the movie Yes, when Mike d says, I
<v Speaker 4>travel around the globe, I'm keeping girlies dizzy. My name's
<v Speaker 4>Mike Dan, now watch me, And then they sampled Joskie
<v Speaker 4>Love when he says get busy, y'all, that's Jokie Love.
<v Speaker 3>Okay, okay, cool, nice.
<v Speaker 2>This one's really short.
<v Speaker 3>It's like two and a half minutes were the song.
<v Speaker 4>Here, Isn't this the one that says I got a
<v Speaker 4>girl in the castle and one in the pagoda? You know?
<v Speaker 4>I got rhyms like abe fda.
<v Speaker 3>Any song that makes reference to abea tom nine in
<v Speaker 3>my bugs right there.
<v Speaker 4>There is redeeming value in this album because I was
<v Speaker 4>educational for me. I learned what a pagoda was.
<v Speaker 2>Did you know who a god was?
<v Speaker 4>When you yeah, my dad was a Barney Miller fans
<v Speaker 4>Ernie Miller.
<v Speaker 3>That's right.
<v Speaker 2>He was also, as you say, he was in the Godfather.
<v Speaker 2>And didn't he didn't he play like Boris carl Off
<v Speaker 2>in a movie as well?
<v Speaker 3>I don't know, but he definitely could. I do know this.
<v Speaker 3>There is a Beastie Boys tribute band. I looked him
<v Speaker 3>up on Facebook. They are called my Posse and effect.
<v Speaker 3>Give them a lesson, give them a look see to
<v Speaker 3>which you think.
<v Speaker 4>That's what I like about rap? And when I say
<v Speaker 4>I like rap, I quit liking wrap. At the end
<v Speaker 4>of the eighties, but the part that appeals to me,
<v Speaker 4>the part that appeals to me is the cleverness of
<v Speaker 4>the lyrics and the cleverness of the wrongs. And a
<v Speaker 4>lot of times, you know, when you're talking about this
<v Speaker 4>album is you don't have much more to say other
<v Speaker 4>than I like the beat, and then you start quoting yes,
<v Speaker 4>you know if it makes you smile, it makes you laugh,
<v Speaker 4>and then it's memorable. Pussy and Effect and the next
<v Speaker 4>one's slow Ride to Me are are among my favorite.
<v Speaker 4>They were not released as singles, but to me, they're
<v Speaker 4>almost the purest rap songs on the album. Wear a
<v Speaker 4>Hat not Advisor, I drink bud Weiser, the turntables, up
<v Speaker 4>on the drum, riser, yes on the groove, and the
<v Speaker 4>finals on the platter, you know that I'm flyming. Is
<v Speaker 4>no need to flatter.
<v Speaker 2>Yeah, the rhymes keep coming and they don't stop.
<v Speaker 3>The drums at the very beginning of this the little
<v Speaker 3>sample right there that sounds like the drum machine that
<v Speaker 3>they probably paid for with their forty grand that they
<v Speaker 3>got from British Airway.
<v Speaker 2>I think the forty grand with by their house, but
<v Speaker 2>I think that I think Krick Rubin had the drum
<v Speaker 2>machine that was That was really the selling point for
<v Speaker 2>bringing him into the band.
<v Speaker 3>All right, Moving on to the next song. This one's
<v Speaker 3>called slow Ride, super catchy. It's making a great use
<v Speaker 3>of that the Lowrider song right there. They sample that hard.
<v Speaker 2>There's Lowrider, okay, and then there's slow Ride, which was
<v Speaker 2>a fog Hat song too. Yes, but they've they've kind
<v Speaker 2>of borrowed, I mean, because it was the same era
<v Speaker 2>as the Lowriders song. But that the drum beat, you
<v Speaker 2>know where it's from. Tell me, I'm asking you, We
<v Speaker 2>want you to tell me. I think it is called
<v Speaker 2>change the beat by the side, but I'm not sure.
<v Speaker 3>I'll tell you one thing that I know about these guys.
<v Speaker 3>These dudes love White Castle. It is unmistakable. I think
<v Speaker 3>they mentioned it in about every other song, something about
<v Speaker 3>White Cast.
<v Speaker 4>So what I'll mention here is that I think part
<v Speaker 4>of the appeal of this group, you know, the whole
<v Speaker 4>world's discovering this group with this album. And so not
<v Speaker 4>only do you have the three, but each of their
<v Speaker 4>voices are very distinct, especially when you contrast King ad
<v Speaker 4>Rock's wine with MCA's gruffness. It just adds to the fun.
<v Speaker 4>But what it also does is it makes them unique.
<v Speaker 4>And I think this is the reason why the BC Boys,
<v Speaker 4>despite being white and despite being these like a party
<v Speaker 4>hardy frap boy types and with all these raunchy lyrics
<v Speaker 4>or whatever and all this rock and roll in it,
<v Speaker 4>the reason they were so accepted by rap fans and
<v Speaker 4>by the hip hop community, both professionals and by the
<v Speaker 4>fans is that they were true to themselves. They didn't
<v Speaker 4>try to sound like anybody else. You could tell that
<v Speaker 4>they were coming at this with a true love for
<v Speaker 4>hip hop, and they weren't making fun of anybody, and
<v Speaker 4>they weren't treating it like a joke. They weren't treating
<v Speaker 4>the form like a joke, even though there was humor
<v Speaker 4>in their content. But again, just those the contrast of
<v Speaker 4>those voices, I think it really carries both possing and
<v Speaker 4>effect and slow ride.
<v Speaker 3>Yep, I'm totally with it.
<v Speaker 4>You know, we started off with some rock heavy, some
<v Speaker 4>guitar bassed songs, but these last couple we get away
<v Speaker 4>from that. You know, there's some horns and there's a beat,
<v Speaker 4>but it's not really this driving guitar sound like we
<v Speaker 4>like we started the album off with. So they've kind
<v Speaker 4>of switched scares a little bit honest, and again we
<v Speaker 4>stay away from the guitars mostly in this next song.
<v Speaker 3>Yeah, I think they switch gears again right here.
<v Speaker 2>And I just got to say, for like songs, for
<v Speaker 2>song three, and for song four, and for song five,
<v Speaker 2>I'm dancing through all of it. But then we get
<v Speaker 2>to song six, and not only only am I dancing,
<v Speaker 2>but I'm smiling. I really want to come.
<v Speaker 6>In the morning.
<v Speaker 3>And even.
<v Speaker 2>This is like a nursery rhyme song. You've got a
<v Speaker 2>nursery rhyme song, except it is ad rock talking about
<v Speaker 2>having the hots for girl that used to be interested
<v Speaker 2>in mc A, and so MCA wasn't interested in her,
<v Speaker 2>and so he's like, yeah, go ahead and have at it. Girls.
<v Speaker 3>I totally agree with you, though. This sounds like a
<v Speaker 3>little xylophone that you have in your church nursery.
<v Speaker 7>You know, it's catchy, it's different. It's so inappropriate. It
<v Speaker 7>was so inappropriate for a guy who's got two daughters.
<v Speaker 7>I'd be like, what what you shut up?
<v Speaker 2>Shut them out. But back when I was you know,
<v Speaker 2>back when I was thirteen, it was awesome.
<v Speaker 4>Yeah, exactly. So yeah, when I was fifteen, you know,
<v Speaker 4>I thought this was hilarious. I listened to it now
<v Speaker 4>and I'm like, yikes. You know, it's completely objectifying, you know,
<v Speaker 4>talking about and it's chill to hear them talk as
<v Speaker 4>if they're not real humans or something. But and then
<v Speaker 4>you have them doing your dishes and you know, and
<v Speaker 4>doing your laundry and stuff like that, which you know,
<v Speaker 4>in tenth grade, you know, we think, we think this
<v Speaker 4>is hilarious, and we're and we're quoting this song in
<v Speaker 4>the hallways just to kind of get at the girls
<v Speaker 4>in school, just to give them a hard time. You know.
<v Speaker 4>It is a song that tells a story, and it's
<v Speaker 4>a song that instead of bragging about himself, it's a
<v Speaker 4>song of failure. He ends up not getting girl. But
<v Speaker 4>it's one of those that they are embarrassed about. And
<v Speaker 4>when I did catch the license to Ill tour in
<v Speaker 4>February of eighty seven, they played all but one track
<v Speaker 4>off the album for their set. Yeah, this was the
<v Speaker 4>track that they did not play.
