Footloose Soundtrack (1984): Track by Track!

<v Speaker 1>All right, everybody, welcome back to the Shirly You Can't
<v Speaker 1>Be Serious podcast. Today we're going to continue our study
<v Speaker 1>of the summer of nineteen eighty four. We are working
<v Speaker 1>our way track by track today through the Footloose album.
<v Speaker 1>My name is Jason Colvin, and let's hear it from
<v Speaker 1>my boy d Graves.
<v Speaker 2>My boy, my boy. Okay, yeah, listen, man, I realize
<v Speaker 2>this is almost paradise, but I'm not holding out for
<v Speaker 2>a hero here. Okay. I'm free. I'm footloose and fancy free.
<v Speaker 1>All Right, We're gonna go track by track today through
<v Speaker 1>one of the biggest selling albums in nineteen eighty four.
<v Speaker 2>Okay, So I just want to talk real quick about
<v Speaker 2>nineteen eighty four and leading up to the summer of
<v Speaker 2>nineteen eighty four.
<v Speaker 1>Okay.
<v Speaker 2>This album came out in January of that year. The
<v Speaker 2>movie came out in February of that year. A couple
<v Speaker 2>months later, Breaking comes out, And I was a breakdancing
<v Speaker 2>fool in second grade. I had my own sheet of cardboard.
<v Speaker 2>I'd go dance in the streets, literally dancing the streets
<v Speaker 2>doing the dolphin and the centipede and the wave, and
<v Speaker 2>had my own move called the electric shock where I
<v Speaker 2>laid down and shook like I was electrocuted. It was
<v Speaker 2>a big crowd pleaser for the little second grader.
<v Speaker 1>You know you're serious when you have your own sheet
<v Speaker 1>of cardboard.
<v Speaker 2>Yeah, well you got to do your heads. When I
<v Speaker 2>went to watch this movie, I was in love. I'm like,
<v Speaker 2>this is so up my alley. I wasn't super big
<v Speaker 2>into the kind of I'm free dance that he was
<v Speaker 2>doing in the warehouse. That was a little too ballet
<v Speaker 2>and gymnastics for me. But some of those guys, the
<v Speaker 2>dances that they were doing were rock on cool a breakdancing.
<v Speaker 1>You know the last scene where they're dancing at the prom.
<v Speaker 1>They actually went I think we talked about this in
<v Speaker 1>our previous episode. They went to LA clubs, found guys
<v Speaker 1>that were really cool dancers, pulled him out, put him
<v Speaker 1>in a corny tuxedo and said you're a high school
<v Speaker 1>kid now break dance.
<v Speaker 2>Loved it and it was a big craze back then.
<v Speaker 2>I mean like parachute pays and bandanas and all that
<v Speaker 2>good stuff. I had my a boombox. My break dancing
<v Speaker 2>name was Doctor Fresh. I still use that, like when
<v Speaker 2>I've got it. When kids are like Dad, when you
<v Speaker 2>want your name to be on the xbox and like
<v Speaker 2>doctor Fresh, cool mood.
<v Speaker 1>Right, okay, go awesome.
<v Speaker 2>All right, So we got to jump into this album
<v Speaker 2>because there's so many awesome songs, so many awesome artists
<v Speaker 2>that we've got to talk about. But before we do that,
<v Speaker 2>let's just talk about the name of the song, which
<v Speaker 2>is the name of the movie, of course.
<v Speaker 1>Yeah, okay, okay.
<v Speaker 2>So Footloose was, as we mentioned in our last episode,
<v Speaker 2>written by Dean Pitchford. Right, yeah, this was his first
<v Speaker 2>screenplay and he had no idea what to call it.
<v Speaker 2>He had, like you mentioned, he had called it cheeked
<v Speaker 2>to cheek, but that was not really anything he ever
<v Speaker 2>intended to call it. And so he had a bunch
<v Speaker 2>of names that he liked, but he was like, I'm
<v Speaker 2>just gonna write down everything I can, and so he would.
<v Speaker 2>He'd fill the pages with potential names of the movies.
<v Speaker 2>Footloose came up on day two. Wow, And so he has,
<v Speaker 2>you know, these pages and pages of names. He looks
<v Speaker 2>over them all and picks out four that are his favorites.
<v Speaker 2>But at that point, Footloose was what he wanted to
<v Speaker 2>call the movie. But he takes it and he puts
<v Speaker 2>Footloose by Dean Pitchford, and then he takes three other
<v Speaker 2>names and he takes those names to the producers and
<v Speaker 2>he puts Footloose at the bottom of the stack. Okay.
<v Speaker 2>And this is all deliberate, right yeah. And so they're
<v Speaker 2>looking at it and they're like, hmm, okay, first name,
<v Speaker 2>second name, okay, all right, third name Okay, gets to
<v Speaker 2>Footloose by Dean Pitchford, and they say, we love it.
<v Speaker 2>And he was so excited because that was it. And
<v Speaker 2>there's something about the word. I mean, it doesn't mean anything.
<v Speaker 1>But it's still well it comes from footloos in fancy
<v Speaker 1>free right now, tell me exactly where did Elmore City
<v Speaker 1>prompt falling the title options.
<v Speaker 2>I don't think that was sang it. I think he
<v Speaker 2>just was excited about all of those o's.
<v Speaker 1>It looks great, it does.
<v Speaker 2>It looks jumps out at you. It leaps off the
<v Speaker 2>billboard or the album or whatever. So he had the
<v Speaker 2>name of the movie before there was ever a movie
<v Speaker 2>and before there was ever a song.
<v Speaker 1>And it's actually interesting he's creating a movie around the
<v Speaker 1>idea of great songs. Yeah, if you don't have great songs.
<v Speaker 1>You don't have a movie?
<v Speaker 2>Should we jump in now?
<v Speaker 1>Well, the one thing I wanted to cover before we
<v Speaker 1>get into track by track. Yeah, Footloose was one of
<v Speaker 1>the only five albums of nineteen eighty four to hit
<v Speaker 1>number one. So you had Thriller, you had Footloose yep,
<v Speaker 1>you had Huey Lewis's Sports yep. You had Bruce Bringsteen's
<v Speaker 1>Born in the USA. And then you had Purple Rain,
<v Speaker 1>of course.
<v Speaker 2>Which we're going to be covered next week.
<v Speaker 1>Come back next week as we go track by track
<v Speaker 1>through Purple Rain.
<v Speaker 2>And everybody knows how iconic Purple Rain is. But keep
<v Speaker 2>in mind this album held the number one spot for
<v Speaker 2>ten weeks in that year of those big hitters.
<v Speaker 1>If you were to tell me that this was one
<v Speaker 1>of the best soundtracks of the nineteen eighties or maybe ever,
<v Speaker 1>I wouldn't argue with you.
<v Speaker 2>No song after song after song, this is an incredible album.
<v Speaker 1>It's pop gold, all right, We're ready to dive in.
<v Speaker 2>Yeah, let's dive in.
<v Speaker 1>Dive in in. First track, kick off your son issues.
<v Speaker 1>This is Footloos, Dude, that is a slamming hit right
<v Speaker 1>out of the gates.
<v Speaker 2>Okay, so the first drum beat. I gotta say this
<v Speaker 2>totally reminds me of Hey, Mickey, you'r's the fine.
<v Speaker 1>Yeah, okay, I can see that.
<v Speaker 2>And it was I mean that came out eighty two,
<v Speaker 2>that was right, I mean it was big on the
<v Speaker 2>charts right around the time that this song was getting written,
<v Speaker 2>which let's talk about that.
