What is up Good People? You ever wonder what it would sound like if Jimbo did the deep voice part from Peter Gabriel's In Your Eyes? Well, you're in luck! Catch it here as we dive deep into the classic track.
[00:00:00] What is up, Good People? Welcome to Music Mostly, the podcast where we celebrate
[00:00:08] the music that's important to us. Thank you so much for joining us. First and foremost,
[00:00:12] as always, a giant shout out to the very good people in the service and hospitality industries.
[00:00:17] Thank you for all the hard work that you do. In the rest of you, Pricks, when you go out,
[00:00:22] always every single time without exception, tip like a rock star and don't be a dick. Let's
[00:00:28] go
[00:00:30] In the Times we just had to kick
[00:00:51] So sad all up good people
[00:00:54] Why is I still a little bit about you jן
[00:00:59] You said you said I said you said you said you said
[00:01:06] You did it, you said you said I said
[00:01:10] I'm your host
[00:01:12] My name is Will Olsen and I'm ecstatic
[00:01:14] As always to be joined by my good friend
[00:01:16] in reason why I promised James Rayman Scott.
[00:01:18] Hello, Jimbo, how are you today?
[00:01:20] Hey, how are you?
[00:01:21] I'm fantastic and this is great to see your face.
[00:01:25] And yours as well.
[00:01:27] Oh, there's me tonight.
[00:01:29] Oh, we're joined by our buddy.
[00:01:32] The fellow who makes this all sound so great, Mr. Brian Gardner,
[00:01:34] how are you today, Brian?
[00:01:36] Sluggish, but in enthusiastic.
[00:01:40] Great, a little whiskey last night.
[00:01:42] Oh, man.
[00:01:47] Well, we'll try not to let that bother us.
[00:01:50] All right, now, before we get going, I'd like to remind you
[00:01:52] that we make a playlist of all of the music
[00:01:55] that we're going to talk about in the show
[00:01:57] and we put it out on Spotify before the show comes out.
[00:02:00] So before you listen to the show, you can listen
[00:02:02] to music that we talk about in the show.
[00:02:04] It's kind of like time traveling.
[00:02:06] You can do it by going to our user profiles, Spotify.
[00:02:10] So if you go to Spotify, search for music mostly
[00:02:13] pod, you will find both our user profile and the show.
[00:02:16] You can follow both of them so that you can get notified
[00:02:19] when you episodes drop and get notified
[00:02:21] when playlists go.
[00:02:23] So with all that out of the way, let's get to it.
[00:02:29] Is this the real life or is this just fantasy?
[00:02:33] As a child of the 80s and 90s, I grew up on music videos.
[00:02:36] For some of the songs that I loved during my former
[00:02:38] years, I don't know how to disassociate them from the music
[00:02:42] video.
[00:02:43] For our purposes here tonight, let's say I don't know how to not
[00:02:47] see something when I hear something.
[00:02:48] For example, I can't hear smells like teen spirit
[00:02:51] without seeing the pepper alley from hell.
[00:02:53] I can't hear and are sandman without seeing the Mac truck
[00:02:57] that runs over the bed that that poor kid was sleeping on.
[00:03:00] I can't hear virtual insanity without seeing that fella
[00:03:02] and the giant hat and all of the moving furniture.
[00:03:06] For music videos though, what you're seeing is some artist
[00:03:09] visual representation of some other artist's
[00:03:12] audio graphic work.
[00:03:14] Audio graphic is a word I just made it up.
[00:03:16] For example, when Spike Jones heard sabotage,
[00:03:19] he was like, you know what I see?
[00:03:21] I see a vintage 70s cop show where a bunch of cops
[00:03:24] bust into a cheap apartment and chase the bad guys around
[00:03:26] Brooklyn.
[00:03:27] We'll get Fred Kelly to play bunny.
[00:03:29] You go watch the video that'll make sense.
[00:03:31] And all three Beastie boys were like,
[00:03:33] yes, let's do that and it was a smash.
[00:03:36] So that's one way to put an indelible image to a piece of music.
[00:03:40] Video did kill the radio star as they say.
[00:03:43] But for my money, I love seeing how some other visual artists
[00:03:47] would interpret how a group of people would react
[00:03:49] to hearing a piece of music in real life.
[00:03:52] What the hell am I talking about?
[00:03:53] You ask, I am talking about diagetic music in movies.
[00:03:58] So this is like when the music is heard
[00:04:00] by the characters on the screen,
[00:04:02] it exists in the universe on screen.
[00:04:05] So I'm not talking about like in days that confuse
[00:04:08] when aerosmiths, sweet emotion is playing
[00:04:09] over the opening credits or when wars,
[00:04:12] why can't we be friends just playing
[00:04:13] while the senior ladies are hazing the upcoming freshmen?
[00:04:16] I'm talking about when Mila Jopovitch's Michelle plays
[00:04:20] the alien song which she actually wrote.
[00:04:23] By the way, during the famous George Toked Weed scene,
[00:04:26] the person is playing the music and the other people
[00:04:28] can hear it.
[00:04:29] It happens in the film's universe.
[00:04:31] It's not a needle drop.
[00:04:33] So for Shits and Giggles, here are 10 scenes from movies
[00:04:37] where this happens that are iconic.
[00:04:39] You'll see them in your head when I mention them.
[00:04:41] Fun fact, three of these happen to be
[00:04:43] from Cameron Crow films because Cameron Crow is the fucking man.
[00:04:47] I got these from a medium article
[00:04:49] and I'm being generous with the word article
[00:04:51] by a fellow named Ben Bailey.
[00:04:53] I am however making one replacement
[00:04:55] and some rearrangements to suit my needs
[00:04:57] this might actually go off the rails.
[00:04:59] But we've come this far.
[00:05:00] So let's not stop now.
[00:05:02] Number 10, the world famous Jack Rabbit Slim's dance
[00:05:06] contest in Pulp Fiction.
[00:05:07] Quentin Tarantino's use of music and all his films
[00:05:10] is actually pretty fantastic.
[00:05:11] Honorable mention to stuck in the middle
[00:05:13] with you by Stealer's wheel and reservoir dogs.
[00:05:15] But it's you never can't tell by Chuck Berry
[00:05:17] that takes this cake.
[00:05:19] John Travolta and Uma Thurman's drug doubt twist scene
[00:05:21] is and was culturally significant for the rest of the 90s.
[00:05:26] Number nine, back to Chuck Berry and back to the future.
[00:05:30] This is the famous in Champion under the sea dance
[00:05:32] where Marty McFly plays Johnny Begood
[00:05:34] and Chuck's cousin Marvin Berry clues in Chuck
[00:05:37] to that new sound that he was looking for.
[00:05:40] Cultural appropriation aside to see his so iconically 80s
[00:05:44] that it makes you want to grab your neon leg warmers
[00:05:46] and hit the roller disco.
[00:05:47] And that analogy is so 2020's
[00:05:49] that I actually got it from Chad G.P.T.
[00:05:52] Number eight, can we talk about
[00:05:55] I've had the time in my life by build medley
[00:05:57] in Jennifer Warrens?
[00:05:58] I'll just leave it at this.
[00:06:00] Nobody puts baby in the corner.
[00:06:02] And if you don't know what movie I'm talking about,
[00:06:04] then I have something to say to your parents.
[00:06:07] Number seven, get a little song for number seven.
[00:06:11] It's the Mozart number in Shawshank Redemption.
[00:06:13] The inmates are so mesmerized by the beautiful music
[00:06:16] that they just stop and listen to the prison PA.
[00:06:19] I can't paraphrase any better than the actual narration
[00:06:22] from the film where Morgan Freeman's red says,
[00:06:26] I have no idea to this day with those two Italian ladies
[00:06:28] who are singing about.
[00:06:30] Truth is, I don't want to know.
[00:06:31] Some things are best left on said.
[00:06:33] I'd like to think they were singing about something
[00:06:35] so beautiful that it can't be expressed in words
[00:06:38] and makes your heart ache because of it.
[00:06:40] I tell you, those voices sort higher and farther
[00:06:42] than anybody in a great place, there's to dream.
[00:06:45] It was like some beautiful bird
[00:06:46] flapped into our drab little cage
[00:06:48] and made those walls dissolve away.
[00:06:50] And for the briefest of moments, every man in Shawshank felt free.
[00:06:56] Number six, and we will not be getting sober
[00:06:58] for the rest of the time.
[00:06:59] Is this the part where we talk about time crews,
[00:07:01] dance and round and is underwear?
[00:07:03] I think it is.
[00:07:03] Okay, let's do it.
[00:07:06] In 1983's risky business,
[00:07:07] probably the best film ever to advocate
[00:07:10] for teenage prostitution solicitation,
[00:07:12] which is the point of the movie, right?
[00:07:14] A parentless time crew says, what the heck?
[00:07:16] And dances to Bob Seagre's old-time rock and roll
[00:07:18] in his tidy whiteies.
[00:07:19] For my money, when they used the Beach Boys barber
[00:07:23] and a parody this on say by the bell,
[00:07:25] that was this scene hitting its peak.
[00:07:28] Number five, what kind of list would this be
[00:07:30] if there was no mention of the Beatles?
