Polka Party: A Polka Party Party - Polka Party - Beer‘d Al Podcast

Episode Transcript
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Speaker 1 (00:33):
Welcome everybody to yet another episode of the Beer Down Podcast,
the podcast about two of the greatest things in the world,
Beer and weird Out. I don't have an analog sound
effect today due to the two reasons beer has already
been poured and two it's a bottle.

Speaker 2 (00:48):
So bottles are like so hit or mess like. Sometimes
it does the perfect like beer commercial, and then other
times it's like, yeah, so you're like, I assure you
I opened a beer.

Speaker 1 (01:00):
We pre opened them, but they'll be well a little
bit more later being consumed. We'll be in consumed.

Speaker 2 (01:05):
And if you need proof of that, just fast forward
to the forty minute mark where Lauren and I are slurring.

Speaker 1 (01:10):
No right, uho. You heard a third laugh in this
room people, and it's literally in this room. This doesn't
happen all the time?

Speaker 2 (01:17):
Can we Before you introduce the guests, I think it's
time that we discussed some wild disrespect that occurred in
our house several times this week. There were many times
this week where my wife would say to me and
then and I won't say what she said because it's
wildly disrespectful. I'll say he will be here at this

(01:40):
time on Wednesday, and every time I had to say who,
and then she had to use the proper title, and
I just thought it would be I thought it would
be good if maybe you started out by apologizing for
not using the property.

Speaker 1 (01:53):
That's true. So I'm going to phrase it this way.
I have, in error, been saying this whole week, Bob's
gonna be here today.

Speaker 2 (02:03):
I know you're only repeating it, like you know, it's
like when you hear someone say something offensive thing. I'm
just repeating it, but it still hurts.

Speaker 1 (02:09):
Yeah, And then he would say who, and I would go,
Poka Bob.

Speaker 2 (02:12):
Is going to be here today, so because like it
could be, there's one poke.

Speaker 1 (02:18):
Bob, right, So hello.

Speaker 3 (02:19):
And I am poke Bob and I am so happy
to be here today.

Speaker 1 (02:24):
It's quite the honorific, isn't it.

Speaker 4 (02:26):
Yes?

Speaker 3 (02:26):
No, Well, you know the thing is is I love
Polka's Poke Bob.

Speaker 4 (02:31):
It fits. I like it.

Speaker 3 (02:33):
So if I was going to be known by your audience,
is something poke Bob is a way to go, I'm
good with it.

Speaker 1 (02:40):
That's fantastic. So just I want to paint kind of
a picture for people listening to this, because we truly
gave ourselves a magical evening in recording this episode. So
Poke Bob came over. I had already ordered some pizza,
so we sat down and enjoyed the finest of pizza huts.

Speaker 4 (02:59):
Well, no one else pizza's the huts.

Speaker 1 (03:00):
That's true. They were not out big out here fast too, and.

Speaker 4 (03:03):
Somebody was probably on track to out pizza them.

Speaker 1 (03:06):
No, they would not allow this to happen. So we sat,
we enjoyed some pizza, some good conversation, and then we
listened to the Poka at hands today together, so it's
fresh in all of our brain holes, and every single
one of us while we were sitting there listening to it,
had stuff we wanted to say while it was happening,
but we were all like, save it for the show.

Speaker 2 (03:27):
I have one quick question regarding this album in this
Polka and Polka Bob specifically, So anyway and maybe this
is better for Bob or what one of you will
give me an answer on this. Anywhere that Polka Bob goes,
does that not in fact become a polka party?

Speaker 4 (03:45):
I like it. We can do. That's wherever Bob goes,
Poko Bob goes the.

Speaker 2 (03:51):
Poka You know what, you wouldn't have had to you
wouldn't have said that if it wasn't for a massive
disrespect displayed to you earlier this week. Yes, what you
know what, hold on, I'm moving past it. I'm trying
to move past.

Speaker 4 (04:02):
But yeah, I in.

Speaker 2 (04:03):
My opinion, where let's let's let's put a rule on it.
If if you show up and there's at least two
other people in the room, so I feel like a
total of three people, that's like any two people plus
poke Bob equals polka party. Second, the motion second.

Speaker 3 (04:17):
Okay, Yeah, that means my house is always a Poka party.

Speaker 1 (04:22):
True. Yeah, And I'll put it this way, to to
paraphrase Kesha, the polka party, don't stop, don't start till.

Speaker 4 (04:34):
I'll take it. Hooray.

Speaker 2 (04:37):
Well, now with with with the the urgent matters.

Speaker 1 (04:40):
Out of the order, Yeah, out of the Yeah, out
of the way. Russ and I are enjoying an Orval
trappist ale that my dad brought as a gift for us.
So we're enjoying.

Speaker 4 (04:52):
The bottle looks like a bowling bottle, looks like a.

Speaker 1 (04:53):
Little bowling pin.

Speaker 3 (04:55):
I love the look of that bottle because that's what
I was gonna say, is that looks like a bowling
pin and and instead of knocking it down and knock
it back, there you go.

Speaker 1 (05:04):
There you go. Yeah, we've got six here. We will
probably only have two left at the end of this day.
But that's all right. So, as you know, if you
looked at the title of this episode in whatever platform
you happen to be listening to this podcast upon we
are talking about Polka Party, and if memory serves, the

(05:26):
title of this episode is going to be a Polka
Party Party, Polka Party, Polka Party. I mean, so that's
that's a lot, that's a lot happening. This is I've
got a not too too many facts one fact about

(05:49):
this track, but a little bit of trivia that I
wanted to throw here at the beginning. I'm obviously we
know this, but this is the only title track Polka Edley,
right right, that's duh uh and uh. An alternate version
of this song exists in which Papa Don't Preach was
replaced with Everybody Have Fun Tonight by Wang Chung, substituting

(06:11):
Everybody weird out Tonight for the lyric Everybody wang Chung Tonight,
followed by the line quote I want to be your sledgehammer,
ending the Medley. This version can be found during a
live performance on MTV's New Year's Eve Party in nineteen
eighty seven.

Speaker 2 (06:26):
So I was going to ask, because of U, is
it the alternative pokeon that was going to have Buddy
Holly in it? Yeah, but there exists studio versions of
that was this? So yeah? But what about this? This
was just a live thing that he did a thing. Okay,
I wonder if he switched out Papa Don't Preach because
of the controversy, perhaps like for live performance. I wonder
if at that time he did it makes sense. I
wonder because you know what I'm saying, because the reason

(06:49):
the whole thing with Buddy Holly was that he couldn't
get the rights or something. There was there was a
there was an issue why it wasn't included, like it
was recorded and not included, But Papa Don't Preach was
already included. So it just makes me it just seems
like a weird al thing to do to be like,
you know what, people are mad about that song, I'll
just throw this other one in here instead.

Speaker 3 (07:06):
You said eighty seven. Was that eighty seven being the
new year or eighty seven being the end.

Speaker 4 (07:11):
Of the year.

Speaker 1 (07:12):
Year's Party.

Speaker 4 (07:14):
No, it have to be going into.

Speaker 3 (07:17):
Okay, had even worse coming out, right, and it wouldn't
make any sense to do it then. And obviously it's
a title track, so it makes sense for him to
do this. Yeah, I like Wing Chung. That's kind of fun.

