Beverly Hills Cop Soundtrack (1984): Track by Track with a Bonus Track!

<v Speaker 1>Hey, man, is that the Surely you Can't Be Serious?
<v Speaker 2>Podcast?
<v Speaker 1>Yeah? Man, well turn it up.
<v Speaker 3>Hello everybody, and welcome back to the Shirley You Can't
<v Speaker 3>Be Serious Podcast. We are here for our third installment
<v Speaker 3>on the Beverly Hills cop theme. We just finished covering
<v Speaker 3>Beverly Hills Cop one versus Beverly Hills Cop two and
<v Speaker 3>we can't not talk about the Beverly Hills Cop one soundtrack.
<v Speaker 1>I know I love this soundtrack. I own this. This
<v Speaker 1>was a tape that I carried around with me for
<v Speaker 1>my Walkman, did you have this one? I?
<v Speaker 2>You know what? I don't know if I had this one.
<v Speaker 3>I know that I could listen to axel f any
<v Speaker 3>day I wanted to, just by turning on the radio
<v Speaker 3>and waiting for five minutes.
<v Speaker 1>That's true. The hits on this are amazing. Now, there's
<v Speaker 1>kind of a line where the top half is great,
<v Speaker 1>the bottom half is not so good. But this is
<v Speaker 1>gonna be a fun one to talk about. It's such
<v Speaker 1>a moment in time. It's not an album I go
<v Speaker 1>back to and listen to a whole lot. Yeah, but
<v Speaker 1>the songs are great and they transport me back to
<v Speaker 1>nineteen eighty five.
<v Speaker 3>They are absolutely a time capsule of the eighty five
<v Speaker 3>sound for sure.
<v Speaker 1>This actually hit number one on the Billboard two hundred
<v Speaker 1>June twenty second, nineteen eighty five. Nice, so big movie,
<v Speaker 1>big album. Of course, this is the time where MTV
<v Speaker 1>becomes this monster and the movie studios realize that we
<v Speaker 1>can get a whole bunch more publicity if we put
<v Speaker 1>out a great song that has a great video. They
<v Speaker 1>play every ten minutes on MTV.
<v Speaker 3>Yeah, they've got Footloose as a go buy form to
<v Speaker 3>go okay. Yeah, we need to do more with our
<v Speaker 3>soundtrack albums.
<v Speaker 1>Well, and Flash Dance too, which was a Simpson Bruckheimer. Yeah,
<v Speaker 1>and that was kind of the early model that they
<v Speaker 1>followed for Beverly Hills Cup.
<v Speaker 2>Yeah.
<v Speaker 1>All right, So this won the Grammy for the Best
<v Speaker 1>Score Soundtrack in nineteen eighty six, which means that every
<v Speaker 1>artist who contributed a song to this album got a Grammy.
<v Speaker 2>Nice.
<v Speaker 1>Some are more deserving than others. He also rams, yes, yeah,
<v Speaker 1>that's right, let's dive into it.
<v Speaker 2>Yeah, let's get to these songs are too good, not
<v Speaker 2>too okay.
<v Speaker 1>So the first song on the album is a song
<v Speaker 1>called New Attitude by Patti Libell. All right, do let's
<v Speaker 1>talk about Patty LaBelle for a second.
<v Speaker 3>Okay, So Patty LaBelle is the singer on this one
<v Speaker 3>written by Sharon Robinson, John Gillaton and Bunny Hall, all
<v Speaker 3>of whom have written songs for multiple other people.
<v Speaker 1>I'm sorry, did you say Benny Hill?
<v Speaker 2>Bunny Hall? Okay, Bunny Hall? Yes is close.
<v Speaker 1>Hey, I make fun of that name. But she sang
<v Speaker 1>backup on Thriller and for Billy Idol. Mean she's a
<v Speaker 1>big time saying oh yeah, heck yeah.
<v Speaker 3>These are all guys that like the Wrecking Crew. Like
<v Speaker 3>it's like, we need some good songs written, we need
<v Speaker 3>some hits written. Let's go to these folks. Sure, all
<v Speaker 3>of these folks. Right, So, so who do they enlist
<v Speaker 3>to sing the song? But Patti LaBelle, who hasn't had
<v Speaker 3>a hit in seven years? Right, I don't know how
<v Speaker 3>that decision is made. I don't either, But you know,
<v Speaker 3>I mean, do you know about Patti Labelle's like history?
<v Speaker 3>I know a little bit about her. So she had
<v Speaker 3>done she had come up with this group. This is
<v Speaker 3>like the worst name group I've ever heard.
<v Speaker 2>It was. It was in the sixties and seventies.
<v Speaker 3>It was her and a couple of other do wop singers,
<v Speaker 3>and they called themselves the Bluebells. Yeah, and they had
<v Speaker 3>a few hits over the years, but ultimately reformed themselves
<v Speaker 3>into like a funk soul disco group, right, called the
<v Speaker 3>Love Bells, as in Patty LaBelle right right. And then
<v Speaker 3>everybody knows the song of the label's called Lady Marmalade,
<v Speaker 3>but you may not know it by that name.
<v Speaker 2>La. That's the first thing I learned in French.
<v Speaker 1>Id.
<v Speaker 3>Right, So they say, all right, let's get Patti LaBelle
<v Speaker 3>to sing us this.
<v Speaker 2>New song on the album called New Attitude.
<v Speaker 1>Well, so here's the thing. She has been called the
<v Speaker 1>Godmother of soul, the high Priestess of good vibrations, the
<v Speaker 1>Queen of rock and soul. She's got this great voice.
<v Speaker 1>But I think that they were looking for a place
<v Speaker 1>to put her because they had signed her at mc A.
<v Speaker 1>She's a solo artist now, but she hasn't had any hits,
<v Speaker 1>and so they're like, look, we're going to attach her
<v Speaker 1>to this particular movie. We're gonna write her some hits
<v Speaker 1>and we're going to bank on it.
<v Speaker 2>Yeah.
<v Speaker 1>So, like you said, they got those songwriters and they
<v Speaker 1>come up with a couple of songs, including New Attitude. Now.
<v Speaker 1>New Attitude is the second single, released December of nineteen
<v Speaker 1>eighty four. It reaches number seventeen on the Hot one
<v Speaker 1>hundred May eleventh, nineteen eighty five. But here's the interesting
<v Speaker 1>thing I wanted to tell you this. You mentioned Patti
<v Speaker 1>LaBelle and the Bluebells. They were the first African American
<v Speaker 1>group to play the Metropolitan Opera House. They were the
<v Speaker 1>first African American group to be on the cover of
<v Speaker 1>Rolling Stone magazine before they broke up in nineteen seventy seven. Now,
<v Speaker 1>this song, I don't know if you remember. Do you
<v Speaker 1>remember the Doctor Laura Show. Yeah, she's like a call
<v Speaker 1>in psychologist like the nineties. Yeah, this was like her
<v Speaker 1>theme song. I live and had a coworker in the
<v Speaker 1>nineties that I work with. She listened to Doctor Laura
<v Speaker 1>all the time.
<v Speaker 2>Uh huh.
<v Speaker 1>And every day I'm here in a New Attitude by
<v Speaker 1>Patti LaBelle. Aha. And the video for this song.
<v Speaker 2>It's right out of these Easy tael playbook.
<v Speaker 1>Right.
<v Speaker 2>It's legs.
<v Speaker 1>It is legs. It's totally legs. Yeah, she goes like
<v Speaker 1>shopping and gets a new wardrobe and comes out and
<v Speaker 1>she's looking.
<v Speaker 3>Great, great, you gotta new that she's getting hassled by
<v Speaker 3>the clerk. And then she comes out looking all foxy
<v Speaker 3>and she's got a new attitude.
<v Speaker 1>Oh my gosh. So the success of new Attitude and
<v Speaker 1>another song we're going to talk about here in.
<v Speaker 2>Just a little bit called Stir It Up, Yeah, leads her.
<v Speaker 1>To a new song in nineteen eighty six where she
<v Speaker 1>has a duet with Michael McDonald. Oh yes, Michael McDonald
<v Speaker 1>of the Doobie Brothers.
<v Speaker 2>Uh huh.
<v Speaker 1>And he didn't work with Total. We talked about my
<v Speaker 1>Total episodes. That song is called on our Own One,
<v Speaker 1>which was a number one hit.
<v Speaker 3>I think that Bruckheimer knew about her because she had
<v Speaker 3>just started acting before this, like just before they enlisted
<v Speaker 3>her to sing this song. She had started acting, played
<v Speaker 3>a part in a soldier story.
<v Speaker 1>That's right. Yeah, before we dismissed Patty LaBelle. She's in
<v Speaker 1>the Grammy Hall of Fame, She's on the hollyw Would
<v Speaker 1>Walk Fame, the Apollo Hall of Fame, the Songwriters Hall
<v Speaker 1>of Fame. In two thousand and five, she received the
<v Speaker 1>Legends Award, and Rolling Stone ranked her as one of
<v Speaker 1>the one hundred greatest singers of all time.
<v Speaker 3>I think this song is great. I think the song
<v Speaker 3>has it has lasting power. I would put it in
<v Speaker 3>the top four or five songs on the album for sure.
<v Speaker 3>It's a great leadoff song.
<v Speaker 1>It's a great pop song.
<v Speaker 2>Yeah.
<v Speaker 1>They don't play it in the movie at all. Okay,
<v Speaker 1>it's not in the movie one one second?
<v Speaker 2>So why is it on the soundtrack?
<v Speaker 1>I don't know, Okay, I don't know. It is in
<v Speaker 1>Miss Congeniality Part two though, all right, which is a
<v Speaker 1>favorite with my wife.
<v Speaker 2>Yeah.
<v Speaker 3>Yeah, we're a Miss Congeniality one and two fans family too.
<v Speaker 1>Here's what I think. Do you want to hear what
<v Speaker 1>I think?