[00:07:31] Not a world I wanna live in.
[00:07:33] You remember that time you hijacked a parade float
[00:07:35] on a weekday and downtown Chicago
[00:07:37] and then peeled off back to back,
[00:07:39] captivating lip syncs of Donkishan by Wayne Noon
[00:07:42] and then twist and shout
[00:07:43] in the entire city spontaneously broken a dance.
[00:07:46] Remember that?
[00:07:47] And then you got into your Ferrari and drove away
[00:07:49] with that wasn't your day off,
[00:07:51] that must've been somebody else's day off.
[00:07:53] Side note,
[00:07:55] this is officially changed from Ben Bailey's list to mine.
[00:07:57] Thank you for the inspiration, but number four,
[00:08:00] there's a scene in singles where Cameron, Campbell Scott
[00:08:03] and Kira Sedrick are listening to records.
[00:08:06] The record he puts on is made this be love by Jimmy Hendrix.
[00:08:09] I love this scene not so much because it's iconic.
[00:08:11] There are more iconic moments in that film,
[00:08:13] like you remember the garage door opener,
[00:08:15] but I love this scene
[00:08:17] because it's a fantastic example of finding the perfect song
[00:08:19] for the scene and then finding the perfect way
[00:08:22] to put the music into the universe.
[00:08:24] They could have just played it over the scene,
[00:08:26] but they didn't.
[00:08:27] They played it in the scene.
[00:08:28] It is a perfect song for that moment
[00:08:30] when you were just just falling in love.
[00:08:33] Waterfall, nothing can harm me at all.
[00:08:35] My high school girlfriend did me wrong in a lot of ways,
[00:08:38] but to her credit she did put this song
[00:08:40] on a mixed-aid for me and for that I'm eternally grateful.
[00:08:44] Side note number two, shout out to Greece,
[00:08:47] but Greece is a musical,
[00:08:48] and we're not talking about musicals here.
[00:08:49] Musicals are whole other thing.
[00:08:52] Number three, hold me closer, tiny dancer.
[00:08:57] There are few scenes as memorable
[00:08:59] as the fictional band still water at first be grudgingly
[00:09:02] and then enthusiastically belting out
[00:09:04] this Elton John classic and almost famous.
[00:09:06] The whole part where they kid
[00:09:07] who's absolutely famously playing a fictitious version
[00:09:10] of a young camera co says to Penny Lane,
[00:09:13] I have to go is just, oh, chefs kiss.
[00:09:17] Everyone on this planet,
[00:09:19] it's at a moment where they feel like
[00:09:20] they were out of their element, out of place.
[00:09:22] Like they didn't belong.
[00:09:24] Therefore everyone gets the warmest and fuzziest metaphorical hug
[00:09:27] when Penny Lane replies,
[00:09:29] poof, you are home.
[00:09:32] Number two, we're not gonna talk about number two yet,
[00:09:34] but we'll get there promise.
[00:09:36] Number one, because I'm a child of the 90s,
[00:09:38] my number one example of whatever this conversation
[00:09:41] has turned into starts like this.
[00:09:43] Ah, the Murth Mobile.
[00:09:45] I think we'll go with a little Bohemian rap city gentleman.
[00:09:48] They use almost the entire song
[00:09:50] in the same way as the world.
[00:09:51] I'm just a poor boy part, the Mamma Mia part
[00:09:54] with a, Mike Myers sticking his arms up over him
[00:09:58] and going, Mamma Mia, Mamma Mia.
[00:10:00] The whole B.L.s above is put a devil aside
[00:10:02] for me part, the head banging,
[00:10:04] the quiet reflection during the nothing really matters part.
[00:10:07] It's all great.
[00:10:08] Phil doesn't honk in the car.
[00:10:10] He doesn't need to spew into guards, tiny paper cup.
[00:10:12] There was a Fender Stratacaster.
[00:10:14] Queen actually won an MTV video music award
[00:10:17] for the version of the video they released
[00:10:18] after this movie came out.
[00:10:20] Just like was the 90s.
[00:10:23] It brings us back to number two on my list,
[00:10:25] but number one for what we're gonna talk about tonight.
[00:10:28] Feel like I should say something.
[00:10:29] I guess I could say anything.
[00:10:30] I could say what I'd like to do sir,
[00:10:33] it's been time with your daughter.
[00:10:35] I'm kidding.
[00:10:36] I'm kidding.
[00:10:37] Or I could say, I'm incarcerated, Lloyd,
[00:10:41] which is totally the dad from Fraser.
[00:10:43] Or I could say, I don't wanna sell anything
[00:10:46] by anything or process anything as a career.
[00:10:49] I don't wanna sell anything by the process.
[00:10:51] Or buy anything sold or process or process
[00:10:54] or process anything sold or process.
[00:10:56] Or repair anything sold by the process.
[00:10:58] You know, as a career, I don't wanna do that.
[00:11:02] I am, of course, talking about the famous boombox scene
[00:11:06] from say anything.
[00:11:07] This scene is so iconic,
[00:11:09] practically birthed the entire aesthetic
[00:11:12] of the early Ots emo scene.
[00:11:14] My brother, our own fourth man, Peter,
[00:11:16] I totally had a brand new, the band that is not like a brand new,
[00:11:20] but it was a brand new brand new sip up hoodie
[00:11:23] to be perfectly accurate.
[00:11:25] With exactly two graphics on it,
[00:11:26] one of them was the letters,
[00:11:28] three above and three below.
[00:11:30] B are ampersand and EW.
[00:11:34] And on the other side of the hoodie was just
[00:11:35] the silhouette of Lloyd Doblard,
[00:11:37] holding the boombox over his head.
[00:11:39] And that was the whole emo scene in a nutshell.
[00:11:43] So tonight, we're just gonna talk about one song.
[00:11:46] And that song is gonna be in your eyes by Peter Gabriel.
[00:11:49] Number two on this list,
[00:11:50] but number one on your hearts,
[00:11:52] the Exodus to fill Collins' gems.
[00:12:17] But before we get to that,
[00:12:20] Timbo, what do you been listening to lately?
[00:12:23] I've had a buddy bring over a stack of vinyl
[00:12:27] that is just, I haven't listened anything digital
[00:12:30] but other than researching for this moment.
[00:12:35] So okay, Parallelments,
[00:12:39] they're a funcadalic rather,
[00:12:40] one nation under a groove.
[00:12:43] This is great double print-slive thing
[00:12:47] that's just ridiculous.
[00:12:48] And weird things like really obscure XTC stuff.
[00:12:52] Oh look at this.
[00:12:53] I don't know if you know what this is
[00:12:55] but the bears, Adrian Bulu.
[00:13:00] Oh wow, that was best shit there.
[00:13:02] I actually don't know that but oh, as you know,
[00:13:04] it's so popular, you would love it Brian.
[00:13:06] You'd love it, it's super poppy and it's like,
[00:13:09] somebody Adrian's best work.
[00:13:11] And ironically,
[00:13:12] the other guy that sings in the band
[00:13:13] does sound to surprise me like Peter Gabriel.
[00:13:16] So there's two singers, Adrian,
[00:13:18] they're dual front men.
[00:13:20] It cool, cool stuff though.
[00:13:21] I haven't figured out exactly what era it is
[00:13:23] in his career but cool stuff,
[00:13:26] but everything, Brian, which is really exciting and fun.
[00:13:30] Nice, that's cool, nice.
[00:13:32] How about you Brian?
[00:13:34] Oh, what have I been listening to?
[00:13:38] I got into block party for the last couple days
[00:13:41] because they released an EP this year I guess.
[00:13:47] But I always loved that band.
[00:13:50] Since Silent Alarm, no five,
[00:13:51] that was like pretty bad ass record.
[00:13:53] Yeah.
[00:13:54] And they've been keeping up very well.
[00:13:57] Kind of follow my radar but still awesome.
[00:14:02] Nice, so, yeah, very nice.
[00:14:06] How about you Will?
[00:14:07] Hey, he's your vote, are you fatigued that up?
[00:14:09] I don't know.
[00:14:11] Excuse me, like I said, I have a cold.
[00:14:15] I was doing stuff for this right
[00:14:19] and so then I listened to enter Sandman
[00:14:22] which then made me wanna go back
[00:14:24] and listen to Kill him all
[00:14:26] which then just led me onto this late 70s
[00:14:30] early to mid 80s, thrash metal kick
[00:14:33] that I've been on for like three or four days.
[00:14:36] It's just been really great.
[00:14:37] So I've listened to like more slayer in the last weekend
[00:14:40] and like the previous three years of my life
[00:14:43] and it's been pretty awesome.
[00:14:44] It's kind of weird like how heavy
[00:14:49] that stuff used to sound when it was current
[00:14:51] and like how, it's kind of like
[00:14:55] if you listen to like the new way
[00:14:57] for British metal stuff
[00:14:59] and then listen to the 80s like American thrash stuff.
[00:15:02] Like it makes the British stuff sound corny
[00:15:05] and like all of the heavy stuff that has come
[00:15:07] since then makes this like 80s thrash metal
[00:15:10] kind of sound corny.
[00:15:11] Yeah, that makes sense.