<v Speaker 1>Yeah, yeah, that's really interesting.
<v Speaker 2>Okay. So we know that this song is by Dean Pitchford, right,
<v Speaker 2>we know that he's this is the key ingredient to
<v Speaker 2>the movie that he's written that he's you know, this
<v Speaker 2>is my this is my first venture into screenwriting, and
<v Speaker 2>it almost didn't happen. Right, So Kenny Logins is big
<v Speaker 2>at this point. He's done Caddyshack. But in January January twentieth,
<v Speaker 2>nineteen eighty three, Kenny Logins is at a concert in Provo, Utah,
<v Speaker 2>and the lights get dimmed so that he can come
<v Speaker 2>out on the stage and he doesn't see where he's going,
<v Speaker 2>and he steps off the stage onto the floor and
<v Speaker 2>breaks ribs. He rescheduled the concert, but he's in the
<v Speaker 2>hospital and he's about to leave the US and go
<v Speaker 2>to Asia, and Dean Pitchford's like freaking out it's like,
<v Speaker 2>what am I going to do? And so the guys
<v Speaker 2>are like, you should fly to him in Tahoe and
<v Speaker 2>you guys write the songs over there. He's like great,
<v Speaker 2>And he wakes up the morning he's supposed to fly
<v Speaker 2>out and he's run one hundred and one degree temperature.
<v Speaker 2>He's got strip throat, and he's like, there's no way
<v Speaker 2>he's going to let me in his room with his
<v Speaker 2>wife and his kids and his injured body when I've
<v Speaker 2>got this strep throat. I mean, the guy's about to
<v Speaker 2>go perform concerts in China.
<v Speaker 1>This is you know, what do? He just lives? I
<v Speaker 1>feeling fine.
<v Speaker 2>That's hard.
<v Speaker 1>We should mention that he had previously worked with Kenny
<v Speaker 1>Loggins and Steve Perry when he wrote that song Don't
<v Speaker 1>Fight It Yep, which was kind of a modest hit
<v Speaker 1>number seventeen.
<v Speaker 2>Yeah that's good. No, that's a great song. So let's
<v Speaker 2>talk real quick. We don't get to do a full
<v Speaker 2>history I think on Kenny Loggins in any other episode,
<v Speaker 2>so I'm going to do a quick brief one, right, Okay,
<v Speaker 2>So Kenny learned to play guitar by stealing his brother
<v Speaker 2>Dan Danny's song stealing his guitar. While he was the
<v Speaker 2>way at work, he'd go practice his guitar and that's
<v Speaker 2>how he learned to play. Decided that he would become
<v Speaker 2>a songwriter when he saw his two brothers writing songs
<v Speaker 2>and ultimately ended up doing pretty well. Wrote for Barbar
<v Speaker 2>Streisan and A Star Is Born, which is how he met.
<v Speaker 1>The producer of Caddy Shack, Peter John Peter, and that's
<v Speaker 1>how he got involved with Caddy Shack, And that's how
<v Speaker 1>he came up with the hit I'm all Right, which
<v Speaker 1>got him started down the road of movie making magic.
<v Speaker 2>Yes, but before he got there, he had been a
<v Speaker 2>good songwriter for a lot of other folks. So the
<v Speaker 2>first song that he wrote was a song called House
<v Speaker 2>at Pooh Corner. Okay, back then, songwriters would get together
<v Speaker 2>that hang out. He hung out with some guys from
<v Speaker 2>the Nitty Gritty Dirt Band who weren't really even very
<v Speaker 2>big at that point either, and they liked his song.
<v Speaker 2>They had a record deal. They're gonna it looks like
<v Speaker 2>this thing is gonna happen. He's like, super excited. Song
<v Speaker 2>I wrote when I was seventeen is going to become
<v Speaker 2>my first recorded song until they get a call and like,
<v Speaker 2>the Disney lawyers are not gonna let this happen. It's
<v Speaker 2>like ah, And so he goes out on a date
<v Speaker 2>that night with his girlfriend and she's like, what's wrong.
<v Speaker 2>And she's like, man, I thought my first big song
<v Speaker 2>was gonna get recorded, but it's got Winnie the Pooh
<v Speaker 2>and I guess like somebody said something about copyright and
<v Speaker 2>Disney and I don't know, I don't I guess it's
<v Speaker 2>not gonna happen. And she's like, oh, well, let me
<v Speaker 2>give daddy a call. Her dad was this CEO of
<v Speaker 2>the Walt Disney company the green lighted the song.
<v Speaker 1>Wow this history, Wow, how about that?
<v Speaker 3>Yeah?
<v Speaker 2>It ends up on the Nitty Gritty Dirt Bands album
<v Speaker 2>Uncle Charlie and His Dog Teddy, which was the album
<v Speaker 2>that had Mister bo Jangles and of course House at
<v Speaker 2>Through Corner. And suddenly he's meeting all kinds of people,
<v Speaker 2>including this guy who used to play for Buffalo Springsfield
<v Speaker 2>named Jim Messina. Okay, so loggins and gets together with Messina.
<v Speaker 2>Messina has been around for a year or two longer,
<v Speaker 2>so he knows the ropes and he's going to produce
<v Speaker 2>Kenny's first album, but they sound so good together and
<v Speaker 2>Messina does so much work on it. They call the
<v Speaker 2>album Kenny loggins with Jim Messina sitting in Clive Davis,
<v Speaker 2>who we've mentioned before Aerosmith episode and a couple of others.
<v Speaker 2>He listens to this and he says, listen, you guys
<v Speaker 2>are too good to do this. Only once he goes,
<v Speaker 2>I want to sign you to a six year many
<v Speaker 2>songs as you'll give me deal, and I really think
<v Speaker 2>and they're both like hesitant, especially Messina who is wanting
<v Speaker 2>to do different stuff. He's like, just sleep on it. Well,
<v Speaker 2>he slept on it. They did it, and they produced
<v Speaker 2>gobs of good hits through the seventies, but ultimately, as
<v Speaker 2>with many young artists, they started hating each other to
<v Speaker 2>the point that they're doing a live recording, you know,
<v Speaker 2>they're doing their kind of setup, and Kenny gets so
<v Speaker 2>mad he chunks his microphone into the stands, no audience
<v Speaker 2>members there, but chunks into the stands, walks out. Jim
<v Speaker 2>comes over to him. He says, listen, I've been through
<v Speaker 2>this before, and I want to end this before we
<v Speaker 2>hate each other. And it was the best thing he
<v Speaker 2>could have said, because they ended it then remained friends ultimately,
<v Speaker 2>both of them obviously super successful guys. But that's what
<v Speaker 2>leads into the soundtrack with Caddyshack, and that's what leads
<v Speaker 2>into the soundtrack with Footloose.
<v Speaker 1>Okay, so the song Footloose is the biggest and only
<v Speaker 1>number one hit for Kenny Loggins. So when he hooks
<v Speaker 1>up with Kenny Loggins, you know, strep throat, broken rib,
<v Speaker 1>He's got to get this in before he flies to Asia.
<v Speaker 1>They knock out a few things. He wants to be
<v Speaker 1>able to go back to them and say, Okay, we're
<v Speaker 1>on it, We've got it, and they did. They had
<v Speaker 1>the gist of it. They finished it up later with
<v Speaker 1>the whole Milo and Ooie Murray.