<v Speaker 2>Yeah?
<v Speaker 1>I think that their original intent was to use this
<v Speaker 1>for Jenny Summers. Okay, Like it's Jenny's song, Okay, gotcha.
<v Speaker 1>She's feeling good, she's looking good, she's got a great job,
<v Speaker 1>she's busted out of the neighborhood.
<v Speaker 3>Right, She's not in downtown Detroit anymore. That's right, She's
<v Speaker 3>on bever Hills Drive.
<v Speaker 1>This doesn't fit with Axel. This is Jenny song.
<v Speaker 2>Yeah, all right, what's our next song?
<v Speaker 1>Next song on the album is a song called Don't
<v Speaker 1>Get Stopped in Beverly Hills by Shalamar.
<v Speaker 2>Okay, we've talked about Shallamar before.
<v Speaker 1>Yeah, I mean, Shalamar had a big song on the
<v Speaker 1>Footloose soundtrack.
<v Speaker 2>Oh that's right, Yeah, yeah, yeah, grab.
<v Speaker 1>Your cold and be a good body. The friends. I
<v Speaker 1>want to take you in the nine. I feel the
<v Speaker 1>need to sweep you off.
<v Speaker 2>But your feet, you and me, we sent me dancing.
<v Speaker 1>That was a great song.
<v Speaker 2>Yeah.
<v Speaker 3>I remember when we did that episode. You you said
<v Speaker 3>that this was kind of a put together band, and
<v Speaker 3>so I had to go look at that.
<v Speaker 2>You remember soul Train.
<v Speaker 1>I do remember SoulTrain.
<v Speaker 2>Yeah.
<v Speaker 3>Remember the host of soul Train. He was Don Cornelius.
<v Speaker 3>Well he's one of the two guys that put this
<v Speaker 3>band together. Okay, Him and a booking agent named Dick
<v Speaker 3>Griffy picked out these folks really for their looks more
<v Speaker 3>than anything else.
<v Speaker 2>Their looks and their ability to dance.
<v Speaker 1>These guys can dance.
<v Speaker 2>Yeah, and they were.
<v Speaker 3>I mean, the idea was, we're going to be the
<v Speaker 3>trendsetters for the disco funk kind of sound and look.
<v Speaker 3>And so they'd dress them up in awesome clothes and
<v Speaker 3>have them sing this very hooky songs and somehow they're
<v Speaker 3>still in nineteen early nineteen eighty three doing music.
<v Speaker 1>Shallamar. We talked about how they're dangerously close to Millie Vanilli, right.
<v Speaker 3>Ye.
<v Speaker 1>They were selected because they look good and they could dance,
<v Speaker 1>not necessarily because they could sing.
<v Speaker 2>Right. I mean the group had Jody Wattley in it,
<v Speaker 2>who she.
<v Speaker 1>Had some big hits in the late eighties. She had
<v Speaker 1>Don't You Want Me, she had some kind of lower
<v Speaker 1>she had looking for a new love.
<v Speaker 3>They were lip syncing, but they were pretty much lip
<v Speaker 3>syncing to their own singing, right, Unlike Yes.
<v Speaker 1>Hey, I'll tell you who is a big fan of
<v Speaker 1>Shalamar Okay, Michael Jackson.
<v Speaker 2>Wow.
<v Speaker 1>In fact, he admired their dancing ability so much that
<v Speaker 1>he brought him in to help him coordinate the bad video.
<v Speaker 2>Right, Jeff Daniels, Right that, Jeff, Jeff Old Jeff.
<v Speaker 3>That's a throwback to our very first episode, like four
<v Speaker 3>years ago.
<v Speaker 1>Everybody dancing in the sheets was their biggest one. I
<v Speaker 1>gotta think that they got Don't Get Stopped in Beverly
<v Speaker 1>Hills off of Footloose success. This is another song that
<v Speaker 1>was not in the film.
<v Speaker 2>What the heck?
<v Speaker 1>I don't don't know, Okay, I'll tell you where. It
<v Speaker 1>did appear in the TV show Misfits of Science.
<v Speaker 3>Okay, which by the way, starred the same guy who
<v Speaker 3>played Predator and the Helicopter.
<v Speaker 1>That is right, good job, nice pull.
<v Speaker 2>There you go.
<v Speaker 3>So this brings us to song number three, do You
<v Speaker 3>Really Want My Love? By They Want My Love?
<v Speaker 1>So Junior was British Okay.
<v Speaker 3>He is one of the very first British R and
<v Speaker 3>B artists to be successful in the US. He had
<v Speaker 3>a big hit in nineteen eighty two called Mama used
<v Speaker 3>to say, do you remember this song?
<v Speaker 2>No?
<v Speaker 3>Yeah, So that was actually a top forty hit in
<v Speaker 3>the US, was number seven in the UK.
<v Speaker 2>Really don't really remember it.
<v Speaker 1>I don't know.
<v Speaker 3>I feel like they were really trying to find Michael
<v Speaker 3>Jackson sound on this one.
<v Speaker 1>I can see that the guy's got a high pitch voice,
<v Speaker 1>kind of a funky dance thing.
<v Speaker 2>Uh huh.
<v Speaker 1>You know he did have at least a U K
<v Speaker 1>hit with Kim Wilde. Kim wild Oh sure, keep me
<v Speaker 1>hanging on and kids in America.
<v Speaker 2>Kids in America love that. We need to do that
<v Speaker 2>one for a Patreon episode. I'd love to oh heck yeah.
<v Speaker 3>By the way, guys, if you haven't joined our Patreon family,
<v Speaker 3>please come and do so. You can do it for
<v Speaker 3>as little as five bucks a month. Go to patreon
<v Speaker 3>dot com backslash Surely podcast and you can get access
<v Speaker 3>to all of our special episodes where we cover one
<v Speaker 3>hit wonders Where the kids in America. We've got to
<v Speaker 3>do that this year. Anyway, back to Junior.
<v Speaker 1>So, look, this song is not good. This is not
<v Speaker 1>a great song.
<v Speaker 2>This is on the bottom half, this.
<v Speaker 1>Is below the windows alignment, all right. So this actually
<v Speaker 1>plays when Mikey and Axll are playing pool in Detroit's
<v Speaker 1>in the background. They're at the bar, right, and he
<v Speaker 1>loses the money in the pool bent And that's all
<v Speaker 1>we really need to say about that.
<v Speaker 3>So, so you've got you've got this Patti LaBelle song,
<v Speaker 3>and you've got this Shallamar song, and you don't put
<v Speaker 3>them in the movie, right, And then when you got
<v Speaker 3>a space that you can put a song in, you
<v Speaker 3>put this Herd in there, right?
<v Speaker 2>All right? Well, whatever, moving on song number four.
<v Speaker 1>Number four. This song is called Emergency by Rocky Robins.
<v Speaker 4>Tweet tweet.
<v Speaker 3>Okay, I can I can see the I can see
<v Speaker 3>the studio executives at this moment, we need another song.
<v Speaker 3>Can we get Prince? Prince had a good album. No,
<v Speaker 3>we can't. Can't get Prince. We can get Rocky Robbins.
<v Speaker 3>I'm sorry, we can get who. I said Prince, and
<v Speaker 3>you said who Rocky Robbins. He sounds a lot like Prince.
<v Speaker 1>He sounds like he's trying to be Prince.
<v Speaker 3>He sounds like he was Prince karaoke on a sad
<v Speaker 3>club somewhere in northeastern olab.
<v Speaker 1>That's right, the great value Prince in all actuality though
<v Speaker 1>he was from Minneapolis. Huh so, good chance they knew
<v Speaker 1>each other at least, you know, crossed over their past. Sure,
<v Speaker 1>Like I said, every artist got a Grammy for this album.
<v Speaker 2>I get a Yeah.
<v Speaker 3>Can we get the guy from Paisley Park? I know
<v Speaker 3>a guy from Polka Dot Park.
<v Speaker 1>All right, now, listen before we totally beat up on
<v Speaker 1>Rocky Robins. I've got a great Rocky Robins story.
<v Speaker 2>Oh wow, okay, I do.
<v Speaker 3>I am impressed because I had to surge high and
<v Speaker 3>low to find out who Rocky Robins was at all. Okay,
<v Speaker 3>a great story, I'm excited to hear.
<v Speaker 1>Well, a great tragedy. Oh no, okay, so he signed
<v Speaker 1>with A and M Records in nineteen seventy nine. So
<v Speaker 1>he's all fired up for his first record. Freaking Yes,
<v Speaker 1>I got signed by a record company. I'm gonna make
<v Speaker 1>my first record. So sits down with the producers, they
<v Speaker 1>knock this out. They produce his first album, and on
<v Speaker 1>the way to deliver the record to the record company,
<v Speaker 1>the masters got erased. What I dow, I don't know.
<v Speaker 1>I don't know the story of how. All I know
<v Speaker 1>is that when he got to the record company to
<v Speaker 1>turn it in, there is blank sound coming from the speakers.
<v Speaker 1>He had to go back and re record everything and
<v Speaker 1>start over.
<v Speaker 2>Well did the re recording sew Well?
<v Speaker 3>No, I did not, Okay, I literally I can imagine.
<v Speaker 3>I can imagine this Rocky Robins guy sitting in a
<v Speaker 3>bar that looks like the club that they're in in
<v Speaker 3>Weird Science, drinking whiskey, smoking a cigarette, and telling that
<v Speaker 3>same story for the hundred thousandth time to whoever will listen.
<v Speaker 1>I was going to be as big as prints until
<v Speaker 1>my master's got a raised Prince stole my ideas.
<v Speaker 2>This poor guy, Uh, they just got a race. How
<v Speaker 2>do they get a race? I don't know that they
<v Speaker 2>were in the.
<v Speaker 1>Van play there was nothing there.