<v Speaker 3>I show this as the only song they've never performed live.
<v Speaker 4>I have no reason argue with that.
<v Speaker 2>So, just on the topic of whether they're feeling bad
<v Speaker 2>about the subject matter of the song, did they still
<v Speaker 2>have a stripper dancing inside of a.
<v Speaker 3>Stage and bad.
<v Speaker 4>Yes, they had girls in cages dancing and they're in
<v Speaker 4>their DJ setup looked like a giant six pack of Budweiser.
<v Speaker 2>I heard them talk about this and they thought it
<v Speaker 2>was a joke. Russell Simmons introduced to guy and said, here,
<v Speaker 2>tell him what you want for your stage show and
<v Speaker 2>he'll get it for you. And they're like, all right,
<v Speaker 2>we want a giant six pack of Budweiser. We want
<v Speaker 2>a stripper in a cage, and we want a h
<v Speaker 2>mouth stick in a box. And he said, all right,
<v Speaker 2>no problem, and sure enough they showed up and the
<v Speaker 2>guy had gotten it all.
<v Speaker 4>I gotta tell you a personal story about this song.
<v Speaker 4>There was a girl I was dating at the time,
<v Speaker 4>and it was after school was out. We were all
<v Speaker 4>in the hallways and one of the guys came in
<v Speaker 4>to me and asked me where she was, and I
<v Speaker 4>didn't know, but I thought I was hilarious, and I
<v Speaker 4>just sat there and I just said, she's jocking Mike
<v Speaker 4>d to my which was bad because I turned around.
<v Speaker 4>She was actually right there. She heard it, and of
<v Speaker 4>course we all love this album, so we gets a
<v Speaker 4>big laugh. She gets you know, I didn't know she
<v Speaker 4>was there. She's kind of sneak. She was, Uh, she
<v Speaker 4>was crafty, right, she was she and uh that was
<v Speaker 4>That was pretty much the end of us. She did
<v Speaker 4>not appreciate the laugh at her expense, but you know,
<v Speaker 4>if you ask her, she'll probably tell you that that
<v Speaker 4>I'm cheaper than a hot dog with no mustard.
<v Speaker 2>That's great. Hey.
<v Speaker 3>You know, the fascinating thing about this song is the
<v Speaker 3>way they wrote it and what they were trying to
<v Speaker 3>model it after. So these guys were sitting around with
<v Speaker 3>Rick Rubin one day, they're on the bus and he's like,
<v Speaker 3>I've got a great idea. Why don't you model a
<v Speaker 3>song after Shout by the Isisley Brothers. You know you
<v Speaker 3>make me bone up?
<v Speaker 2>Oh yeah, I can totally hear that.
<v Speaker 3>Oh yeah, for sure, this song is modeled after Shout.
<v Speaker 6>I like the way that they walk.
<v Speaker 3>And it's.
<v Speaker 2>My mind. You got it, that one, That one went
<v Speaker 2>on the blowing mind.
<v Speaker 3>Yes, yes, okay, well hang on just one more thing,
<v Speaker 3>because Dave, you said this to me this week.
<v Speaker 2>I thought this was really cool.
<v Speaker 3>The Goldie Blocks toy Company in twenty thirteen did a
<v Speaker 3>commercial where they took this song, and they changed the
<v Speaker 3>lyrics to be like girl positive about girls who didn't
<v Speaker 3>want to be princesses and dressed in pink and instead
<v Speaker 3>they want to be engineers and be smart and they
<v Speaker 3>have all these super cool toys.
<v Speaker 4>It was specifically specifically to promote girls to go into
<v Speaker 4>STEM academics. And the entire commercial was a giant like
<v Speaker 4>the rude Goldberg device and was It was directed by
<v Speaker 4>the same guy who directed okay Go video that does
<v Speaker 4>the same thing.
<v Speaker 3>I love the okay Go videos.
<v Speaker 2>They're amazing.
<v Speaker 3>They suit them, but they suit them.
<v Speaker 2>Right.
<v Speaker 4>Here's the problem with that. Adam York MCA died of
<v Speaker 4>cancer in twenty twelve, and he had made it his
<v Speaker 4>express wish and his last will that BC Boys music
<v Speaker 4>never be used in commercials, right, And so ad Rock
<v Speaker 4>and Mike d were in a position of having to
<v Speaker 4>ask Goldieblocks like what are you doing? Like you didn't
<v Speaker 4>ask us about this. They didn't need permission because they
<v Speaker 4>had changed it up. It was it was protected as
<v Speaker 4>a parody. Goldieblocks immediately sued the Beastie Boys somehow for
<v Speaker 4>some reason. But the Beastie Boys are looking like they're
<v Speaker 4>against promoting STEM for girls. But what they're really trying
<v Speaker 4>to do was was to look out for MCA's final wish,
<v Speaker 4>and so it was a bad pr hit for both sides,
<v Speaker 4>and it was just kind of an awkward thing where
<v Speaker 4>this was a positive use of their music, but it
<v Speaker 4>still went against what Adam y'all said he wanted. So
<v Speaker 4>they came to an agreement. They settled. I think it
<v Speaker 4>was like a million bucks or something. Goldieblocks agreed to
<v Speaker 4>quit using the song. They kept the commercial but just
<v Speaker 4>used different music, and they paid one million dollars, but
<v Speaker 4>it did not go to the surviving Beastie Boys. It
<v Speaker 4>went to a charity of their choice that promotes stem
<v Speaker 4>education for girls. So it was kind of a win
<v Speaker 4>win all the way around. But they were able to
<v Speaker 4>get their music removed from the commercial. So everybody's happy.
<v Speaker 2>Okay, are we ready? The song that changed everything?
<v Speaker 6>Yeah? Let er school man, you don't look down. Come
<v Speaker 6>let your still said no you mist classes a.
<v Speaker 4>No home learnt The changer breaks class like song changer.
<v Speaker 6>You gotta fight fight all right, this.
<v Speaker 2>Is the one. This is the tenth pole. Okay, So
<v Speaker 2>I said, now you know, at song number three, I
<v Speaker 2>started dancing as I'm driving in my chair. I've done
<v Speaker 2>dancing up until I get the song six. At song six,
<v Speaker 2>I'm smiling and dancing, and then when song number seven starts,
<v Speaker 2>I start banging my head.
<v Speaker 3>We're kind of an awesome stretch right here.
<v Speaker 4>Oh yeah, for sure.
<v Speaker 3>This was released as the fourth single in December of
<v Speaker 3>nineteen eighty six, and as we said before, this was
<v Speaker 3>on about every fourth song on MTV. This video was fantastic.
<v Speaker 3>The song was super catchy. It got to number seven
<v Speaker 3>on the Hot one hundred.
<v Speaker 2>It was one of the last songs to find its
<v Speaker 2>way onto the album because, and I don't know how
<v Speaker 2>many times we've said this, Rick Rubin comes to him
<v Speaker 2>and says, we need just one more song, and we're
<v Speaker 2>running on a deadline, so you gotta get it in
<v Speaker 2>and in like two hours. Yeah, And so this is
<v Speaker 2>what they come up with. There's a they talk about
<v Speaker 2>a song from Brooklyn, like the band Brooklyn, not the
<v Speaker 2>town Brooklyn, that this song is based on this idea
<v Speaker 2>of you got to fight for you right to party.
<v Speaker 2>But they've definitely got their own lyrics to it, and
<v Speaker 2>it's a goof song again, but they're making fun of
<v Speaker 2>frat guys and party bros. And then when they make
<v Speaker 2>the video, they play the part of frat guy and
<v Speaker 2>party bro, and then when they go do their stage
<v Speaker 2>shows they become those guys, and pretty soon it's their
<v Speaker 2>entire image.
<v Speaker 3>This is what I thought they were for sure.
<v Speaker 2>I thought this was a genuine like, this is who
<v Speaker 2>these guys are. Yeah.
<v Speaker 4>Yeah, it's a hit of adrenaline when this song hits,
<v Speaker 4>right because plusing effects, slow riding girls. We haven't had
<v Speaker 4>that driving guitar yet. And it's catchy and you're dancing along,
<v Speaker 4>but then it just opens with that power chord boom right, niggot,
<v Speaker 4>I mean all of a sudden, you wait, back up.