Speaker 4 (07:31):
You know you have a button for this moment.

Speaker 1 (07:34):
Oh yeah, that's true. I really do.

Speaker 4 (07:36):
Wait a minute, I'll go check. You know. It's like
I make these sound drops for no reason.

Speaker 1 (07:47):
Okay, the answer is unclear. The reasons for the removal
of the Papa Don't Preach segment from the official studio
version of Polka Party are not explicitly stated. However, based
on an interview with Weird Al about removing Buddy Holly
from another medley, licensing issues may have been a factor.

Speaker 4 (08:06):
It was a live performance.

Speaker 1 (08:08):
I was mentioned that they were unable to get the
Wang Chung song cleared for the album, yet decided to
play it live. Therefore, copywriter licensing issues may have prevented
the inclusion of Papa Don't Preach in the studio version
of No.

Speaker 4 (08:20):
Yeah, that's that's wrong. The first part is more right.

Speaker 1 (08:23):
Well, you can perform anyone.

Speaker 2 (08:25):
On earth can perform any song they want live. Ever,
that's why every guy can play with a guitar at
a bar, so like he wouldn't have been prevented from
performing Papa Don't Preach live, right, But the fact, like
what it sounds more like everybody Wang Chung tonight was
supposed to be there, but then he couldn't get the

(08:46):
rights for that, so he put Papa Don't Preach in there,
and then when he did it live, he just switched
it back to what it was going to be. That's
what it sounds like to me, because he wants the
people to hear it. And as I always say, Weird
l if you're listening, call me let me know.

Speaker 3 (08:59):
Yeah, because he has done that where he's substituted in
a live version and what he originally planned and couldn't do,
so that that's not completely unusual. There are variations of
Polka's out there from live versions.

Speaker 4 (09:17):
You never know.

Speaker 3 (09:17):
I mean, one of the things in early concerts that
I loved about going to Weird Out concert is you
never knew when he was going to throw out a
parody that was not on the album. And so I'll
never forget with the colors and whites keeping separated or
he near far wherever you are, while he's holding a

(09:39):
pizza box in his hand.

Speaker 2 (09:40):
So he did your pitiful live snack all night. I
think it played not maybe not the whole.

Speaker 1 (09:46):
Song, but it was part of the thing I'll repair
for you.

Speaker 3 (09:49):
Yes, oh yeah, that's another one. So you never know
when he's going to do something that's always a lot
of fun. You never know when he's going to do
something that you've never heard before.

Speaker 1 (09:57):
That's very true. It's very true. So well, we're onto
the Polka party bit of the Poka Party, Party Party,
lots of dots. Yeah, So I right here at the
at the jump, I'm just gonna run down the tracks
that are included in this, and then the three of
us will go through it one by one and kind

(10:18):
of give our thoughts about each segment of the song,
and at some point near the middle of it will
throw it to ads for people, because that's what happens.
I'm sorry, I had to laugh because my our elderly
doberman just decided to get up off of the floor
in the most like, oh boy kind of way. So
here are these songs that are included in the Polka Party.

(10:40):
Medley Sledgehammer by Peter Gabriel, Sustudio by Phil Collins, Party
All the Time by Eddie Murphy, Say You Say Me
by Lionel Richie, Freeway of Love by Wretha Franklin, What
You Need by In Excess, The Harlem Shuffle by The
Rolling Stones, Venus by Banana, Nasty by Janet Jackson, Rock

(11:02):
Me Amadis by Falco, Shout by Tears for Fears, Papa
Don't Preach My Madonna, And it ends obviously with the
Earbooker Polka as most of OL's, all of OL's early polka's.
Did did you.

Speaker 2 (11:14):
Say we're gonna go through each Yeah? Okay, yeah, I
mean I have to spend an hour in each song,
but I have I have a lot of thoughts to
share on each other side.

Speaker 4 (11:22):
Yeah, of course.

Speaker 1 (11:23):
That's what we're gonna do. So it opens with Sledgehammer. Hm.
For me, I can't hear Peter Gabriel's Sledgehammer without thinking that,
like the little scream in it where the glass breaks, like,
that's just brilliant to me.

Speaker 4 (11:36):
Well, for me, it's the thing thing thing. I love it.

Speaker 1 (11:41):
The sound effects.

Speaker 3 (11:42):
Yeah, so to me, this polka more than any other poka.
I hear the sound effects, and it feels like there's
always sound effects, but it feels like there's more in
this one, and I love every minute.

Speaker 4 (11:55):
Well, they're all well used, like you know what I mean.

Speaker 2 (11:57):
There's not a point where you're like, I wish that
wasn't there, Like you know what I mean, Like all
of them are like great use of the sound effects.

Speaker 1 (12:03):
Yeah, I feel like you're absolutely right, you know, and
we've We're gonna keep talking about pocas for as long
as people will listen. But one of the things about
like the early Pocus, especially like with the pocus on
forty five and hook on There to be stupid? Uh Poka, Like,

(12:24):
no pocus on forty five is on in three D?
What's the pogon there to be stupid? Well, I'm hooked on.

Speaker 4 (12:31):
Pocus hooked on focus was my guest.

Speaker 1 (12:33):
Yeah, I was having a brain fart there. But yes,
this one is where the sound effects really start coming to.

Speaker 3 (12:42):
The fore right and where they push and look sledgehammer
and the ding ding ding. It makes sense and it
sets the tone for the rest of the polka.

Speaker 4 (12:52):
Yeah.

Speaker 3 (12:53):
The other thing I really like about starting here is
the pace is like frantic. It's it is boom, and
it's it's high energy, it's fast, and it's like we're
coming at you fast and we're not gonna let up,
and it doesn't let up.

Speaker 1 (13:11):
So I'm gonna ask I absolutely, And this is a
question more for you guys than me, because while I
was alive, I wasn't really deforming musical opinions just yet
at this time. Let's just say that. So with it
being as like, this does feel like a very frantic
polka and is that indicative of like the state of

(13:33):
like popular music in nineteen eighty six, And I just
feel like, I mean, I just don't.

Speaker 2 (13:37):
Mean yeah, look here, I'm like, you know how I
feel about this. Anytime you talk about any music that
didn't come out in the past year, people go, oh,
good Grandpa, and the whole thing where people say, you know,
every generation says all the music before was so much
better or whatever else. Okay, Like I'm gonna try and
not shell this, but like there's a reason why at

(14:00):
Target they're not selling Cedar and Creed and whatever insert
band here, pod or whatever shirts. They're selling def Leppard
and they're selling you know, Whitney Houston and led Zeppelin,
and there's a reason why kids that are like sixteen, seventeen,
eighteen nineteen are still listening to led Zeppelin four and

(14:21):
so on. It's because the music absolutely was better than
and like that's a non qualified fact, Like that's that's
a real thing. The music industry, for as bad as
it was, was miles ahead of where it is now.
I say that all that all that to say this,
If you look at any week of the Billboard Top

(14:41):
ten in the last twenty twenty five now probably i'd
say about nineteen years, every single Top ten reads exactly
the same. It's whatever genre was in at the time.
Is that it's all R and B, or it's all
post grunge metal, or it's all new metal.