<v Speaker 2>Dean Pitchford's mom's name.
<v Speaker 1>Is that right?
<v Speaker 2>Yeah? They threw that in Kenny Loggins like the way
<v Speaker 2>that Milo sounded, and so that's how we got Jack
<v Speaker 2>get back. We've got that list of names.
<v Speaker 1>Because it's pretty cool. Yeah, there's one part in the
<v Speaker 1>song that I want to talk about. I don't know
<v Speaker 1>what to call it, but they it rises in like tension.
<v Speaker 4>Okay, I'll play it right here.
<v Speaker 2>So that beetles all over the place. Think you think
<v Speaker 2>about the end of Ferris Bueller's Day Off when he's
<v Speaker 2>singing twists and shout. That's that that same exact build
<v Speaker 2>up the scale and everybody's the tensions rising. That's straight
<v Speaker 2>on beetles love it.
<v Speaker 1>And then you get this great yell I'm turning it loose,
<v Speaker 1>and then right back into the chorus. It's super good
<v Speaker 1>love this one. This one was released January eleventh, nineteen
<v Speaker 1>eighty four, reached number one March thirty first, nineteen eighty four,
<v Speaker 1>spent three weeks at number one, and this is definitely
<v Speaker 1>one of the songs that helped knock Thriller out of its.
<v Speaker 2>Number one spot for ever.
<v Speaker 1>We need to talk about the video real quick.
<v Speaker 2>Okay, okay.
<v Speaker 1>The video pulls straight out of the middle of the
<v Speaker 1>movie and it's the Rage.
<v Speaker 2>Dance, right, and it's the same it's just the same
<v Speaker 2>thing that Purple Rain did, right. I mean, it's all kinds.
<v Speaker 2>It's like a extended preview of the movie.
<v Speaker 1>Yeah, and it gives you a taste. So hey, this
<v Speaker 1>movie's coming out and this looks like a lot of fun.
<v Speaker 2>Right.
<v Speaker 1>Here's the weird thing. Flulus has played three times in
<v Speaker 1>the movie okay, the opening credits, yes, where we have
<v Speaker 1>the feet. All it is is the feet moving around,
<v Speaker 1>by the way, the gold sneakers, that's Kenny Loggins's feet, right, Okay.
<v Speaker 1>They play it in the middle when they're at the
<v Speaker 1>country bar at the Country Bar, Okay. Then they play
<v Speaker 1>it at the end for the prom and let's dance
<v Speaker 1>at the party, and that whole thing is awesome. The
<v Speaker 1>problem is they don't play it during the rage dance.
<v Speaker 2>Scene right right, right right. What you saw in the
<v Speaker 2>video on MTV was not what you were seeing whenever
<v Speaker 2>the song was playing there. So it's a complete yeah.
<v Speaker 1>As a kid, I was like, wait, wait a minute,
<v Speaker 1>this wrong song. They got the wrong reel up top
<v Speaker 1>or something's messed up the wrong song. But they do
<v Speaker 1>save it for the end and it works out awesome.
<v Speaker 1>Ye all right. So we want to point out this
<v Speaker 1>soundtrack contained six Billboard top forty hits. Yes, okay, three
<v Speaker 1>reached the top ten. Yes to reach number one. Yes,
<v Speaker 1>this is one of those.
<v Speaker 2>This is one of those. Next song, let's hear it for.
<v Speaker 5>The boy babe, she don't talk, squeak, he ain't that
<v Speaker 5>much to save, but.
<v Speaker 2>Looks anyway, So this is the other number one song.
<v Speaker 3>Yes.
<v Speaker 1>This was released February fourteenth, nineteen eighty four, reached number
<v Speaker 1>one May twenty sixth, nineteen eighty four.
<v Speaker 2>So this song again was written by Dean Pitchford along
<v Speaker 2>with Tom Snow, who had written a slew of big hits,
<v Speaker 2>Tell Me She Laid on Me, She's so shy by
<v Speaker 2>the Pointer Sisters, She's so shy, Keep Going, Getting Ready
<v Speaker 2>for Love by Bonnie Ray, Love, Sneaking Up on You
<v Speaker 2>by Leo Sayer, and Don't Know But I Love You?
<v Speaker 1>Oh and your Rudstad.
<v Speaker 2>Yeah, little Aaron Neville. So they work together to write
<v Speaker 2>the song, and then of course Denise Williams is the
<v Speaker 2>one that sang the.
<v Speaker 6>Song every time he pulls me.
<v Speaker 1>Here's what I know about Denise Williams. She was a
<v Speaker 1>gospel singer, she's a soul singer. So she was the
<v Speaker 1>backup singer for Stevie Wonder on the song Wonderlove Yep.
<v Speaker 1>Also sang back up for ROBERTA. Flax nineteen seventy five
<v Speaker 1>album I Feel.
<v Speaker 2>Like Making Love?
<v Speaker 1>Do you like making.
<v Speaker 2>That one? I think that was a different version.
<v Speaker 1>That's a vacuums Okay, So the Day I Die Baby Okay.
<v Speaker 1>One of the things I forgot to mention to you,
<v Speaker 1>Denise Williams was actually sang on a song that is
<v Speaker 1>kind of close to your in my Heart. You may
<v Speaker 1>recognize her from this song right here.
<v Speaker 2>What would we Do?
<v Speaker 1>What would we Do?
<v Speaker 2>Yes? So Family Ties, it's awesome.
<v Speaker 1>Yeah, Denise Williams sang that song with Johnny Mathis. It's
<v Speaker 1>the theme song for Family Ties. The backup singers for
<v Speaker 1>Denise Williams on this song are a guy named George
<v Speaker 1>Merrill and a woman named Shannon Rubicin, and they had
<v Speaker 1>one giant hit in the late eighties called Waiting for a Start.
<v Speaker 3>Yeah.
<v Speaker 2>So Dean Pitchford and Tom Snow for the scene that
<v Speaker 2>Let's hear it for the boy comes up, they had
<v Speaker 2>written a song but it was called Somebody's Eyes and
<v Speaker 2>when herb Ross heard it, he was like, this is
<v Speaker 2>not the right song for this scene.
<v Speaker 1>We're going to talk about that song here in just
<v Speaker 1>a minute.
<v Speaker 2>Yes, it's still in the soundtrack, but it's not. It
<v Speaker 2>was not the song that was supposed to be in
<v Speaker 2>that scene. And so they said, okay, well, let's get
<v Speaker 2>back together, let's try to write something, and they came
<v Speaker 2>up with the line first, let's hear it for the boy.
<v Speaker 2>They write this upbeat song around that title, and that's
<v Speaker 2>how we get this song.
<v Speaker 1>It's amazing. That's why this song and Somebody's Eyes the
<v Speaker 1>drum beat is exactly the same because every time they
<v Speaker 1>did the dance montage at the end of the day
<v Speaker 1>with Kevin Bacon and Chris Penn, it was set to
<v Speaker 1>Somebody's Eyes. But when they realized that that tone didn't fit,
<v Speaker 1>they just swapped him out. And this was the last
<v Speaker 1>song added to the album. And in fact, they were like, crap,
<v Speaker 1>we need to write another song really quick because we're
<v Speaker 1>ready to go. We need to plug and play here.
<v Speaker 1>And so it was like pressure, pressure, pressure, Ray Parker
<v Speaker 1>Junior's Ghostbusters type of.