<v Speaker 4>It's a punch in the face right in the middle
<v Speaker 4>of this album, and it rocks. And yes, it took
<v Speaker 4>over MTV. You saw it in almost every segment, and
<v Speaker 4>it was one you could jump around to bang your head.
<v Speaker 4>It was easy to sing along with. It was the
<v Speaker 4>tenth pole of this album. It was the highest charting
<v Speaker 4>hit they had off this album. This Yeah, this defined
<v Speaker 4>their image and this defined their sound, and it it
<v Speaker 4>was everywhere.
<v Speaker 3>This is where I enter the scene. So even though
<v Speaker 3>it's the fourth single off License to Ill, I had
<v Speaker 3>not heard anything prior to this. I mean maybe because
<v Speaker 3>I was just whatever it was on MTV. That was
<v Speaker 3>my intake. The video, for me is as much a
<v Speaker 3>part of my nostalgia for this song as the song itself.
<v Speaker 3>The song is fantastic and hilarious and headbanging and all
<v Speaker 3>that stuff, but the video, to me, is equally as
<v Speaker 3>impactful and fun and funny. Do you like parties?
<v Speaker 7>Yeah, we can invite all our friends and have soda
<v Speaker 7>and pot yeah.
<v Speaker 2>Yeah. So the video was directed by Rick Manelo and
<v Speaker 2>Adam Dubin, right, yes, So these guys were roommates at
<v Speaker 2>NYU where Rick Rubin was like the floor administrator guy.
<v Speaker 2>What are they called Ara, the ra? Yeah, he was
<v Speaker 2>the RA and he when they decide they're going to
<v Speaker 2>do a video, he goes to I believe it was
<v Speaker 2>Rick Manelo and says, hey, you're into all of these
<v Speaker 2>old movies. I want you to make this video for me.
<v Speaker 2>And Rick is like, no way. If this video is
<v Speaker 2>a flop, I'm gonna be the one that gets blamed.
<v Speaker 2>And so then they go to Adam Dubin, his roommate,
<v Speaker 2>who is a film studies guy, and they said, hey,
<v Speaker 2>will you co direct and that way, nobody can blame
<v Speaker 2>it on either of you. And so these two guys
<v Speaker 2>co direct this video literally in the dorm rooms at NYU.
<v Speaker 2>The guys, one of them, their mom is the one
<v Speaker 2>who gets the pie in the face. Yeah. Yes, And
<v Speaker 2>they've got they've got Flea, they've got Mutt Lane, they've
<v Speaker 2>got Tabithasor and they've got Lall Cool Jay, all of
<v Speaker 2>these folks who were not somebody yet but who are
<v Speaker 2>in this video walking through the door and party long.
<v Speaker 2>And they've got they've got Rick Rubin coming in wearing
<v Speaker 2>a Slayer T shirt right, which, of course is ironic
<v Speaker 2>because we've got a song coming up that's got a
<v Speaker 2>Slayer lead in it. Yep. And Slayer was actually a
<v Speaker 2>band that he was also producing the records fourth time.
<v Speaker 4>Yeah, so you had members of the Young and the
<v Speaker 4>Useless we're also in this video.
<v Speaker 2>Yeah.
<v Speaker 4>And I know that you're teasing Kerry King there, but
<v Speaker 4>we got to say this. He played on this song too.
<v Speaker 4>The solo in this song is Kerry King? Really?
<v Speaker 2>Okay, I did not know that. Okay, nice. Good.
<v Speaker 3>Let's talk about Tabitha Sowren for a second. This is
<v Speaker 3>before she was an MTV personality. She just a NYU
<v Speaker 3>student who happened to be friends with Rick Rubin. I
<v Speaker 3>think she's actually blonde. In the video.
<v Speaker 2>She said she was doing everything she could not to
<v Speaker 2>get a pie in the face because they didn't have
<v Speaker 2>any money to make this video, so they went and
<v Speaker 2>got the whip cream for the pies out of like
<v Speaker 2>an old restaurant trash can. So it was like rancid
<v Speaker 2>whipped cream, and she said it smelled like throw up.
<v Speaker 3>I saw the storyboards for this, and the funny part
<v Speaker 3>about the storyboards were they were just barely even sketches.
<v Speaker 3>I mean, you're talking like childlike faces figures, but they
<v Speaker 3>were storyboarded exactly like you see the video.
<v Speaker 2>That's nice. Well, he was a film student, he's any
<v Speaker 2>why were you film student?
<v Speaker 3>Of course he's in storyboards, storyboards the video, the guy
<v Speaker 3>getting spit on in the face and you know, spiking
<v Speaker 3>the punch, burning stuff, you know, kissing the girl and
<v Speaker 3>all that stuff. This was a teenage boy's dream, burn stuff,
<v Speaker 3>kiss girls, party while your parents are out of town.
<v Speaker 2>I mean I was fourteen when this came out.
<v Speaker 3>This is all I wanted to do.
<v Speaker 4>I gotta tell you this, this is the time for
<v Speaker 4>this story. So this song was of course the biggest
<v Speaker 4>hit they had on the album, and it was climbing
<v Speaker 4>its way up the charts, and it would soon peak
<v Speaker 4>at number seven on the Billboard Hot one hundred at
<v Speaker 4>number seven. It would peak there on March seventh. Just
<v Speaker 4>one week before that, they played a show February twenty eighth,
<v Speaker 4>nineteen eighty seven, in Columbus, Georgia, and I was there
<v Speaker 4>with pretty much my entire tenth grade class on the
<v Speaker 4>floor close to the stage, packed in, absolutely living the dream,
<v Speaker 4>soaking in this entire performance. It was a time of
<v Speaker 4>our lives. It's a touchstone experience for our whole high
<v Speaker 4>school years that we still talk about today. Fight for
<v Speaker 4>Your Right was their big hit, It was their big finale.
<v Speaker 4>They finished the show with fight for Your Right to party.
<v Speaker 4>Before the night was over, they were on the news
<v Speaker 4>before the week was over. City council had met to
<v Speaker 4>discuss the Beastie Boys. So what you had was a
<v Speaker 4>case of a bunch of families thinking that it would
<v Speaker 4>be safe to take their kids to see some white rappers.
<v Speaker 4>But what they got were some obnoxious punk rockers from
<v Speaker 4>New York City who wanted to offend everybody in the house.
<v Speaker 4>You could say. They had another member on stage unveiled
<v Speaker 4>himself at the end of the show. This is where
<v Speaker 4>they had the stage prop that's so notorious for this tour.
<v Speaker 4>It was I can tell you it's true. I saw
<v Speaker 4>it myself, a twenty foot replica of an erection. It
<v Speaker 4>came out aside the box in the back of the stage.
<v Speaker 4>It inflated up and it towered over the crowd and
<v Speaker 4>waved back and forth. It was in embarrassing detail, and
<v Speaker 4>we were all standing there in shock. We cannot believe
<v Speaker 4>what we say. And I just remember the Baci boys
<v Speaker 4>on stage looking up at it and busting out, cracking up,
<v Speaker 4>laughing like they'd never seen it before. This did not
<v Speaker 4>go over well. There were a lot of people clutching
<v Speaker 4>pearls in the audience that night who said that there's
<v Speaker 4>no way this should be allowed. So there were miners
<v Speaker 4>in the audience that they had this prop waving over
<v Speaker 4>everybody at the end of the show. They had scantily
<v Speaker 4>clad women in cages throughout the whole thing. They had
<v Speaker 4>girls in the audience that were lifting their shirts because
<v Speaker 4>the beast of boys were telling them to. It was
<v Speaker 4>highly offensive. It did not fly in Columbus, Georgia. But
<v Speaker 4>as it turns out, they could not find where they
<v Speaker 4>had broken any lass. They had not done anything illegal,
<v Speaker 4>and the leadership and the public said, well, that's not right.
<v Speaker 4>So the very next city council meeting, they passed a
<v Speaker 4>new ordinance, the Lutinis Ordinance, that said basically that they
<v Speaker 4>nobody could do this again. And so the Beast Boys
<v Speaker 4>got away scott free, but now in their wake this
<v Speaker 4>Lutinist Ordinance now existed on the books in Columbus. I
<v Speaker 4>was also there in June of nineteen eighty seven when
<v Speaker 4>ll cool J was headlining and during the song I
<v Speaker 4>Need Love, he got really friendly with a couch that
<v Speaker 4>they had brought out on stage and he was arrested
<v Speaker 4>under this law. After the show, Todd from Queen's was
<v Speaker 4>rubbing on a couch.