[00:15:12] Yeah.
[00:15:13] But in a great way.
[00:15:14] Yeah.
[00:15:15] It's nostalgic.
[00:15:17] It is nostalgic and it's just like
[00:15:18] I find it hilarious to think about how just
[00:15:24] approving my parents were of all of that music
[00:15:27] at the time and like in that now it's like
[00:15:29] it just seems so benign.
[00:15:31] Yeah.
[00:15:31] But that was like the whole satanic panic thing
[00:15:36] in the 80s and there's pentagrams everywhere
[00:15:38] and everybody was freaking out.
[00:15:39] Satanic panic.
[00:15:41] Like that was a thing.
[00:15:43] Like people were like Dungeons and Dragons is like,
[00:15:46] it's, yeah.
[00:15:47] Oh yeah, people really afraid of that devil.
[00:15:51] I came up with work and my mom had
[00:15:53] pull on my records out.
[00:15:54] She's got them in the kitchen table.
[00:15:56] She's going through them
[00:15:57] because she had gone to some meeting at the church
[00:15:59] and she's like taking stuff and saying, nope.
[00:16:02] Nope.
[00:16:03] Not that and she's got this list of stuff.
[00:16:05] Most of stuff I had was an honor list.
[00:16:08] She was just looking at the names of things
[00:16:10] and looking at the album covers
[00:16:13] and just putting it aside
[00:16:14] and actually most of them like 12 inch cuts hip hop stuff
[00:16:16] but they were like some of those things run the list
[00:16:19] because they were just naughty.
[00:16:21] Yeah, yeah.
[00:16:22] Yeah.
[00:16:24] All right, let's take a quick break
[00:16:26] and we come back, we'll start digging into in your eyes.
[00:16:29] We're back.
[00:16:30] Welcome back, everybody.
[00:16:59] So this time around we are talking about in your eyes
[00:17:02] by Peter Gabriel.
[00:17:04] This was Jimbo's suggestion that we talk about it.
[00:17:07] If I remember correctly, Jimbo,
[00:17:09] Peter Gabriel, you're a fan.
[00:17:11] Yeah, yeah, very much.
[00:17:14] Celebrate his entire capital.
[00:17:15] It's a big, really, I'm thinking about it earlier
[00:17:17] this week and even my favorite artists,
[00:17:21] I'll be listening to a record of theirs
[00:17:23] and at some point, I'll be like, yeah,
[00:17:25] you know what I could take this one or leave it.
[00:17:27] Peter Gabriel doesn't have a single, as far as I know,
[00:17:29] that I've never heard a track that I,
[00:17:32] by Peter Gabriel, that couldn't find something wonderful
[00:17:35] about he's just outstanding.
[00:17:38] And some of it is, I mean, his songwriting
[00:17:41] has always been super strong, innovative musicianship,
[00:17:45] his voice is just like outstanding
[00:17:48] and so iconic, yeah, love him.
[00:17:52] He, so I want to talk about the 80s, right?
[00:17:56] A little bit because, as we have mentioned on this show,
[00:18:01] like I'm a few years older than Brian
[00:18:02] and then Jimbo's a few years older than me.
[00:18:04] So this song specifically,
[00:18:06] like I don't remember, it came out in 86, right?
[00:18:09] So what have been eight years old?
[00:18:11] I don't remember a time in my life
[00:18:14] when this song wasn't a thing.
[00:18:16] You know, like I don't remember when it came out,
[00:18:18] it just kind of has always existed to me.
[00:18:21] And I was 11 when say anything came out
[00:18:25] so I didn't really watch that until like later
[00:18:27] into the 90s, right?
[00:18:28] So I just want to know Jimbo,
[00:18:31] if you remember when this came out.
[00:18:34] Yeah, so like, do you remember the time
[00:18:36] when this was out and it was relevant
[00:18:38] before the movie part of it?
[00:18:40] Oh, absolutely, yeah.
[00:18:41] So it was a heavy airplane.
[00:18:45] I mean, so came out.
[00:18:46] The first single release was, of course,
[00:18:49] Sledgehammer, right?
[00:18:51] And then the second one.
[00:18:53] This was a second.
[00:18:54] And I think the third was a big time.
[00:18:56] And then other things came out a little bit
[00:18:58] in Mercy Street, but these were just,
[00:19:00] they made their way there, you know,
[00:19:02] through just being awesome songs and they weren't like,
[00:19:06] released as a single, like this is going to be
[00:19:08] the biggest thing on the radio, you know what I mean?
[00:19:11] And by the way, this,
[00:19:11] I think I only made it to what it had say, 26, 26.
[00:19:15] That's sad.
[00:19:16] That's not really that high for something to saw some.
[00:19:18] And something that's had the longevity that this song has had.
[00:19:21] You know, it's, it's had a lot of use.
[00:19:23] And he has, we'll talk about this more,
[00:19:26] but he has, he has gotten a lot of mileage out of the song.
[00:19:29] As far as different performances, you know,
[00:19:31] iconic and we'll talk about that.
[00:19:33] Yeah, I do think that the longevity of the song
[00:19:38] owes a lot to its use in the film myself.
[00:19:41] But while he's, I read an article right before this
[00:19:44] that he kind of said that.
[00:19:46] Like it was big enough when it came out,
[00:19:48] but it had kind of faded.
[00:19:50] And, you know, by 89, you know,
[00:19:53] it was kind of on the out of mind
[00:19:56] and then that came at the resurgence.
[00:19:58] Well, I think that it, a couple things.
[00:20:01] One, the soundtrack to that movie is banging.
[00:20:04] It's like, it's got live in color on it,
[00:20:06] it's got fishbone on it, it's got chili peppers on it.
[00:20:08] It just, and this is 89 chili peppers.
[00:20:11] This was before they blew up, you know?
[00:20:14] And so I think that it was included on the soundtrack
[00:20:19] to a film that is highly regarded as just a quality.
[00:20:23] So like a soundtrack where a lot of thoughts
[00:20:25] put into the music and then that's like,
[00:20:27] all the camera goes from like that.
[00:20:30] It's also, I think that's what took it from being just,
[00:20:35] I don't mean this dismissively,
[00:20:36] but it's very pretty valid and it's a great song
[00:20:39] but this made it culturally significant
[00:20:42] and not just a great valid from a notable artist
[00:20:46] if that makes sense.
[00:20:48] Yeah.
[00:20:49] Yeah, that's fine.
[00:20:51] But it is,
[00:20:55] and it's great like I spent more time with Peter Gabriel.
[00:20:58] I'm not a huge fan of his,
[00:20:59] I've not a fan, it's just, you know,
[00:21:01] not really my wheelhouse doesn't come up my day today,
[00:21:04] often.
[00:21:05] And my first two experiences with him
[00:21:08] were I, I knew sled chamber
[00:21:10] because everybody knew sled chamber.
[00:21:11] And it's such, and that's a quirky song, you know?
[00:21:14] And then I remember when us came out
[00:21:18] in like 91, 92, whenever that came out
[00:21:21] and like some steam was the single off of that record
[00:21:25] and that was really my first experience
[00:21:28] with Peter Gabriel as a consumer of current pop music.
[00:21:33] Like I was old enough to like be into the stuff
[00:21:35] that I was into and not just into the stuff
[00:21:37] that like my older cousin or my parents were into.
[00:21:39] And and that's also kind of a,
[00:21:41] I had like a weird video like I kind of,
[00:21:44] I feel like steam in sled chamber.
[00:21:46] Like he kind of pushed the envelope with music video too.
[00:21:49] Like his videos were weird and quirky
[00:21:51] and in notable.
[00:21:53] And so I guess I kind of thought of Peter Gabriel
[00:21:58] more as kind of like a musical prankster
[00:22:01] than like a for lack of a better term serious artist.
[00:22:06] Because of what I was interested in.
[00:22:07] You know, shit.
[00:22:08] But I think he plays into that.
[00:22:10] Oh, like it would be my take
[00:22:12] because he is a pretty prolific artist
[00:22:15] but he leaned into that kind of
[00:22:19] little bit cornballish but like really good.
[00:22:22] Like that's it was like the irony of it.
[00:22:23] It's like this is kind of quirky and weird
[00:22:25] but when you listen to it you're like,
[00:22:27] holy shit, this is fucking badass.
[00:22:30] I think he did especially in that period prior to that
[00:22:33] he was, if you look at some of the earlier stuff
[00:22:35] and then he was Genesis and,
[00:22:37] and, and, and his solo stuff early solo stuff.
[00:22:42] He was sort of a freak show like,
[00:22:45] like Ziggy Stardust a little bit.
[00:22:47] There's a lot of makeup and ridiculous costumes
[00:22:49] and and he turned it around
[00:22:51] and and made it more accessible I think
[00:22:55] to the to the common man,
[00:22:56] less you know, maybe psychedelic
[00:23:00] or whatever you want to call it
[00:23:01] and just kind of,
[00:23:05] use that corkiness to kind of,
[00:23:08] you know, catapult these amazing songs
[00:23:10] into like, you know, a merit culture worldwide culture.