<v Speaker 2>Thing, right and or or some sugar on me right,
<v Speaker 2>or we need another song he looks like a Lady,
<v Speaker 2>or a hundred other songs. But that's awesome that I
<v Speaker 2>didn't realize that they had been using one song and
<v Speaker 2>had to change it out, but they kept the beat
<v Speaker 2>the same. That's brilliant. My mind is blown, great.
<v Speaker 1>Awesome, awesome, How about this let me blow your mind
<v Speaker 1>some more. Okay, we talked earlier in our previous episodes
<v Speaker 1>about how Madonna auditioned for this role. Yeah, okay, she
<v Speaker 1>didn't get it. Which man, that's right before she blew up.
<v Speaker 1>I mean, if she's in this movie as Ariel, could
<v Speaker 1>you see her singing this song?
<v Speaker 2>Sure?
<v Speaker 1>I was talking to our buddy James Buckley and we
<v Speaker 1>were going back and forth about the eighties possibility of
<v Speaker 1>Tom Cruise and Madonna being in these roles and then
<v Speaker 1>maybe Madonna singing a song like this. It's that fun
<v Speaker 1>alternate universe we like. I like how this movie or
<v Speaker 1>this song is about. This guy is a total schlub,
<v Speaker 1>but I love him anyway. He can't dance, he can't sing,
<v Speaker 1>he's poor, but I still like him. Yeah, okay, I
<v Speaker 1>got one more thing. Please you ready for this?
<v Speaker 2>Okay?
<v Speaker 1>In the video, Denise Williams is singing with a little boy.
<v Speaker 2>He was in the corner.
<v Speaker 1>He had a dunce cap on. She removes the dunce
<v Speaker 1>cap and she's like, oh, you come with me and
<v Speaker 1>let's hear it for my baby, right yeah, And he
<v Speaker 1>is in a tux. This a little kid.
<v Speaker 2>Was he five or six or seven something like that.
<v Speaker 1>He's dancing around. He's got a top hat, on that
<v Speaker 1>little boy. His name is Aaron Lore. He grows up
<v Speaker 1>to Mary Idna Menzel.
<v Speaker 2>Oh wow from Wicked and Glee and she sing let
<v Speaker 2>it Go Yeah and Frozen and Frozen.
<v Speaker 3>Yes.
<v Speaker 2>Wow, that's crazy. Now that's some deep cuts right there.
<v Speaker 1>How about that that you're not gonna hear anywhere else?
<v Speaker 2>Wow? Nice job?
<v Speaker 1>Yes, or, as John Devilta calls.
<v Speaker 2>Her, the wickedly talented one and only a death She
<v Speaker 2>said that when she went to see this movie, had
<v Speaker 2>that scene. Had she been picking the scenes that her
<v Speaker 2>song would appear in, she would have picked the scene
<v Speaker 2>because it's so perfect and it is. It is spot
<v Speaker 2>on the best song to put with that montage scene
<v Speaker 2>of Chris Pandlern how to Dance.
<v Speaker 1>Eighties were great for music montages.
<v Speaker 2>Yes, straight out of rock Okay, track number three almost paradise.
<v Speaker 1>About that dream belong to other Men?
<v Speaker 3>Because each time I got clue the beatings.
<v Speaker 2>Okay, so why don't we get the lead singer for
<v Speaker 2>lover Boy and the lead singer for Heart together and
<v Speaker 2>see how they sound? Holy crap, their voices blend so
<v Speaker 2>amazingly well.
<v Speaker 1>There. Really, that was a home run of getting those
<v Speaker 1>two singers at that time in the eighties Mike Reno
<v Speaker 1>Lover Boy. That was the peak of their powers.
<v Speaker 2>Oh absolutely, And this was kind of the beginning of
<v Speaker 2>his sound track career as well. I mean he also
<v Speaker 2>had a I mean talk about going along with Kenny Loggins.
<v Speaker 2>He had Heaven in Your Eyes from Top Gun Gunyah.
<v Speaker 2>He had Chasing the Angels on Iron Eagle two. He
<v Speaker 2>had when There's a Night from Dream a Little Dream.
<v Speaker 2>I mean, he was rocking up the charts for all
<v Speaker 2>of the eighties.
<v Speaker 1>This is right before Heart's revitalization.
<v Speaker 2>Oh yeah. I mean they were kind of rock stations
<v Speaker 2>came along and we were hearing all kinds of heart
<v Speaker 2>on class Girl.
<v Speaker 1>You've got seventies Heart like Barracuda and Magic Man and
<v Speaker 1>all that, and then you've got eighties Heart, which is
<v Speaker 1>these Dreams and Never and Alone and all those songs.
<v Speaker 1>This was the bridge between those two. Absolutely, and Wilson
<v Speaker 1>may have the greatest female rock voice of all time.
<v Speaker 2>She is phenomenal. She's absolutely phenomenal. So this one Dean
<v Speaker 2>Pitchford wrote with Eric Carmon, who is another icon in
<v Speaker 2>the songwriting world, wrote a song on Dirty Dance Dancing
<v Speaker 2>right that the flip of this movie right.
<v Speaker 1>In your eyes. Yeah, the song was written in one day,
<v Speaker 1>in one twelve hour sitting. So they went to visit
<v Speaker 1>herb Ross in his studio. They had a piano setup
<v Speaker 1>in his office and when they showed up, they said, well,
<v Speaker 1>we've got a song. We think it might be good
<v Speaker 1>for the love theme. Right, So they sat down and
<v Speaker 1>Eric Carmon sang the male part. She's sang the female
<v Speaker 1>apart the Ann Wilson part, And when they were done,
<v Speaker 1>herb Ross took a deep breath and he said, I
<v Speaker 1>think you've written a classic. In nineteen eighty four, this
<v Speaker 1>was the song that got couples to the middle of
<v Speaker 1>the skate floor skating backwards.
<v Speaker 2>With your girlfriend. Yeah, I can't skate backwards. I would
<v Speaker 2>just dance in a circle at the gymnasium.
<v Speaker 1>One of the interesting things I thought is they were
<v Speaker 1>working with the idea of religion and freedom and sort
<v Speaker 1>of the wrestling of the two that's in the story Footloose, right,
<v Speaker 1>and so they thought about making a song about salvation
<v Speaker 1>or redemption. You know, they're kind of working with these
<v Speaker 1>spiritual words, and that's how they landed on almost paradise.
<v Speaker 1>Were knocking on Heaven's Door.
<v Speaker 2>Love It Okay.
<v Speaker 1>This song was released May of nineteen eighty four reached
<v Speaker 1>number seven. This is the third top ten hit, third
<v Speaker 1>of three. By the way, when they were filming the movie,
<v Speaker 1>the song that they had originally intended to plug in
<v Speaker 1>where Almost Paradise was was the Foreigners song I've been
<v Speaker 1>Waiting for a Girl like You. Oh.
<v Speaker 2>I love that song. I love that song. But the
<v Speaker 2>song's the right thing.
<v Speaker 1>Yeah, yeah, absolutely so.
<v Speaker 2>Pitcher says he remembers there sitting there with Carmen and
<v Speaker 2>tossing out lines and coming up with I thought that
<v Speaker 2>dreams belong to other men, because each time I get close,
<v Speaker 2>they'd fall apart again. And he was like, that's great.