<v Speaker 2>Yeah, yeah, Mak hasn't done that.
<v Speaker 4>So this is this is something that Ello cool J
<v Speaker 4>went on our Senial Hall at the time to talk about.
<v Speaker 4>He still talks about it on his talk show appearances today.
<v Speaker 4>So I've seen on the internet a clip where in
<v Speaker 4>recent years he was on Jimmy Kimmel talking about this
<v Speaker 4>same incident, so it's not something LL has ever forgotten.
<v Speaker 4>He was arrested. A year later, Bobby Brown was arrested,
<v Speaker 4>and then a year after that, Gene Simmons was arrested
<v Speaker 4>because he apparently mooned at the audience, and after that
<v Speaker 4>they quit enforcing the law. So so Ello Cool Jay
<v Speaker 4>and Bobby Brown and Gene Simmons have the Beastie Boys
<v Speaker 4>to thank for their their arrest record in Columbus, Georgia.
<v Speaker 3>Gene Simmons bear butt made them cow down and just
<v Speaker 3>say this is not worth it anymore. Have you guys
<v Speaker 3>seen Fight for Your Right revisited?
<v Speaker 2>You sent me the clip. I've caught a little bit
<v Speaker 2>of it, but just I know who's in it and
<v Speaker 2>what kind of the actions are, and I got to
<v Speaker 2>watch the whole thing. I'm excited to see it. Dave,
<v Speaker 2>have you seen this?
<v Speaker 3>No, it's a thirty minute video where they Adam Yack
<v Speaker 3>directed this right, but he asked Seth Rogan, Elijah Wood
<v Speaker 3>and Danny McBride to come up with what happened after
<v Speaker 3>the Fight for Your Right party. So they leave the party.
<v Speaker 3>You see them leave the room where they have the
<v Speaker 3>pie fight, and they come downstairs and they run into
<v Speaker 3>people who are asking them. It's Susan Sarandon, Yeah, who's
<v Speaker 3>asking them? What are you guys up to? You guys
<v Speaker 3>are troublemakers. It's Seth Rogan, Elijah Wood and Danny McBride,
<v Speaker 3>all wearing the same attire that the beast Boys wore
<v Speaker 3>in the Fight for Your Right video. They run into
<v Speaker 3>Will Ferrell, John c Riley, Jack Black, who are addressed
<v Speaker 3>in the same attire. So it's like you have beastie
<v Speaker 3>boys against Beastie boys.
<v Speaker 2>Beastie boys from the future, from the future in a.
<v Speaker 3>Dolorean, right, Yeah, there is a Delorion, all right, And
<v Speaker 3>so they have this weird dance off and then the
<v Speaker 3>cops show up and it's the real Beastie Boys as
<v Speaker 3>the cops.
<v Speaker 2>The video is great, it's really funny. I sent it
<v Speaker 2>to you.
<v Speaker 3>You did watch, I'm sorry, but it's definitely worth a look. Okay,
<v Speaker 3>are we done with Fife?
<v Speaker 4>You're right, don't fuck You're right, and we're done with
<v Speaker 4>side one? Flip it over.
<v Speaker 2>Time to hit stop on your tape layer kick it out,
<v Speaker 2>Flip it over side two. Okay, Jason, let's take a
<v Speaker 2>quick break while we do a Shirley Showcase, we have
<v Speaker 2>a special one for today.
<v Speaker 4>Yeah.
<v Speaker 3>This is our friend Christopher Weber. He's been interacting with
<v Speaker 3>us for a long time on social media.
<v Speaker 2>Yeah, he decided to weigh in on our Police Synchronicity
<v Speaker 2>versus Journey Frontiers album. Let's see what he has to say.
<v Speaker 8>Hey, Jason, INDI, this is Chris Weber down in New Orleans,
<v Speaker 8>and I appreciate the opportunity to get of my final
<v Speaker 8>judgment on a previous matchup. The episode that I chose
<v Speaker 8>pitted the Police's Synchronicity album versus Journey's Frontier albums. I
<v Speaker 8>have to admit when I first heard the matchup, I
<v Speaker 8>thought it was going to be a landslide. But after
<v Speaker 8>listening to the episode, I think both of y'all brought
<v Speaker 8>some really good points that made me think about both
<v Speaker 8>of these two albums. Prior to these two albums being released,
<v Speaker 8>I was a somewhat casual Police fan. I had heard
<v Speaker 8>every little Thing she Does is Magic on the radio,
<v Speaker 8>and I was probably somewhat familiar with Rock Sand due
<v Speaker 8>to forty eight Hours. But for the most part, I
<v Speaker 8>was listening to Journey Escape in the years before this,
<v Speaker 8>so I was very familiar with Journey. I had that
<v Speaker 8>album and I listened to it front to back. When
<v Speaker 8>Synchronicity came out with the advent of MTV, suddenly I
<v Speaker 8>was hearing the songs on the radio. I was seeing
<v Speaker 8>the videos on MTV starting to drive, so I was
<v Speaker 8>buying cassettes to listen into my car. Journey Frontiers. I
<v Speaker 8>was familiar with the singles that were played on MTV.
<v Speaker 8>We'll get to the video in a minute, but really
<v Speaker 8>I did not own this album. However, picking the album
<v Speaker 8>up and looking at the first five songs on the
<v Speaker 8>first side, it's pretty hard to argue that it did
<v Speaker 8>have a lot of radio hits. However, looking at side
<v Speaker 8>two of Frontiers, I feel like the album just drops off,
<v Speaker 8>whereas Synchronicity. I played that cassette tape over and over
<v Speaker 8>and over in my car. Yes, mother is on it,
<v Speaker 8>and that we will say is an acquired taste. But
<v Speaker 8>if you say side two of Synchronicity is the matchup
<v Speaker 8>between side one of Frontiers, I think side one of
<v Speaker 8>Synchronicity with Synchronicity one and Synchronicity two are stronger than
<v Speaker 8>anything that's on side two of Frontiers, I agree the
<v Speaker 8>match would have been even closer had Journey decided not
<v Speaker 8>to take off two songs and save them for soundtracks.
<v Speaker 8>Both songs that were taken off were later featured on
<v Speaker 8>their greatest hits. So ask the Lonely, which was in the.
<v Speaker 2>Twist of Fate movie.
<v Speaker 8>Perhaps a throwaway soundtrack there still could have bolstered Side
<v Speaker 8>too of Frontiers, But certainly only the Young, which was
<v Speaker 8>the leadoff track on Vision Quest, which is just a
<v Speaker 8>fantastic soundtrack, one of my two underrated soundtracks.
<v Speaker 2>Of the eighties.
<v Speaker 8>Certainly it had only the Young, It had two songs
<v Speaker 8>by Madonna, it had Don Henley, it had a breakout
<v Speaker 8>song with Lunative Fringe with Bred Ryder, and it featured
<v Speaker 8>much maligned singer by Jason John Waite doing his cover
<v Speaker 8>of Change. Change is a Spider song written by Holly Knight,
<v Speaker 8>who also wrote Better Be Good to Me, which was
<v Speaker 8>covered Tina Turner, who also did a cover of John
<v Speaker 8>Waite's Missing You. I believe Jason took issue with John
<v Speaker 8>Waite and his criticism of Open Arms, which was a
<v Speaker 8>song that was in though not featured in a movie
<v Speaker 8>whose soundtrack I also think is a hidden eighties gem
<v Speaker 8>that being the last American Vergin. This soundtrack features Tommy Twotone,
<v Speaker 8>the Police, Oingo Boingo, the Cars, the gleaming Spires, and
<v Speaker 8>you two. If you haven't heard this album, go check
<v Speaker 8>it out.
<v Speaker 2>It's pretty good.
<v Speaker 8>Now this gets us to the video for Separate Ways
<v Speaker 8>worlds apart. Yes, some of those early MTV videos were
<v Speaker 8>pretty bad, and this one, I will admit, is comical,
<v Speaker 8>but I do have a particular affinity for it, as
<v Speaker 8>it was filmed in New Orleans and in fact, it's
<v Speaker 8>just a little bit down from where I'm currently working.