[00:23:15] Can you think of, let's just came to my head
[00:23:18] so this is bad podcasting
[00:23:19] because I don't have any answer to this
[00:23:20] but can you think of somebody else
[00:23:22] who started off kind of like,
[00:23:27] very prog Rocky, you know,
[00:23:28] like music for musicians
[00:23:33] but they have this pop sensibility
[00:23:35] and they, they, I want to say dumbed it down
[00:23:38] but have found a way to make very interesting
[00:23:44] yet approachable music.
[00:23:47] I would say the band that comes to mind for me
[00:23:51] if you don't know if you agree with that,
[00:23:52] but like in that mid to late 80s they went.
[00:23:56] They, they definitely,
[00:23:58] gathered a lot of that 80s pop approach,
[00:24:04] owner of a lonely heart is, yeah,
[00:24:06] I'm just a mind actually.
[00:24:07] Oh that's a good, that's a good example of this.
[00:24:08] It's a great song, it's really, really well done,
[00:24:11] it's cool as shit.
[00:24:14] But that was like, you listen to early yes
[00:24:16] and that song doesn't even seem like it fits their catalog at all.
[00:24:19] Not at all.
[00:24:20] Another great example would be,
[00:24:23] I mean, I hate to do this but,
[00:24:25] Genesis and Jack Ho, when they when Avocap came out,
[00:24:28] Avocap was a different story and then,
[00:24:33] that was, it was, even though there were certain tracks
[00:24:36] that were kind of me and Sarah James, you wait
[00:24:39] for example because it's not a standard.
[00:24:41] I mean the word Avocap is talking about song structure
[00:24:45] and they put out a song in there like me and Sarah James
[00:24:47] just like this complicated thing but it still,
[00:24:50] it was very listener friendly,
[00:24:53] it wasn't like, listen, it wasn't a struggle
[00:24:56] for normal people to listen to.
[00:24:58] And normal people is not the right way, you know what I mean?
[00:25:02] Well, it's not like us.
[00:25:06] People who don't like to pour over like every sound
[00:25:10] and every gesture of the music.
[00:25:12] People who are people who are like,
[00:25:13] just want to listen to some music that I find enjoyable
[00:25:15] and I have to talk to you as well.
[00:25:17] I'm not sure if you can talk about it.
[00:25:20] Can I just admit it?
[00:25:22] Oh, um, yeah.
[00:25:25] And not not for here is talking about this
[00:25:26] because they wouldn't listen to a podcast like this.
[00:25:28] Yeah exactly so we're in the clear.
[00:25:30] You can listen to these guys, you're insulting you, you go up.
[00:25:34] Oh, um, okay, is there anything else about
[00:25:40] the musical climate at the time, Jimbo,
[00:25:44] that you want to talk about before we like dig into the song
[00:25:47] itself, like, uh, and I don't want to say I'm picking on you.
[00:25:51] I'm calling upon you because I know Brian was too young
[00:25:53] and I don't, this is again just another one of those songs
[00:25:58] that I just equate with being at the pool here in the radio,
[00:26:01] being in the music because I was too young to have
[00:26:04] many experiences to tie it to but it just kind of was always there.
[00:26:07] Yeah.
[00:26:08] And now I've seen to fit in with the time really like it wasn't super like
[00:26:14] to me from like now looking at it.
[00:26:17] So I don't know what it so I'm actually curious Jimbo,
[00:26:19] what it was like then because I think that there was a world music side
[00:26:23] to it obviously with the, um, you certainly adore on it.
[00:26:26] So like that, um, you know, there was a world music side that that a lot of the
[00:26:30] world had never heard.
[00:26:33] A lot of Americans had never heard and probably a good
[00:26:36] portion of the UK as well had not heard this,
[00:26:41] those things, the kind of things that he was introducing here.
[00:26:44] The only other example would have been
[00:26:46] excellent.
[00:26:47] Gracely and I don't know.
[00:26:48] I can't remember if this before after.
[00:26:50] I want to say that was 88 but I get it.
[00:26:52] But the point I'm trying to make is that, um,
[00:26:55] well, when was this release?
[00:26:56] This was released in 1986.
[00:26:58] 86.
[00:26:59] I think Gracely and came after.
[00:27:01] So the point is that like, though there's the world music aspect that people
[00:27:06] want really that maybe turn because they didn't know what was this
[00:27:09] other thing they were hearing.
[00:27:11] It wasn't really rock and roll.
[00:27:12] It wasn't, it wasn't a rock ball.
[00:27:15] And there are there are feelings of grooves that were in there that they went exactly
[00:27:19] understanding.
[00:27:20] Um, and I think that also a lot of things that they did on that, on so
[00:27:25] production wise but also the instrumentation I have to
[00:27:27] have to talk about 2011 because he is not,
[00:27:30] he's the foundation of what Peter Gabriel does.
[00:27:33] Um, you know, uh,
[00:27:35] very important part of Peter Gabriel's music.
[00:27:38] It could say, I don't think it would have done nearly as well as it did if
[00:27:42] it had been anybody else in that role.
[00:27:44] I think what, what did let's pretend because I totally know, well,
[00:27:47] let's pretend the listeners don't know who that is and what they did.
[00:27:50] 2011's a base player and um,
[00:27:52] if you look at the audio track or the studio version of this,
[00:27:56] there are actually two base players.
[00:27:57] There are.
[00:27:58] And if they're just kind of playing in unison but an octave apart,
[00:28:02] uh, and it creates this kind of giant.
[00:28:04] And it's also very, it sounds like on the studio version,
[00:28:07] it sounds like one of them's playing a threaded base and one's playing a
[00:28:10] uh, fretless fretless.
[00:28:12] Yeah, definitely that's I think.
[00:28:13] When you watch the live version,
[00:28:15] it's just only 11 and he's playing on a threaded base but man is he
[00:28:18] making a solid fretless.
[00:28:20] I don't know how he's doing it.
[00:28:21] He's just the man has got the biggest bottom ever.
[00:28:24] It's just like he's enormous,
[00:28:26] huge wall of bass that no one has ever been able to like,
[00:28:30] quite come close to and I mean,
[00:28:32] it wasn't just with him, you know, it was with
[00:28:34] the King Crimson and all the other things that he's done over the years too.
[00:28:36] It tons of stuff.
[00:28:37] He's kind of a base wizard.
[00:28:39] Yeah, he's like a sorcerer.
[00:28:41] Him is the only champion.
[00:28:42] 11.
[00:28:43] Tell me 11, LVIN.
[00:28:46] And then the the Chapman stick I always find that first guy.
[00:28:49] Please check that stick on a lot of stuff.
[00:28:51] When you listen to the, um,
[00:28:52] like don't give up also office so also a giant song.
[00:28:55] Um, there's that bass line and pretty sure he's playing that's,
[00:28:59] that's Chapman stick he's playing that on.
[00:29:01] Yeah.
[00:29:01] I've actually never.
[00:29:03] They've heard other people play it on bass.
[00:29:06] So maybe it's, maybe it's just space.
[00:29:08] But pretty cool, pretty cool guy.
[00:29:12] Cool guy.
[00:29:13] Is all right.
[00:29:13] And I'm back.
[00:29:14] But I mean, I think that's what that was,
[00:29:15] what they did was an influence on everything that came after it.
[00:29:20] Yeah, they were like,
[00:29:21] they were pioneers.
[00:29:23] I feel like Peter Gabriel is is known for for that for being the
[00:29:30] avant-garde of, of where kind of music is going.
[00:29:33] Yeah.
[00:29:34] If that makes sense, he always seems a year to ahead of the curve.
[00:29:38] Yeah.
[00:29:39] Which, which may kind of lead to him being stuff to say like an outsider because
[00:29:43] his popular is held.
[00:29:44] But like, um, people who are ahead typically,
[00:29:48] it's somebody else is more known for something because
[00:29:53] it has marinated for a couple years and somebody's already blazed the trail.
[00:29:57] Yeah.
[00:29:58] Yeah.
[00:29:58] Um, like for every Peter Gabriel, there's a full count.
[00:30:02] Oh, yeah.
[00:30:05] You know, you, you were,
[00:30:07] I was wondering where that would make the entrance.
[00:30:09] I don't know.
[00:30:09] Yeah, this way.
[00:30:10] Okay.
[00:30:11] I didn't, I didn't vow not to go down this road.
[00:30:13] I found to not only go down this road.
[00:30:15] All right.
[00:30:16] We're going to take a quick break.
[00:30:17] And we come back while actually get into the track because it's,
[00:30:21] it's a great track and I can't wait to dig into it a little bit.
[00:30:23] All right, we'll be right back.
[00:30:24] And we're back.
[00:30:54] All right, so Jim Boat Bryan, let's dig into,
[00:30:58] in your eyes.
[00:31:01] That was, that was vocally awkward.
[00:31:03] Um, I probably listened to this song more times in the last two days
[00:31:07] than then I have heard it in my life combined total.
[00:31:11] So this was, it's, it's kind of weird.
[00:31:12] Like, this song is to me like, like a, like a zaple and a scanner.
[00:31:17] It's like something I've never had to seek out, you know.
[00:31:20] It's just kind of ubiquitously there.