<v Speaker 2>I was really really good. And he's sitting there and
<v Speaker 2>he says, oh, how about this. I feared my heart
<v Speaker 2>would beat in secrecy. And Carmen jumps up from the keyboard,
<v Speaker 2>runs over, hugs him and says, that's great. That's one
<v Speaker 2>of the most brilliant lines I've ever heard. And he says,
<v Speaker 2>We've got a lot to do more. We've got to
<v Speaker 2>do a lot more of this writing. And it was
<v Speaker 2>that line. I feared my heart would beat in secrecy.
<v Speaker 2>That was sort of the thing that joined them at
<v Speaker 2>the hip after that.
<v Speaker 1>Point, all right, do you we done with almost Paradise?
<v Speaker 2>Well, couples move back.
<v Speaker 1>All right, do you ready for the next song?
<v Speaker 2>I've been holding out for it?
<v Speaker 1>No serious, I have.
<v Speaker 2>This is my favorite song. I mean, your entire album.
<v Speaker 1>Let's play, all right, this song is breaking awesome.
<v Speaker 2>Okay, listen to the bild. Listen to the bild, Listen
<v Speaker 2>to the build. Listen to the harmonies coming in, build harmony,
<v Speaker 2>Bill harmony, and then the drums. Oh my gosh, now
<v Speaker 2>this song. I remember talking to you and you were like,
<v Speaker 2>I don't know how many of these songs hold up,
<v Speaker 2>you know, hold up for I'm like holding out for
<v Speaker 2>a hero. If you turn this on in my house,
<v Speaker 2>every member of my household from nine years old up
<v Speaker 2>to me at forty five will be on the floor
<v Speaker 2>singing and dancing along with the song and losing our minds.
<v Speaker 2>It is so good.
<v Speaker 3>I'm holding on the night He's got.
<v Speaker 1>This song's amazing. It's on the tight roll to being
<v Speaker 1>over the top. It's wonderful and it plays so well
<v Speaker 1>in the movie. Yes, it's during the tractor scene right
<v Speaker 1>where they're playing chicken with the tractors and ran his
<v Speaker 1>shoelaces caught. He can't get his foot loose, but I
<v Speaker 1>love it. This song was written by Jim Steinman and
<v Speaker 1>being Patrick.
<v Speaker 2>Right, who we've talked about before in the def Lefford episode. Yes,
<v Speaker 2>Jim Steinman was the guy that they hired when Mutt
<v Speaker 2>Lang couldn't do it, and he was the one that there.
<v Speaker 2>He was like, all right, that sounds good, and they're like, wait,
<v Speaker 2>we haven't even warmed up yet. He had done Bad
<v Speaker 2>out of Hell, which we talked about back then, and
<v Speaker 2>he had done a lot of stuff with Bonnie Tyler.
<v Speaker 1>All right, everybody, I just want to formally invite you
<v Speaker 1>to come over and listen to our side project, the
<v Speaker 1>podcast Full of Kryptonite with mister John Reid from the
<v Speaker 1>thirty Sething Movie podcast, and of course you and me
<v Speaker 1>meanwhile at the Hull of.
<v Speaker 2>Justice, we are the super Friends.
<v Speaker 1>That's right. We cover the TV show Superman and Lois.
<v Speaker 1>We go over every episode. We have a great time,
<v Speaker 1>and John knows so much about Superman. It's amazing.
<v Speaker 2>If you love Superman, or even if you don't and
<v Speaker 2>you just want to learn more, come check it out
<v Speaker 2>and if you haven't watched Superman and Lois yet, you
<v Speaker 2>need to right now crawl out of your fortress of
<v Speaker 2>solitude and turn the TV on podcast full of crips
<v Speaker 2>a back faster than the speed of Night. I mean
<v Speaker 2>that's huge, absolutely. I mean she was an icon of
<v Speaker 2>the eighties as well. Who I love I love her.
<v Speaker 1>Her voice is killer.
<v Speaker 2>Yeah.
<v Speaker 1>Okay, here's something you may not know. When they brought
<v Speaker 1>in Jim Steinman and they were writing the song, he
<v Speaker 1>started saying, Hey, I got something to show you. On
<v Speaker 1>the keyboard, he's pounding it out right and he literally
<v Speaker 1>was playing so hard that his fingers started to bleed.
<v Speaker 2>Oh wow.
<v Speaker 1>And so he's just Dean Pitcher say, he's just pounding
<v Speaker 1>the crap out of the keyboard and there's blood all
<v Speaker 1>over the keyboard. And Dean Pictuer's like, this guy's freaking awesome.
<v Speaker 2>Yeah, that's I mean, I can see it. I mean
<v Speaker 2>with this song is so intense, it's like the galloping
<v Speaker 2>of a horse. Right. It's it's the White Night writing
<v Speaker 2>up to say the day. It's the Superman too good.
<v Speaker 7>It's good good.
<v Speaker 2>This song is well. The lyrics are awesome, the music
<v Speaker 2>is awesome, and it lasts. I mean, you put this
<v Speaker 2>song out right now, Well, I don't listen.
<v Speaker 1>They showed her the movie because they wanted her to
<v Speaker 1>sing it with a sense of urgency, and I think
<v Speaker 1>that comes across.
<v Speaker 2>Oh yeah, totally. The immediacy of the song is perfect
<v Speaker 2>in everything.
<v Speaker 1>Okay, I've got to play you something. This blew me
<v Speaker 1>away in the same way that we talked about during
<v Speaker 1>our bon Jovie episode when Desmond Child had written parts
<v Speaker 1>of Living on a Prayer, but he plucked him from
<v Speaker 1>other songs that he had done previously. So Jim Steinman
<v Speaker 1>had a solo album called Bad for Good and there's
<v Speaker 1>a song on there called Stark Raving Love Ready for this? Yes,
<v Speaker 1>all right, here's the beginning.
<v Speaker 2>Okay, Well, identical, identical, identical until you get to the voice.
<v Speaker 1>Until you get meet loafing. You can take a right
<v Speaker 1>turn right there.
<v Speaker 2>Oh my gosh. Wow. Yeah, that's funning. And that came
<v Speaker 2>out in eighty one, so just I mean, they're recording
<v Speaker 2>the songs to this in eighty three, so that was
<v Speaker 2>just two years before that he had put that out.
<v Speaker 1>Yeah, but we talked about how you know, you think
<v Speaker 1>you've got a good idea and maybe it doesn't hit
<v Speaker 1>for whatever reason, and you think, I don't care. This
<v Speaker 1>is still good, like this is better than it received,
<v Speaker 1>And so he pulls it out again. It often says,
<v Speaker 1>I'm gonna try this again with Bonnie Tyler.
<v Speaker 2>Yeah, and they tried the song again only four years
<v Speaker 2>later in the movie Short Circuit Too.
<v Speaker 1>No, right, everybody remember that, right, I mean, the.
<v Speaker 2>Movie is so bad that Steve Gutenberg wouldn't even do it.
<v Speaker 1>It was also in Shrek two.
<v Speaker 2>Yeah, that's right now. That one actually was pretty good.
<v Speaker 2>I liked that they had a different singer. It was
<v Speaker 2>Jennifer Sonders, but you know, having kids in the early
<v Speaker 2>two thousands, I was very familiar with that, and yeah,
<v Speaker 2>she did a good job with that one.
<v Speaker 1>This yeah, it was good, very good. This song was
<v Speaker 1>released April thirteenth, nineteen eighty four. This only reached number
<v Speaker 1>thirty four in the US. Are you kidding me?
<v Speaker 2>That's nuts? Okay, that is nuts. I am just spiking
<v Speaker 2>the football, as you say, best song, shorter Footloe's best
<v Speaker 2>song in a while.