Speaker 4 (15:00):
All that right, It's okay.

Speaker 2 (15:02):
If you grab a Billboard Top ten from nineteen eighty
two to nineteen eighty seven, any week of the year,
you will see the most diversity you've ever seen in
your entire life. There's a reason why Weirdell can't do
what he does anymore. It's because what's he supposed to
make a polka out of?

Speaker 4 (15:17):
Now?

Speaker 2 (15:18):
Right, There's only you can only do so many mumble
wrap poka songs in a row.

Speaker 1 (15:23):
Yeah, you know what I mean, that's his last pocus year.

Speaker 2 (15:26):
What he's doing there is like you would turn on
the radio and you would hear all of these songs
in a row. Take something crazy different like Freeway of Love,
so I don't even like that much.

Speaker 4 (15:38):
You take that.

Speaker 2 (15:40):
You would hear that on the radio, and then very
soon after you would hear in Excess from Australia, right,
who hadn't even fully hit their potential to blow up yet.
That's how it really was, like it was so Frantic's
probably the best word that you used, because it was
just every every every song that came out on the

(16:02):
radio after the last one was totally different, different.

Speaker 3 (16:04):
So I'm with you because up until let's say late nineties,
I listened to top forty stations because there was so
much diversity and there's so many different things.

Speaker 4 (16:14):
Until they got it so they all got bought by
the same company and then all.

Speaker 3 (16:17):
Right, and in the late nineties it was just like, Nope,
I can't listen to this anymore. I was listening to
specialty stations. Got into a little bit of country there,
but uh, real heavy into alternative country.

Speaker 2 (16:30):
I had like another like another six years of being
left alone for whatever reason, and then until it got absorbed.

Speaker 3 (16:37):
But yes, and and then do a lot of alternative, grunge,
alternative music, which is my go to what I like
to listen to now.

Speaker 4 (16:48):
But the eighties it's so many different things.

Speaker 3 (16:51):
I mean, look, you could have at this time period
in eighty six, you could have made a polka of
nothing but rock ballads.

Speaker 1 (16:57):
Oh my gosh, power balance.

Speaker 4 (16:59):
Power balan PoCA. You could have made a polkah of
European power ballads at the time, or American power ballads or.

Speaker 3 (17:07):
UK you know what I mean, like so many yeah,
But instead you look at this diverse group.

Speaker 4 (17:13):
It's music.

Speaker 3 (17:15):
This is insane, and that is exactly reflective of the music.
Al's got his finger right on the pulse of this
is what American music is. This is what music is
right now today, which I think is why it's the
title track.

Speaker 4 (17:33):
You know.

Speaker 2 (17:34):
It's funny is when you said finger on the pulse
and I'm kind of getting ahead, I guess I should wait,
but I'll just say this. I had to look up
today because I didn't remember when. I mean, I've had
lifelong love affair with Inaxcess, but I can't know everything
all the time. I try real hard to, but I can't.
And I had to look it up today because I
was like, I do not remember what you Need being
a big enough hit when it because What you Need

(17:55):
was one of those retroactive things like when Kick blew
up in eighty seven and all those singles sold then,
like the radio stations.

Speaker 4 (18:02):
Played what you Need more? You know? You know what
I mean? No, and it's time.

Speaker 2 (18:06):
I don't remember it being that big of a hit,
and I had to look it up. It hit number
five and I totally forgot, Like I just I don't
know why. It's one of those things where I was like,
I didn't, I don't remember that song being a big hit.
So what my point was that I when I looked
it up, I was like, was weird hell just ahead
of the curve with that, Like like, for example, to
be fifty twos, I didn't even know who they were

(18:26):
until like six years after his first record come out,
and he's got pop peel on the first record, you
know what I mean?

Speaker 4 (18:30):
Right?

Speaker 2 (18:31):
Even Rim I would argue spam. He did spam before
uh two years before Out of Time came out. When
Rim truly hit the mainstream with Losing My religion true.
So that's why I looked that up today. I was like,
was it I look like Ahead of the Curve with
because I don't remember that being a huge I remember it,
but I remember being a huge hit. And I looked
it up and I was like, Nope, he was just
doing what you said when you said that. It's what
triggered met the He's just saying, here's the most popular

(18:54):
songs of the year.

Speaker 3 (18:55):
You're much better on the time friends than I Am.
Into the world as we know it? Whereas where is
that on the timeline?

Speaker 2 (19:01):
That's eighty seven that even so, they did a record
called Document that was very popular on the has end
of the world and the one I Love.

Speaker 3 (19:08):
So I knew who Arim was when that came out
because I loved Yeah.

Speaker 2 (19:13):
Depending on what circles she ran in, a lot of
people knew Arim from that, but it was like the
skater crowd knew who Arim was, like like the younger Yeah.
And then eighty eight they did the album with Okay
because I got it from my stepbrother. That fits skater.
He was there, Yeah, it fits. And then you have
eighty eight they did Green which had orange Crushing and
stand right and love, but I still l was way

(19:35):
ahead of the curve for the mainstream. Yeah, so anyways,
I'm sorry, we can go we digress, we do that,
But I will say that what what you guys were
saying about when you hear the original song and you
can't on here things every single time the end of it,
when uh, Peter Gabriel goes, this will be my test anemony, I.

Speaker 1 (19:54):
Go, yeah, yeah, yes. And what's interesting is we were
going to I'm going to I have a beautiful segue
for us to get into the next track. Oh absolutely,
did you know? And going from such Hammer by Peter
Gabriel into Sustudio by Phil Collins, I love how he
put two lead singers of Genesis next to each other.

Speaker 2 (20:17):
Yeah right, yeah, that's the thing I've never even thought about.
And I'm certain where I all thought about it. You know,
I've done that on your ship forum, Like I wonder
if we'd all thought of that. He absolutely thought that's
like it.

Speaker 1 (20:27):
It feels so incredibly intentional. And I also love his
vocal inflection on the SUSU studio part, like it's absolutely
acknowledging that this is nonsense, so so studio like what
does that mean?

Speaker 4 (20:39):
Right?

Speaker 2 (20:40):
Yeah, I don't have a lot to share on this
because I don't there's nothing I dislike about Sustudio. But
at the time that this album came out, I had
heard that song. I don't want to overstate this, but
like seventy million times on the radio, so like I
was just like when it went into it, there's a
couple in this polka that the polka has aged well
for me because nowadays, when I listened to it, it's fine,

(21:00):
But when this album came out, I was like, oh
my god with that song, like because there's there's more
of you in here that I was like, I don't
want to hear that song anymore. But that's the thing
with the studio. I love exactly. I love it in there,
but at the time it didn't really resonate with me
because I had heard the original so much all the time.

Speaker 3 (21:16):
There's a handful of songs that get over played and
played and played and played and played. Kiss from a
Rose is one of those songs for me that I
felt was on the radio like every single time I
turned on the radio, and uh, live like you were dying.
Tim McGraw on the country station that's for me. Yeah,

(21:38):
it was one of those songs that every time.

Speaker 4 (21:42):
That no boy, no boy. It was one of those songs.

Speaker 3 (21:50):
And a college professor once told me that Signs when
it came out, signs which one was a song?