<v Speaker 2>We had sound when we put him in a van,
<v Speaker 2>put him out of the van. No sound. Oh my gosh,
<v Speaker 2>how crazy.
<v Speaker 1>Well, but at least he gets a song on the
<v Speaker 1>Beverly Hills Cop soundtrack, he gets a Grammy phrase, I'm
<v Speaker 1>Rammy winner right now. This song is not in the
<v Speaker 1>film either.
<v Speaker 2>That was actually a good choice, good call on their
<v Speaker 2>part there.
<v Speaker 1>All right, all right, let's finally get to one of
<v Speaker 1>the big dogs on this album. Okay, this song is
<v Speaker 1>called Neutron Dance by the Pointer sisters. I don't want
<v Speaker 1>to take it.
<v Speaker 3>In, okay, So you don't have to tell me where
<v Speaker 3>in the movie this song play, no doubt. I mean,
<v Speaker 3>if you don't automatically think of this scene as you
<v Speaker 3>hear this song, then you haven't seen the movie, because
<v Speaker 3>it is the perfect music for this scene and it
<v Speaker 3>absolutely sets the stage for the rest of the movie.
<v Speaker 1>So it's the opening scene when Axel is doing that
<v Speaker 1>cigarette deal and the guy takes off any smashing cars
<v Speaker 1>through the Detroit streets. It's so great, right, It's like
<v Speaker 1>the perfect song.
<v Speaker 2>Perfect. You told me they didn't want this song.
<v Speaker 1>They didn't like it, wasn't it.
<v Speaker 3>Marty breast again, who was like, dude, this song is
<v Speaker 3>the song that has to be in this scene.
<v Speaker 1>So here's the deal. Simpson and Bruckheimer were the guys
<v Speaker 1>that didn't like it.
<v Speaker 2>Uh huh.
<v Speaker 1>So they asked Richard Perry, who was another songwriter, to
<v Speaker 1>create a better song, and he told him, guys, this
<v Speaker 1>is a one in a million song and it works
<v Speaker 1>perfectly with that opening scene.
<v Speaker 3>The guy they asked to write a song to take
<v Speaker 3>this song's place said, you guys are idiots.
<v Speaker 2>Go with the song, yes, have that's right, that's freaking brilliant.
<v Speaker 3>Okay, So the song is by the Pointer Sisters, right, yes, okay,
<v Speaker 3>so normal in this circumstance. I'd give you a little
<v Speaker 3>history of the Pointer Sisters, but let me just say that, okay.
<v Speaker 3>Nineteen eighty four Automatic Jump from My Love, He's so
<v Speaker 3>Shy in eighty Slow Hand in eighty one, I'm So
<v Speaker 3>Excited in eighty four, and then of course this one
<v Speaker 3>in eighty five. The band was if you'll pardon me
<v Speaker 3>on fire n see what I did there by the way,
<v Speaker 3>I will save my I will save my history of
<v Speaker 3>the Pointer Sisters for when we ever we do. Our
<v Speaker 3>Top five of nineteen seventy nine and we cover that
<v Speaker 3>song fire. I think the great story on this one
<v Speaker 3>comes from a throwback to what we were talking about
<v Speaker 3>in our cover in the movie of Beverly Hills Cop
<v Speaker 3>is that Ali Willis is involved in this one. And
<v Speaker 3>we have talked about her multiple times Patreon episode again,
<v Speaker 3>we did September by Earth Wind and Fire. She's this
<v Speaker 3>incredible songwriter, and in all of the times that we've
<v Speaker 3>talked about her, I've never actually seen her picture and
<v Speaker 3>you and I just watched a video on her and
<v Speaker 3>I was like, Number One, she's white.
<v Speaker 2>What white girl?
<v Speaker 3>She grew up in Detroit, which is we went to
<v Speaker 3>the Mumford High School. You know Axel Foley. Yeah, yeah,
<v Speaker 3>it wears the Mumford t shirt in Beverly Hills Cop.
<v Speaker 3>But she grew up outside of Motown and so that
<v Speaker 3>was the kind of music that she listened to.
<v Speaker 2>Well.
<v Speaker 3>In our Patreon episode, we did a great job of
<v Speaker 3>covering that song, but we didn't know until just now
<v Speaker 3>that when she got the call from Maurice White to
<v Speaker 3>come help them write this song September, she was looking
<v Speaker 3>at food stamps to figure out what she needed most
<v Speaker 3>for the next week.
<v Speaker 1>She's like I need some bread. Here are some food stamps.
<v Speaker 3>It was from food stamps to recording one of writing
<v Speaker 3>one of the greatest songs of the seventies.
<v Speaker 1>I guarantee September will be on our Best of seventy
<v Speaker 1>nine at some point.
<v Speaker 3>Yes, and then goes on and writes with Linda ronstat right,
<v Speaker 3>I mean just the amount of people. It just opens
<v Speaker 3>this door because it's such a huge success. And then
<v Speaker 3>the next thing that I think of when I look
<v Speaker 3>at her is not only is she white, but she
<v Speaker 3>looks like the lady you see at the seven eleven
<v Speaker 3>who's getting her eighth pack of cigarettes for the day
<v Speaker 3>and filling the coffee up with mostly sugar and has
<v Speaker 3>a dog with her that needs to be groomed and bathed.
<v Speaker 3>She looks not like a star at all.
<v Speaker 1>No, not at all. And in fact, I just told
<v Speaker 1>you we watch where she lived. She looks like she
<v Speaker 1>lives in Peebe's playhouse. Let me just give you a
<v Speaker 1>list of just the highlights of her career. Okay, so
<v Speaker 1>we talked about September by earth Wind and Fire Boogie
<v Speaker 1>Wonderland by earth Wind and Fire, Right, You're the Best,
<v Speaker 1>the song from the Karate Kid nice, right, which we'll
<v Speaker 1>be covering here shortly.
<v Speaker 2>Uh huh?
<v Speaker 1>What have I done to deserve this? By the pet
<v Speaker 1>Shop Boys?
<v Speaker 2>Right?
<v Speaker 3>Not only does she write songs for artists like this
<v Speaker 3>to be just big hits off of an album, right,
<v Speaker 3>And not only did she write songs like New Tron Danced,
<v Speaker 3>where it's going to be in a movie. She gets
<v Speaker 3>a call in the early nineties to say, hey, we
<v Speaker 3>need you to help us write a song for this
<v Speaker 3>TV show and she's like, Okay, what's it about? And
<v Speaker 3>they tell her and then she's like, this sounds awful,
<v Speaker 3>and they're like, yeah, it's not going to be a hit,
<v Speaker 3>don't worry about it. Just write us something. We'll throw
<v Speaker 3>it in there so the show will be gone in
<v Speaker 3>no time. And she says, so I write the whitest
<v Speaker 3>song I've ever.
<v Speaker 2>Written in my life. You know what the song was?
<v Speaker 1>I do? Wow?
<v Speaker 3>So go back and check out our top five TV
<v Speaker 3>themes from nineteen ninety four to nineteen ninety nine where
<v Speaker 3>we covered this song.
<v Speaker 2>But what the heck?
<v Speaker 3>She thought it was a throwaway song and it becomes
<v Speaker 3>one of the biggest TV themes of all time.
<v Speaker 1>So let's talk about the song for just a second.
<v Speaker 2>Okay.
<v Speaker 1>So it was released in December of nineteen eighty four.
<v Speaker 1>It goes on to hit number six on the Hot
<v Speaker 1>one hundred. Here's the thing about this song. I love
<v Speaker 1>the story. So she gets together. She's very disappointed and
<v Speaker 1>frustrated with her life. Okay, so she had written a
<v Speaker 1>couple of gigantic hits and she's still not doing very well.
<v Speaker 1>And so she's meeting with this other songwriter named Danny Simbelo.
<v Speaker 1>This is the brother of Michael Simbelo, the guy who
<v Speaker 1>did Maniac from Flashdance. Oh nice, okay, yeah, yeah right,
<v Speaker 1>And he's got all this energy and he's excited to
<v Speaker 1>be there and he wants to help her write the song. Well,
<v Speaker 1>they're trying to write the song for the movie Streets
<v Speaker 1>of Fire. Well, Streets of Fire as we know it
<v Speaker 1>as this movie that came and went and really didn't
<v Speaker 1>do anything. It gave us a couple of songs like
<v Speaker 1>I Can Dream About You by Dan Hartman. They're writing
<v Speaker 1>the lyrics for this song. She's upset with her life.
<v Speaker 1>She's looking out the window while they're working on the song,
<v Speaker 1>and somebody is trying to steal her car, right and
<v Speaker 1>she owned this nineteen sixty two corvet. She looks out
<v Speaker 1>the window. She's like, somebody's trying to steal my brand
<v Speaker 1>new Chevrolet. And that's how you get that line.
<v Speaker 2>Wow.
<v Speaker 1>Now, the song itself is about a fear of nuclear
<v Speaker 1>holocaust and sort of partying in the wake of that
<v Speaker 1>nine very similar to Princess nineteen ninety nine. Like on
<v Speaker 1>the news they had talked about this new neutron bomb
<v Speaker 1>that was more powerful than a regular atomic or a
<v Speaker 1>nuclear bomb. Yeah, and so that's what the neutron Dance was.
<v Speaker 2>It's like I'll melt with you.
<v Speaker 1>It's like, I'll melt with you.
<v Speaker 3>That's oh gosh, that's so good. That's so fantastic. Yeah,
<v Speaker 3>you said that. Her house looks like Pee Wee's playhouse.
<v Speaker 3>She collects all of this weird memorabilia stuff. She literally
<v Speaker 3>holds up a box and she's like, this is Sammy
<v Speaker 3>Davis Junior's last box of marijuana.
<v Speaker 1>So let's talk about the video for just a second.
<v Speaker 2>Okay.