[00:31:22] But so having put it on my headphones and really spent time listening
[00:31:25] into it the first thing that I thought of is if you remember when we did
[00:31:31] that living color record and like the drums on it, like this song is just huge.
[00:31:36] And to me and correctly, if I'm wrong but to me, it's like with so much stuff going on
[00:31:43] in this song.
[00:31:43] Like there's sound coming from everywhere.
[00:31:46] And at the same time to me, it feels like there's a lot of space in this song.
[00:31:49] Couldn't agree more.
[00:31:51] That's that's part of Peter Gabriel's thing.
[00:31:53] It's never, he can fit everything has its place and he's always been kind of the master
[00:31:59] of that and I'll talk about Tony Leaven again because Tony if you listen to
[00:32:03] special little live version of this, there are moments where he's just doing
[00:32:08] the simplest thing but in an enormous way and then has such an effect on the overall
[00:32:15] feel of the song because it's enormous because of his tone and his actual delivery of the
[00:32:21] note and it's never just boom hit the note.
[00:32:23] It's just a weave moving.
[00:32:26] Yeah, so you know it's like it's never just landing.
[00:32:30] It lands on the note but it doesn't necessarily start out in the note.
[00:32:33] He's going sliding in and stuff.
[00:32:34] He's like, it's there.
[00:32:36] Yeah, he gets there and he does it in such a cool way.
[00:32:39] It just like, oh my god, this guy's good and he's like 7 feet tall and like you know
[00:32:44] the commanding presence but he's not like a lanky or awkward.
[00:32:48] He's doing the dance moves with everybody else.
[00:32:50] You know?
[00:32:51] It's like, and he's freaking singing back up through a headset.
[00:32:54] He's amazing.
[00:32:55] He's amazing.
[00:32:57] The headset likes.
[00:32:58] But I will say like the space has always been a Peter Gabriel use of the distribution of sounds
[00:33:07] in order to create a comfortable space to be and where you can hear everything and nobody
[00:33:16] nothing is competing with anything else.
[00:33:18] Now, there are moments when we might call it Wallace.
[00:33:20] But most of the time it's not.
[00:33:21] Most of the time it's like a bath with other stuff.
[00:33:24] Yeah, and it definitely does feel more like a warm bath of sound than on a bath sound.
[00:33:29] Yeah, well I'm going to say that the perfect pairing for this was Daniel Lenmont.
[00:33:37] Yeah, he has a real knack for doing that and capturing that very very well.
[00:33:43] And so Daniel Lenmont is the producer?
[00:33:45] Correct.
[00:33:46] Okay.
[00:33:46] Yeah.
[00:33:47] And along with Bill Lazzwell apparently I didn't know this.
[00:33:50] So there's basically all over this record.
[00:33:52] Bill Lazzwell is a base player.
[00:33:54] Yep.
[00:33:54] And then you know with the two base players already.
[00:33:58] So a lot of base players gone.
[00:34:00] Yeah.
[00:34:01] Hang it around.
[00:34:01] Well, the low end of the song.
[00:34:03] I mean like the floor time.
[00:34:06] I'm what I assume are like the floor time.
[00:34:08] Like the floor times are just constantly just being.
[00:34:11] Yeah, yeah, abused in this.
[00:34:13] Yeah, you're best possible way.
[00:34:15] Like the low end of this song is just it's very comfortable.
[00:34:20] You can feel it.
[00:34:21] The drummer's monocochia.
[00:34:23] I think is how you pronounce it.
[00:34:25] He's been with Peter Gabriel for maybe just started with so.
[00:34:30] I can't remember for years before that.
[00:34:32] But I think he's been with him ever since and been his guy for all these years.
[00:34:36] He thinks he's also playing with sting for a bit.
[00:34:39] You know, there are other like big iconic pop.
[00:34:42] Yeah, his credits are actually pretty impressive.
[00:34:45] Cheers for few simple minds.
[00:34:46] You're really an extra straight, Joni Mitchell.
[00:34:49] Joe Satryani Tori Amos.
[00:34:52] Tracy Chapman.
[00:34:53] Yeah.
[00:34:53] Lots of stuff.
[00:34:54] Yeah, but he's got like, I mean he's like the guy is got,
[00:34:58] I mean that's where the world be his thing is really, really working.
[00:35:02] Because the things a lot of what he's doing.
[00:35:05] It's really it's you know, and Tony Leaven leaving this space, you know.
[00:35:09] And it gives him room to just, it's not, it's not a straight, it's never a,
[00:35:13] I mean they could, there are times when it's a straight beat like big time.
[00:35:16] But in this song, it just got a nice bounce to it.
[00:35:20] That's how it's a nice bounce to it.
[00:35:22] So between that and then what struck me,
[00:35:26] what I think keeps the song moving is during the verses,
[00:35:31] there's like, I assume it's a triangle that's going on the end just the whole time.
[00:35:36] Yeah.
[00:35:36] And then, and then during the course is when it's not the triangle,
[00:35:42] there's that like our pagyata guitar and everybody's,
[00:35:46] but it always plays the same note on the end and it just,
[00:35:50] it's almost like that's what keeps the song moving.
[00:35:52] And because it's in between beats,
[00:35:55] you're kind of always stumbling over it to the next one.
[00:35:59] Yeah.
[00:36:00] To me, I just found it like given that it's a slower song,
[00:36:04] like that really is just what pushes you to the song because everything else just seems to be happening
[00:36:10] almost at random, right?
[00:36:12] But not, but it's not, I mean there's definitely a structure too,
[00:36:15] that's not what I'm just saying.
[00:36:15] But I kind of, to me like that one thing just keeps the whole song moving along.
[00:36:20] And it's the only thing pushing this on for it.
[00:36:22] Well there's one other thing that adds to that feel and it's the way that keyboard part goes.
[00:36:27] So it's like,
[00:36:31] it's like anticipated, it'd come before the one.
[00:36:34] And it's,
[00:36:36] and it's, I mean if you were to break it down to Takadini,
[00:36:39] I don't want to get too technical,
[00:36:40] but it's always, I always have to remind myself when I listen,
[00:36:45] every time I listen to it, I'm like, oh that's right.
[00:36:47] There's that feeling, you take for granted that's on that little anticipation
[00:36:51] that makes such a huge big deal in its super consistent.
[00:36:55] So it's part of this machine that's moving forward,
[00:36:58] that is the groove, kind of grinding along but in a very pretty way.
[00:37:03] Yeah, that's what's always really to me, I think, yeah,
[00:37:09] the most captivating is that there's such an attention grab.
[00:37:14] And I look forward to it every single time that it repeats.
[00:37:18] And it's just one of those very pleasant things that happens.
[00:37:23] That you don't know, just makes me feel good.
[00:37:26] And that thing on the, on the ends that you're talking about is actually in the live video,
[00:37:31] as you can see, the secret world version of this,
[00:37:35] if you could see it's a keyboard player and he's using his,
[00:37:38] he's just getting one note on the, oh yeah, yeah, I did notice that.
[00:37:41] It was less than one.
[00:37:43] Well, I'm not going to say it's on the board.
[00:37:44] He's playing chords with the other hand but he's got,
[00:37:47] on the, he's got his keyboard split.
[00:37:49] So he's got that one high note down here that he can hit
[00:37:52] where because he's not playing any bass, you know?
[00:37:55] So he's playing chords.
[00:37:56] Mmm, but I think, I feel like that would be, that's actually,
[00:38:05] I would have to probably try to see, but it seems like it would be kind of difficult to do
[00:38:10] that chord progression well maintaining that very specific time.
[00:38:14] Yeah, it's big time.
[00:38:15] Like rubbing your tummy and patting your tummy and patting your tummy and patting your tummy.
[00:38:20] Trey Anastasia from Fish has a, there's a song that they sing called Heavy Things.
[00:38:24] And it's got the same thing.
[00:38:26] It's got this one little beep, it's a guitar pick and it just goes on the end, the whole song.
[00:38:31] And he actually has it to where he has recorded it and like,
[00:38:37] midi eyes that or whatever he did, he just does it with it.
[00:38:39] He taps a pedal with his foot the whole song to make that sound.
[00:38:42] Oh really?
[00:38:42] Nice, that's great.
[00:38:43] Um, okay.
[00:38:45] Uh, what key is this song in Jimmo?
[00:38:48] Is it, or is it in a, so I put in my notes, it feels like longing, but at the same time not sad,
[00:38:55] which made me wonder, is it in a strictly minor key?
[00:38:58] Is it, it doesn't feel like it's in a major key?
[00:39:01] And I don't know what the F I'm talking about, but I wanted to bring it up.
[00:39:05] It starts with a major chord with the relative major minor.
[00:39:08] I'm pretty sure it's, uh, B flat minor, G A, pretty sure it's in B flat minor or no B minor.
[00:39:18] Excuse me, B minor, G A.
[00:39:22] Anyways, I would, I would say I'd say it's probably in, uh,
[00:39:27] uh, it would say it's in B minor.
[00:39:30] But I'm not sure.
[00:39:31] I think that would be correct.
[00:39:33] Yeah.
[00:39:34] Okay.
