December 30, 2024 • 16 mins
Host Stu Jeffries takes you behind the scenes with The Kings as guitarist Mister Zero and lead singer David Diamond reveal how they combined two songs into the iconic "This Beat Goes On/Switchin’ To Glide". Enjoy a laugh with Jann Arden and her hit "Could I Be Your Girl", and discover the enduring success of Honeymoon Suite with "New Girl Now". Dive into the stories that shaped the music and the artists who brought them to life.See omnystudio.com/listener for privacy information.
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Speaker 1 (00:00):
Careful clock clock.
Speaker 2 (00:03):
Boy, so cool to be playing on took the wreck
It Off Guitar Table.
Speaker 1 (00:07):
Are you ready for this?
Speaker 3 (00:11):
Welcome to Behind the Vinyl. Here's your host, Stu Jetbreaks.
Speaker 4 (00:16):
Welcome to another opportunity to learn more about how your
favorite song went from a simple idea on a piece
of paper to a song you hear on the radio.
For all of the artists in this podcast, it was
a life transformation.
Speaker 1 (00:27):
That was certainly the case for the Kings.
Speaker 4 (00:29):
In a few minutes, guitarist Mister Zero and lead singer
Dave Diamond talk about how the main riff of the
song started and how they decided to make two songs
into one.
Speaker 2 (00:38):
And I had that Donna, no no no guitar, and
you said I have this idea switching to glide and
I went no, no, no, no, no, no no no no,
switch and do glide. And that just happened, just like that,
and we thought it would be a great idea to
put the two things so we can switch into glide.
Speaker 4 (00:57):
More with the guys shortly now singer songwriters, your actor
and very funny human Jan ardent with could I.
Speaker 1 (01:03):
Be or go?
Speaker 2 (01:04):
I love that sound?
Speaker 5 (01:06):
It just takes a minute there's a bit of a
gap there isn't there. It's funny the song starts with
a drum loop, and the drum loop was an afterthought.
It was actually an acoustic track. It was just the
piano riff and me playing acoustic guitar and I think
(01:28):
some percussion stuff. And my producer Ed Cherney, who's very
well known for his work with Bonnie Rait and Clapton,
and I mean, you look up Ed Cherney. He's done
so much stuff.
Speaker 2 (01:44):
But anyways, we were listening to and he's like, this
needs something.
Speaker 5 (01:48):
I mean, I loved it the way it was, and
then we just dropped in an electronic loop, which you know,
in nineteen ninety five or nineteen ninety four, which probably
considered kind of wacky. But to this day, I'm actually
(02:08):
not too sure what the song means.
Speaker 1 (02:12):
I think it's about.
Speaker 2 (02:15):
Martyring yourself for love.
Speaker 5 (02:19):
But I remember getting all these letters back in the
day when people had to make a freaking effort to
insult you. Instead of just going on Twitter or Instagram
and saying you're an asshole. Back in the day, they
had to get a stamp in an envelope and find
a pen and a piece of paper and they had to.
Speaker 2 (02:35):
Send it to you to insult you. So it was
a lot of effort. Those were the good old days.
Speaker 5 (02:40):
But I got so many people, especially kind of in
the Bible Belt to the United States, that said told
me I wasn't Jesus, and because there's a line in
the chorus that I am Ashes, I am Jesus, I
am precious?
Speaker 2 (02:57):
Could I be your girl?
Speaker 5 (02:59):
And like I said, I don't completely know what I meant,
but it was like martyring yourself for love and sacrificing
yourself for love and kind of giving up your own
personality to love somebody else. I mean, when you think
about falling in love with someone, it's kind of ridiculous.
Speaker 2 (03:17):
You are simply.
Speaker 5 (03:18):
Going on hormones and electricity and little sleep and no food,
and you're basically throwing yourself at someone who you don't
know at all. You don't know if they have a record,
if they've you know, rob banks, stolen.
Speaker 2 (03:33):
Cars, murdered people.
Speaker 5 (03:35):
You don't know if their family is you know, unfeeding
top tubes living in an attic somewhere outside of ball
zach Alberta. Like you know nothing about these people, and
you're like Google about them. So I'm glad at my
age now that falling in love is a much different
process than what it was when you're twenty two. But
(03:55):
my favorite part of the song, getting back to the
song has always been and the backup vocals, the oh
my lords And there was a woman named Lynn Elder,
and I forget what the other guy's name was. I
should know he's gonna kill me. I'm gonna look it
up and phone it into you. And he sang on
quite a few of my records, so I really feel
(04:17):
like a dip. But they did quite a bit of
work on my first and second and I think the
third record as well. Doing backup vocals just magical. I'm
not a very good backup vocal singer, I should tell
you that. Yeah, it's fun to listen to these tracks
and just the great musicianship.