<v Speaker 8>I suppose my best defense for it is the eighties
<v Speaker 8>or the decade where we're all playing air guitars and
<v Speaker 8>air drums and perhaps even air synthesizers or keyboards. So
<v Speaker 8>when that song first starts off, who amongst us is
<v Speaker 8>not playing the opening keyboard solo. In addition to that,
<v Speaker 8>I think this song features a couple of wonderful drum
<v Speaker 8>fills that rank up there with In the Air Tonight
<v Speaker 8>and Tom Sawyer. So laugh at it if you must,
<v Speaker 8>but I do have a soft spot for that video,
<v Speaker 8>which brings me to my final judgment. I have to
<v Speaker 8>go with my initial reactions the Police. I'm just more
<v Speaker 8>familiar with that album. All of those songs I know
<v Speaker 8>from beginning to end, and I just think from the
<v Speaker 8>beginning of the album to the end of the album,
<v Speaker 8>it's a much stronger album than Journeys Frontiers. Guys, keep
<v Speaker 8>up the great work. I've enjoyed the show since the
<v Speaker 8>beginning and look forward to more episodes.
<v Speaker 3>Okay, another vote for synchronicity right there.
<v Speaker 2>Yeah, and this was the great part about this episode
<v Speaker 2>was that you were confident that you were going to
<v Speaker 2>be picking Frontiers on this one, and then after we
<v Speaker 2>dived into him, you swapped sides and you gave him
<v Speaker 2>to the right side.
<v Speaker 3>Yeah, I did. I switched sides after diving in. I
<v Speaker 3>surprised even myself.
<v Speaker 2>Yeah, poor John Waite. Listen.
<v Speaker 3>I know that Chris is coming to his defense here,
<v Speaker 3>but John Waite made the biggest Wiener love song, and
<v Speaker 3>for him to dog Jonathan Caine is just so funny
<v Speaker 3>to me. But the cool thing Chris Weber sent us
<v Speaker 3>pictures of the wharf down at New Orleans where they
<v Speaker 3>actually filmed the Separate Ways video, So that was really cool.
<v Speaker 2>Chris, thank you so much. The instruments. Yeah, thanks Chris,
<v Speaker 2>we really appreciated We had a great time listening to
<v Speaker 2>two year showcase. Mat Man.
<v Speaker 3>Thanks for interacting with us and appreciate you listening. All right,
<v Speaker 3>let's get back to side too of licensed Ill No
<v Speaker 3>Who Let's go man.
<v Speaker 2>Bring the hard rocker coming man. That is awesome. So
<v Speaker 2>the music on this one, the guitar riff?
<v Speaker 4>Is it?
<v Speaker 2>The sample? It sounds so much like something? Is it?
<v Speaker 3>Is it?
<v Speaker 2>I love rock and roll, I've got a's got a
<v Speaker 2>strong I love rock and roll vibe to it.
<v Speaker 3>We get the we get a sampling of Jones Jett
<v Speaker 3>here in a minute, But I don't think it's on
<v Speaker 3>this one.
<v Speaker 2>All right, Well, it's just dang good guitar.
<v Speaker 4>Then, well, the title is a reference to No Sleep
<v Speaker 4>Till Hammersmith by Motorheads, but I'm not familiar with that song.
<v Speaker 3>And you're telling us that Kerrie King from Slayer actually
<v Speaker 3>plays the guitar on this one as well as right, You're.
<v Speaker 4>Right, yes, he plays on both. Well, I'll just give
<v Speaker 4>you my reaction to the song. Go ahead, I mean, boom,
<v Speaker 4>you come right off a fight for your right, boom
<v Speaker 4>you hit this? You got the boom boom pow the beat.
<v Speaker 4>You cannot listen to this song and Stay Still. So
<v Speaker 4>nineteen eighty six was a busy year for Rick Rubin.
<v Speaker 4>He not only produced Raising Hell and Licensed to Ill,
<v Speaker 4>but he also produced the album for Slayer. He was
<v Speaker 4>working with Slayer at the same time, and so he
<v Speaker 4>brought carry King over to play the guitar solo on
<v Speaker 4>this song. But he's more known for some reason for
<v Speaker 4>this song for the solo that he brings in. And
<v Speaker 4>I didn't know this until I was researching for the podcast,
<v Speaker 4>but he's also playing the solo. I don't think he
<v Speaker 4>plays throughout the whole song, but he does play the
<v Speaker 4>solo and Fight for Your Right bring in that hard rock,
<v Speaker 4>that true rock guitar bang your head element to both
<v Speaker 4>of these songs back to back on this album.
<v Speaker 3>You Know, the interesting thing I found about it is
<v Speaker 3>that carry King didn't really liked this song. He didn't
<v Speaker 3>really like the Beastie Boys, and the Beastie Boys didn't
<v Speaker 3>really like him. They didn't really get each itty.
<v Speaker 2>It's just kind of like a Lemon to a Lime
<v Speaker 2>or a Lime to a Limon. I gotta say the
<v Speaker 2>guitar solo on this one is not good bad, it's terrible.
<v Speaker 2>It's it might be good in a different song.
<v Speaker 9>But it's like it's I mean, you can't take the
<v Speaker 9>guitar solo from you know, beat it and throw it
<v Speaker 9>into the chords from Walk This Way or something.
<v Speaker 2>It just doesn't work.
<v Speaker 3>He intentionally played out of tune.
<v Speaker 2>Yeah, it just sounds it sounds wrong, but that's what
<v Speaker 2>they were going for.
<v Speaker 10>I mean, I literally when I first heard this, I thought, Okay,
<v Speaker 10>these are just the beastie boys just trying to fingertap
<v Speaker 10>on whatever they can do on the press board, just
<v Speaker 10>to sound as weird and crazy as they possibly can't.
<v Speaker 3>This is a parody of hair metal once again. We
<v Speaker 3>have a fantastic music video. It starts out it's really funny.
<v Speaker 3>They knock on the door, The producer answers the door
<v Speaker 3>or they're like, hey, guys, where's the band? And they're like,
<v Speaker 3>where's the band?
<v Speaker 2>He's like, where are your instruments? And they pull out
<v Speaker 2>a record.
<v Speaker 3>He grabs the record and he smashes it over their
<v Speaker 3>head and he's like, get out of.
<v Speaker 2>Here, you guys, you're not the band.
<v Speaker 3>And as soon as he shuts the door, they knock
<v Speaker 3>on it again. They opens it up and they're they're
<v Speaker 3>got the big wigs on and they're like, dude, we're
<v Speaker 3>like the Bend Man. I've been waiting for you boys,
<v Speaker 3>Let's go.
<v Speaker 2>And so they're parodying Cara Metal once again, and it
<v Speaker 2>ends with the hot girl going away with the gorilla.
<v Speaker 3>Right, Yes, I think the gorilla was Rick Rubin, right.
<v Speaker 3>The lead dancer in this video. Her name is Ruth Collins.
<v Speaker 3>Is that ring a bell with you?
<v Speaker 2>Guys? I'm gonna say no on this. Have you ever
<v Speaker 2>watched Cinemax After Dark?
<v Speaker 3>No?
<v Speaker 2>Yes you have? You know you have?
<v Speaker 3>Yes, you have? Okay, She's been in Cemetery, High Which Academy,
<v Speaker 3>and galact Jigglow. She is known more for her body
<v Speaker 3>than for anything else.
<v Speaker 2>So if you're knowing me, she did not show her
<v Speaker 2>acting chops in the Jigglo from Space or whatever.
<v Speaker 3>He showed more than her acting jobs.
<v Speaker 4>You know, I might recognize her if you showed me
<v Speaker 4>the back of her.
<v Speaker 2>Google search Google.
<v Speaker 3>All right, well, this is a legit song though, I mean.
<v Speaker 3>Jay Z performed this song on his All Points West
<v Speaker 3>festival in two thousand and nine.
<v Speaker 4>Oh yeah, I love the sequencing of this album because
<v Speaker 4>you start out with some hard hitting rock, you kind
<v Speaker 4>of slow it down a little bit and get away
<v Speaker 4>from the guitar, and then right when it sucks you in,
<v Speaker 4>boom it hits you with fight for your Right and
<v Speaker 4>no sleep till Brooklyn, back to back, and then they
<v Speaker 4>change gears again going into the next song.
<v Speaker 2>Yeah.
<v Speaker 3>This was the sixth single released March first of nineteen
<v Speaker 3>eighty seven. Yep, cool, love this one, love this song,
<v Speaker 3>love these two songs. Rock it out all right. The
<v Speaker 3>next song song number two on side to Paul Revere.