[00:39:35] Yeah, and I don't know if I'm, I just feel like it felt, it fit the scene in, say anything,
[00:39:44] perfectly because it's like, in the scene of the movie, like he's like pining for the girl,
[00:39:51] but at the same time he's unsure if that feeling is reciprocated.
[00:39:57] And I feel like the song captures that kind of like, this weird guarded uncertainty.
[00:40:02] I don't know, it's just, and I can't tell if it's because I can't not associate it with
[00:40:07] the movie or if that's just the way the song feels.
[00:40:09] Yeah.
[00:40:10] Um, I think that's the way that it does feel like it has that, well, with the minor chord in,
[00:40:15] then it kind of like builds into that more like, uh, uplifting like when you get to the major part.
[00:40:22] Well, and then the high vocals too really make it so hard.
[00:40:26] Yeah.
[00:40:27] So you get like this uplifting, yeah, and then it kind of resolves in back into that minor.
[00:40:35] I don't know, it's, it's like, it's, it's very classic use of it, but it's, it's very compelling when
[00:40:41] that happens.
[00:40:41] Yeah.
[00:40:45] Jim will now play in the guitar.
[00:40:46] Jim, I'll put the guitar down.
[00:40:47] So you got two, you got two and I'm there buddy.
[00:40:50] I know it would be the theme team, which is a relative major of B minor.
[00:40:55] B minor, yeah.
[00:40:56] But oh, I really needed to know.
[00:40:58] Um, but then when it goes into the other part, it goes outside the key.
[00:41:05] Doesn't okay.
[00:41:06] When it goes the chorus.
[00:41:08] Yeah, because then you're in a major progression.
[00:41:10] It's I think a da G.
[00:41:12] Yeah, yeah.
[00:41:12] That sounds right.
[00:41:15] Um, how many instruments are played on this song?
[00:41:20] Oh, it depends on, depends on what version you're talking about.
[00:41:24] Well, let's, let's just talk about the, well,
[00:41:28] let's just talk about the live version.
[00:41:29] Are we over a dozen different instruments played being played on this song?
[00:41:33] No, no.
[00:41:34] Well, the unless you include all the vocals on there's violin,
[00:41:38] guitar, bass, keyboards and drums, and then a ton of vocals.
[00:41:43] I'm the live version on the secret role version.
[00:41:47] And speaking of vocals, you wanted to talk about how many
[00:41:51] other singers Peter Gabriel likes to bring into the mix.
[00:41:54] Yeah.
[00:41:55] So that's become a trend that I don't know.
[00:41:58] The more you listen to Peter Gabriel, the more you find out.
[00:42:00] It's a lot of female singers but not always.
[00:42:02] On this one, the studio version,
[00:42:07] involved, uh, you're starting to do her.
[00:42:14] I'm probably not saying that right.
[00:42:16] I don't, I don't, I don't, I didn't even want to look attempted to.
[00:42:19] I know.
[00:42:20] I can feel these artists, you sewer and doer.
[00:42:23] Which I'm sure we all just mispronounced.
[00:42:25] So, um,
[00:42:28] Jerry Marotta on additional drums, I'm guessing that's hand drums.
[00:42:31] And you get the Larry Klein and bass, Tony Levin and bass,
[00:42:35] Daniel and why actually plays a 12 string guitar on this.
[00:42:38] David Rhodes plays guitars backing vocals,
[00:42:41] Gabriel, I'll leave him back a little bit to see my piano synthesizer.
[00:42:46] There's a pianist as well Richard T.
[00:42:48] And then there's you son of door,
[00:42:52] Michael Bean does backing vocals, Jim Curtis backing vocals,
[00:42:55] Ronnie Bright, bass vocals in your own.
[00:42:59] Oh yeah, the, yeah.
[00:43:00] So okay, I'm glad you brought that part up because in my head,
[00:43:03] I thought there was like a whole bridge of the song where they just looped that for a little bit.
[00:43:06] And there's not, yeah, I don't know if I just made that up.
[00:43:09] Yeah, I don't know if that just plays in my head.
[00:43:11] Uh, well it seems to be more heavily utilized in the live version.
[00:43:16] Uh, I was like a whole section where he's doing that.
[00:43:19] It's not just that like the fade out at the end.
[00:43:21] Yeah, it's so great.
[00:43:23] Yeah.
[00:43:25] I've seen versions where Tony Levin does that in your arms and then there's like,
[00:43:32] in the secret world version, he's got a guy that does just that.
[00:43:35] Well, you can see him thing in a couple other sparser.
[00:43:38] You know, he's amazing.
[00:43:40] He comes up from under the stage on like an elevator.
[00:43:44] It just does that work.
[00:43:46] He's like, oh, it's like a little thing.
[00:43:51] Rue Paul.
[00:43:52] Oh.
[00:43:54] It's all Scott does.
[00:43:55] He actually doesn't even, he's not even a musician.
[00:43:57] He just, yeah, yeah.
[00:44:00] One other thing that Jim Boyne, you wanted to touch on was just the sheer length of the live version.
[00:44:05] So those studio versions what five minutes?
[00:44:07] Yeah, yeah, live versions like a live end.
[00:44:09] Yeah, 11 change.
[00:44:11] And he just goes on and on and on and for me, and when I first heard that,
[00:44:15] I was just so deeply moved by it.
[00:44:17] I'm like, holy crap, I can't believe they took this already great song and just
[00:44:21] escalated it to like the tier that just couldn't imagine, you know, how can you make something
[00:44:27] that was already perfect even better?
[00:44:29] You see, when people try and do something like that, they fuck it up miserably.
[00:44:32] In this case, they did not.
[00:44:34] They did not.
[00:44:35] I do think that the structure of this song,
[00:44:39] there's an ambience to it that lends itself to that.
[00:44:45] It's like a warm bath, you could listen to it for an hour.
[00:44:49] You know, I don't know that you could stretch sledge hammer into 12 minutes.
[00:44:55] No, no, they could.
[00:44:56] Does anyone really want to hear it?
[00:44:58] Yeah, remember to be exhausted.
[00:45:01] Got it, done, done, yeah, we got it.
[00:45:03] Yeah, I will say that I just wanted to point out that on the secret world version,
[00:45:09] live version, the one that was released as an album.
[00:45:12] But also the video is iconic and you can easily find that in YouTube.
[00:45:17] Brilliant performance by Paul Cole.
[00:45:21] Really?
[00:45:22] Yes, she's singing on it.
[00:45:23] And it's like just outstanding.
[00:45:25] The power this woman had or has to really good.
[00:45:29] Honestly, like the just the album version doesn't really do it.
[00:45:34] Like I think you have to watch the video with it.
[00:45:36] Yeah, it makes so much more sense to see what's happening with it.
[00:45:39] I mean, they've got some cheesy dance moves and stuff.
[00:45:41] Oh yeah, it's totally like 90s corn bar.
[00:45:44] But it's now I look at it.
[00:45:45] It's corn bar, but it's still fucking making me cry right now.
[00:45:48] Oh, dude, it's like it's so tickly.
[00:45:51] It's the best extent of that cheesy kind of late 80s, early 90s shit.
[00:45:57] But like I just love it.
[00:45:59] I can't get enough.
[00:45:59] I've been watching it on repeat just because I find it so enjoyable and kind of goofy,
[00:46:04] but it's really nice.
[00:46:05] It's so good.
[00:46:06] There are a round stage.
[00:46:08] Yeah, certainly.
[00:46:09] Yeah, they're like circular stage in the middle of a stadium.
[00:46:13] And or something, I don't know, it's got to be a stadium.
[00:46:16] And I mean, the crowd is just like huge.
[00:46:20] Like sold out crowd.
[00:46:21] And the way they're set up, they're free to kind of move around.
[00:46:25] But they do it in this very synchronized, choreographed way around the stage.
[00:46:29] It's not really, most of us not really dancing is kind of just moving together around the stage.
[00:46:34] And then they'll go into these certain moves at certain times.
[00:46:37] I like the one, yeah, he starts to like, he just walks across the stage and they like
[00:46:41] starts doing this like jump hop thing with the two other singer guys.
[00:46:44] Yeah, go ahead.
[00:46:45] It'll go inside like go.
[00:46:46] Side-lap nexus one of the other musicians.
[00:46:48] They're all facing in different directions.
[00:46:49] And they'll just start with these hop moves together.
[00:46:52] And then they'll go over and do some other moves with somebody else in the other side of the stage.
[00:46:56] And then there's their ability to like keep singing so well while doing all of this is actually
[00:47:00] it's quite as impressive.
[00:47:02] I was like, holy shit, and that's why I think watching it is way more
[00:47:06] impressive than just listening to it because when you actually see what they're doing,
[00:47:10] you're like, oh man, like this is more than just, you know, they got a whole thing going here.
[00:47:15] Like it's like one of the most impressive live performances you'll ever see.
[00:47:19] And it's, it's, I mean, they're always facing out but they're, they're communicating.
[00:47:24] They're looking at each other.
[00:47:25] They're, they're, they're definitely playing as a unit.
[00:47:28] And even though they're making sure to not have their backs to the audience,
[00:47:32] they're definitely making eye contact looking at each other million exactly what's going on
[00:47:37] and all 100% in it to win it.
[00:47:40] And it's just like super, super powerful and very moving.