Speaker 2 (21:58):
Which one the original? Or Tesla signs sign? Yeah, I
know where that's a cover? Tesla's uh is a cover?
Is that what era? Would he have been listening to
that song in the s eighties, seventies? Okay, then that's
the original when they.

Speaker 3 (22:11):
Came out, he said it was so overplayed that I
remember listening to we were hearing it in the nineties
and he's like, turn it off.

Speaker 4 (22:19):
I can't do it. Yeah.

Speaker 2 (22:20):
The reason why the album Tesla Did It on is
called five Band Acoustical Jam is because the original band
that did the song is called the five Ban Electric Band,
and the album that Tesla did it on is a
live acoustic record. So the name of the album is
five Man Acoustic Jam because they're the name of the
album is a playoff of the thing. No, that's why
it was important to me. Either way, Well, if it matters,

(22:40):
the Tesla version was crazy overplayed too, But I would say,
you know the one I always default to is Paradise
City by Guns and Roses. When that came out, there
were three major rock stations in Detroit at the time.

Speaker 4 (22:52):
They were all good.

Speaker 2 (22:53):
Again, this is before clear Channel and and you know
in the corporate goons taking over, but you would regularly
changed the station and all three of them would be
playing Paradox City at the same time. Grant, it's a
six and a half minute song, but still you're like, dude,
do all three of you need to be playing this
at the same time?

Speaker 1 (23:10):
So kind of where did I end up here? I'm sorry.
My thing with Paradise City is as a joke that
I tell, but nobody ever really laughs at what I'm
gonna tell it. Anyway, take me down to the Paradox
City where the grass is green and the grass isn't green?

Speaker 2 (23:26):
Okay, gotcha. I bet Axel would laugh at that. He's
got a much better sense of humor than people thinking.
He's like, he's like far more educated now than he
used to be. And I bet he would laugh with that.

Speaker 1 (23:35):
Like it just makes me crack. I heard that, Like,
just just if.

Speaker 2 (23:39):
You think it just takes Alison the fact that Axel
probably would Okay, that sound like an English professor.

Speaker 1 (23:45):
Probably was. Honestly, it probably was. But if for Donaster Studio,
we can move on to a Party All the Time
by Eddie Murphy, which this Poko alerted me to the
fact that this song existed.

Speaker 4 (23:57):
What I didn't know? Oh that's right, you were nothing
and this came out.

Speaker 1 (24:00):
Yeah, I have no reason.

Speaker 4 (24:02):
I knew the song. I didn't know who did it.
I didn't know it was Eddie Murphy. But I knew
the song.

Speaker 2 (24:07):
I the very first time I heard it, And anybody
who knows the song, you will forgive me of this.
Like the very first time I heard it, I thought
it was a Rick James song. But that kind of
is a Rick James song. He wrote it, he produced it,
he's doing backup vocals on it. Eddie Murphy's more or
less just there so Rick James can be like, no,
do it again, so you sound right this time.

Speaker 1 (24:26):
There's a there's a shot in the video right where
Rick James is standing behind like the control board in
the studio and he's like give it to me, like
it's a weird Like.

Speaker 4 (24:36):
Nope, I was never Rick James.

Speaker 5 (24:38):
Guy.

Speaker 2 (24:39):
He's one of those dudes that I totally appreciate everything
he's done for music, but like, I don't love what
he does, you know, So anyways, Party all the time
for me, I just there's another one. If we're ever
listening to a countdown, if we're on a throwbackstation, if
we're in public and we somehow hear it, he will
absolutely hear me go she parties all the time, Like.

Speaker 3 (24:57):
No, to me, this fits the polka. It's so I
like it here. I like the way it feels, I
like the way he like the way it rolls off
the tongue.

Speaker 4 (25:10):
I don't want to hear the original version. I want
the polka version of this song.

Speaker 2 (25:14):
It's funny because because I listened to a lot of
those casey case and countdowns, I hear the original version
more often in the last ount know, three or four
years than I ever did in the last twenty before that,
thirty before that, And every single time, I'm always like,
this isn't a bad song, but like I'd rather just
hear the polka.

Speaker 1 (25:30):
Move and move on. Yeah, yeah, I went. Now I
need to know how big of a hit was Party
all the time.

Speaker 2 (25:35):
By oh it's huge, I mean huge. I'm guessing it
had to be a top three.

Speaker 1 (25:40):
Yeah, number two on the US Billboard. Howe yes, it
was number eight on the Stillboard Hot Black Singles.

Speaker 4 (25:49):
I know.

Speaker 2 (25:50):
That's the one thing that cracks me up. But it's
not Casey's fault. It's truly Grandpa's from a different time.
But if you listen to the countdowns from like the
seventies through like eighty eight, they changed the name of
that countdown, it's not even Casey's fault, just reporting the news.
But Billboard changes the name of that kind of down
like six or seven different times, and I think it
just gets progressively more offensive.

Speaker 1 (26:09):
Oh my gosh, y because we were listening to Casey
case and countdownswee because they have the nineties and two
thousands in there sometimes too, Like at one point it's
like the urban charts.

Speaker 2 (26:18):
It's like the Urban chart, and then they have the
Contemporary Urban Chart, and it's like, what do you what
are you guys just using like an app and just
like hitting a button and just sits a word out
and you're like, I don't know' call it that now?

Speaker 1 (26:29):
Well, it's like do you did you ever have that
thing where Spotify puts a playlist together for you? Like
I get these things on Spotify where it's like, this
is your moody new wave synth Sunday morning. Yeah, I'm like, what.

Speaker 2 (26:46):
So this is going to derail a little bit, but
this might this might be interesting to y'all if y'all
don't know, and I assume this will be interesting to
somebody listening. So nowadays, with every being everything being so
computerized and from sound scanning forward, SoundScan came about in
I think nineteen ninety one or so. Sound scan was
the thing where they actually started to track real record sales,

(27:10):
like every single barcode that went through that counted as
a sale of that record, okay, and they would ask
they would, However, the record store put it in their computer.
Is how it got defined. So if the record store
put guns n' Roses under heavy metal, then it would
count as a heavy metal record sale, and if the

(27:31):
next store down the road put it under rock, it
would count as a rock sale.

Speaker 4 (27:34):
Okay.

Speaker 2 (27:35):
Nowadays that's much more different because all the metadata comes
directly from the record label. Soone the record label sends
out your country song if they say it's country, not
that anybody would do that release songs that are not
country and say that they are. But if the metadata
says it's country, every stream that it gets it goes
under that silo. Now, do you have any idea how
record sales got counted before sound scan?

Speaker 4 (27:57):
Okay, check this out.

Speaker 2 (27:59):
This is where they would count it as they Billboard
had an entire accounting firm that would call record stores
in the nation and ask them what was selling and
if they had an idea, and the record stores had
to keep books on how many they sold, all these
like manual books, how many they sold, and then they

(28:20):
would ask the record store the demographic of the people
buying it. So that's how if you listen to a
countdown from like nineteen eighty two, he'll go, casey, you'll go.
This song was number one on the Black charts, and
it recently crossed over to the.

Speaker 4 (28:36):
Pop charts.