Speaker 2 (04:41):
It's funny.
Speaker 5 (04:42):
This is a drum loop, and I played with some
of the best drummers in the world on this record.
I had Jim Keltner traveling Wilbury's freaking beatles.
Speaker 2 (04:52):
For God's sakes, everybody.
Speaker 5 (04:54):
Jim Keltner is one of the best drummers in the world,
and Kenny Ernoff, who's another one of the greatest drummers
in the world. I had two great drummers on this record,
and we used the drum route a little bit embarrassing,
but yeah, everyone was sober, nobody smoked pot, and it
(05:15):
was a really amazing, amazing experience, and it was all recorded,
Like the rest of the song was live off the floor,
which is kind of unheard of now as well.
Speaker 1 (05:25):
We stood there and played the damn song.
Speaker 4 (05:27):
If you ever see jan Arden in concert, not only
will you be wowed, you will be laughing, as she
is equally talented in the humor department you're listening to
Behind the vinyl of the podcast, I'm your host Stu Jeffries,
And it's not very often you can find a band
that had been together for over forty years with all
their original members, unless, of course, you call yourselves Honeymoon Suite.
It's pretty impressive. Here Darry Graham and Johnny Dee share
(05:49):
a moment to tell us about their song new Girl.
Speaker 6 (05:51):
Now Ah, there you go, dere.
Speaker 7 (05:54):
In a while since a cute up an album. Anyways,
this is the song started it all. Huh, I guess
it is. At least there's a singer on it now,
I wrote this. I wrote this when I was in college,
a few years before I met Johnny and demoed it myself.
Speaker 6 (06:11):
And some few years later and I moved to Toronto, we.
Speaker 7 (06:14):
Joined Honeymoon Sweet, and we were a bar band and
we're doing six nighters and whatnot, and we wanted to
be an original band.
Speaker 6 (06:22):
So I had a couple originals that played him for.
Speaker 7 (06:24):
Johnny, and he really liked this one and a couple others,
and so we started sneaking him into the into the
set with the with the Billie Idol and the flock
of seagulls that we had to play, and uh.
Speaker 8 (06:36):
It just kind of you know, it's the songs that
we told the owners that we didn't play that God
has fired. But as long as we could get up
on those days are forty five minute sets, right, if
we could make it through the first.
Speaker 6 (06:48):
Forty five, then the crowds would stay. So so.
Speaker 7 (06:54):
We we ended up demoing the song. I think we
played in Elliott Lake. I remember Forget on a Saturday night.
I think we drove all night and we got up
Sunday morning and went to our producer's house and recorded
this song in his basement, along with Face to face
and funny business burnt right out and we entered it
in a contest and it won a contest and got
(07:15):
on on the local radio and we.
Speaker 6 (07:18):
Ended up long story short, we ended up getting our
record deal. Yeah, demo, but we had different record companies
come out and see our band.
Speaker 8 (07:25):
We had developed a following, no like a following. It
sounds sort of silly.
Speaker 6 (07:29):
We developed a crowd.
Speaker 2 (07:31):
You know, people liked our bed.
Speaker 8 (07:32):
It's cool, but uh yeah, this is a well. We
were always doing originals on stage, whether they were known
or not. When I first met Darry, I had a
bunch of songs and Darry had a bunch of songs,
and it's like what is that?
Speaker 2 (07:46):
Like what is this?
Speaker 6 (07:47):
I got to sing that And that's pretty much where
it started. Yeah.
Speaker 7 (07:52):
As for the recording, we did this at like I
mean things just after we signed the deal.
Speaker 6 (07:57):
We were just going crazy.
Speaker 7 (07:59):
We were so happy b to be you know, all
of a sudden, a real band with a record deal.
Speaker 6 (08:04):
They got us.
Speaker 7 (08:04):
Writing in the studio was actually phase one in Toronto,
and I think we went and cut all the beds
in like two weeks, beds, overdubs, everything, which is unheard
of it and I think the budget for that album
was like fifty or sixty grand.
Speaker 6 (08:16):
I mean, we're just banging it out. But that energy.
Speaker 7 (08:20):
When you listen to this, you can hear that, that
energy that we had, and.
Speaker 8 (08:24):
I hear there's a there's a nervousness in the vocal
And one of the reasons for that is nowadays it's
a digital right and it's like, okay, do it again, Okay,
do it again.
Speaker 2 (08:33):
But in back in those days.
Speaker 6 (08:34):
Here, it was like the two inch two inch tape, So.