<v Speaker 1>So you've got the Pointer sisters and they're at a
<v Speaker 1>movie theater and like in the screen behind the movie
<v Speaker 1>is Beverly Hills cop So it's this big advertisement for
<v Speaker 1>the Beverly Hills Cop movie, which is fun because we
<v Speaker 1>love the movie. We love the song. But you know
<v Speaker 1>who shows up in the video, No Bronson Pincho Oh.
<v Speaker 2>I love it.
<v Speaker 1>Yeah, perfectly placed song in the movie.
<v Speaker 3>Absolutely absolutely great great stories.
<v Speaker 2>I love it. I love it.
<v Speaker 1>Okay, hit stop on your tape player, kick it out,
<v Speaker 1>flip it over side too, and we start off with
<v Speaker 1>a banger. This song is called the Heat Is On
<v Speaker 1>My Glenn Fry.
<v Speaker 3>Here's what I loved about this, right, I'm listening to
<v Speaker 3>this song today and I'm thinking to myself, I wonder
<v Speaker 3>if when I heard this song for the first time,
<v Speaker 3>I went, Okay, that's that guy from the Eagles. And
<v Speaker 3>then I started, you know, really thinking back. I'm like,
<v Speaker 3>I don't think I knew who the Eagles were in
<v Speaker 3>nineteen eighty four, right, I don't think I did. I
<v Speaker 3>think I started listening to the Eagles when I was
<v Speaker 3>like thirteen, and it was like starting to listen to
<v Speaker 3>classic rock stations, right, And so I really started to
<v Speaker 3>think about it, and I think I remember actually thinking
<v Speaker 3>to myself the Eagles.
<v Speaker 2>Oh, hey, I know that guy. He's the guy that's
<v Speaker 2>saying on the Beverly Hills cop soundtracking.
<v Speaker 3>Yeah.
<v Speaker 2>Yeah, Oh that's the Boys of Summer. Guy. Wow, he's
<v Speaker 2>got an afro all right, that's right.
<v Speaker 3>So I knew Don Henley and Glenn Fry from these
<v Speaker 3>songs from the eighties site, right, and I mean we're
<v Speaker 3>about to cover the Miami Vice soundtrack, which again we're
<v Speaker 3>gonna have a couple songs from two Yeah, but this one, well, first,
<v Speaker 3>he born in Detroit, like yet another Ali Jerry. Glenn
<v Speaker 3>Glenn all from Detroit. Right, they didn't go to high
<v Speaker 3>school together, but Glenn goes to community college, has a band,
<v Speaker 3>you know, just kind of a general thing. But then
<v Speaker 3>he has a happy introduction to somebody that leads him
<v Speaker 3>to open some doors. And there's a weird coincidence with that.
<v Speaker 1>Okay, So in nineteen sixty seven, he's bouncing around Detroit
<v Speaker 1>playing for different bands, trying to make it, and he
<v Speaker 1>runs into this guy named Bob Seeger, Bob freaking Seeker,
<v Speaker 1>Bob freaking Seeger, Yeah, who helps him get a record
<v Speaker 1>deal and helps him write his first single. Coincidentally, when
<v Speaker 1>we talk about Shakedown.
<v Speaker 3>Are we gonna well Shakedowns on Beverly Hills Cop too?
<v Speaker 2>Is that? Are we going to cover maybe.
<v Speaker 1>We should just cover that at the end of this album. Okay,
<v Speaker 1>another bonus song, we'll throw in Shakedown. Bonus song of
<v Speaker 1>Shakedown at the end of this episode. We're bringing it,
<v Speaker 1>so let's we'll come back to that.
<v Speaker 2>Okay.
<v Speaker 1>So Glenn Frye and Bob Seger have been friends since
<v Speaker 1>the sixties. So Bob Seger helps him put out his
<v Speaker 1>first single. You know, he has, you know, a little
<v Speaker 1>bit of success whatever. So he decides he's gonna move
<v Speaker 1>to California. So in nineteen sixty nine, he moves to
<v Speaker 1>California and he meets this guy named Jad Souther. If
<v Speaker 1>you're an Eagles fan, you know this guy is. He
<v Speaker 1>helped him write a ton.
<v Speaker 2>Of their hits. Yep.
<v Speaker 1>Well, JD. Souther was dating Linda Ronstadt at the time.
<v Speaker 2>Uh huh.
<v Speaker 1>Linda Ronstadt needed a backing band to help her with
<v Speaker 1>her album, so she puts together this backing band, Glenn Frye,
<v Speaker 1>Randy Meisner, Bernie Leaden, and Don Henley. Of course, these
<v Speaker 1>guys then add Don Felder later and they become the Eagles. Yeah,
<v Speaker 1>the freaking Eagles.
<v Speaker 2>See freaking Eagle.
<v Speaker 1>Take it easy, peaceful easy, feeling already gone Lion Eyes,
<v Speaker 1>New Kid in Town, Hotel, California. The list goes on
<v Speaker 1>and on.
<v Speaker 3>I mean they're in a category with Beatles, Beach Boys,
<v Speaker 3>Pink Floyd.
<v Speaker 2>They are icons.
<v Speaker 1>They are icons. They last from the early seventies, I
<v Speaker 1>think seventy one until nineteen eighty they break up.
<v Speaker 2>Yep.
<v Speaker 1>The big line, you know, when are you guys going
<v Speaker 1>to get back together? Glenn Fry and Don Henley they
<v Speaker 1>always say when hell Freeze is over?
<v Speaker 2>Yep.
<v Speaker 1>Of course, in ninety four they released an album called
<v Speaker 1>Hell Freezes Over when they got back together.
<v Speaker 2>I saw him perform live in ninety four.
<v Speaker 1>I saw him perform live in ninety four.
<v Speaker 4>Two.
<v Speaker 1>What did you see?
<v Speaker 2>I saw him in Little Rock, Arkansas.
<v Speaker 1>I saw him in Dallas.
<v Speaker 2>Okay.
<v Speaker 3>They were, by the way, flawless, Like there are those
<v Speaker 3>bands that are made in the studio that's not these guys.
<v Speaker 3>These guys' music was perfect. It sounded just like the album,
<v Speaker 3>despite the fact that they were not playing any backing tracks.
<v Speaker 2>This was all them brilliant. Yeah.
<v Speaker 1>So the song is written by Harold Faltemyer and Keith Forcy.
<v Speaker 3>Right, So we talked about Keith Forcy of course in
<v Speaker 3>relationship Ship to Georgio Moroder. Both he and Harold Faldemeyer
<v Speaker 3>worked heavily with Georgiomroder Keith Force. He's also the guy
<v Speaker 3>who wrote Don't You Forget About Me?
<v Speaker 2>Right?
<v Speaker 1>And of course Harold Faltemyer has ax lef which we'll
<v Speaker 1>talk about it here in a minute.
<v Speaker 2>Yeah.
<v Speaker 1>So Glen Fry signs with MCA Records. They're having this
<v Speaker 1>big screening for Beverly Hills Cop and his manager calls
<v Speaker 1>him and say, hey, listen, you got to get to
<v Speaker 1>the screening. This Eddie Murphy movie is coming out. It's
<v Speaker 1>gonna be huge. You got to get a song on it.
<v Speaker 1>So Glenn Fry's like, ah, okay. So he shows up
<v Speaker 1>and he's sitting there and he says, I look over
<v Speaker 1>one shoulder and there's Quincy Jones. I look over the
<v Speaker 1>other shoulder and there's Stevie Wonder. I look down in
<v Speaker 1>front of me and there's the Pointer sisters. He's like,
<v Speaker 1>there's no way I'm getting a song on this album.
<v Speaker 1>It's not happening. So later on Glen Fry gets a
<v Speaker 1>call and it says we're gonna send you a song.
<v Speaker 1>We think it's going to be a hit. We think
<v Speaker 1>it's going to get on the Beverly Hills Cops soundtrack.
<v Speaker 1>We want you to sing it. So Glenn Fry's like,
<v Speaker 1>all right.
<v Speaker 2>Just randomly, they happen to send him a song.
<v Speaker 1>They said, we want you to sing a song.
<v Speaker 3>Jerry Bruckheimer said, I think my little brother played basketball
<v Speaker 3>against that kid.
<v Speaker 2>Let's send him a.
<v Speaker 1>Song, that's right, And so they send him this song.
<v Speaker 1>He says, yeah, okay, sounds good.
<v Speaker 4>I'll do it.
<v Speaker 1>They paid him fifteen grand to do it. He called
<v Speaker 1>it a little Christmas money.
<v Speaker 2>Uh huh.
<v Speaker 1>He comes in, he does the vocals on one day,
<v Speaker 1>he does the guitar solo on another day, and it
<v Speaker 1>goes on to become listen to this the highest charting
<v Speaker 1>solo Eagles song of all time.
<v Speaker 2>Wow wow.
<v Speaker 1>It reaches number two on the Hot one hundred.
<v Speaker 3>And we're talking about a guy who had Smugglers blues
<v Speaker 3>and you belong to the City.
<v Speaker 2>Oh wow.
<v Speaker 1>In fairness, you Belong to the City hits number two
<v Speaker 1>as well.
<v Speaker 2>Uh huh.
<v Speaker 1>Boys of Summer only gets to number five.
<v Speaker 4>Wow.
<v Speaker 1>Blocked by Can't Fight This Feeling by Reo Speedwagon.
<v Speaker 2>Well that's another great song.
<v Speaker 1>It's a classic. I can't argue with.
<v Speaker 3>Yeah, Wow, fantas and this song again, you hear the
<v Speaker 3>song and you immediately play in the footage in your head.
<v Speaker 1>Right, this is the opening credits. Yeah, it's fantastic. It
<v Speaker 1>gives us our foothold in Detroit.
<v Speaker 2>Yeah, all right, let's.
<v Speaker 1>Move on to the next song.
<v Speaker 2>Next song on the album.