Speaker 2 (28:37):
It's because the whole time the song was out at
the beginning, the record stores would report who was buying it,
and then as the whites got turned onto the dance
song or whatever, like another one by Sudust by Queen
great example, totally didn't sell as a to anyone white
like Queen fans were like, what the hell is this crap? Right,
So record stores when they were reporting the sale, were like, yeah,

(28:59):
all these brothers and sisters are coming in for it, right,
And then like as it became more of a hit,
the white people would come in and ask for it,
and so they do that. So that's how that song
became a black charts song crossing over to the rock charts.
So all of that is to say, like party all
the time. What triggered this in my brains When you

(29:19):
say it only made it to this on the black chart,
it's because at one point the brothers and sisters were like, yeah,
this is like not even like Rick James has done
much better music than this, Like they at one point
they got sick of it and we're like, yeah, we're
not buying this anymore. But that's when the whites took over,
and the whites were like, oh man, Eddie Murphy, he
made me laugh on SNL, like, you know, like I'm
gonna buy this song. So it's just it's interesting how

(29:40):
like the perception was of things back then, you know,
like it's completely different than it is now.

Speaker 4 (29:48):
This is how you get the over sixties charts.

Speaker 1 (29:49):
Yeah, yeah, that's a wild stuff. That's wild stuff.

Speaker 2 (29:53):
I think there's a soccer Mom chart. But it's all
just Michael Bubley records.

Speaker 1 (29:58):
I like Michael Bubley.

Speaker 4 (30:00):
I do as well.

Speaker 1 (30:02):
I'm Michael doubley. Let's see what's next after a party
all the time is say You Say Me by Lionel Richie.

Speaker 4 (30:08):
This is one of a couple of songs I don't
like in the Polka. I don't know.

Speaker 2 (30:11):
Okay, really, I'm fine with it in the Polka, but
I don't like the original song. And I love Lionel Ritchie.
I was gonna say, I really like Lionel Richie. There's
got so many good songs. Name for me a song
with a worse bridge in it than Say You Say Me.
That song is a beautiful ballad, and then it's got
a dance bridge in the middle of it for no reason,
and then it goes back to being a ballad. It's

(30:33):
Lionel not trying that hard and still hitting it out
of the park.

Speaker 1 (30:36):
That's interest Well, I mean, I guess at the time
he didn't really have to try all that hard.

Speaker 4 (30:39):
No he didn't, That's what I'm saying. I mean.

Speaker 2 (30:41):
The man is following up. Well, he came out of
the commodoors. He put out a solo record with like
Petty Lover and You Are and all that right, and
he puts out the record with All Night Long and
Running with the Night and Hello All Night Long. I mean, yeah,
Lionel Richie could have just wrote down the words to
Happy Birthday and sing it and people would have bought it.

Speaker 4 (30:57):
And Lionel was doing so many other things.

Speaker 3 (31:00):
He's behind We Are the World, He's writing, he's writing
songs for Kenny Rogers the world of course. I mean
he's writing songs for Kenny Rogers. I mean it's producing people. Yeah, right,
Lionel Richie is one of those behind the scene forces
that I don't know that people realize today. I don't
know realize until Oh he's a judge on American Idol. Right, No, no,

(31:23):
Lionel Richie is there because Lionel Richie is a legend
in the music industry.

Speaker 4 (31:29):
Yeah, I get totally. I mean this was a huge hit.
I get the Globe.

Speaker 2 (31:34):
Yeah, it's from White Knights Gregory Hines movie I Think,
which I've never seen and I don't want to see
because I don't want the song.

Speaker 4 (31:42):
I do like this song.

Speaker 3 (31:43):
I think the song is great. I love it here
in the I love it here in the polka. I
also think that this helps. As we were saying, this
could have been a rock ballad polka and this is
very different that this, this is very different than what
else is on the poka.

Speaker 4 (32:00):
I like it. I like it for the polka. I
don't it's there's a couple.

Speaker 2 (32:04):
There's a couple in here that I don't like the
original song at all, but I like it in the polka.

Speaker 1 (32:08):
I like that. I like this together.

Speaker 4 (32:14):
It is so different than the actual song. Oh I know,
it is so different than the actual song.

Speaker 1 (32:21):
That's the beauty of the polka.

Speaker 4 (32:22):
Well, and here's the thing that's a nice low song.
This the frantic Yeah no, I agree.

Speaker 1 (32:31):
So speaking of uh frantic paces, is that how you
drive when you're on the freeway of love?

Speaker 4 (32:37):
Which is this?

Speaker 1 (32:39):
Is?

Speaker 4 (32:39):
This is?

Speaker 6 (32:39):
This is?

Speaker 4 (32:39):
There's another one that I don't.

Speaker 1 (32:40):
Like, Frank, I love I love Aretha so much And nope,
not this song.

Speaker 2 (32:45):
And again I like it in this polka, but the
original song I just do not like.

Speaker 1 (32:50):
So what's let's see, Oh, Bella, Donna's over here. Given
Bob a hard time, given.

Speaker 2 (32:56):
A hard time, pokot we opened the show, or even
on the show.

Speaker 1 (33:01):
I know I'm kind of the worst. So Freeway of
Love hitting number three on the Billboard Hot one hundred. Yeah,
it was big, number eleven on the US Adult Contemporary,
number one on the Dance Club Songs, and number one
on Hot Black Singles.

Speaker 2 (33:15):
Yep, I love. There's not much that she does that
I don't like. I just never cared for this when
it was out, and but I like it in the Polka?

Speaker 3 (33:25):
Do you think this is one where Al is like,
I gotta get her on a polka and this might
be my last chance. I mean, I was an enormous hit,
So it was, But I mean, do you think this
is one of heys Aretha Franklin.

Speaker 4 (33:40):
I may never get another chance. I want to have
her in the polka? I mean I don't think that
was I don't think it was a driving factor.

Speaker 1 (33:47):
Well driving.

Speaker 4 (33:52):
Very nice. You drove right into that one. Yep, there
you go.

Speaker 2 (33:56):
But yeah, I I that may have crossed his mind back,
I don't think so.

Speaker 4 (34:01):
I mean, it was an enormous hit. It's it's kind
of true.

Speaker 3 (34:03):
But as we talked about last time I was on,
there are some songs that uh or there are some
artists that Al wants I need to pay respect to
the artists. I need to get him in a polka,
and I'm wondering if this was that opportunity.

Speaker 4 (34:18):
It's a big hit, it's Aretha Franklin.

Speaker 3 (34:20):
I've got to include her and so that this is
one of those that it's Hey, it's a number one,
this is my chance to.

Speaker 4 (34:27):
Get her in.

Speaker 1 (34:28):
I had to laugh because I've been enjoying myself on
the Wikipedia pages for all of these songs in this
polka while we're having this conversation to see if I
could find any nuggets to bring. Like, while we're going
at this, do you know who played synth base on
Freeway of Love?

Speaker 4 (34:42):
If you're super excited about it.

Speaker 1 (34:44):
I'm not super excited. I just cracked itack it totally is.
Do you know how he's Randy? Do you know how
he's built.

Speaker 4 (34:52):
On Did you know he was in Journey Dog Dog? Yeah?

Speaker 1 (34:55):
Do you know what he's build on here? Randy the
King Jackson?