Speaker 8 (08:37):
You're waiting as a vocalist, waiting okay, okay, okay.
Speaker 6 (08:41):
So there's a nervousness in it. And I hear it
now and it's like, it's totally cool.
Speaker 8 (08:46):
Yeah, I want to get it back, get that two
inch tape back out.
Speaker 6 (08:50):
Yeah.
Speaker 2 (08:51):
I miss it.
Speaker 8 (08:52):
I miss it greatly, with a lot of memories right there.
Speaker 7 (08:55):
Yeah, and I think they even very sped it up
a little bit, which, wow, Johnny.
Speaker 8 (09:01):
They did this that very speed thing is killing me
to this day.
Speaker 2 (09:05):
It was really chip Monkey.
Speaker 8 (09:07):
Because the tempos weren't exactly right, and so they sped
him up a little bit and that.
Speaker 6 (09:11):
But if it goes too far, then it's but Chipmunk Jonny.
But it worked.
Speaker 1 (09:16):
It worked, Yes, did there you go?
Speaker 6 (09:18):
It's uh, it's been. It's been a good song for us.
I'm the first one.
Speaker 4 (09:22):
Yeah, that was Honeymoon Sweet with New Girl. Now I'm
behind the vinyl of the podcast. We finished this season
with a humble story about an oak Pill, Ontario, Canada
rock band that formed in nineteen seventy seven, and, unlike
many Canadian artists at the time, managed to break into
the all important US market, so much so that they
managed to be musical guests on American Bandstand with Dick Clark.
(09:43):
Here's mister Zero and Dave Diamond on this beat goes
on switching to glide.
Speaker 2 (09:49):
Look at that. I haven't done that for many years.
Speaker 1 (09:52):
And hope what is that? Yeah, the Extreme heard this
riff before.
Speaker 2 (09:59):
I remember, Yeah, it was that a strip joint.
Speaker 1 (10:01):
You wrote that.
Speaker 2 (10:03):
Well back in the day. Then when I used to
play sixth string with the band, well, I played bass
and six string. I was tuning the guitar, remember, down,
Down Down Sunday. Our keyboard player said what is that?
I don't know, and I remembered it went home and
I said, mister Zero, listen to this, and then.
Speaker 9 (10:24):
So I remembered the song The Name Game, which was
this thing back in the sixties. That and I thought
there'd never been a name song in a while. So
that's where Yea and Trudy and I thought, I haven't
heard that in a while. So we just had some
fun with that.
Speaker 2 (10:40):
I thought it was a great idea.
Speaker 1 (10:41):
And then bring you up.
Speaker 9 (10:42):
When I was in Toronto, I thought that was the
stupidest thing. I thought, it's so dumb.
Speaker 2 (10:47):
Well nobody and then in Toronto says Toronto, these two
t's right.
Speaker 9 (10:50):
Yeah, So I thought it was so dumb it was smart,
which I think is what we try to accomplish a lot.
Speaker 1 (10:56):
It seems simple, but it's not.
Speaker 2 (10:58):
But we had and we had the different verse and
that we had the other chord changes originally that in
the the B part of the verse and this, yeah,
in the B part of the verse of the speed
and Zren our producer Bob Ezren said he was saying
what he said, it's not something's just not right.
Speaker 1 (11:17):
Yeah, So he changed the chords to make it this version.
Speaker 2 (11:21):
Yeah. So I just changed the chords around a little bit,
left the studio for half an hour or an hour.
Speaker 1 (11:26):
The Mercedes we used to have this Mercedes.
Speaker 2 (11:28):
That for six hundred bucks four on the tree. We
put a lot of miles in that card.
Speaker 1 (11:37):
Yeah, it was a lot of fun driving nothing around.
Speaker 2 (11:39):
That's the room for the girls in the backseat.
Speaker 1 (11:41):
And that happened sometimes. Yeah.
Speaker 2 (11:45):
So I have the girl hanging in our rehearsal studio
right the grill that safety these girls hang on the wall.
Speaker 9 (11:52):
It was already old when we got it, but it
was you know, we ran it into the ground.
Speaker 2 (11:57):
Yeah, I remember Saundy, I remember Studdy was. I just
sort of just sort of said that LICKD and Dad
and iause, I sort of remember that that old it
was as question mark ninety six tiers and I had
somehow I just heard it beforehand, and I had and
I just thought that was a great sound, that little
(12:19):
far fees a sound, so.
Speaker 9 (12:21):
A little little borrowing, little inspirations from different classes.
Speaker 1 (12:27):
And I remember this beat goes on.
Speaker 9 (12:28):
I was sort of wrote myself into a corner there
because there was all these lower ryms coming on, and
it was different.