<v Speaker 3>Now here's a little story I got to tell about
<v Speaker 3>three bead brothers.
<v Speaker 6>You know so well.
<v Speaker 3>It's sounded way back in history without read a little
<v Speaker 3>healthy named Paul Revere.
<v Speaker 2>So the next song that we've got coming up has
<v Speaker 2>an example of a backwards drum beat, which I'm not
<v Speaker 2>sure that I have heard anybody before. These guys did
<v Speaker 2>it do this style of drum beat in their song
<v Speaker 2>as the underlying drum beat for the entire song.
<v Speaker 5>Look.
<v Speaker 6>I ran into a guy, his name is MC.
<v Speaker 2>I said, he said, Hi, I love it. I love it.
<v Speaker 2>And so this one, this is the story on this one.
<v Speaker 2>How it was inspired is great. So it starts with
<v Speaker 2>them they're waiting outside a recording studio for run DMC.
<v Speaker 2>When all of the sudden they see Joe Roun Simmons running.
<v Speaker 2>He run is running towards them. He runs down the street.
<v Speaker 2>He's screaming incoherently. He gets to the Beastie Boys and
<v Speaker 2>he says, here's a little story I got to tell.
<v Speaker 2>And after that he's they're confused, and he says, that's
<v Speaker 2>the song, And from that point on worked up the
<v Speaker 2>rest of the lyrics.
<v Speaker 4>And it mythologizes the origin of the Beastie Boys and
<v Speaker 4>how they met, and it sets it in kind of
<v Speaker 4>an Old West setting, at least the best imagery I get.
<v Speaker 4>And it's the A to eight drum machine pattern that
<v Speaker 4>they recorded and then strung up backwards on a tape
<v Speaker 4>machine and played it backwards. It was MCA's idea and
<v Speaker 4>a unique sound. You know right away what song you're
<v Speaker 4>listening to as soon as this thing starts.
<v Speaker 2>And again they're throwing in those kind of educated references.
<v Speaker 2>Paul Revere's the name of the horse from Guys and Dolls.
<v Speaker 3>This was the second single, released August thirteenth to eighty six.
<v Speaker 3>This is still three months before the release of the
<v Speaker 3>album YEP. I got a quick funny story about this one.
<v Speaker 4>Okay.
<v Speaker 3>So I was talking to my buddy Doug Gray. Yeah,
<v Speaker 3>shout out to my buddy Doug Gray. Doug, He's like, hey, man,
<v Speaker 3>what are you guys working on this week? I said,
<v Speaker 3>we're doing Licensed Deale by the Beastie Boys. And as
<v Speaker 3>soon as I got those words out of my mouth,
<v Speaker 3>he came back with, here's a little story I'd like
<v Speaker 3>to tell and just.
<v Speaker 2>Rule out the words man.
<v Speaker 3>And Doug is not exactly the guy that I would think, oh,
<v Speaker 3>do all the words to Paul Revere.
<v Speaker 2>No, to see, Doug is straight laced, typer intelligence, you know,
<v Speaker 2>just a very cool cat kind of guy, and he
<v Speaker 2>says some funny, dry stuff from time to time. I
<v Speaker 2>love being around it. But to see him roll out
<v Speaker 2>some Beastie Boys on Paul Revere, I would have just
<v Speaker 2>I would have just been dumbstruck.
<v Speaker 3>It was unleashing of the lyrics right there. They were
<v Speaker 3>all coming.
<v Speaker 4>I know this whole song. I could sit here and
<v Speaker 4>do it from start to finish. Honestly, it's one of
<v Speaker 4>my favorite.
<v Speaker 3>It's a great one.
<v Speaker 2>Man.
<v Speaker 4>So let me tell you this. So the Licensed Ill
<v Speaker 4>Tour continues in nineteen eighty seven, and it continues to
<v Speaker 4>create controversy wherever they go. They are in England in
<v Speaker 4>May and they've already got politicians there wanting to ban
<v Speaker 4>them from the country because they think they're so offensive,
<v Speaker 4>which is exactly the publicity they want. While they were
<v Speaker 4>in England on their tour, they played a show in
<v Speaker 4>Liverpool and while there they got out on stage and
<v Speaker 4>immediately the crowd turns hostile and starts throwing beer bottles
<v Speaker 4>at them and stuff like that. So for their own safety,
<v Speaker 4>they have to abandon just like ten minutes into the show,
<v Speaker 4>they run off the stage. They have to come up
<v Speaker 4>with a way to continue the show, but they've got
<v Speaker 4>to fend off all these bottles that are being thrown
<v Speaker 4>at them, so they decide to do it with a
<v Speaker 4>whiffleball bat.
<v Speaker 3>And they just happen to have a whiffleball bat on
<v Speaker 3>tour with them backstage.
<v Speaker 2>I like these guys.
<v Speaker 4>While the music's playing, they are taking swings at the
<v Speaker 4>bottles being thrown at them, trying to protect themselves and
<v Speaker 4>knocking it back, and star of the crowd love it.
<v Speaker 4>So this did create a problem.
<v Speaker 6>Though.
<v Speaker 4>There was one girl that took an injury around her
<v Speaker 4>eye and she claimed that Adam Horovitz had been the
<v Speaker 4>one to hit her, but anyway, he ended up arrested
<v Speaker 4>after the show and spent the night in jail.
<v Speaker 3>Hey, he may have spent the night in jail, but
<v Speaker 3>at least he can hit Yeah.
<v Speaker 2>Love this one.
<v Speaker 4>I'm tempted just to wrap the whole thing, but it's
<v Speaker 4>very catchy and it's it's like a one two three
<v Speaker 4>punch in the middle of this album coming after five.
<v Speaker 4>You're right, there's until Brooklyn right into Paul Revere. I mean,
<v Speaker 4>my goodness, the album does not stop. So Paul Revere
<v Speaker 4>samples from It's Yours, the very first song that Rick
<v Speaker 4>Rubin produced. He did it for Sheila Rock. Yeah, you'll
<v Speaker 4>hear that familiar sound from Paul Revere. You hear the
<v Speaker 4>very beginning of It's Yours if you listen to that.
<v Speaker 2>Awesome. All Right, we've done with Paul Revere.
<v Speaker 4>Well never but go ahead, haha.
<v Speaker 3>Now we're moving on to the first single release to
<v Speaker 3>the album. This song is called hold It Now, hit It.
<v Speaker 4>Yeah, it's time to get you.
<v Speaker 2>So talking samples. This one contains a bunch. We've got
<v Speaker 2>birtha butt boogie by the Jimmy Castor bunch, We've got
<v Speaker 2>dropped the Bomb and Let's Get Small by Treble Funk,
<v Speaker 2>we Got Funky Stuff by Cooling the Gang, we Got
<v Speaker 2>Taken You to the Marti Grab by Bob James, Christmas
<v Speaker 2>Wrapping by Curtis Blow and lotted down by Dougie Fresh
<v Speaker 2>and mcrickey d. The Lion Pump It Up Homeboy gets
<v Speaker 2>sampled later on by Eric B and Rakeeem on their
<v Speaker 2>song As the Rhyme Goes On, and by Iced Tea
<v Speaker 2>on his song You Don't Quit. And then the Lion
<v Speaker 2>beer drinking, breath stinking, sniffing Glue was sampled by Doctor
<v Speaker 2>dre No the one You're expecting this time not the
<v Speaker 2>fat One on Easy Ease Boy.
<v Speaker 4>Yes, so this was one of the very first songs
<v Speaker 4>recorded for the album. It came out as a single
<v Speaker 4>I think in April, yes, early, Yes. So this was
<v Speaker 4>ahead of most of the sessions for the album, and
<v Speaker 4>it was one that Run in particular Run DMC, but
<v Speaker 4>particularly Run absolutely loved and Russell loved it. This song
<v Speaker 4>got them excited and really I think encouraged them to
<v Speaker 4>push the BC Boys. It probably got them on the
<v Speaker 4>Raising Hell tour and all of that now because of
<v Speaker 4>all those samples. As you're reading that off, I'm thinking
<v Speaker 4>to myself, this is probably one of the more heavily
<v Speaker 4>produced cuts, and it probably took a lot of the
<v Speaker 4>most work from Rick Ruben to be able to piece
<v Speaker 4>all this together. And so I'm kind of putting this
<v Speaker 4>timeline in my head and I'm going to guess that
<v Speaker 4>this song is the result of Ruben coming off the
<v Speaker 4>Madonna tour early, because by coming off the road, he
<v Speaker 4>was able to first songs to come out ahead of
<v Speaker 4>the regular sessions and for it to be so heavily produced.