<v Speaker 1>Gratitude by Danny Elfman.
<v Speaker 2>That's right, everybody, he said, Danny Elfman.
<v Speaker 1>This is a pre Batman, pre pee wee we like
<v Speaker 1>the pre Tim Burton stuff, which is pre Danny Elfman
<v Speaker 1>doing soundtracks at all. This is pre Dead Man's Party,
<v Speaker 1>which was I mean, obviously the song has a very
<v Speaker 1>Oingo Boingo sound to it, and I guess I did
<v Speaker 1>actually technically misspeak.
<v Speaker 2>This was not his first.
<v Speaker 3>Now, we talked about Danny Elfman before, remember when we
<v Speaker 3>did Batman versus Dark Knight, right right, and mentioned his
<v Speaker 3>work with Oingo Boingo and how weird they were. I
<v Speaker 3>don't know if you remember, but I talked about the
<v Speaker 3>movie The Forbidden Zone.
<v Speaker 2>Remember that. Oh yeah, that's very weird, weird movie like softcore.
<v Speaker 2>It was.
<v Speaker 3>There was a lot of nudity, but I mean it
<v Speaker 3>was just bizarre. I mean, Danny Elfin played Satan in
<v Speaker 3>addition to scoring the very weird movie. Yeah, okay, so anyway,
<v Speaker 3>not technically his first score, but this is I mean
<v Speaker 3>we're talking about he is on the precipice of becoming
<v Speaker 3>the Danny Elfman. He's not there yet, Like this is
<v Speaker 3>eighty four. Eighty five is when Oingo Boingo's biggest album
<v Speaker 3>comes out. It's also when he scores Peewe's Big Adventure
<v Speaker 3>for the first time. He goes on to score one
<v Speaker 3>hundred or more different movies that are all iconic and
<v Speaker 3>of course the Simpsons.
<v Speaker 1>Now listen, Danny Elfman is a prolific composer. This song's
<v Speaker 1>not any good though, Yeah, where is it the movie?
<v Speaker 1>It's not in the movie?
<v Speaker 2>Ok okay, So what is this? Like four songs that
<v Speaker 2>we've had so far, they're not in the movie.
<v Speaker 1>And then you have a prominent song we're going to
<v Speaker 1>talk about here in a minute that was not on
<v Speaker 1>the soundtrack but in the movie. So okay, interesting selection process.
<v Speaker 2>Yeah, that is weird.
<v Speaker 1>Okay, all right, So let's get on to another song
<v Speaker 1>that really.
<v Speaker 3>Yet another Grammy winner. That's right, that's right, this is
<v Speaker 3>my first Grammy for this song. That was on the soundtrack.
<v Speaker 3>But now in the movie.
<v Speaker 1>All right, let's talk about another song by Patty Lebbell.
<v Speaker 1>This song is called Stir It Up.
<v Speaker 2>This is another fantastic song.
<v Speaker 1>This is a great pop song.
<v Speaker 3>This is top half. This is still I still hear
<v Speaker 3>this on the radio from time to time.
<v Speaker 2>This is a good one.
<v Speaker 1>This is what they play when Axles rolling into Beverly
<v Speaker 1>Hills for the first time.
<v Speaker 3>Yeah, he's where he's laughing at the guys and the
<v Speaker 3>Michael Jackson.
<v Speaker 2>Yeah up it that he actually wore when he did
<v Speaker 2>his stand up part.
<v Speaker 1>That's right, that's right.
<v Speaker 3>But yeah, this one is also Ali Willis we talked
<v Speaker 3>about and Danny Simbello again, right. Produced by Keith Force
<v Speaker 3>and Harold Faltemeyer, sung by Patty LaBelle. They had a
<v Speaker 3>little magic combination with this.
<v Speaker 1>This is a great pop song. It's played twice in
<v Speaker 1>the movie. That's actually played during the Beverly Hills scene
<v Speaker 1>and then the closing credits as well.
<v Speaker 3>So she technically should have gotten three Grammys.
<v Speaker 1>That's right, that's right. I do have a funny little
<v Speaker 1>fact for you on this. So it only hits number
<v Speaker 1>forty one on the Hot one hundred, So it's a
<v Speaker 1>it's a moderate hit. It's not a big time hit,
<v Speaker 1>not quite top forty, but it's a catchy pop song
<v Speaker 1>and it's good for this album. This song goes on
<v Speaker 1>to become the theme song for the TV sitcom Stir Crazy,
<v Speaker 1>based on the movie with Gene Wilder and Richard Pryor.
<v Speaker 2>I did not know that that was a thing.
<v Speaker 1>I did not either, Okay, I have no memory of
<v Speaker 1>that show at all.
<v Speaker 3>Alrighty short lived, yes, short short to live.
<v Speaker 1>And then, of course this song is a new version
<v Speaker 1>of the song appears in Chicken Little good song.
<v Speaker 3>Yeah, great song, I like to it's better than those references.
<v Speaker 3>But yes, it is a good song on its own
<v Speaker 3>for sure.
<v Speaker 2>Yeah.
<v Speaker 1>All right, let's move on to the next song. This
<v Speaker 1>song is called rock and Roll Me Again by The System.
<v Speaker 3>Okay, so this is a song by a group called
<v Speaker 3>The System.
<v Speaker 2>The group was formed.
<v Speaker 3>By vocalist, guitarist Mick Murphy and keyboardist David Frank. Now,
<v Speaker 3>David Frank has been called by Yamaha Music as the
<v Speaker 3>founding father of electronic R and B.
<v Speaker 2>Really, yes, and he's very white anyway, Okay.
<v Speaker 3>He decided to get into the keyboard side of things
<v Speaker 3>and the electronic side of things, because when he was
<v Speaker 3>studying music at Berkeley, somebody brought in a copy of
<v Speaker 3>Wendy Carlos's album Switched on Bach. Oh yeah, we talked
<v Speaker 3>about in the Tron episode exactly. Wendy Carlos had done the
<v Speaker 3>score for Tron before that, she had done this piece
<v Speaker 3>that I mean it blew the doors off of what
<v Speaker 3>you could do with electronic music back in the day
<v Speaker 3>where she was performing basically like eight bit Bach symphonies, right.
<v Speaker 3>And so at that point he had been experimenting with
<v Speaker 3>getting his electric guitar sounds out of his fares foot
<v Speaker 3>organ and decided, Hey, I'm going to focus on electronic music,
<v Speaker 3>which Yamaha seem to think he's a pretty big influencer here.
<v Speaker 1>Okay, I've got a couple of nuggets for you on
<v Speaker 1>the system, Okay.
<v Speaker 2>Yeah.
<v Speaker 1>So they worked on a song called It's Passion in
<v Speaker 1>early eighty three. So the person that they wanted to
<v Speaker 1>sing this song is a pre Lucky Star, pre borderline
<v Speaker 1>Madonna Donna, right heh yeah, had creative differences with her,
<v Speaker 1>so she dropped out and so act David Frank ended
<v Speaker 1>up singing the song and it became a moderate hit,
<v Speaker 1>kind of in and around New York City. These guys
<v Speaker 1>worked on the song Sustudio by Phil Collins. Nice I
<v Speaker 1>Feel for You by Shaka Khan Chaka. But here's the thing.
<v Speaker 1>They had a one wonder in nineteen eighty seven, a
<v Speaker 1>big one hit wonder. Do you know what it is?
<v Speaker 3>We're talking about the system here, Yes, no, I've got nothing.
<v Speaker 1>I gotta play this song for you. See if you
<v Speaker 1>recognize it.
<v Speaker 2>Okay, so this is don't disturb this group?
<v Speaker 1>Yes, okay, you remember this one?
<v Speaker 2>No? I remember Nighttime Lover. I don't remember. Don't disturb
<v Speaker 2>this group.
<v Speaker 1>Don't disturb this groove hit number four on the Hot
<v Speaker 1>one hundred and nineteen eighty seven.
<v Speaker 2>Wow, okay, just.
<v Speaker 1>Listen to this group of songs that blocked it. Okay,
<v Speaker 1>So I like this song. It's it's an eighty seven song.
<v Speaker 1>I want to Dance with Somebody by Winning Houston. Number three,
<v Speaker 1>Shakedown by Bob Seger at number two, that's ironic, and
<v Speaker 1>number one is Alone by Heart.
<v Speaker 3>Well, yes, those are going to be three songs that
<v Speaker 3>are very difficult to beat.
<v Speaker 1>That's right, that's right. Okay, one more thing for you, Yeah,
<v Speaker 1>David Frank, the guy who plays keyboards on the System, Yeah,
<v Speaker 1>wrote the song Janina Bottle that Christina Aguilera.
<v Speaker 2>Sings, Oh nice.
<v Speaker 1>Yeah, these guys aren't nobody's.
<v Speaker 3>No no I told you man, grandfather of electronic R
<v Speaker 3>and B or something like that.
<v Speaker 1>They also wrote the title track too Coming to America.
<v Speaker 2>Yeah, that's actually good. That's a good one.
<v Speaker 1>Yeah, all right, we're done with that one.
<v Speaker 2>Yeah, because the song's not good. Yeah, we can be done.
<v Speaker 3>We've talked up this band that nobody's heard of except
<v Speaker 3>for a brief period of time in nineteen eighty seven,
<v Speaker 3>and now we can move on because we're getting to
<v Speaker 3>the good stuff.
<v Speaker 1>Yes, we finally get to the big one here. Yes,
<v Speaker 1>all right, d We've come to the last song on
<v Speaker 1>the album and maybe the most famous song off this soundtrack.
<v Speaker 3>This is what I came to this podcast to listen about.
<v Speaker 3>This is my favorite song by far on the album.
<v Speaker 3>I mean, we save the best for last.
<v Speaker 1>So let's talk about the Banana theme otherwise known as
<v Speaker 1>axel F.