Speaker 2 (12:33):
Words before you had all those wacky words.
Speaker 1 (12:36):
Different, so it changed all that.
Speaker 9 (12:37):
And then but this beat goes on, I thought, well,
you can't be the beat goes on because there's already
Sonny and Share and everything. I thought, well, maybe this
beat goes on and it's kind of a cheat.
Speaker 5 (12:48):
But.
Speaker 1 (12:49):
Still say well the beat goes on. I say, well,
it's not.
Speaker 2 (12:51):
The beat goes and it goes on and on.
Speaker 1 (12:54):
Yeah.
Speaker 9 (12:56):
It was really a lesson in songwriting over and over
because we worked it and reworked it.
Speaker 2 (13:01):
Yeah, and then we had that song first. And then
I remember it was a summertime. I was at my
house in old Filth and I was working. I had
that Donna know no no guitar lit and you said,
I have this idea switching to glide and I went, no,
do know switch and do glide And it just happened
(13:23):
just like that. And we thought it would be a
great idea to put the two things we can switch
into glide.
Speaker 1 (13:29):
And then nothing matters But the weekend.
Speaker 9 (13:31):
I had that line pretty quick, you know, nothing matters
but from a Tuesday point of view, and I thought, wow,
that is really good.
Speaker 2 (13:38):
I like that a lot tuesdays in the middle.
Speaker 9 (13:40):
Yeah, right in the middle of the week, just as
far from Friday on each side.
Speaker 1 (13:44):
And then but the next line, like a kettle in
the kitchen that took me forever.
Speaker 9 (13:50):
I feel esteemed because it was like, it's got a rhyme,
it's got to be good, it's got to be hooky
and creative.
Speaker 1 (13:54):
It just took me so long to get that.
Speaker 2 (13:57):
I remember that.
Speaker 9 (13:57):
Yeah, and then you had all the different there was
all these non work that's not gonna work.
Speaker 2 (14:04):
I mean, that's not gonna go over.
Speaker 1 (14:05):
And over over and that's just the way it works,
you know. And then but then it works.
Speaker 2 (14:10):
Switching the glide, Yeah, it's perfect, and and and again
as we thought it was a great idea, that being
a segue with the glide in the middle, and he
didn't have to touch he thought the whole that's switching
the glide part of the song was just it was.
Speaker 1 (14:23):
Right on Sonny's mini mode.
Speaker 9 (14:25):
That the the glide that's done on a mini move
with the.
Speaker 1 (14:29):
Oscillators, and.
Speaker 2 (14:33):
That's been you know, every time we play it, we
have to get that sound right.
Speaker 1 (14:37):
Yeah.
Speaker 2 (14:37):
People don't don't want to keep it another sound other
than that glide. That's for sure.
Speaker 1 (14:41):
You can keep it on your phone now have a keyboard.
Speaker 9 (14:43):
Players had in a cell phone, so it's like, yeah,
and that's uh.
Speaker 2 (14:50):
I remember, I remember, Yeah, I remember when we well,
I was at in the beaches and I was I
was playing that this speak goes on song and then
this switching the Glide song, and I just put the
one into the other, and I remember that. I remember
taking this has got to be a segue these two songs.
Speaker 1 (15:04):
Right.
Speaker 2 (15:04):
That's so that was the big celebration when it was
the glide wasn't there then? And then the Glide came
in obviously, and then the ending, the ending, there.
Speaker 1 (15:14):
Was just an ad limb where you came up.
Speaker 2 (15:16):
Yeah, and then I just had lib you got to
get out of the hole. Out of the hole, out
of this hole, because we were in a hole. Put
everything we had anyway.
Speaker 9 (15:27):
Yeah, we were doing our own album in the studio
and that's where we we Nimbus.
Speaker 2 (15:32):
Nine in Yorkfield, and that's how we met.
Speaker 1 (15:34):
That's how we met Bob Is when.
Speaker 9 (15:35):
He came in because he used to work there with
Alice Cooper and Jack Richardson and everybody, and and the
people we were working with sort of started talking to
him about it, and he listened to our tapes and
thought it was pretty good.
Speaker 1 (15:49):
So that's how it happened.
Speaker 2 (15:52):
And good luck in the future with it because it's
going pretty good.
Speaker 1 (15:55):
So that's all right, that's a hit.
Speaker 4 (15:58):
That's a wrap for another Raps to BTV. I'm Stuve
Jeffries and would like to personally thank you for spending
a few minutes with us on something. We all love
music and good stories. We've got three previous seasons for
you to check out if you haven't already, and we'd
love it if you'd spend some time with them when
you get some free time.