<v Speaker 4>I'm thinking he was spending a lot of time really
<v Speaker 4>this down and getting the sound right. And I love it.
<v Speaker 4>I love the energy of it. I love the scratching
<v Speaker 4>on the whistle sound, and the lyrics are hilarious.
<v Speaker 3>Yeah, it's it's fun. It's really fun, all right, love
<v Speaker 3>it a lot.
<v Speaker 2>Of fun, high energy. I'm with you on everything.
<v Speaker 3>Are we done talking about?
<v Speaker 2>Hold it now? Hit it?
<v Speaker 4>Sure? Let's go all right, I'm dying.
<v Speaker 3>To talk about the next song. The next song on
<v Speaker 3>the album is called Brass Monkey, Brass Monkey.
<v Speaker 2>Monkey Smokey Chunky.
<v Speaker 3>This song was released as the fifth single January fifth
<v Speaker 3>nineteen eighty seven.
<v Speaker 2>It is so catchy. I love this one. Here the
<v Speaker 2>ingredients for a normal brass moment. You're gonna have one
<v Speaker 2>part dark rum, one part vodka, and one part orange juice,
<v Speaker 2>which sounds delightful. But what was happening back in the seventies,
<v Speaker 2>eighties and nineties is there was a company called the
<v Speaker 2>Hueling Company that produced pre mixed beer and other mixed drinks,
<v Speaker 2>and they had basically the brass monkey in a can,
<v Speaker 2>and that was the drink of choice for the beastie
<v Speaker 2>boye and that is where the song came from. That
<v Speaker 2>sounds like a poor man's mimosa.
<v Speaker 4>There was also a homemade recipe for brass monkey that
<v Speaker 4>was basically malt liquor and orange juice, and I cannot
<v Speaker 4>imagine how awful that must be.
<v Speaker 3>Okay, So the term brass monkey comes from the phrase
<v Speaker 3>it's cold enough to freeze the balls off a brass monkey.
<v Speaker 2>Are you guys familiar with this term? This is a
<v Speaker 2>nautical term.
<v Speaker 3>Back when ships had to carry cannon balls, they had
<v Speaker 3>to stack them in pyramids, right, okay, But to keep
<v Speaker 3>them from rolling around on the deck, he had a
<v Speaker 3>piece of iron that had concave like spots for all
<v Speaker 3>the foundation balls to sit in, and that was called
<v Speaker 3>a brass monkey. And if it got really cold, those
<v Speaker 3>things would shrink and the balls wouldn't fit right. And
<v Speaker 3>that is where the term brass monkey, of which the
<v Speaker 3>drink was based on. Okay, you're learning something.
<v Speaker 2>I am learning something. Okay, So so for real, if
<v Speaker 2>we're gonna get if we're gonna do this, let's go
<v Speaker 2>even a little bit further. I mean, if def Dave
<v Speaker 2>can go back to eighteen ninety, I.
<v Speaker 3>Can go back to World War two.
<v Speaker 2>World War two. A guy named Steve Donger. Steve Donger, the.
<v Speaker 3>Steve the Donger need food?
<v Speaker 2>What do you mentioned about it? I gotta sleep under
<v Speaker 2>A guy named after a Dutch stor. He was an
<v Speaker 2>advertising executive. He named the drink after a World War
<v Speaker 2>two spy named H. E. Rasky. Alan Kaufman, who Kraft
<v Speaker 2>the series of stories about this spy, created the ad
<v Speaker 2>campaign using an old photo of his father as Rasky's image.
<v Speaker 2>So he was named after a purported World War two spy,
<v Speaker 2>although probably fictional.
<v Speaker 3>Double ow. Brass monkey.
<v Speaker 4>Very good. Yeah, so we're coming off. Hold it now,
<v Speaker 4>hit it and then that whatever that is, we're hearing
<v Speaker 4>it the first sound of this song, that honking kind
<v Speaker 4>of scratching I don't know. Is that a sampled horn
<v Speaker 4>they're scratching in. I don't know. But as soon as
<v Speaker 4>you hear it, boom, you're dancing again. It's immediately just
<v Speaker 4>completely rejuvenates you. Even though you're just coming off of
<v Speaker 4>a high energy song, you're just right back into it.
<v Speaker 4>When I was at the concert in nineteen eighty seven,
<v Speaker 4>I everybody was bringing in Brass Monkey. Everybody was sneaking
<v Speaker 4>in Brass Monkey. You see it everywhere, and it was
<v Speaker 4>like the crowd they loved, fight for you right at
<v Speaker 4>the end of the show. But that crowd was there
<v Speaker 4>ready to get down with Brass Monkey. And when this
<v Speaker 4>song started, when those opening notes sounded, there was a
<v Speaker 4>surge towards the stage. It scared me. We got caught
<v Speaker 4>up in it and everybody went nuts like that. The
<v Speaker 4>crowd went to a whole other level right as this
<v Speaker 4>song started, and we all got pressed forward kind of unwillingly.
<v Speaker 4>I think I was lifted off my feet just by
<v Speaker 4>the press of bodies. There were at least two girls
<v Speaker 4>I can remember that I was friends with that fainted.
<v Speaker 4>They fainted and would have fallen out except they couldn't fall.
<v Speaker 4>There was no room to fall they had and we
<v Speaker 4>kind of, like Fireman Carrie, kind of passed them along
<v Speaker 4>and got them outside of the crowds they get some
<v Speaker 4>fresh air.
<v Speaker 3>Okay, I got I got a song I gotta play
<v Speaker 3>for you. Okay. This song is called Bring It Here
<v Speaker 3>by Wild Sugar. Are you familiar with this?
<v Speaker 2>No? Check it out? Wow?
<v Speaker 4>They took it right from it, didn't they.
<v Speaker 3>They stole that right from them?
<v Speaker 10>Yeah?
<v Speaker 2>Yeah, unmistakably them for sure.
<v Speaker 4>Good fine, thank you? What year is that from?
<v Speaker 2>Nineteen eighty?
<v Speaker 3>Nineteen eighty?
<v Speaker 2>There you go.
<v Speaker 3>Okay, I've got a great personal story I want to
<v Speaker 3>share about brass Monkey. Okay, Okay, I'm gonna poke a
<v Speaker 3>little fun at our friends in Texas for just a second. Okay,
<v Speaker 3>all right, So the University of Texas has a special
<v Speaker 3>teams coach who left his family.
<v Speaker 2>To be with the stripper.
<v Speaker 3>Okay, stay with me now, all right, I'm just gonna
<v Speaker 3>poke fun at them for just a second. Okay. Now,
<v Speaker 3>the stripper's name, get this is Pull Assassin.
<v Speaker 6>Okay.
<v Speaker 3>I can just imagine Pull as Sasson.
<v Speaker 2>Talking to your friends like I got myself a college
<v Speaker 2>coach and they're like oh yeahhoo, and she's like, well,
<v Speaker 2>he's a special teams coach.
<v Speaker 3>So miss Pole Assassin has a stress animal.
<v Speaker 2>That's a monkey. I'm not making this up. You guys
<v Speaker 2>can look at this. I'm not making this up.
<v Speaker 3>So on Halloween, Miss Assassin and our good friend mister
<v Speaker 3>Special Teams Coach have children come over for trick or treaty.
<v Speaker 3>So the monkey bites a child. Okay. So that weekend,
<v Speaker 3>Iowa State plays Texas in Ames. Okay, and what song
<v Speaker 3>do they play? Fifty billion times? John Reed, that's for you, buddy,
<v Speaker 3>all right, it is college football. Okay, So it's done. Well.
<v Speaker 4>Just quick note on Brass Monkey. It was the only
<v Speaker 4>other single release from this album that cracked the top
<v Speaker 4>fifty of Billboard one hundred okay, number forty eight, forty.
<v Speaker 3>Eight okay, cool, moving on, moving on, Okay, moving on
<v Speaker 3>to the second last song on this album. This song
<v Speaker 3>is called slow and Low, Let it Flow, Let go
<v Speaker 3>so Low.