<v Speaker 1>Okay, all right, hey, I've got deep cuts for you.
<v Speaker 2>Okay, okay, all right.
<v Speaker 1>There's a cover version of this song that was made
<v Speaker 1>for the TV series Cover Up in nineteen eighty four.
<v Speaker 1>It was sung by Miss e g Daily played Dottie
<v Speaker 1>in Pee Wee's Big Adventure. Oh okay, okay, we done
<v Speaker 1>with this one. Yep, all right, everyone, that's it for
<v Speaker 1>holding Now for a hero, Hit stop on your tape player,
<v Speaker 1>kick it out, flip it over, first song on side two,
<v Speaker 1>dancing in the sheets.
<v Speaker 2>Okay. So it's interesting that, I mean, you've said this
<v Speaker 2>on almost every episode that we've had. It's musical, but
<v Speaker 2>I can remember hitting stop on my tape player and
<v Speaker 2>flipping it over to hear this song. And I love dancing,
<v Speaker 2>doing my break dancing to this song right here, which
<v Speaker 2>is why it's the perfect song for the prohibited dancing
<v Speaker 2>that's going on at the local drive in. That's the
<v Speaker 2>scene from the movie where Ariel puts the tape in
<v Speaker 2>and everybody starts dancing along while they're playing video games
<v Speaker 2>or eating French fries or whatever. Her to this incredibly
<v Speaker 2>good song.
<v Speaker 1>Yeah, she pulls out the boom box in the movie,
<v Speaker 1>hits play under tape player on the boom box, and
<v Speaker 1>the whole place, including the girls in the bathroom or
<v Speaker 1>jamming out to this song. And it's a little bit naughty.
<v Speaker 1>You've got the dancing in the sheets that implies not
<v Speaker 1>just dancing's going on. This is exactly what song about
<v Speaker 1>forlornication and that and that scene is great because John
<v Speaker 1>Litko's character, Reverend Shawn Moore, shows up and he hits
<v Speaker 1>stop on the tape player. He doesn't say anything. She's
<v Speaker 1>just odd and shocked. Oh my dad is here. I'm
<v Speaker 1>gonna be a big trouble. And he says, your mom
<v Speaker 1>thought you'd run out of money, so here's some cash
<v Speaker 1>for you. And it's almost like.
<v Speaker 2>It's more. It is moret doesn't yell at her, he
<v Speaker 2>doesn't say any condemnation of her, but you see it
<v Speaker 2>in his face.
<v Speaker 1>Yeah, it's a heart ranging scene. Yeah, it's always dance.
<v Speaker 2>All right.
<v Speaker 1>Here's what I know about Shalamar. Okay, I've got I've
<v Speaker 1>got a little bit some just very few facts on Shalamar.
<v Speaker 2>Well, there aren't very many facts that I have.
<v Speaker 1>Here's the one thing that I found interesting about Shalamar.
<v Speaker 1>All right, Jody Wattley used to be in Shallamar.
<v Speaker 2>Right.
<v Speaker 1>She had a bunch of big hits in the late eighties,
<v Speaker 1>including looking for a New Love and Don't You Want Me?
<v Speaker 1>And some kind of lover. I mean, she was a big,
<v Speaker 1>big player, but she left Shalamar right before they recorded
<v Speaker 1>the song. Do you know who Shalamar's number one fan was, no,
<v Speaker 1>the thriller himself, mister Michael Jackson. Wow, he was a
<v Speaker 1>big fan of Shallamar.
<v Speaker 2>Well, okay, so the producer Dean Pitchford, you know, wrote
<v Speaker 2>the song with Bill Wolfer. Bill Wolfer is the guy
<v Speaker 2>who played the keyboard and synthesizer on Billy Jean.
<v Speaker 1>Yeah, there's some connection there.
<v Speaker 2>Yeah. So Shalamar was one of those executive creations, not
<v Speaker 2>quite a boy but in that kind of same vein.
<v Speaker 2>There was a concert promoter named Dick Griffy, and he
<v Speaker 2>decided to put together some studio musicians who are really good.
<v Speaker 2>And then he got together with a guy named Don
<v Speaker 2>Cornelius who had created Soul Train, and they had some
<v Speaker 2>good dancers. And you put these dancers who were really
<v Speaker 2>good with these musicians who are really good, and that's
<v Speaker 2>how you get Shallamar.
<v Speaker 1>Yeah, it's dangerously close to Millie Vanilli, although these guys
<v Speaker 1>do seeing their own stuff. One of the guys I
<v Speaker 1>mentioned that Michael Jackson was a big fan of Shalamar.
<v Speaker 1>One of the original members of Shalamar. His name is
<v Speaker 1>Jeffrey Daniel. They got to be on the British Top
<v Speaker 1>of the Pop show and that's when Michael Jackson saw him, thought, man,
<v Speaker 1>this guy's awesome. I need to get him as my choreographer.
<v Speaker 1>And that's how he got the job as the choreographer
<v Speaker 1>for Michael Jackson's Bad video. Oh wow, all right, let's
<v Speaker 1>move on to the next song, the second by Kenny Loggins.
<v Speaker 1>It's a song called I'm Free. Heaven Helped the Man.
<v Speaker 2>It's good beginning.
<v Speaker 1>Dude, I'm spiking the football on this one. You're saying,
<v Speaker 1>this is my favorite song on the entire album.
<v Speaker 2>Oh wow, that's solid, bro, And.
<v Speaker 1>I love all the songs, but this one just has
<v Speaker 1>that energy and that great chorus and the children chorus
<v Speaker 1>singing I'm Free.
<v Speaker 7>Yeah, I love it.
<v Speaker 2>And it'd be interesting. You know, you've pointed out last
<v Speaker 2>episode that in Purple Rain you don't go more than
<v Speaker 2>ten minutes without a song coming in. It'd be interesting
<v Speaker 2>to check that out as far as Footloot skips. Yeah,
<v Speaker 2>because you've got a couple of different montage scenes of
<v Speaker 2>things happening, and there's always music behind it, and we
<v Speaker 2>know the song was built on the soundtrack, so it'd
<v Speaker 2>be interesting to see how long you go in the
<v Speaker 2>movie without here in music. I bet it's not very long.
<v Speaker 1>I bet it's kind of the same thing. Yeah, yeah,
<v Speaker 1>And this song is actually used as that swell of
<v Speaker 1>emotion when when Wren wins the argument at the town council.
<v Speaker 1>So anyway, yes, this song was released February fourteenth, nineteen
<v Speaker 1>eighty four. Yeah, Reach number twenty two.
<v Speaker 2>I mean another hit, Yeah, another hit, And this one's
<v Speaker 2>this one is seems to kind of encapsulate what's going
<v Speaker 2>on with the movie, like the fact that you're the
<v Speaker 2>character is beaten down by this kind of ridiculous restrictive
<v Speaker 2>idea and he breaks free, right, He conquers it. He
<v Speaker 2>conquers his fear, which leads him to conquer the opposition
<v Speaker 2>and they get their wish and finally I'm free.
<v Speaker 1>Let's talk about the music video this one for just
<v Speaker 1>a second, okay. And so this one's about Kenny Logins
<v Speaker 1>breaking out of prison and then he meets a gang,
<v Speaker 1>like a street gang, and he has a picture of
<v Speaker 1>his girlfriend. He's looking for his girlfriend, his girlfriend in
<v Speaker 1>the Virginia Madison.
<v Speaker 2>Wow, yeah, wow.