Speaker 6 (16:14):
Thanks again.
Speaker 3 (16:15):
This has been Behind the Vinyl the podcast hosted by
Stuve Jeffries. Audio production courtesy of Doug Morehouse, Derek Welsman
and Troy McCallum. Thanks for listening.
Careful clock clock.
Speaker 2 (00:03):
Boy, so cool to be playing on took the wreck
It Off Guitar Table.
Speaker 1 (00:07):
Are you ready for this?
Speaker 3 (00:11):
Welcome to Behind the Vinyl. Here's your host, Stu Jetbreaks.
Speaker 4 (00:16):
Welcome to another opportunity to learn more about how your
favorite song went from a simple idea on a piece
of paper to a song you hear on the radio.
For all of the artists in this podcast, it was
a life transformation.
Speaker 1 (00:27):
That was certainly the case for the Kings.
Speaker 4 (00:29):
In a few minutes, guitarist Mister Zero and lead singer
Dave Diamond talk about how the main riff of the
song started and how they decided to make two songs
into one.
Speaker 2 (00:38):
And I had that Donna, no no no guitar, and
you said I have this idea switching to glide and
I went no, no, no, no, no, no no no no,
switch and do glide. And that just happened, just like that,
and we thought it would be a great idea to
put the two things so we can switch into glide.
Speaker 4 (00:57):
More with the guys shortly now singer songwriters, your actor
and very funny human Jan ardent with could I.
Speaker 1 (01:03):
Be or go?
Speaker 2 (01:04):
I love that sound?
Speaker 5 (01:06):
It just takes a minute there's a bit of a
gap there isn't there. It's funny the song starts with
a drum loop, and the drum loop was an afterthought.
It was actually an acoustic track. It was just the
piano riff and me playing acoustic guitar and I think
(01:28):
some percussion stuff. And my producer Ed Cherney, who's very
well known for his work with Bonnie Rait and Clapton,
and I mean, you look up Ed Cherney. He's done
so much stuff.
Speaker 2 (01:44):
But anyways, we were listening to and he's like, this
needs something.
Speaker 5 (01:48):
I mean, I loved it the way it was, and
then we just dropped in an electronic loop, which you know,
in nineteen ninety five or nineteen ninety four, which probably
considered kind of wacky. But to this day, I'm actually
(02:08):
not too sure what the song means.
Speaker 1 (02:12):
I think it's about.
Speaker 2 (02:15):
Martyring yourself for love.
Speaker 5 (02:19):
But I remember getting all these letters back in the
day when people had to make a freaking effort to
insult you. Instead of just going on Twitter or Instagram
and saying you're an asshole. Back in the day, they
had to get a stamp in an envelope and find
a pen and a piece of paper and they had to.
Speaker 2 (02:35):
Send it to you to insult you. So it was
a lot of effort. Those were the good old days.
Speaker 5 (02:40):
But I got so many people, especially kind of in
the Bible Belt to the United States, that said told
me I wasn't Jesus, and because there's a line in
the chorus that I am Ashes, I am Jesus, I
am precious?
Speaker 2 (02:57):
Could I be your girl?
Speaker 5 (02:59):
And like I said, I don't completely know what I meant,
but it was like martyring yourself for love and sacrificing
yourself for love and kind of giving up your own
personality to love somebody else. I mean, when you think
about falling in love with someone, it's kind of ridiculous.
Speaker 2 (03:17):
You are simply.
Speaker 5 (03:18):
Going on hormones and electricity and little sleep and no food,
and you're basically throwing yourself at someone who you don't
know at all. You don't know if they have a record,
if they've you know, rob banks, stolen.
Speaker 2 (03:33):
Cars, murdered people.
Speaker 5 (03:35):
You don't know if their family is you know, unfeeding
top tubes living in an attic somewhere outside of ball
zach Alberta. Like you know nothing about these people, and
you're like Google about them. So I'm glad at my
age now that falling in love is a much different
process than what it was when you're twenty two. But
(03:55):
my favorite part of the song, getting back to the
song has always been and the backup vocals, the oh
my lords And there was a woman named Lynn Elder,
and I forget what the other guy's name was. I
should know he's gonna kill me. I'm gonna look it
up and phone it into you. And he sang on
quite a few of my records, so I really feel
(04:17):
like a dip. But they did quite a bit of
work on my first and second and I think the
third record as well. Doing backup vocals just magical. I'm
not a very good backup vocal singer, I should tell
you that. Yeah, it's fun to listen to these tracks
and just the great musicianship.
Speaker 2 (04:41):
It's funny.
Speaker 5 (04:42):
This is a drum loop, and I played with some
of the best drummers in the world on this record.