<v Speaker 3>So we talked about Harold Faltemeyer whenever we covered Top Gun,
<v Speaker 3>of course, right because he did the Top Gun theme.
<v Speaker 2>Absolutely, you remember that story. You remember that. Like he
<v Speaker 2>was sitting at doors.
<v Speaker 1>At dinner with Ruckheimer and Simpson and they're asking him
<v Speaker 1>about the top gun theme and he was like, yeah,
<v Speaker 1>I think I've got it, and they're like, great, let's
<v Speaker 1>hear it. And he's like, well, and I said I had.
<v Speaker 1>What I meant was I had a couple of ideas
<v Speaker 1>right right, And he ran home real quick, like he
<v Speaker 1>left before dessert, threw it together real quick, and what
<v Speaker 1>we got was like the Maverick theme.
<v Speaker 2>You know, he drove.
<v Speaker 3>Faster than they did, and then the five minutes before
<v Speaker 3>they got there, he already had it down. So I've
<v Speaker 3>got a reason for that. But I'm going to tell you,
<v Speaker 3>like the full Harold Faltemeyer story. Okay, yeah, so number one,
<v Speaker 3>he's from Germany, but Harold is not really a German
<v Speaker 3>kind of name. Turns out that his parents made really
<v Speaker 3>good friends with an American gi when the Americans came
<v Speaker 3>in after World War Two. They made this American the
<v Speaker 3>godfather of their son. And this American's name was Harold.
<v Speaker 3>And so that's why this German Valtemeyer has this very
<v Speaker 3>American herald name.
<v Speaker 1>This sounds very suspicious to me, like this gi got
<v Speaker 1>mom pregnant and.
<v Speaker 2>No, no godfather, he's the god. I mean, it's it's
<v Speaker 2>like that.
<v Speaker 3>I mean, Germany was in pretty bad shape after the war.
<v Speaker 1>It was my war American friend.
<v Speaker 3>Yeah, no that he said that, Harold, he met him
<v Speaker 3>several times. Genuinely nice guy, very Southern American, you know,
<v Speaker 3>Sarian style. Yeah, said he would dress up like an
<v Speaker 3>Indian even though he was not a Native American. But anyway, anyway,
<v Speaker 3>so his family was a group of not only musicians,
<v Speaker 3>like his dad was piano player, mother was a singer,
<v Speaker 3>grandmother was a singer. Violence such like that. They were
<v Speaker 3>also like college professors, like very smart and very musically educated.
<v Speaker 3>And then Harold Faltemeyer throws them a loop by dropping
<v Speaker 3>out of school before he's done, and they're like, Okay, well,
<v Speaker 3>I guess you're going to be a garbage man. But
<v Speaker 3>then his dad realizes, like, just to give you an idea,
<v Speaker 3>he not only was not a good enough musician to
<v Speaker 3>get into the music schools that they had then, right, yeah,
<v Speaker 3>but he's dropped out of school, so he can't he
<v Speaker 3>can't get into those music schools, right, I mean, the
<v Speaker 3>competition was steep, but what his father does is like
<v Speaker 3>he goes to the principle of this school and he's like,
<v Speaker 3>he has to be able to study at this school,
<v Speaker 3>like he's quit school. He doesn't have the education he needs,
<v Speaker 3>and his musical talents aren't good enough. He's like, I
<v Speaker 3>don't care. I need to bring him in and show
<v Speaker 3>you what he can do. And so he brings him
<v Speaker 3>in and Harold Faltemeyer has what's kind of like perfect pitch.
<v Speaker 1>And wait a minute, because I read that he had
<v Speaker 1>something called absolute pitch.
<v Speaker 3>Yeah, so basically they're the same thing. But what he
<v Speaker 3>can do is if you play a note, any note,
<v Speaker 3>he can go that's C sharp, that's F sharp, that's
<v Speaker 3>B flat, right, And he can also with chords, you know,
<v Speaker 3>like that's an A seven augmented, he can he can
<v Speaker 3>hear it, and he can tell you exactly what it is. Now,
<v Speaker 3>his technical skills were good, just not music level good.
<v Speaker 3>And so they're so impressed by his ability to do
<v Speaker 3>this that they say, Okay, we will let you into
<v Speaker 3>the music school to study, but you have to you
<v Speaker 3>have to sign something that says you're never going to
<v Speaker 3>try to teach, and you're not going to go try
<v Speaker 3>to be in a symphony, because that's not what we're
<v Speaker 3>qualifying you to do. We're just letting you study. It
<v Speaker 3>is really just to educate him and that's it. And
<v Speaker 3>so he's like, all right, great, see you guys in
<v Speaker 3>the fall. And his dad's like, well, you're not just
<v Speaker 3>going to hang around and do nothing, and so he's like,
<v Speaker 3>we have some friends who own a recording studio. You're
<v Speaker 3>gonna go be their gopher. And so, just like on
<v Speaker 3>Jovie years later, he was the guy who would, hey, kid,
<v Speaker 3>go get me a Jen Martini and he would go
<v Speaker 3>and get that for the for the music guys, and
<v Speaker 3>he said, so they it was a nine to five
<v Speaker 3>kind of recording studio, and they would he would be
<v Speaker 3>the one that was sweeping up whenever the lights, you know,
<v Speaker 3>are about to be turned off. So when everyone left,
<v Speaker 3>he would go in and he would explore all of
<v Speaker 3>the equipment, all of the recording studio stuff, and really became,
<v Speaker 3>you know, educated himself with his music equipment for months
<v Speaker 3>before he ever goes to music school and finishes his
<v Speaker 3>music schools part of things, and is an actual employee
<v Speaker 3>at this place now and he's working for a producer
<v Speaker 3>right these are the big time producers. And he says,
<v Speaker 3>the problem that my producer had was alcohol. And he says,
<v Speaker 3>so one morning, nine o'clock in the morning, we have
<v Speaker 3>an entire symphony orchestra in the studio ready to record,
<v Speaker 3>and my producer has gotten so drunk that he doesn't
<v Speaker 3>know where he is and he's not there. And so
<v Speaker 3>I'm just like, well, I'm sorry, there's nothing we can do.
<v Speaker 3>And the guy who's running the show says, you know
<v Speaker 3>how to do this, you go do it, right. He's like,
<v Speaker 3>I'm not allowed to do that. He goes, I don't
<v Speaker 3>care what you're allowed to do, Go do it.
<v Speaker 2>We have paid all of these musicians. We're not losing
<v Speaker 2>this money. Go do it.
<v Speaker 3>And so I can just imagine him. He's like going
<v Speaker 3>and setting this stuff up, and he's got other guys
<v Speaker 3>who worked there that who's like, dude, that's not where
<v Speaker 3>that microphone got go, dude, that's not where those levels
<v Speaker 3>go on the record or whatever.
<v Speaker 2>And so when the.
<v Speaker 3>Producer finally sobers up and gets back, he's like, it's
<v Speaker 3>my fault. I will take full responsibility for however much
<v Speaker 3>he screwed this thing up, right, right, of course, it
<v Speaker 3>turns out to be one of the best recordings that
<v Speaker 3>they've ever had. Wow, And so he gets an immediate promotion.
<v Speaker 3>And now he is the wiz kid on the block
<v Speaker 3>who's able to do stuff that none of the other
<v Speaker 3>producers could do. And so who should happen to be
<v Speaker 3>recording in a little place called music Land Studios a
<v Speaker 3>couple of miles down the road.
<v Speaker 1>I'm gonna guess, Georgio Moroder, you nailed it.
<v Speaker 3>Yeah, And so, of course, Georgio Moroder, if you haven't
<v Speaker 3>heard our story on that, go check out the top
<v Speaker 3>Gun episode. But he's heard about this wiz kid. He's like,
<v Speaker 3>why aren't you working for me? Come do some stuff
<v Speaker 3>with me. Fantastic and so, of course, then the relationship
<v Speaker 3>is born. And then Georgia Moroder goes over to the US.
<v Speaker 3>He gets hit up to do these various soundtracks. He says, Harold,
<v Speaker 3>come over here, help me with these soundtracks. And so
<v Speaker 3>Harold goes over. In nineteen seventy nine, he starts working
<v Speaker 3>with Donna's summer. He arranges this little song you might
<v Speaker 3>have heard of called hod Stuff.
<v Speaker 1>Yeah. Okay, no, wait a minute, because this is where
<v Speaker 1>a world's collide when you talk about Donna Summer YEP,
<v Speaker 1>and Georgia Moroder. Yeah, and Harold Faltmeyer. Keith Forcey's got
<v Speaker 1>to be in there somewhere. Yeah, I'm sure that he's
<v Speaker 1>I'm sure that he's a part of the deal. I
<v Speaker 1>mean we talked about him as well on a couple
<v Speaker 1>of different multiple different episodes now and then. Yeah, just
<v Speaker 1>a little bit ago. But I don't know what that.
<v Speaker 1>I didn't hear Harold talk about Keith, so I can't
<v Speaker 1>give you any more info on that.
<v Speaker 3>But anyway, so he comes over in seventy nine, he
<v Speaker 3>starts helping out with these soundtracks and these other recordings,
<v Speaker 3>like with Donna Summer and stuff. Then nineteen eighty he
<v Speaker 3>starts working with this group called Blondie with this movie
<v Speaker 3>called American Jigglow.
<v Speaker 1>You are kidding, this has to be call me.
<v Speaker 2>You got it.
<v Speaker 3>Here's the bigger deal. It's not really Blondie that's playing
<v Speaker 3>all that stuff. Like they came into the studio number one,
<v Speaker 3>Debbie Harry wanted to decided she wanted to do the
<v Speaker 3>music on this movie because she was attracted to Richard Gear.