Speaker 2 (35:00):
Oh my goodness, I listen to me. First of all,
there's one Jackson that's the king, first of all. Second
of all, you only played on one Journey album, and
you only toured on what stop telling people you were
in journey third and I love saying this about him

(35:21):
anytime it comes up.

Speaker 4 (35:22):
That's a no for me.

Speaker 1 (35:23):
Dog, That's totally fair, Oh, Sylvester saying background vocals on
I Love Sylvester.

Speaker 2 (35:29):
I have a question, where where are we at in
the polka? How many songs are there to go?

Speaker 1 (35:34):
One, two, three, four, five, six seven?

Speaker 4 (35:37):
Almost halfway through we are five in.

Speaker 1 (35:39):
Let's talk about the next song and then we can.

Speaker 2 (35:40):
I'm just gonna say, then we should break because this
has been a quite the wealth of knowledge.

Speaker 1 (35:45):
Yeah, but we're doing a good job here. So freeway
of love takes us into what you need by an excess.

Speaker 2 (35:48):
I love the segue. I love it just in a
pink Cadillac that.

Speaker 3 (35:55):
I was gonna say, we can't go pass free in
love without mentioning being cattle.

Speaker 1 (36:03):
Horns.

Speaker 3 (36:04):
Right again, what I said about sound effects early on
the horn right there with pink. It's perfect, It is
absolutely perfect. It is genius to do that. And then,
as you said, the segue right into the next song.

Speaker 2 (36:20):
And for me, what you need here proves that it's
not just R and B or pop hits that weird out.
When he puts it into a polka, he puts it
very much his own spin on it, because what you
need is very much a guitar and synth like pop

(36:40):
rock and funk monster of a song. Like the production
is huge on it, and he just like turns it
into a really tight polka real quick like and hits
everything the whole, the the synth, partha all that, and uh,
you know, Michael Hutchins's the patent on like central vocals

(37:01):
and where he delivers it in the opposite of that
and give you what you need.

Speaker 1 (37:07):
Like it's just like almost Chipmunks.

Speaker 4 (37:10):
I mean, it's just uh, you know.

Speaker 2 (37:12):
And one of the things about in Excessive Style is uh,
and this is across their entire career, is they have
that like slink to them, like a song that sounds
like it's faster than it is or the band is
going at one speed and Michael Hutchins is just taking
his time being cool as ice, you know, and the
fact that like this is just the opposite of that,
like it is it is just like if an Excess

(37:37):
had like an attention span problem, then that this is
what they would have recorded, you know. Like it's just
it's insane to me. How again, it's not just oh, well,
if you take R and B and you do it
like this, of course it's going to sound different like this.
This is like the opposite in every way of our
I mean, there's some R and B in it, but
it's the opposite in every way of an R and

(37:57):
B song. And and he's still able to put his
own spin on it in the pole, right, it's.

Speaker 3 (38:02):
Perfect, perfect, And again we're now talking about super popular songs,
songs that everybody knows, and I mean it just and
it fits. It's just like drop, it's plug and play. Yeah,
I mean, and this is this is one of those
where everybody's gonna recognize the song.

Speaker 4 (38:18):
Everybody's gonna know what this is.

Speaker 3 (38:20):
I mean, anybody who's listening to music at the time
is like, oh yeah, of course, of course that's in there.

Speaker 4 (38:24):
Yeah, yeah, absolutely, yeah.

Speaker 1 (38:28):
I got nothing else to say. I mean, it's a
perfect place to Yeah, we're just gonna take a break now,
I think, right, do you have anything else to say
about what you need or anything? We we're halfway do
with Pok Poka Bob.

Speaker 4 (38:40):
I'm good, I'm ready for a break.

Speaker 1 (38:42):
Okay, We're gonna take a break, and so listen to
these ads. Enjoy them. Remember they're all They're entirely your
fault and we'll cut you on the other side.

Speaker 6 (38:53):
If you're into comedy, game shows and improv, you should
come check out b f y t W. We are
an adult British inspired comedy panel show. New episodes release
every Thursday through your favorite podcast player or bf y
twpod dot com. We're also a founding member of the
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join us for some laughs.

Speaker 7 (39:25):
Each of us identify with one of the Golden Girls.
I'm Sophia, Aaron is Dorothy, Kristen is Sweet Roads, and
each week we'll have a guest sit in the Blanche
spot the Naughty Seat. Come join us on the Lanai
for some cheesecake.

Speaker 1 (39:41):
Part of the Odd Pods Media Network. You ready, all
right and we're back. No, but I did the and
we're back. And you always do the thing that you
you didn't do it today.

Speaker 4 (39:57):
Oh go back of that guy.

Speaker 1 (39:58):
Thank you? Sorry, pay attention, focus up, focus up.

Speaker 4 (40:03):
She can't even call you poke Bob yet I messed up,
I know. So.

Speaker 1 (40:08):
Yeah, we're going into the second half of Polka Party,
The Polka Party, Polka.

Speaker 2 (40:12):
Speaking of songs, everyone remembers these days, I would argue, no, the.

Speaker 1 (40:18):
Harlem Shuffle by the Rolling.

Speaker 4 (40:20):
Stone, no one remembers the song.

Speaker 1 (40:22):
I don't.

Speaker 2 (40:23):
I barely remembered it when it was out, And I
have to know, could you bring up the charts on
this song.

Speaker 4 (40:30):
That's where I'm going where? Okay?

Speaker 2 (40:31):
I need to know where this song peaked at, because
there's like a couple of Stone songs from like seventy
eight to around this time like that. If it's not
start me up, no one remembers.

Speaker 1 (40:43):
Them, all right, So this was number five on the
Hot one hundred, number four on the Hot Dance Club Play,
number five on the Hot Dance Music MAXI Singles Sales,
and number two on the Hot Mainstream Rock Tracks.

Speaker 2 (40:57):
Good Lord, that is insane, Hi, and yet no one
remembers it, like, no one remembers this song now having
said that I love it in the polka that just
that yeah yeah yeah, yeah, well the second yeah everybody,
yeah yeah yeah, Like you know, I think it was
this from a Was this on the soundtrack or something?

(41:20):
I know I know what Stones album that song, but
I think it was on a soundtrack.

Speaker 1 (41:23):
Do you she's the No?

Speaker 4 (41:26):
I guess maybe not. Okay No.

Speaker 1 (41:28):
Keith Richards had been looking for songs to possibly include
on the album, and had been working up songs with
Ronnie Wood and Bob wo Mac while waiting for Mick
Jagger to return to the studio in Paris after doing
promo work on a solo album.

Speaker 4 (41:39):
She's the Boss, which did not sell.

Speaker 1 (41:41):
To Richard's surprise, Jagger liked the feel and cut the
vocals quickly. It became the first cover songs the Stones
had released as an opening single off a new album
since nineteen sixty five.

Speaker 4 (41:51):
D It was a cover.

Speaker 1 (41:53):
Yes, it was originally done by Bob and Earle. They're
in nineteen sixty three. They were an American singing duo
best known for writing and recording the original version of
the Harlem Shuffle.

Speaker 4 (42:06):
So they're best known for writing the Stone song that
no one remembers.