<v Speaker 1>She looks great. You know, she's young major babe in
<v Speaker 1>the eighties.
<v Speaker 2>What movie was she in that we talked about.
<v Speaker 1>She was in Highlander two.
<v Speaker 2>Highlander too.
<v Speaker 1>That Islander two.
<v Speaker 2>You said that was the best part of the movie.
<v Speaker 2>That's it, Virginia Madden.
<v Speaker 1>That's it. That's it.
<v Speaker 2>So here's an interesting thing like this. Okay, so this
<v Speaker 2>movie came out in eighty four. Yes, Dean Pitchford in
<v Speaker 2>eighty six or so is going to speak at this
<v Speaker 2>film festival. He gets picked up at the airport by
<v Speaker 2>this kid who obviously, you know, he's trying to work
<v Speaker 2>in the industry. So he's done his research and talking
<v Speaker 2>to him about Footloose, and he's like, you know, and
<v Speaker 2>I love how it's kind of autobiographical. And Dean Pitcher's like,
<v Speaker 2>what do you mean. He goes, well, like, you know,
<v Speaker 2>you were from Honolulu and then you know you had
<v Speaker 2>to move out to Kansas City, Missouri. And Dean Pictuer's like, wow,
<v Speaker 2>it was kind of autobiographical. I didn't even realize, oh
<v Speaker 2>that's you moved from you know, I mean, imagine the
<v Speaker 2>difference between Honolulu and Kansas City, Missouri. Back in the sixties.
<v Speaker 1>Awesome. All right, Moving on song number seven on the album.
<v Speaker 1>This song is called Somebody's Eyes.
<v Speaker 2>Okay, wait, before you push play, let's listen to the
<v Speaker 2>first beat of the song, the first measure of the song. Okay,
<v Speaker 2>thinking about let's hear it for the boy and the
<v Speaker 2>fact that it's the exact same beat, and go there
<v Speaker 2>it is. That's it, that's it. That's crazy. I believe
<v Speaker 2>I never realized that before. Identical beat.
<v Speaker 1>But the songs are so different, they have totally different tone.
<v Speaker 2>Oh yeah, this is This is a sad song. This
<v Speaker 2>is not this is not what you want for the
<v Speaker 2>guys learning how to dance. This is you know, she's
<v Speaker 2>depressed and she's wandering the streets and.
<v Speaker 3>Such mega somebody size somebody size.
<v Speaker 1>In. This is a song about Ariel can't get away
<v Speaker 1>because everybody's got their eyes on her. She can't break
<v Speaker 1>free because somebody is always watching her. This is not
<v Speaker 1>let's hear it for the boy and learn how to dance? Right,
<v Speaker 1>But this is a great song.
<v Speaker 2>Oh yeah, fantastic song. I remember calling you whenever we
<v Speaker 2>first started listening to this album again and saying, I
<v Speaker 2>think this song would have been a mega hit had
<v Speaker 2>it not been surrounded by so many super ultra awesome
<v Speaker 2>mega hits. Right, Like, this is a really good song,
<v Speaker 2>but it's just it's kind of drowned out by being
<v Speaker 2>surrounded by so many good songs. Yeah.
<v Speaker 1>This was also released in nineteen eighty four. It reached
<v Speaker 1>number sixteen on the Adult Contemporary chart. It's not bad, Yeah,
<v Speaker 1>a very respectable position. And this was used to pace
<v Speaker 1>the dance songs.
<v Speaker 2>Like we said before, Yeah, this is a This is
<v Speaker 2>a song that I could see parents listening to more
<v Speaker 2>than the kids. Yeah, this was a skipper for me
<v Speaker 2>when I was playing the tape for sure.
<v Speaker 1>Though my mom loved this song.
<v Speaker 2>I like a little better now that I'm older, but
<v Speaker 2>it's still probably it's still.
<v Speaker 1>Gonna In the musical, this song is sung by Rusty.
<v Speaker 2>Yeah, it's a different dynamic and they changed the words
<v Speaker 2>a little bit too, And it's more a plot point
<v Speaker 2>in the musical than it is in the movie. Yeah,
<v Speaker 2>good song song sang by Carla bon Off. She's still
<v Speaker 2>doing stuff. She's still touring and doing stuff. She's more like,
<v Speaker 2>I think, has more made more of her career being
<v Speaker 2>a songwriter. She's done a ton of work for other folks.
<v Speaker 2>But she's still performing, doing great stuff.
<v Speaker 1>Okay, will be ready for the next one.
<v Speaker 2>We better be all right.
<v Speaker 1>The next song is called The Girl Gets Around.
<v Speaker 2>And this is a rocker by the Red Rocker rockiness
<v Speaker 2>rock rock, rockety rock song on the album.
<v Speaker 1>Yeah, this was my introduction to Sammy Hagar. Oh really,
<v Speaker 1>I didn't know who he was before this song.
<v Speaker 2>Yeah, well this is and it's perfect. It is again perfect.
<v Speaker 2>This is the second song that you have in the movie,
<v Speaker 2>and it's the point where we're telling you Ariel is
<v Speaker 2>the wild preacher's daughter. Right at first lines of the song, Well,
<v Speaker 2>she'd like you to think she was born yesterday with
<v Speaker 2>their innocent looks and her little ways. When she smiles
<v Speaker 2>at me, she's got angels in her eyes. But I've
<v Speaker 2>seen how she moves, and this girl really cooks. She
<v Speaker 2>taught me some tricks she can't learn and book.
<v Speaker 1>This is played when she crawls out of the car
<v Speaker 1>and she's standing with her foot on one car and
<v Speaker 1>her foot on her boyfriend's car and they're going full
<v Speaker 1>speed ahead at a semi yes, right, and she's a
<v Speaker 1>psycho on wheels. At this point, I'm like, what is
<v Speaker 1>what is ren doing chasing this girl.
<v Speaker 2>And then they defy the laws of physics. Somehow the
<v Speaker 2>evil boyfriend manages to pull her entire body in and
<v Speaker 2>a seating position from her ankle.
<v Speaker 1>He grabs her peaky towel and pulls her in.
<v Speaker 2>What's song?
<v Speaker 1>What's great song? Total rocker? I mean, the variety that
<v Speaker 1>we have on this soundtrack is really great. You've got
<v Speaker 1>rock songs, you've got dance songs, you've got ballads, you've
<v Speaker 1>got pop gold.
<v Speaker 2>You got it all, you really do. There's all kinds
<v Speaker 2>of music to appeal to all kinds of audiences in
<v Speaker 2>this one, and it's all just hook after hook after hook. Now,
<v Speaker 2>this one didn't this one didn't get released.
<v Speaker 1>This is the only one that did not get released.
<v Speaker 2>As a single, which is kind of crazy. I mean,
<v Speaker 2>if it had been, it probably would have been in
<v Speaker 2>our sights more than it is. But just the fact
<v Speaker 2>that it didn't get released probably is why we don't
<v Speaker 2>remember it from the album Yep.
<v Speaker 1>Right after this one, we have I Can't Drive fifty five,
<v Speaker 1>and then another year or so later.
<v Speaker 2>The band what was that called? Yeah, Yeah, Roth something.
<v Speaker 1>Other Yeah, And then of course in nineteen eighty five
<v Speaker 1>he joins van Halen flashback to our van Halen van
<v Speaker 1>Hagar episodes. Okay, another great song. I'm not skipping it. No,
<v Speaker 1>in fact, I'm turning it up.