<v Speaker 3>That was her motivation. But anyway, the band comes in
<v Speaker 3>and they're lack of days there are disco rock band
<v Speaker 3>right right, and so they'll yes, hang out, smokes the pot,
<v Speaker 3>maybe get around to play in a few bars, and
<v Speaker 3>then smoke some more pody.
<v Speaker 2>You know.
<v Speaker 3>It's just yeah, georgiemoor Oder is not into hanging out
<v Speaker 3>and spending a bunch of time in the studio. And
<v Speaker 3>so after a few days of this, he's just like, Okay,
<v Speaker 3>we've got enough, let's go. And they're like, well, we
<v Speaker 3>haven't finished, and he's like, yeah, we've got it enough.
<v Speaker 3>We'll take care of the rest. And so they leave
<v Speaker 3>and Harold Fltmeyer is really the one that plays almost
<v Speaker 3>everything call Me, which pissed the band off initially. I
<v Speaker 3>mean he's got the keyboard solo in the middle and
<v Speaker 3>the keyboards is like, that's not me. And then call
<v Speaker 3>Me ends up being the biggest hit for Blondie ever. Right,
<v Speaker 3>It's one of the biggest hits of nineteen eighty.
<v Speaker 2>Yeah, it's huge. It's huge.
<v Speaker 3>So I can't imagine being in a band where your
<v Speaker 3>biggest hit was played by somebody else.
<v Speaker 2>But anyway, a.
<v Speaker 3>Little while after that, he calls Georgio. He says, hey,
<v Speaker 3>I love working with you, but I just need some
<v Speaker 3>stuff to do on my own.
<v Speaker 2>It's that cool.
<v Speaker 3>And he says Georgio was totally good with it, helped
<v Speaker 3>him out. And then he gets a call from a
<v Speaker 3>guy named Jerry Bruckheimer, who is nobody at that point, right,
<v Speaker 3>He's just he's just an executive at Paramount. He's trying
<v Speaker 3>to put some movies together.
<v Speaker 1>Right, it's just a cowboy with cocaine and guns in
<v Speaker 1>the back of it. That's Don Simpson's Oh yeah, okay, yeah, no,
<v Speaker 1>I'm sorry.
<v Speaker 3>Yeah, Jerry's the level aheaded that's it.
<v Speaker 1>That's true. That's true.
<v Speaker 3>But Jerry is got this movie called Thief of Hearts.
<v Speaker 2>You heard of this? Yeah? I have?
<v Speaker 3>Okay, good because I had never heard of it. But
<v Speaker 3>he's he calls up Harold Faltemeyer and Harold's like calling
<v Speaker 3>Georgio and Jerry's like, well, Georgia is not really interested
<v Speaker 3>to do it. He's like, Okay, that was a dumb
<v Speaker 3>question for me to ask in the first place. All right,
<v Speaker 3>that's fine, and he goes, well, you need a song,
<v Speaker 3>and he's like, no, I was kind of hoping you.
<v Speaker 2>Would score it.
<v Speaker 3>He's like, oh wow, dang, all right, I guess I'll
<v Speaker 3>do that, And so he writes the score to this
<v Speaker 3>movie that he says has a wonderful storyline, but basically the.
<v Speaker 2>Movie does crap. Nobody has heard of this thing, right.
<v Speaker 3>And then even though the movie doesn't do as well,
<v Speaker 3>Jerry Bruckhammer likes it enough that when he hits eighty
<v Speaker 3>two and eighty three, he's like, Hey, I got this
<v Speaker 3>other movie. I'd like you to come try to write
<v Speaker 3>a score for it. He goes, oh, yeah, what's it called?
<v Speaker 3>He says, a movie called Beverly Hills Cop Yes, And
<v Speaker 3>so Harold Faldemyer' is like, all right, sounds good, let's
<v Speaker 3>do it, and so he writes a song for him.
<v Speaker 3>He plays it for Jerry and Don and whoever the
<v Speaker 3>musical director is, and Marty Brest and they're like, nah,
<v Speaker 3>like okay, writes a different song, brings it to him
<v Speaker 3>and they're like, yeah, that's still not eat.
<v Speaker 2>I don't I don't know, okay. And so at this.
<v Speaker 3>Point he's like, if I write a third song that
<v Speaker 3>they don't like, I'm fired. Like I'm gonna get fired
<v Speaker 3>from this movie, right, and he says, So he puts
<v Speaker 3>together this little, simple little melody and does a little.
<v Speaker 2>I mean it's fun.
<v Speaker 3>Because there's a video at them out there of him
<v Speaker 3>as he's programming his mood keyboard that he gets that
<v Speaker 3>perfect sound on right, the perfect tone for the first
<v Speaker 3>left sound, and he plays the tape for them after
<v Speaker 3>he's fully recorded it, and Jerry Bruckheimer is like, oh no,
<v Speaker 3>and like the musical editor is like, I don't like it.
<v Speaker 3>I don't think it's gonna be any good, and Don
<v Speaker 3>Simpson's like, I don't know, what do you think, Marty
<v Speaker 3>and Marty He says, Marty's would smoke the cigarette marrty breast. Okay,
<v Speaker 3>would smoke these cigarettes with a little tip on the
<v Speaker 3>end of them, you know.
<v Speaker 2>Yeah, he says.
<v Speaker 3>He takes a drag of his cigarettes and he's like,
<v Speaker 3>play it for me one more time, and so he
<v Speaker 3>plays it for him one more time. The song gets
<v Speaker 3>over and Marty Brest goes, I think that may be
<v Speaker 3>the perfect music cue for this movie.
<v Speaker 2>I love it.
<v Speaker 1>Let's use it.
<v Speaker 3>And Jerry Bruckheimer's like, Okay, sounds good, Let's do it.
<v Speaker 3>And Don Simpson's like, yeah, sounds good to me, let's
<v Speaker 3>do it, and the music editors like, I still don't
<v Speaker 3>like it. But whatever you guys think. Wow, And so
<v Speaker 3>that is literally how I was born. And this is
<v Speaker 3>the important thing is he said that at that time
<v Speaker 3>with comedies, all of the music was like a symphony,
<v Speaker 3>like the old Looney Tunes stuff like you.
<v Speaker 2>Know is that?
<v Speaker 3>So to do a techno sounding musical theme for a
<v Speaker 3>comedy movie starring the number one comedy actor in the
<v Speaker 3>world at that moment was unheard of, and fortunately it
<v Speaker 3>was a risk it was well taken.
<v Speaker 2>Wow.
<v Speaker 1>Great story, great story.
<v Speaker 2>There you go.
<v Speaker 1>So for me, this song is like the theme song
<v Speaker 1>for the summer of nineteen eighty five, like, oh gosh,
<v Speaker 1>y my running around. You know, this is just the
<v Speaker 1>theme playing in the background while I'm playing whiffleball with
<v Speaker 1>my buddies.
<v Speaker 3>I got the breakdancing cardboard back out for this song.
<v Speaker 1>So this song actually made it to number three on
<v Speaker 1>the charts.
<v Speaker 2>You know who kept it on I do.
<v Speaker 1>So here you go. You want to hear, I'm going
<v Speaker 1>to give you the top four from June first, nineteen
<v Speaker 1>eighty five. Okay, so the fourth one is Don't You
<v Speaker 1>Forget About Me, which has Giorgio Moroder and Keith Force's
<v Speaker 1>fingerprints all over. Yes, which we talked about on our
<v Speaker 1>Patreon episode Simple Minds from Breakfast Club. Right, axl F
<v Speaker 1>is number three, yes, which I always kind of hated
<v Speaker 1>that name, axel F. That sounded like the kid who
<v Speaker 1>sat in the back of you know, third grade class.
<v Speaker 1>You know, like I'm Jason C. You know you're James G.
<v Speaker 2>You know so fully.
<v Speaker 1>I know it's acxl fully, but I mean call it
<v Speaker 1>axle folly. Don't call it axel F.
<v Speaker 2>No, axl F sounds cool. It's okay. Yeah.
<v Speaker 1>I like number two that week is Everybody Wants to
<v Speaker 1>Rule the World by Tears for Fearce.
<v Speaker 3>That is I mean, my children still love that song.
<v Speaker 1>Oh it's it's a one of the great songs of
<v Speaker 1>the nineteen eighties, which we will be going track by
<v Speaker 1>track through songs from the Big Chair here in just
<v Speaker 1>a few weeks.
<v Speaker 3>And ironically, we're going to be comparing songs from the
<v Speaker 3>Big Chair to another album which contains another song which
<v Speaker 3>I think you're just about to tell me about I
<v Speaker 3>am I Yeah.
<v Speaker 1>So the number one song this week in nineteen eighty
<v Speaker 1>five is Everything She Wants by Wham off of Make
<v Speaker 1>It Big, which we're going to compare to songs from
<v Speaker 1>the big chair.
<v Speaker 2>Yep.
<v Speaker 3>I think when I heard Harold talk about it, he
<v Speaker 3>said it was careless whispers. I'm sure that your information
<v Speaker 3>is more accurate. He was going by memory.
<v Speaker 2>What does he know?
<v Speaker 3>He was like, he was like every week they would
<v Speaker 3>sell like twenty thousand more copies than right, And the
<v Speaker 3>joke was, I mean, now, selling twenty thousand copies is
<v Speaker 3>amazing because people.
<v Speaker 2>Don't buy the music anymore. Right, that's right.
<v Speaker 1>Yeah, great story, great story.
<v Speaker 2>Yeah, incredible song.
<v Speaker 1>One of the biggest songs in nineteen eighty five. Yeah, okay,
<v Speaker 1>do let's talk about a bonus song. Bonus song. This
<v Speaker 1>song's not on the soundtrack, but was in the movie.
<v Speaker 1>Prominent in the movie. Yeah, the bonus song we're going
<v Speaker 1>to talk about is Nasty Girl by Vanity six.
<v Speaker 3>Well, we talked about this in our Beverly Hills cop episodes.