Speaker 3 (42:09):
I was gonna say, look, so I haven't told this
story yet, but I have told the story on this podcast.
Is this is the album. The Polka Party was the
album I didn't know existed. So I was working at
a summer camp in eighty eight and was a big fan.
I had all the albums hours, so I thought, and

(42:31):
then so I'm working and I was working in a commissary,
and so we were kind of isolated and we were
playing music and the guy I was working it plugs
in a weird house tape cassette tape at the time
eighty eight I heard before and it's like all new songs,
and I've got a brand new pulsecrat.

Speaker 4 (42:52):
Wow.

Speaker 2 (42:53):
Everybody else got one weird album in nineteen eighty eight,
you got two.

Speaker 4 (42:56):
I got two.

Speaker 3 (42:57):
And this was the song on the Polka. I had
no idea what it was. I didn't know. I knew
every song on this Polka. I liked every song of
this Poka, this song Okay, So like this is one
of those this is one of those times it's like
I don't know who the song is, but if fits,
it works.

Speaker 2 (43:13):
I feel like I've proven on the show that like
I'm the guy that remembers every song, like Lauren knows,
I'm always like, oh no, yeah, that's that was a
song that it was a hit then or whatever.

Speaker 4 (43:20):
But the thing I do is what I did with.

Speaker 2 (43:22):
What you need earlier, where I'll be like I don't remember,
like I totally remember, but I don't remember being that
big hit. What I have found, at least for me,
is why I have memory holes on stuff like this
is because like when this song came on, I must
have just changed the station like every time, like because
I have zero recollection of it being like a top
five hit, you know, and when it started I just
must have been like, yeah, I don't want to hear this,

(43:45):
but if it hits top five, then I totally get
why he put it in the song.

Speaker 3 (43:48):
Plus it's the stones, well, and this is right, and
of course this is oh I'm sorry, no, this is
long before it decides.

Speaker 4 (43:56):
Oh, I like this stone so much and want make
a whole folk out of them.

Speaker 1 (43:58):
Yeah, well that's the poka. That's the next polka after
this one is the Hot Rocks Poka. That's the next
poka that we get. But yeah, so fun fact every
polka that Weird aw did in the eighties includes mixed
jagger in some.

Speaker 4 (44:11):
Way right because of us state of shock, right.

Speaker 1 (44:15):
And then the rolling stones on the Poka's on forty five.
So it's just it's just interesting, you know, like, yeah,
I don't like this on here, but I think that's
just a fun little yeah.

Speaker 2 (44:25):
If nothing else, it's like the thing that carries the tradition,
you know. Plus he wouldn't know at the time that
wasn't going to age well, or that people were going
to forget about the song. Age well is not the
right term, but people were.

Speaker 1 (44:34):
Gonna forget about He can't predict all well.

Speaker 4 (44:37):
And it's the Stones.

Speaker 3 (44:37):
I mean, the Stones are legendary and who knows what's
coming with the Stones at this point.

Speaker 1 (44:42):
We had two missteps with the Stones on this album. Yeah,
toothless people.

Speaker 4 (44:49):
Yeah, but again that's what we'll We'll get there when
we get there.

Speaker 1 (44:53):
But that was but I get it's how did it happen?

Speaker 2 (44:56):
That was a hit. The movie was a hit. The
single was a hit. You know you do not my favorite, No,
I mean, well, we got.

Speaker 1 (45:06):
Episode to do about it, but it has grown on
me and it's weird and it's weird way, but yeah.
The Harlem Shovel is followed by Venus by Banana Ramo,
which is a cover.

Speaker 4 (45:15):
Of which this was a huge hit. Oh yeah, I
mean this was a huge hit.

Speaker 3 (45:21):
Yeah, I mean this this is one of those it's
it's in the polka and it's like, oh well, of
course everybody and it covers it were hits at that time.

Speaker 2 (45:30):
Like in the mid to late eighties were just enormous,
just just ridiculous amount of hits.

Speaker 4 (45:36):
This is one of.

Speaker 3 (45:37):
Those songs that it's like a no brainer, Oh this
is gonna be in though Yep, this is gonna be
in the polka. I'm sure this is one of those
is like, oh circle this song.

Speaker 2 (45:46):
Yeah, like yeah, when if you're like look at the
charts and be like, okay, what are we doing?

Speaker 4 (45:50):
Like, well, yeah, can you name another Banana Rama song?
Cool Summer? Yeah, okay, I got to I think I'm
out now. But I.

Speaker 2 (46:00):
But I like that one because I'm sure they didn't
write it, but at least that was the original. Like,
I liked that they had a hit with one that's
that wasn't a cover, you know.

Speaker 4 (46:07):
I I remember the name.

Speaker 2 (46:10):
I couldn't sing as soon as it started, you'd go, oh,
I totally remember this song.

Speaker 4 (46:14):
It's one of those things.

Speaker 1 (46:17):
Yeah, I'm just trying to see if there's anything Banana
Ram has several.

Speaker 4 (46:22):
Uk Yeah, they're one of the bands that were like
they were bigger over there than here.

Speaker 1 (46:26):
Yeah, but they did a lot of covers. Yeah, Cool
Summer their cover band essentially essentially.

Speaker 4 (46:35):
The Cool Summer was a great song.

Speaker 1 (46:36):
Crool Summer is a very good song. I enjoy it
quite a bit. Yeah, but Venus was the thing to
put here, Like absolutely, it's I'm your I'm your desire line.

Speaker 4 (46:48):
It fits.

Speaker 3 (46:50):
This is one of those polkas where you take all
the songs and together it's just masterful. It's like these
all fit so well that it's one of those where
where it's just like, okay, it works on its own, right,
It just it just works.

Speaker 4 (47:08):
On the zone.

Speaker 1 (47:09):
This this poka absolutely like again because we've talked about
these pokas leading up to this before, and I like
the polkas that really feel like a snapshot of like
when and this is this is so that this polka
is like this polka. It helps my brain in trivia,

(47:29):
yes when being asked when did that song come out?
You know, it's one of those things like absolutely, so
Venus is funneled up by what might be my favorite
part of this polka is Nasty Janet Jackson.

Speaker 2 (47:46):
It's really good and she you know, again you don't
have to bother with all the chart stuff, but like
she had such a run of hits off of that
record Control Nasty, What have you done for me lately,
even the ballads Pleasure principle, that's wait a while. The
record was and he could have done any of her
like in a minimum, he could have done control this

(48:06):
or what have you done.

Speaker 4 (48:07):
For me lately? Right?

Speaker 2 (48:08):
And now I'm gonna going way through the back door
for this. This is the closest he ever came to
actually doing any Prince material because the song was written
and produced by Jimmy jam and Terry Lewis from the time,
who more or less stole princess Minneapolis sound when they
left at the time, And the only songs that they
did Morris Day or I'm sorry Jimmy jam and Terry

(48:31):
Lewis did as part of the time were with Morris Day.
But all of those songs were written by Prince. And
so when you listen to the Control album, there's a
reason why it sounds like a Prince album. It's because
the two guys who wrote and produced that record had
left Prince's organization. So Prince putting Nasty in this is
the closest he ever came to actually directly covering Prince

(48:53):
in any way. Now, Prince had nothing to do with
the writing of that, so he didn't back door and go, well,
I'm gonna do this and just call it, you know.
But like Prince had everything to do with Jimmy Jami.
It's like it's like saying, when uh you listen to
Stevie Wonder records and it's like, well, uh, you know
it's it's not exactly motown, Yes it is, you know
what I mean. So like Jimmy Jame terior Lewis were

(49:15):
like really just putting out Prince records with Janet Jackson
singing them. Of course it wasn't written as well, but uh,
but still this is the closest weird Al came to
actually like being directly connected to Prince material.