I had Jim Keltner traveling Wilbury's freaking beatles.
Speaker 2 (04:52):
For God's sakes, everybody.
Speaker 5 (04:54):
Jim Keltner is one of the best drummers in the world,
and Kenny Ernoff, who's another one of the greatest drummers
in the world. I had two great drummers on this record,
and we used the drum route a little bit embarrassing,
but yeah, everyone was sober, nobody smoked pot, and it
(05:15):
was a really amazing, amazing experience, and it was all recorded,
Like the rest of the song was live off the floor,
which is kind of unheard of now as well.
Speaker 1 (05:25):
We stood there and played the damn song.
Speaker 4 (05:27):
If you ever see jan Arden in concert, not only
will you be wowed, you will be laughing, as she
is equally talented in the humor department you're listening to
Behind the vinyl of the podcast, I'm your host Stu Jeffries,
And it's not very often you can find a band
that had been together for over forty years with all
their original members, unless, of course, you call yourselves Honeymoon Suite.
It's pretty impressive. Here Darry Graham and Johnny Dee share
(05:49):
a moment to tell us about their song new Girl.
Speaker 6 (05:51):
Now Ah, there you go, dere.
Speaker 7 (05:54):
In a while since a cute up an album. Anyways,
this is the song started it all. Huh, I guess
it is. At least there's a singer on it now,
I wrote this. I wrote this when I was in college,
a few years before I met Johnny and demoed it myself.
Speaker 6 (06:11):
And some few years later and I moved to Toronto, we.
Speaker 7 (06:14):
Joined Honeymoon Sweet, and we were a bar band and
we're doing six nighters and whatnot, and we wanted to
be an original band.
Speaker 6 (06:22):
So I had a couple originals that played him for.
Speaker 7 (06:24):
Johnny, and he really liked this one and a couple others,
and so we started sneaking him into the into the
set with the with the Billie Idol and the flock
of seagulls that we had to play, and uh.
Speaker 8 (06:36):
It just kind of you know, it's the songs that
we told the owners that we didn't play that God
has fired. But as long as we could get up
on those days are forty five minute sets, right, if
we could make it through the first.
Speaker 6 (06:48):
Forty five, then the crowds would stay. So so.
Speaker 7 (06:54):
We we ended up demoing the song. I think we
played in Elliott Lake. I remember Forget on a Saturday night.
I think we drove all night and we got up
Sunday morning and went to our producer's house and recorded
this song in his basement, along with Face to face
and funny business burnt right out and we entered it
in a contest and it won a contest and got
(07:15):
on on the local radio and we.
Speaker 6 (07:18):
Ended up long story short, we ended up getting our
record deal. Yeah, demo, but we had different record companies
come out and see our band.
Speaker 8 (07:25):
We had developed a following, no like a following. It
sounds sort of silly.
Speaker 6 (07:29):
We developed a crowd.
Speaker 2 (07:31):
You know, people liked our bed.
Speaker 8 (07:32):
It's cool, but uh yeah, this is a well. We
were always doing originals on stage, whether they were known
or not. When I first met Darry, I had a
bunch of songs and Darry had a bunch of songs,
and it's like what is that?
Speaker 2 (07:46):
Like what is this?
Speaker 6 (07:47):
I got to sing that And that's pretty much where
it started. Yeah.
Speaker 7 (07:52):
As for the recording, we did this at like I
mean things just after we signed the deal.
Speaker 6 (07:57):
We were just going crazy.
Speaker 7 (07:59):
We were so happy b to be you know, all
of a sudden, a real band with a record deal.
Speaker 6 (08:04):
They got us.
Speaker 7 (08:04):
Writing in the studio was actually phase one in Toronto,
and I think we went and cut all the beds
in like two weeks, beds, overdubs, everything, which is unheard
of it and I think the budget for that album
was like fifty or sixty grand.
Speaker 6 (08:16):
I mean, we're just banging it out. But that energy.
Speaker 7 (08:20):
When you listen to this, you can hear that, that
energy that we had, and.
Speaker 8 (08:24):
I hear there's a there's a nervousness in the vocal
And one of the reasons for that is nowadays it's
a digital right and it's like, okay, do it again, Okay,
do it again.
Speaker 2 (08:33):
But in back in those days.
Speaker 6 (08:34):
Here, it was like the two inch two inch tape, So.
Speaker 8 (08:37):
You're waiting as a vocalist, waiting okay, okay, okay.
Speaker 6 (08:41):
So there's a nervousness in it. And I hear it
now and it's like, it's totally cool.
Speaker 8 (08:46):
Yeah, I want to get it back, get that two
inch tape back out.