[00:47:46] That's awesome.
[00:47:47] Um, you guys got anything else you want to say about the song?
[00:47:51] I love it, that's all.
[00:47:55] Some stuff, two enthusiastic thumbs up.
[00:48:00] All right.
[00:48:01] Well, that's it.
[00:48:02] That's the show.
[00:48:04] We hope we've inspired you to spend a little more time actively listening to music.
[00:48:08] In this case especially to this song.
[00:48:11] If you're feeling frisky, you could stay tuned after this for the lounge where we get a little
[00:48:15] loose. We talk about this day in music history.
[00:48:17] We'll talk about a Billboard top 10 from back in the day where I shouldn't have talked about
[00:48:20] too today.
[00:48:21] Thank you so much for listening.
[00:48:22] If you like the show, please tell your friends, subscribe,
[00:48:25] write in a review us, go on social media, do all the podcast stuff.
[00:48:28] If you have like two minutes and you wanted to go on to Apple podcast and give us a five star
[00:48:33] rating that would help us out an awful lot, you can subscribe to this show wherever you
[00:48:37] subscribe to shows, including Spotify.
[00:48:40] If you go to Spotify and search for music mostly pod, you can find the show but you can also
[00:48:44] find our user profile, which is where you can find the playlist for the music for the shows.
[00:48:49] You can follow both of those. It's a little convoluted and for that we apologize but we have no control over it.
[00:48:56] You can check out our website at musicmostopod.com.
[00:48:58] Find a follow us on stuff at musicmostopod. Hit us up at musicmostopod.gmail.com if you want to get in touch.
[00:49:05] Jimbo can we get one more in your eyes? Deep one in your eyes.
[00:49:10] For Jimbo Brian, this is Will signing off. We'll see you in a while and just a minute.
[00:49:35] Welcome to the Lows, ladies and gentlemen. This is the part of show what we like to kick back.
[00:49:40] Reflect on a job well done. Talk about this day of music history.
[00:49:44] Maybe look at a billboard time 10 per man and maybe we typically do.
[00:49:49] Today is October 21st and I'm not gonna lie to you. This is the like boring
[00:49:53] day of music history. We've had, yeah, like it was slim pickings.
[00:49:59] 1957 jailhouse rock by Elvis Presley goes to number one. A couple of weeks later he played a
[00:50:04] convict turned singing sensation in the movie of the same name.
[00:50:09] And is that ever happened?
[00:50:12] What do you, what is this? Only if you're Elvis. In 1958, Buddy Holly's last recording session took place at the
[00:50:21] Pithian Temple Studios in New York City which like if you'd asked me to guess where Buddy Holly's
[00:50:28] last recording session took place I wouldn't have guessed New York City. How would a gas like Nashville?
[00:50:32] Nashville yeah. So Memphis Memphis. I always forget how early that would like.
[00:50:38] Yeah that was like barely the sixties man. Like yeah. Yeah, it's a weird. I always
[00:50:43] I don't know. I always found that to fell like later for me. I don't know. Anyway.
[00:50:48] Well, if I had to be a little longer what he would have done. I always say this about
[00:50:52] musicians who died young and had such promise you know.
[00:50:57] I'm so glad you're more than you expected to just you know die a lonely old poet.
[00:51:03] But like somebody like Buddy Holly I don't know. I think he was he could have done.
[00:51:08] He well he wouldn't have had Gary Buys. He planned him in a biopic that's for fucking true.
[00:51:13] Yeah. Wait was it? No who played Jerry Lewis? Oh, that was um I don't remember. Was that
[00:51:21] that is quade? That is quade. That is quade and then it's quade. And then Lou Diamond Phillips played
[00:51:26] Richard Bomba. Well that's yeah. Richard Bomba.
[00:51:30] Uh
[00:51:32] 1972 many years after making pioneering rock and roll records Chuck Berry had his first and only U.S. number one hit
[00:51:40] and unlikely novelty to called my dingoling. I just feel like
[00:51:46] Chuck Berry just got the wrong end of the stick. I think
[00:51:53] he kind of set him up. He's like I'm so fun for that one.
[00:51:56] I meant to actually let it earlier when the beginning of the show you're talking about
[00:52:02] the back to the future Marvin Berry thing. Yeah and I was wondering if you remember the family
[00:52:07] guy moment when that got spoofed. Oh yeah it was um it was Brian playing Brian the dog playing
[00:52:15] a keytar and he played never gonna give you up. But then there was a brother who was like
[00:52:21] he had a cute cousin Kevin Asley remember mediocre sounds you were looking for.
[00:52:30] So uh the funniest thing happened there today so I was gifted this zoom h4 and pro
[00:52:38] digital portable recording device right? Oh that's good. And yeah it's cool and so um
[00:52:45] I was playing with it the other day and then every was like I want to record something
[00:52:49] and so I was like okay uh so she took it and went away and then came back
[00:52:55] and was like okay I recorded something I want to listen to it and so I like go to all the trouble
[00:53:00] right like I opened the thing up. I pulled a SD card out, I stick the SD card in my computer. I
[00:53:05] opened garage band. I grabbed the wave track off of this zoom thing and put it in there and
[00:53:10] she rick rolled me. It was her recording never gonna give you up off of her iPad.
[00:53:16] Wow. And I was like I'm not even mad I'm just impressed this is the best Rick roll ever
[00:53:20] heard in my life. Oh it's so good. All right also in 1972 Curtis may feel started a
[00:53:31] four week run at number one on the US album chart with the soundtrack the superfly. It was a great sound
[00:53:35] track. I love Curtis may feel I know and if you haven't gone and listened to that just do
[00:53:41] yourself a favor and do it. There's horns man yeah like French horns that are just like
[00:53:47] this soap prominent and they're just like such a I could you know really important part of the texture
[00:53:52] that entire thing yeah. That's so good. Everything he did is just so catchy. I know.
[00:53:58] I had that like I feel like nobody sings high like he does. Yeah. I mean I don't like to move
[00:54:04] on up when he gets like way up in the like just like he's just a
[00:54:09] ah. Yeah. Yeah push your man the whole thing seems to have a song and fall set up. Yeah
[00:54:15] push him as a great sound. Oh so great. In 1977 meet low for least the landmark album bad out of
[00:54:23] oh I'm not just you know any chance to make me love. Jimbo that was a pretty fantastic
[00:54:29] I really just have. Yeah. This is sweaty over the top. I don't know. I just I remember seeing
[00:54:38] that like it made a big deal about that kind of that tourgative like just most recently maybe
[00:54:42] less than 10 years ago and it was like broadcast somewhere and I I watched it and I was like
[00:54:48] he was just he wasn't good. It was like some like right wing asshole man like you're probably
[00:54:56] sweaty fat right wing asshole. He was he was good in fight them. I had to say
[00:55:00] Robert Paulson. Very Paulson yeah. On this day in 1992 Madonna's book Sex was released. You
[00:55:09] remember when that came out like what a big deal that was? You would so controversial. So controversial
[00:55:14] and like now again now it's just like one of those things that just seems so benign like it's like
[00:55:18] I can't believe everybody was so worked up about it at the time. Yeah it's like the catalog for
[00:55:22] whatever that store is that it's not models or nude you know talk about it. You'll be your big deal.
[00:55:28] Not such a big deal anymore Madonna. I'll go although 14 year old me at the time was like
[00:55:34] I gotta get my hands on that book. I never did and never thought. I don't know shit. And this is
[00:55:42] interesting in 2011 the FBI listed juggalos fans of the insane compound policy as they quote
[00:55:48] loosely organized hybrid gang into the national gang threat assessment. Wow that's funny and also accurate.
[00:55:59] I've never been around a group of juggalos. I don't know. There are there. I assume that they're
[00:56:04] fine people. I'm sure they're very nice people. I don't think there's as many of them as people think.