<v Speaker 2>Yeah, you're crawling out the window.
<v Speaker 1>I'm crawling out the window and I'm buying my hands
<v Speaker 1>up looking at the semi like all right. Last song
<v Speaker 1>on the album. This song is called never.
<v Speaker 2>Okay.
<v Speaker 1>This song was played during the Rage Dance. This is
<v Speaker 1>the rage Dance song the Punch Dance, Punch Dance.
<v Speaker 2>This is the scene where you had to have four
<v Speaker 2>different body doubles for Kevin Bacon because he's dancing better
<v Speaker 2>than he can dance and doing gymnastics better than you
<v Speaker 2>can do gymnastics, and is physically stronger and better built
<v Speaker 2>than Kevin Bacon actually was. But again, huge memorable scene.
<v Speaker 2>It's been parodied multiple times in different places. The song
<v Speaker 2>is performed by a band called Moving Pictures.
<v Speaker 3>Yeah.
<v Speaker 1>They're an Australian band.
<v Speaker 3>Yeah.
<v Speaker 2>Apparently they never got paid any money for this.
<v Speaker 1>This is a really sad story.
<v Speaker 2>Yeah. The lead singer, Alex Smith said, we were just
<v Speaker 2>the lowest part of the food chain. We got gobbled
<v Speaker 2>up by companies and people that suddenly stopped exist thing,
<v Speaker 2>and when we asked where our money was The things
<v Speaker 2>you get talked into doing anyway. Yeah, we got to
<v Speaker 2>record a sound city and the record plant, but a
<v Speaker 2>couple of bucks would have been nice. Hence we never
<v Speaker 2>play this song.
<v Speaker 1>They didn't get any money for this, no royalties. Are
<v Speaker 1>you Kidney on an album of this size?
<v Speaker 2>Yeah? Yeah, the guitarist said, we performed it. It was
<v Speaker 2>written by the guys that made the movie, and we
<v Speaker 2>got nothing from it. Someone made a lot of money
<v Speaker 2>out of the song, but it wasn't us.
<v Speaker 1>That's too bad. Yeah, and I don't blame him for
<v Speaker 1>never playing the song.
<v Speaker 2>Yeah. No, And I haven't heard other songs by this band,
<v Speaker 2>but he's got a stellar eighties sounds to his voice,
<v Speaker 2>and the beginning of the song is very very eighties
<v Speaker 2>with that synthesizer. It's it's a great song. And I
<v Speaker 2>mean the memorableness of the song obviously comes from the
<v Speaker 2>scene of the movie, but it's still powerful.
<v Speaker 1>Yeah, it's good. And in fact, there is a Japanese
<v Speaker 1>version of this song recorded by the singer m I. E.
<v Speaker 1>Which apparently she's a pretty big deal. I don't know
<v Speaker 1>who she is, but so Japanese. She's Japanese, which is
<v Speaker 1>probably the reason why I don't know anything about her.
<v Speaker 1>But it was a big success in Japan. It took
<v Speaker 1>the song, changed the lyrics, and made Japanese cool. Okay.
<v Speaker 1>So that finishes up the track list. There's a couple
<v Speaker 1>of songs that we didn't talk about that are actually
<v Speaker 1>in the movie that I think are worth mentioning.
<v Speaker 2>We should at least mention them.
<v Speaker 1>Okay. So You've got Hurt So Good by John Cougar Mellencamp.
<v Speaker 2>Huge, big, big song. Yeah.
<v Speaker 1>I don't know why that was in the movie not on.
<v Speaker 2>The soundtrack, probably because it was on his album that
<v Speaker 2>he wanted to sell a lot of probably his album
<v Speaker 2>and not their album. Yep.
<v Speaker 1>Then you also have I've been Waiting for a Girl
<v Speaker 1>Like You Yeah by Foreigner Right, which we talked about
<v Speaker 1>was originally kind of slotted where the Almost Paradise song
<v Speaker 1>was supposed to go in.
<v Speaker 2>Uh huh.
<v Speaker 1>Then you have Bang your Head by Quiet Riot Metal Health. Yes,
<v Speaker 1>they take the tape away from Ren and give him
<v Speaker 1>a flip in the chin telling me better watch his attitude.
<v Speaker 1>That song is not on the soundtrack anywhere. Quiet Riot
<v Speaker 1>was huge in nineteen eighty four.
<v Speaker 2>Yeah, I can remember having that album, having the LP
<v Speaker 2>on that one.
<v Speaker 1>Oh nice the LP.
<v Speaker 2>Yeah, him in a leather stray jacket with the metal
<v Speaker 2>ye doctor Doom face on.
<v Speaker 1>Okay, I'm gonna throw this at you. This is gonna
<v Speaker 1>blow your mind.
<v Speaker 2>Okay.
<v Speaker 1>So I listened to the audio commentary and I felt like,
<v Speaker 1>this is like the evil Stepchild that they locked in
<v Speaker 1>the basement they don't tell anybody about. But there was
<v Speaker 1>a footloose rap song.
<v Speaker 4>Okay.
<v Speaker 1>We talked about the diversity on this album. Okay. So
<v Speaker 1>there was a rap that Kevin Bacon actually performs in
<v Speaker 1>the movie, and you can see him do it. Okay,
<v Speaker 1>now you gotta look closely. But it's right after the
<v Speaker 1>town council meeting. So they have the victory at the
<v Speaker 1>town council and the next scene is they're riding motorcycles. Okay, okay,
<v Speaker 1>and you can see if you look closely, Kevin Bacon
<v Speaker 1>is clearly mouthing words. That was where that rap was
<v Speaker 1>gonna be. But the producer in Dean Pitchford watched the
<v Speaker 1>movie and they hated it so much they went to
<v Speaker 1>Herbert Ross. You know, Herbert Ross is a stubborn guy,
<v Speaker 1>and so Herbert Ross is like, what's wrong. He's like, well,
<v Speaker 1>I don't really want to say, and he's like, well,
<v Speaker 1>go ahead, it's fine, and he's like the rap. I
<v Speaker 1>can't handle the rap and he's like, okay, well then
<v Speaker 1>it's out. So Herbert Ross was like, okay, fine. But
<v Speaker 1>if he'd gone in like pounding the fist, like you
<v Speaker 1>gotta take this wrap thing out, it sucks. Herbert rossd like,
<v Speaker 1>no way, I'm not. So they pulled it, so it's out.
<v Speaker 1>I can't find it. I can't see it. I can't
<v Speaker 1>listen to it. But if you watch that part of
<v Speaker 1>the movie, you can see mouthing the words.
<v Speaker 2>All right, Dear Shirley fans, Now, my interest is pequed.
<v Speaker 2>If anybody out there knows the rap that was supposed
<v Speaker 2>to go in footloose, we got to know what that is.
<v Speaker 1>Lay it on us.
<v Speaker 2>Yeah. You can find us on Facebook at Shirley Podcast.
<v Speaker 2>You can find us on Twitter at Shirley Podcast. Come
<v Speaker 2>back next week where we will do part two of
<v Speaker 2>this comparison, looking at possibly the best album of the
<v Speaker 2>entire decade of the eighties.
<v Speaker 1>If you like the eighties, you've got to come back
<v Speaker 1>next week.
<v Speaker 2>We're we're talking about it next week.
<v Speaker 1>Purple Rain, track by track.
<v Speaker 2>That's a mighty long time, but I'm going to tell
<v Speaker 2>you that this sucks an ound the out