<v Speaker 2>This is the one that they sampled from Flip to
<v Speaker 2>Switch for ACDC.
<v Speaker 4>Right right, So this song was written by run DMC
<v Speaker 4>and it was intended for the King of Rock album
<v Speaker 4>which came out in eighty five. Run DMC recorded a
<v Speaker 4>demo of it, but they decided not to include it
<v Speaker 4>on their album, so they never did a finished track,
<v Speaker 4>but you can hear their demo. You can hear the
<v Speaker 4>run DMC version of slow and Low on the expanded
<v Speaker 4>edition of the King of Rock album that they put
<v Speaker 4>out a couple of years ago. Bull on Spotify, you
<v Speaker 4>can find it.
<v Speaker 3>Let's play right here the.
<v Speaker 2>South Bloat that is the boat Wow, there you go,
<v Speaker 2>different but still awesome.
<v Speaker 4>Yeah, yep. And I think that they gave it to
<v Speaker 4>the Bacie Boys, who of course had to rewrite just
<v Speaker 4>a couple of lines. They the bac Boys put their
<v Speaker 4>own name in it, and then they added the rhyme
<v Speaker 4>about h white Castle fries only come in one side.
<v Speaker 2>Side what you.
<v Speaker 3>Get there, you ain't seed nothing.
<v Speaker 2>Anything.
<v Speaker 4>Everything else came from run DMC's version of the song.
<v Speaker 4>So I think it was the right move. I think
<v Speaker 4>it's better with the BC Boys. It's better with three
<v Speaker 4>voices doing it, I think, and the finished production from Ruben.
<v Speaker 4>I mean, this is a song where the bass drops hard.
<v Speaker 3>We will get gone with the boys.
<v Speaker 2>It's great dynamics to what you've had, because I mean
<v Speaker 2>you've you've got amazing song after amazing song after amazing
<v Speaker 2>song that are all rocking in your face. And yes,
<v Speaker 2>this one's still rocked, but you're right, it's that kind
<v Speaker 2>of more subdued rock. And at this point you've absolutely
<v Speaker 2>bought in and you can take this little break from
<v Speaker 2>the hard and go in with this more funky style.
<v Speaker 4>Yeah. I think one of the strengths of this album
<v Speaker 4>is the sequencing to come off of Hold It Now,
<v Speaker 4>Hit It and Brass Monkey to This is a good move.
<v Speaker 4>This was the oldest song on this album. They recorded
<v Speaker 4>this in eighty five, so this predates Hold It Now,
<v Speaker 4>Hit It. It was the It was the first one
<v Speaker 4>they ever did. There's something about this being released as
<v Speaker 4>a single. I'm not sure what was different about this release.
<v Speaker 4>It's not always listed as a single in their discography,
<v Speaker 4>but it did get some kind of exposure in eighty
<v Speaker 4>five prior to to the album coming out. But that's
<v Speaker 4>all I got on before we.
<v Speaker 2>Jumped to the very last song. There is a song
<v Speaker 2>that was supposed to be on the album where they
<v Speaker 2>had done some sort of version of I'm Down by
<v Speaker 2>the Beatles.
<v Speaker 3>Right, but this is interesting.
<v Speaker 2>It couldn't make it onto the album because Michael Jackson,
<v Speaker 2>who had bought the rights to all of the Beatles' music,
<v Speaker 2>said no and pissed off Paul McCartney majorly. They used
<v Speaker 2>to be friends until Michael Jackson brought up all the
<v Speaker 2>back ye publishing for all the Beatles songs and then
<v Speaker 2>told the Beastie Boys no, okay.
<v Speaker 3>So that moves us to the last song on the album.
<v Speaker 2>What's the time? It's time to get ill? What's the time?
<v Speaker 2>Time to get ill?
<v Speaker 4>Time to get ill? Lost?
<v Speaker 6>The ties to get hell wast the tie? Time a
<v Speaker 6>get hell lost?
<v Speaker 4>The time again?
<v Speaker 6>Hell?
<v Speaker 2>All right?
<v Speaker 3>I want to close it out.
<v Speaker 2>With a bang.
<v Speaker 4>But this one for me, the star of this track
<v Speaker 4>is the production. I love all the samples, the sampling
<v Speaker 4>and the scratching they just make this track. Of course,
<v Speaker 4>the interchange in the voices and the contrast and the
<v Speaker 4>voices carries this also, just like it has through the
<v Speaker 4>whole album. You're getting Green Acres and Mister Ed and
<v Speaker 4>create Split Water Revival all at the same time.
<v Speaker 3>I Am mister Ed, the famous Mister.
<v Speaker 2>Fantastic album with two songs that have horses in them. Yeah,
<v Speaker 2>the dynamics that they use on this one and the
<v Speaker 2>crazy sampling for sure, But they have more dynamics and
<v Speaker 2>more variation in this last song than they've had on
<v Speaker 2>any other song on the album, and it totally knocks
<v Speaker 2>it out of the park.
<v Speaker 3>Listen to the songs that they sample on this song. Okay,
<v Speaker 3>I'm Gonna Love You just a Little More Baby by
<v Speaker 3>Barry White, I Love Rock and Roll by Jone Jet,
<v Speaker 3>That that scream That owl that's jone Jet Down on
<v Speaker 3>the Corner by CCR Green Acres, the Green Acres television
<v Speaker 3>theme song.
<v Speaker 2>They must have been watching Nick at Night when they
<v Speaker 2>came over.
<v Speaker 3>And then they also did the Mister Ed TV theme
<v Speaker 3>gucc You Time by Schoolly d, The Party Scene by
<v Speaker 3>Russell Brothers, Rocket in the Pocket by Sharon Yes, Custard
<v Speaker 3>Pie by led Zeppelin, and Nothing from Nothing by Billy Preston.
<v Speaker 2>That's a lot of samples. There's a lot of samples,
<v Speaker 2>and I'm really glad that they finished off the album
<v Speaker 2>with another led Zeppelin song, because you gotta you Gotta
<v Speaker 2>dance to the Lady that brought you man.
<v Speaker 3>Yeah, By the way, I've visited mister Ed's gravesite in Telequah, Oklahoma. Wow,
<v Speaker 3>there is a gravestone, says mister ed.
<v Speaker 2>You got anything for us on this one, David.
<v Speaker 4>I don't have anything particular for the song, but it's
<v Speaker 4>just a lot of fun. This album's over before you
<v Speaker 4>know it. There's literally not a song to skip, and
<v Speaker 4>it's just good. It's just good. It's fun, it's exciting.
<v Speaker 4>Every track hits and and you just have a good
<v Speaker 4>time where you got to smile on your face the
<v Speaker 4>whole time.
<v Speaker 2>I agree, that's well said, you know, just a good,
<v Speaker 2>great album front to back. And so next week we're
<v Speaker 2>gonna be coming back with the other side of the
<v Speaker 2>coin on this one, right, I mean, the two groups
<v Speaker 2>that basically brought this music and this genre to its
<v Speaker 2>peak in the mid eighties. We're going to come back
<v Speaker 2>with run DMC, raising hell excited and excited, and we're
<v Speaker 2>gonna come back with Deaf Dave again. David Wright is
<v Speaker 2>going to be with us again to about the history
<v Speaker 2>of Run DMC and probably wrapped for that matter. And
<v Speaker 2>then we're gonna jump in track back track and give
<v Speaker 2>and we're going to race him.
<v Speaker 3>That and then we're all gonna give our final judgment.
<v Speaker 2>Right, Well, I'm gonna I'm gonna do the Wave and
<v Speaker 2>maybe the Dolphin and probably backspin or two and then
<v Speaker 2>I will get my friend. They they thank you very much.
<v Speaker 3>We will see you next week for part two.
<v Speaker 2>Dear listener, if you have been with us this long,
<v Speaker 2>please hit the follow button, Please hit the subscribe button.
<v Speaker 2>Check us out on Twitter and Facebook at Shirley Podcast.
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<v Speaker 2>you will become an executive producer and you can do
<v Speaker 2>that for as little as five bucks a month. But
<v Speaker 2>by all means, engage us. Tell us what your favorite
<v Speaker 2>track is on this album on Raisin Hell, and let
<v Speaker 2>us know what you think of these two amazing bands
<v Speaker 2>and albums. We'll see you next week, See you next week.
<v Speaker 4>Awesome. Thank you guys.
<v Speaker 2>Thanks Dave.