<v Speaker 3>This is the first scene of the movie that they shot.
<v Speaker 3>It is the strip club scene, right, and so you've
<v Speaker 3>got this, I mean, Judge yan Hold talks about, you
<v Speaker 3>know this kind of awkward. This is the first time
<v Speaker 3>we're shooting this movie with all these people, and here's
<v Speaker 3>this woman dancing naked above it for hours and he says,
<v Speaker 3>but she told us that if I were dancing in
<v Speaker 3>a club, which I would be.
<v Speaker 2>This is the song I would be dancing too.
<v Speaker 1>So the stripper came up with us. That's fantastic.
<v Speaker 3>Yeah, well this song came out in September of eighty two,
<v Speaker 3>well before the movie came out right and recorded by
<v Speaker 3>Vanity six, written by the.
<v Speaker 2>Purple One Prince. Yes, how about that?
<v Speaker 3>And it's great because ironically what happens not only does
<v Speaker 3>it become a very big song for Vanity is their
<v Speaker 3>only big song really for Fantasy six. But the reason
<v Speaker 3>he wrote it for her was because they were an
<v Speaker 3>item at the time, right they were. Now this was
<v Speaker 3>eighty two. Purple Rain comes out in eighty four. She
<v Speaker 3>was supposed to be the love interest in Purple Rain,
<v Speaker 3>without a doubt it was supposed to be her. And
<v Speaker 3>so whenever they have their falling out, what does he do?
<v Speaker 3>He just fix a girl that looks a lot like her.
<v Speaker 1>I need a pretty girl that looks a lot like
<v Speaker 1>my ex girlfriend, Apollonia. There you go.
<v Speaker 2>Yeah.
<v Speaker 3>And then, of course we talked about Vanity, the lead
<v Speaker 3>singer for Vanity six extensively in our Doctor Feel Good
<v Speaker 3>episode because after she and Prince break up. She starts
<v Speaker 3>dating Nicky six of Molly cru Molly cru Yes and
<v Speaker 3>The Heroin Diaries by Nikki Six. There's this moment where
<v Speaker 3>he sees like several dozen roses sent by Prince to her,
<v Speaker 3>and he's all mad and he's gonna kick that little
<v Speaker 3>dwarf's ass, and then he's like, oh no, it was her.
<v Speaker 3>She sent them to herself just to make me jealous.
<v Speaker 2>Vanity was a special human being.
<v Speaker 1>Okay, So I kind of enjoy the rest of her story. Okay,
<v Speaker 1>So she and Nicky six are engaged, but he says
<v Speaker 1>he never really loved her because all they are just
<v Speaker 1>drug buddies and she's addicted to Heroin all this stuff.
<v Speaker 1>One day, she's on a movie set with Flash Gordon
<v Speaker 1>himself Sam J.
<v Speaker 2>Jones. Wow, okay, and Sam said, flashback to our Flash
<v Speaker 2>Gordon episode.
<v Speaker 1>That's right, which is a great episode. I love that episode.
<v Speaker 4>Yeah.
<v Speaker 1>He says to her, Hey, you know, I just observing.
<v Speaker 1>Would you like to go read the Bible with me
<v Speaker 1>at lunchtime? And she says, you know, nothing else in
<v Speaker 1>my life seems to be working.
<v Speaker 2>So she does, why not?
<v Speaker 1>And she becomes like this on fire evangelist. Yeah, she
<v Speaker 1>drops the name Vanity, she goes back to Denise Matthews
<v Speaker 1>and from that point on her life is totally changed.
<v Speaker 1>She drops out of Hollywood and all she does is preach.
<v Speaker 2>Yeah.
<v Speaker 1>Now, she did end up dying of kidney failure because
<v Speaker 1>of so many years of drug abuse. So sadly we
<v Speaker 1>lost her several years ago. But girl totally changed her
<v Speaker 1>life around and is not the nasty girl anymore.
<v Speaker 3>Right, but this song is the perfect song for that scene.
<v Speaker 1>But it is the perfect song.
<v Speaker 2>Is the perfect song for that scene.
<v Speaker 3>And then I love I love the build up and
<v Speaker 3>then the let down at the end. The last lyrics
<v Speaker 3>of the song this is a woman governing the The
<v Speaker 3>last lyrics of the song are, oh is that it
<v Speaker 3>is that it?
<v Speaker 2>Wake me when you're done? I guess you'll be the
<v Speaker 2>only one having fun.
<v Speaker 3>Wake me up when you're done. I guess you'll be
<v Speaker 3>the only one having fun. Oh my gosh.
<v Speaker 1>Okay. Another bonus song, Let's do It Shakedown for Beverly
<v Speaker 1>Hills Cop Part two. Another Detroit man brings it home. Yeah,
<v Speaker 1>mister Bob Seeger, who's buddies with Glenn Frye. Yeah, and
<v Speaker 1>they actually wanted Glenn Fry to sing this song. Yeah,
<v Speaker 1>And when you listen to it, I'm like, yeah, I
<v Speaker 1>mean it kind of does sound like Glenn Fry.
<v Speaker 3>Well, I could definitely hear him singing it. But you
<v Speaker 3>know who couldn't hear him singing it?
<v Speaker 1>Glenn Fry.
<v Speaker 2>He couldn't. He was like, I don't like these lyrics.
<v Speaker 1>He thought it was goofy.
<v Speaker 2>Yeah, and he also is like, I got lyric itis.
<v Speaker 2>I can't. Sorry, guys, I cut call Bob.
<v Speaker 1>I don't get that right. So, like, I know, Glenn Fry,
<v Speaker 1>Glen Fry a little difficult to deal with sometimes. But
<v Speaker 1>here's the thing. Harold Faldemeyer and Keith Forcey write the
<v Speaker 1>song The heat is on, Glenn, You're not sing this yeah,
<v Speaker 1>number two hit. Hey, Glenn, we got another movie, you
<v Speaker 1>got another song. It's really good. You want to do it?
<v Speaker 2>No, honey, just about the time of thing.
<v Speaker 1>It doesn't make any sense to me, yea. This song
<v Speaker 1>goes on to hit number one August first, nineteen eighty seven.
<v Speaker 1>It's bob seekers only number one hit, and it was
<v Speaker 1>maybe maybe the biggest song of nineteen eighty seven.
<v Speaker 2>It was really really big. I know that it was
<v Speaker 2>on MTV Non Stop.
<v Speaker 1>Of all the songs on Beverly Hills Cop one and two,
<v Speaker 1>this is the best song.
<v Speaker 3>Uh disagree, okay, but it is a great song.
<v Speaker 2>Okay, yeah yeah.
<v Speaker 1>This was nominated for an Academy Award for Best Original
<v Speaker 1>Song and a Golden Globe for Best Original Song. Didn't win,
<v Speaker 1>lost both times. Do the same song which we covered
<v Speaker 1>and is another fantastic.
<v Speaker 3>It is fantastic. We go check out our Dirty Dancing
<v Speaker 3>Soundtrack album.
<v Speaker 1>Episode YEP, track by track, all Right, I'm gonna blow
<v Speaker 1>your skirt off with this.
<v Speaker 3>You're ready for Yeah, I gotta just tell everybody what
<v Speaker 3>just happened, like we're we're here, I'm word. We decided
<v Speaker 3>to throw this one on because it's such a great
<v Speaker 3>song and nothing else on the soundtrack is worth covering
<v Speaker 3>that we haven't already covered before, right, And I'm looking
<v Speaker 3>reading up on it, and Jay's like, don't look at
<v Speaker 3>the personnel. Don't, yeah, don't, I want to blow your
<v Speaker 3>panties off. Okay, I will look, all right, So here
<v Speaker 3>it is.
<v Speaker 2>I'm waiting show tell me what.
<v Speaker 1>You got, all right, Shakedown. Here's the personnel on the
<v Speaker 1>song shakedown. Okay, yes, So you got Harold Faldemyer playing
<v Speaker 1>the sinclavier. Whatever that is? Sure, synthesizer, keys, drum machine,
<v Speaker 1>whatever's Harold feltmar Is playing that?
<v Speaker 2>Yeah?
<v Speaker 1>Okay? The drums percussion, that's Keith Forcey okay, same guy
<v Speaker 1>who wrote Don't You Forget About Me and a million
<v Speaker 1>other songs? Right?
<v Speaker 2>Of course.
<v Speaker 1>The vocals are by Bob Seeger, who's had a billion hits.
<v Speaker 3>But very few of them. Number one, that's right. This
<v Speaker 3>is one of his only number ones. It may be
<v Speaker 3>the only number one.
<v Speaker 1>It is his only number one. Oh my god, you're
<v Speaker 1>talking about night moves in old time rock and roll
<v Speaker 1>and like a rock all these great songs. Wow, Okay,
<v Speaker 1>guitars on this song, guess is Steve Luca.
<v Speaker 2>No, uh my god, it's Dan Huff.
<v Speaker 1>Oh my gosh, it's Dan Huff on guitar.
<v Speaker 3>For those of you who are new to the show,
<v Speaker 3>Jason takes every opportunity to point out when Dan Huff
<v Speaker 3>is involved in any song because he is a huge
<v Speaker 3>fan of the song See You in My Dreams by Giant,
<v Speaker 3>helmed by mister Dan Huff.
<v Speaker 2>Mister Dan Huff, I can't believe you snuck it in
<v Speaker 2>on me again. You rat all right, everybody?
<v Speaker 3>Well, that does it for the Beverly Hills Cop soundtrack
<v Speaker 3>and a couple of bonus songs. Next week, come back,
<v Speaker 3>we're going to talk about another huge soundtrack from this era,
<v Speaker 3>nineteen eighty five's Miami Vice soundtrack.
<v Speaker 1>Yes, Fire of the Testosa. There will be no socks
<v Speaker 1>allowed when we record that episode.
<v Speaker 2>I got my loafers