[00:56:13] Probably not. They're they're close in a group. There's actually I don't know if you guys
[00:56:17] are familiar with the show of work of hallics. Just find a clip of there's an episode about juggalos
[00:56:24] but it kind of talks about the extreme like you know there's like a guy who's like doing math
[00:56:30] but then there's like a guy there with his family and he's like oh hey hon can you grab a
[00:56:36] grab a whatever flavored phago the soda that they drink. He's got like a picnic set up in it like
[00:56:43] a like a hashback. But his face is painted like a juggalos. It's pretty. Like what's it like a juggal
[00:56:50] a little bit in bridesmaids aren't isn't like what's your name uh the roommate who is um
[00:57:00] no one will move and I'm because I can't kind of can't I mean there's there is a western they made a
[00:57:04] western have you ever seen it? No there's a we've it's a western the actual guys in the
[00:57:10] city of clonthine. It's a western. It's a two dope or whatever the fuck. She had me two dope and
[00:57:16] violent. Yeah, that was so bad I mean I couldn't even get through it I was like the story
[00:57:22] so convoluted I just gave up after like 20 minutes so like this makes no sense at all but like
[00:57:27] acting was so painful. That's the joke though right there like they're actually like smart dudes
[00:57:32] like they're not just like they're like in on the joke okay so it's part of the deal like
[00:57:37] we're gonna make a fucking shitty movie but I can't remember who had them on maybe it was
[00:57:41] on the Australian guy Jim Jeffries I think he had them on his show uh his talk show and it was
[00:57:47] they were surprisingly intelligent dudes yeah and no they are have seen stuff where like
[00:57:52] I get I want to say didn't one of them like try to run for some sort of like forever man
[00:57:59] I mean I didn't wasn't kid rock trying to be like a Michigan State senator at some point
[00:58:03] I
[00:58:06] Wait we move on yeah
[00:58:10] In 19 okay birthday happy birthday October 21st in 1995 do you cat was born do you remember you know she is
[00:58:19] like oh yeah, she has this great song
[00:58:23] that I don't know exactly what the title is but it's just like bitch. I'm a cow bitch
[00:58:34] So happy birthday don't you cat happy birthday Nick Oliveri American basis guitarist vocalist who's been a member of
[00:58:40] Kaya screens of the Stone Age Mando generator and dwarves
[00:58:46] Curd it
[00:58:47] Beautiful not so many other people tech suiya mouthy base player with faces and free
[00:58:53] Happy use born in 1947 nice and a 1940 our friend man for a man
[00:58:59] The earth band that was born
[00:59:04] Famous for their cover of blinded by the light yeah made that song famous I guess change
[00:59:10] Reved up like a doose it is a revved up like a doose well in the
[00:59:16] Fringes version twin can engine yes
[00:59:20] Isn't it what's the the spring scene version is different though, right? No
[00:59:24] He says cut loose like a loose like yeah as much makes me think of pooping a lot more than revved up like a yeah
[00:59:32] It is not wrapped up like a doosh or
[00:59:35] Repent like a doose like a 20 bad of like heroin
[00:59:40] Oh
[00:59:43] In 1978 the grateful deadplate the winner land arena in San Francisco California
[00:59:48] They were joined on stage by Le Oscar of war on harmonica for that show. This is very interesting
[00:59:54] Fascinating
[00:59:56] Fascinating
[00:59:58] One things tied back into the intro we talked about war yeah, yeah, yeah work
[01:00:06] For circle talk about the billboard top 10 from November 1st
[01:00:11] 1986 this is the week that in your eyes peak at number 26 in
[01:00:15] 1986 the number one song that week true colors by Cindy Lopper. Oh nice great one also
[01:00:21] Made semi iconic in the trolls movie more recently. Oh yeah, yeah
[01:00:27] Love that I got it
[01:00:31] Number two typical male by Tina Turner by the way, I think that that Cindy Lopper song is written by the looters guy
[01:00:37] Oh, yes, I believe you are correct enough. I know who it is. Yeah, whatever his name is
[01:00:42] Yep, yeah, Mary's like Jerry something he wrote about he wrote I think a couple of her hits and especially the ballads
[01:00:50] Okay, what's that who there's tuned the and we danced that song
[01:00:53] It has like a boat on the yolch and boom man. Dude that song is amazing it is
[01:00:58] It starts out with them and bloc it go what you love exactly
[01:01:04] Interesting
[01:01:05] Almost want to pull one out and play that line right now. I I you know
[01:01:09] We don't have time for that
[01:01:10] You don't have we don't have that kind of time
[01:01:12] Number two typical male by Tina Turner number three
[01:01:14] I didn't mean to turn you on by Robert Palmer oh
[01:01:17] Yeah, what a great song. Yeah, dude his stuff was pretty I always
[01:01:22] Yeah, Robert Palmer and
[01:01:24] Number four Amanda by Boston. Oh yeah
[01:01:32] Oh, yeah, I always forget the Boston did that song. What did what did weird departure for them?
[01:01:37] Yeah, like the first Boston record
[01:01:39] I'm familiar with the entirety of it, but none of their other work am I familiar with
[01:01:44] Yeah, yeah, I like I literally forget that they did that yeah, or do that number five human by human league
[01:01:51] Oh, yeah
[01:01:53] Human league enjoyed some success
[01:01:58] Number six true blue by Madonna
[01:02:01] Yeah
[01:02:02] Not one of her best songs
[01:02:03] No, but it you know hey stop 10 hit. I wish we're not one of my best songs was in the top 10
[01:02:10] Oh, oh my best songs are worse songs
[01:02:14] 7 what I think of you by jada Jackson not one of her best songs
[01:02:19] Form number one
[01:02:20] That was number one too. Yeah
[01:02:23] Number eight sweet love by Anita Baker that one
[01:02:25] That's a memory. Which one how does that come?
[01:02:35] It's a beautiful song um it's a
[01:02:39] Love
[01:02:42] Yeah, just remember being
[01:02:45] I like remember just the word sweet love
[01:02:49] Just like random like
[01:02:51] It's an amazing bow that was their biggest song Anita Baker's biggest song the other one she had was
[01:02:57] It's very pretty pretty song. It's a really good song. Yeah, okay
[01:03:02] Number nine speaking of good songs take me home tonight by any month
[01:03:06] Okay, that's a great one. Come on. Yeah
[01:03:08] The guitar is like Ronnie says just like Ronnie's a writing specter
[01:03:14] It's a great song
[01:03:16] Number 10 all cried out by Lisa Lisa and the cult jam with full force
[01:03:20] Yes, interesting
[01:03:23] For I like that that's on the top 10 yeah, the mid 80s were so weird
[01:03:28] All right and real quick which gonna rip through the top 10 from July 8, 1989
[01:03:33] Which is
[01:03:35] When the song cracked back into the top 40 almost hit 41 but this after say anything came out after it re-entered the charts
[01:03:43] So it had two runs in billboard and so 1989 number one good thing by finding young cannibals
[01:03:49] Yeah, every two
[01:03:51] Baby don't forget my number by millie vanilla. So this was like the millie vanilla
[01:03:56] You have a little bit time where they were like they could do no wrong and then they did
[01:04:00] So
[01:04:03] Broke the ball
[01:04:04] Well, they technically really didn't do anything because they weren't
[01:04:08] They hey, they danced and they chest bumped like nobody's but they were of the victim of the system
[01:04:15] They were it's actually very very sad
[01:04:20] That shouldn't have been never got found out
[01:04:23] I know
[01:04:24] What what happened?
[01:04:26] You know what nobody would care
[01:04:29] You're right
[01:04:32] Number three if you don't know me by now by simply red oh yeah, now that's covered right that's an order song
[01:04:38] Yeah, okay
[01:04:41] I'm
[01:04:42] Richly Teddy
[01:04:44] Peter that
[01:04:47] Number four express yourself by Madonna which is one of her best songs that's in my humble opinion
[01:04:51] Love that that is good
[01:04:54] Number five toy soldiers by martica. I that's like that's like one of those good bad songs
[01:05:02] Oh
[01:05:06] Yeah, I'm an msampled it later
[01:05:08] I don't know there's something it's like nails on a chalkboard for me. I feel yeah, it's
[01:05:13] For me it's like up there with total oclips of the heart is just one of those like great
[01:05:18] Distinct not great songs he loved to hate yeah
[01:05:23] See this is this is a summer when I graduate I just graduated from high school I just lost my virginity and like I
[01:05:30] Started to feel like a little more like music was
[01:05:34] You're on
[01:05:38] Just I just I just to mention that
[01:05:43] It was a little bit
[01:05:45] The summer when I started just be guarding things are happening in the radio
[01:05:49] So excuse me if I don't remember martica
[01:05:52] Okay, all right, I'll excuse you
[01:05:53] Remember six. I drove all night by Cindy Lopper
[01:05:56] She makes the list twice for him. I don't both I'm both these lists. I didn't remember if I drove all night now
[01:06:00] I don't really
[01:06:02] Oh, I mean they how about number seven miss you like crazy by Natalie Cole oh yeah
[01:06:06] Okay, yes you like crazy
[01:06:09] Let me see you like crazy
[01:06:11] Yeah, okay number eight satisfied by Richard Marx
[01:06:17] Maybe
[01:06:19] No, I tried to ignore him
[01:06:21] Didn't he you had like that uh
[01:06:23] I swear I left her by the rear there was a song in the 90s that he did that was like a creepy it was like about some
[01:06:30] Like leaving a corpse by the river. Yeah, yeah, yeah
[01:06:34] I believe it was called like hazard part one and two or something like that
[01:06:39] That he was right over the law
[01:06:40] He was no longer right there waiting for her
[01:06:46] Number nine buffalo stance by Nina cherry oh, yeah
[01:06:50] I don't I don't know that one and then number ten on cherry starter. Yes, I do know who Nina cherry is
[01:06:56] I just don't know about that
[01:06:57] Wasn't she like if that's your boyfriend she he wasn't last night when there?
[01:07:01] Oh very possibly yeah, uh and then number ten is what you don't know by expose
[01:07:08] Okay, nope, no, I got nothing on that one
[01:07:12] All right, well
[01:07:16] That's it. It's all we got
[01:07:18] Pretty clean show tonight fellas. I'm proud of us. Yeah, that was solid. That was solid
[01:07:23] You're having it up on time it's 528 528. We're right on time all right
[01:07:28] That's it ladies and gentlemen. Thank you again for joining us
[01:07:30] And until we meet again always always be better get a victory every day