Speaker 6 (08:50):
Yeah.
Speaker 2 (08:51):
I miss it.
Speaker 8 (08:52):
I miss it greatly, with a lot of memories right there.
Speaker 7 (08:55):
Yeah, and I think they even very sped it up
a little bit, which, wow, Johnny.
Speaker 8 (09:01):
They did this that very speed thing is killing me
to this day.
Speaker 2 (09:05):
It was really chip Monkey.
Speaker 8 (09:07):
Because the tempos weren't exactly right, and so they sped
him up a little bit and that.
Speaker 6 (09:11):
But if it goes too far, then it's but Chipmunk Jonny.
But it worked.
Speaker 1 (09:16):
It worked, Yes, did there you go?
Speaker 6 (09:18):
It's uh, it's been. It's been a good song for us.
I'm the first one.
Speaker 4 (09:22):
Yeah, that was Honeymoon Sweet with New Girl. Now I'm
behind the vinyl of the podcast. We finished this season
with a humble story about an oak Pill, Ontario, Canada
rock band that formed in nineteen seventy seven, and, unlike
many Canadian artists at the time, managed to break into
the all important US market, so much so that they
managed to be musical guests on American Bandstand with Dick Clark.
(09:43):
Here's mister Zero and Dave Diamond on this beat goes
on switching to glide.
Speaker 2 (09:49):
Look at that. I haven't done that for many years.
Speaker 1 (09:52):
And hope what is that? Yeah, the Extreme heard this
riff before.
Speaker 2 (09:59):
I remember, Yeah, it was that a strip joint.
Speaker 1 (10:01):
You wrote that.
Speaker 2 (10:03):
Well back in the day. Then when I used to
play sixth string with the band, well, I played bass
and six string. I was tuning the guitar, remember, down,
Down Down Sunday. Our keyboard player said what is that?
I don't know, and I remembered it went home and
I said, mister Zero, listen to this, and then.
Speaker 9 (10:24):
So I remembered the song The Name Game, which was
this thing back in the sixties. That and I thought
there'd never been a name song in a while. So
that's where Yea and Trudy and I thought, I haven't
heard that in a while. So we just had some
fun with that.
Speaker 2 (10:40):
I thought it was a great idea.
Speaker 1 (10:41):
And then bring you up.
Speaker 9 (10:42):
When I was in Toronto, I thought that was the
stupidest thing. I thought, it's so dumb.
Speaker 2 (10:47):
Well nobody and then in Toronto says Toronto, these two
t's right.
Speaker 9 (10:50):
Yeah, So I thought it was so dumb it was smart,
which I think is what we try to accomplish a lot.
Speaker 1 (10:56):
It seems simple, but it's not.
Speaker 2 (10:58):
But we had and we had the different verse and
that we had the other chord changes originally that in
the the B part of the verse and this, yeah,
in the B part of the verse of the speed
and Zren our producer Bob Ezren said he was saying
what he said, it's not something's just not right.
Speaker 1 (11:17):
Yeah, So he changed the chords to make it this version.
Speaker 2 (11:21):
Yeah. So I just changed the chords around a little bit,
left the studio for half an hour or an hour.
Speaker 1 (11:26):
The Mercedes we used to have this Mercedes.
Speaker 2 (11:28):
That for six hundred bucks four on the tree. We
put a lot of miles in that card.
Speaker 1 (11:37):
Yeah, it was a lot of fun driving nothing around.
Speaker 2 (11:39):
That's the room for the girls in the backseat.
Speaker 1 (11:41):
And that happened sometimes. Yeah.
Speaker 2 (11:45):
So I have the girl hanging in our rehearsal studio
right the grill that safety these girls hang on the wall.
Speaker 9 (11:52):
It was already old when we got it, but it
was you know, we ran it into the ground.
Speaker 2 (11:57):
Yeah, I remember Saundy, I remember Studdy was. I just
sort of just sort of said that LICKD and Dad
and iause, I sort of remember that that old it
was as question mark ninety six tiers and I had
somehow I just heard it beforehand, and I had and
I just thought that was a great sound, that little
(12:19):
far fees a sound, so.
Speaker 9 (12:21):
A little little borrowing, little inspirations from different classes.
Speaker 1 (12:27):
And I remember this beat goes on.
Speaker 9 (12:28):
I was sort of wrote myself into a corner there
because there was all these lower ryms coming on, and
it was different.
Speaker 2 (12:33):
Words before you had all those wacky words.
Speaker 1 (12:36):
Different, so it changed all that.
Speaker 9 (12:37):
And then but this beat goes on, I thought, well,
you can't be the beat goes on because there's already
Sonny and Share and everything. I thought, well, maybe this
beat goes on and it's kind of a cheat.
Speaker 5 (12:48):
But.
Speaker 1 (12:49):
Still say well the beat goes on. I say, well,
it's not.
Speaker 2 (12:51):
The beat goes and it goes on and on.
Speaker 1 (12:54):
Yeah.
Speaker 9 (12:56):
It was really a lesson in songwriting over and over
because we worked it and reworked it.
Speaker 2 (13:01):
Yeah, and then we had that song first. And then
I remember it was a summertime. I was at my
house in old Filth and I was working. I had
that Donna know no no guitar lit and you said,
I have this idea switching to glide and I went, no,
do know switch and do glide And it just happened
(13:23):
just like that. And we thought it would be a
great idea to put the two things we can switch
into glide.
Speaker 1 (13:29):
And then nothing matters But the weekend.
Speaker 9 (13:31):
I had that line pretty quick, you know, nothing matters
but from a Tuesday point of view, and I thought, wow,
that is really good.
Speaker 2 (13:38):
I like that a lot tuesdays in the middle.
Speaker 9 (13:40):
Yeah, right in the middle of the week, just as
far from Friday on each side.
Speaker 1 (13:44):
And then but the next line, like a kettle in
the kitchen that took me forever.
Speaker 9 (13:50):
I feel esteemed because it was like, it's got a rhyme,
it's got to be good, it's got to be hooky
and creative.
Speaker 1 (13:54):
It just took me so long to get that.
Speaker 2 (13:57):
I remember that.
Speaker 9 (13:57):
Yeah, and then you had all the different there was
all these non work that's not gonna work.
Speaker 2 (14:04):
I mean, that's not gonna go over.
Speaker 1 (14:05):
And over over and that's just the way it works,
you know. And then but then it works.
Speaker 2 (14:10):
Switching the glide, Yeah, it's perfect, and and and again
as we thought it was a great idea, that being
a segue with the glide in the middle, and he
didn't have to touch he thought the whole that's switching
the glide part of the song was just it was.
Speaker 1 (14:23):
Right on Sonny's mini mode.
Speaker 9 (14:25):
That the the glide that's done on a mini move
with the.
Speaker 1 (14:29):
Oscillators, and.
Speaker 2 (14:33):
That's been you know, every time we play it, we
have to get that sound right.
Speaker 1 (14:37):
Yeah.
Speaker 2 (14:37):
People don't don't want to keep it another sound other
than that glide. That's for sure.
Speaker 1 (14:41):
You can keep it on your phone now have a keyboard.
Speaker 9 (14:43):
Players had in a cell phone, so it's like, yeah,
and that's uh.
Speaker 2 (14:50):
I remember, I remember, Yeah, I remember when we well,
I was at in the beaches and I was I
was playing that this speak goes on song and then
this switching the Glide song, and I just put the
one into the other, and I remember that. I remember
taking this has got to be a segue these two songs.
Speaker 1 (15:04):
Right.
Speaker 2 (15:04):
That's so that was the big celebration when it was
the glide wasn't there then? And then the Glide came
in obviously, and then the ending, the ending, there.
Speaker 1 (15:14):
Was just an ad limb where you came up.
Speaker 2 (15:16):
Yeah, and then I just had lib you got to
get out of the hole. Out of the hole, out
of this hole, because we were in a hole. Put
everything we had anyway.
Speaker 9 (15:27):
Yeah, we were doing our own album in the studio
and that's where we we Nimbus.
Speaker 2 (15:32):
Nine in Yorkfield, and that's how we met.
Speaker 1 (15:34):
That's how we met Bob Is when.
Speaker 9 (15:35):
He came in because he used to work there with
Alice Cooper and Jack Richardson and everybody, and and the
people we were working with sort of started talking to
him about it, and he listened to our tapes and
thought it was pretty good.
Speaker 1 (15:49):
So that's how it happened.
Speaker 2 (15:52):
And good luck in the future with it because it's
going pretty good.
Speaker 1 (15:55):
So that's all right, that's a hit.
Speaker 4 (15:58):
That's a wrap for another Raps to BTV. I'm Stuve
Jeffries and would like to personally thank you for spending
a few minutes with us on something. We all love
music and good stories. We've got three previous seasons for
you to check out if you haven't already, and we'd
love it if you'd spend some time with them when
you get some free time.
Speaker 6 (16:14):
Thanks again.
Speaker 3 (16:15):
This has been Behind the Vinyl the podcast hosted by
Stuve Jeffries. Audio production courtesy of Doug Morehouse, Derek Welsman
and Troy McCallum. Thanks for listening.
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