Speaker 3 (49:29):
This is one of those when it was out and
I know, Lauren, it's a little before your time when
this this is huge. This was huge. Oh yeah, but
nasty as a song. I mean you say that and
you say, what what have it done for you lately?
It's like those two songs back to back.

Speaker 5 (49:47):
Janet Jackson was everywhere and that's before the ballot the
charts your domin well, let's wait a while, President Pleasure
Principle that was on the same record they were.

Speaker 4 (49:57):
They were enormous. Uh.

Speaker 2 (49:58):
Side note, I just remember that the last time I
saw Prince in concert a year before he passed away,
he covered what Have You Done for Me Lately?

Speaker 4 (50:04):
Did he really? Yeah?

Speaker 2 (50:05):
So it's funny that he covered the song with Jimmy
Jim Terry Lewis released kind of rip him off.

Speaker 1 (50:09):
That's fantastic.

Speaker 2 (50:10):
Also, did uh Don't Stop to You Get Enough by
Michael that night too, so he kind of did both
Jackson's in one night.

Speaker 4 (50:18):
Yeah.

Speaker 3 (50:18):
No, This nasty great Janet Jackson Jackson song possibly one
of my favorite Janet.

Speaker 4 (50:24):
Jackson songs, and it's and but here. Oh my gosh,
it fits so well.

Speaker 1 (50:31):
I love so good the way he yeah, the way
he does all of this. And actually on the on
the Wikipedia page for Nasty by Janet Jackson, it does
mention in the legacy portion that weird Al Yankovic concluded
the song and his Poke met Ley Poko Party from
his album of the same name, But the picture that
they include a weird out and that's actually is from
him performing the saga begins in like the early two

(50:52):
thousands weird.

Speaker 2 (50:55):
So I will say this, I don't know what instrument
it is, but the nasty nasty ways don't mean thing.
Where it's uh, the instrument of the poka, where it's
like does.

Speaker 4 (51:03):
A do do do do? Do do do?

Speaker 2 (51:05):
Because like that synth part is iconic, like that's like
classic Minneapolis keyboard driven stuff.

Speaker 4 (51:16):
And then where it else is like do do do
do do do? It's just I love it so much.
I think it's keyboard.

Speaker 3 (51:22):
If you notice that is actually carried through the whole polka,
it is you that that.

Speaker 4 (51:28):
Sound and you hear it?

Speaker 3 (51:29):
Yeah, yeah, yes, but it is carried throughout the whole
polka where it is doing. Yeah, I don't know what
if you call it the melody or the harmony or
I'm not a music guy, I don't know that, but
I do know that you hear that. So it's not
out of place here because we've heard it in the
other songs in the polka, but here it plays that

(51:53):
important part that really just drives it home. Yes, this
is nasty, this is this is the song. And I
it's got to be a sith. It's got to be
a keyboard of some sort.

Speaker 1 (52:06):
I think it's a clarinet.

Speaker 4 (52:07):
It could be.

Speaker 2 (52:08):
You think it's just it's on the on the on
the Janet Jackson cut is for sure since but on
the weird out cut, yeah, I think it. I think
it's a woodwind of something.

Speaker 1 (52:16):
There's a clarinet, but is there on the personnel for
the album, so I would.

Speaker 2 (52:20):
Assume the segue into the next track, I absolutely love.

Speaker 4 (52:25):
I like this part.

Speaker 2 (52:25):
I like this part because I've never I've never liked
that And they left that that's a that's a it's
not a mistake. But that's Janet just talking in the studio,
is it. Yeah, that's when she was cut her vocals,
and that's literally her talking to someone going like I
like this part, and so that's why it's and they
left it in, and they left it in, and I've
never liked it ever since. I was like, the production

(52:46):
nerded me, is like they should have taken that out.
But I from the very first time I heard the
word up, I was like, ah, well played like you
got you gotta throw that in there.

Speaker 3 (52:55):
It's so so good because he's gonna do it. He's
want to do a little bit, gotta have some music,
got gotta have a little break in the in there,
and to throw that in, like, well, you know what,
I like this part too, Yeah, I know, I mean
that's he says it, and it's like, that's what I'm thinking,
is like, I like this part too.

Speaker 4 (53:15):
Let's go. It's funny because I know what we're going into.

Speaker 2 (53:18):
And I if you are overly familiar with the original
or anyway, you just be like I like this too.

Speaker 3 (53:23):
Al Right, I like this dude, let's go because I
know what song's coming next, and I like this part.

Speaker 1 (53:30):
I like this part too. It's ridiculous. This song does
not compute in my head.

Speaker 4 (53:39):
I don't.

Speaker 2 (53:41):
I don't understand what you're it's not computing. How you're
saying it's not computing.

Speaker 4 (53:44):
I don't know what you mean.

Speaker 1 (53:45):
I don't understand how or why this was such a
massive hit that it was massive.

Speaker 2 (53:51):
So I'm not gonna I'm not going to break all
the eggs and make this onlet but I'll just say this.
I'm going to quote Roy Roy Hay from The Culture
Club when I say this.

Speaker 1 (54:01):
It was the eighties, mate, Okay, I mean that's fair
because it was number one on this was number six
on the Hot Black Singles.

Speaker 2 (54:11):
It's a it's a rap, so it's you have to
remember run DMC was enormous the year before or earlier
in that year, and at that time, like and and
by the way, before anybody is like, yes, I've heard
the message by grand Master Flash, and I'm aware that
rap and rock go back before that, but mainstream you know,
run DMC hit and you have to remember the Cats

(54:31):
over in Germany and we're we're we're playing with this
type of stuff way before we ever thought of it
over here. So you know, you go, you go back
to Kraft work with like really working in like beats
and synths and and spoken word. So you know, six
years later, here comes Falco to be like, I have

(54:52):
some things to say about Amadas, but I adore that
there's so much, so much complexity in the Falco track
in the original, and weird Al doesn't even try for
any of it, like I think on purpose. He's just
like he's like, I'm gonna boil this entire song down
to this one tiny part from it and move on,

(55:16):
which is which is in the original, In the original.

Speaker 3 (55:19):
One hundred, I mean, this was such a massive hit.
This is one of those where I'm listening to the
polka going, oh wow, I love that song. One of
my favorite things is you do a weird out poke
you don't know what's in and you go.

Speaker 4 (55:33):
Oh, I love that song. Right, Oh, that's such a
great song.

Speaker 2 (55:36):
And this is another thing like ninety nine Love Balloons too,
where this was a big hit twice because they really
sit in another language and it was a hit again.

Speaker 4 (55:44):
Rock Have a Disc. This is great. I love it
here and I love that it comes right after. I
like this part because I like this part.

Speaker 2 (55:55):
If you I don't know if you've ever seen the
video for Rock Maam a Disk, because if you have,
your mind's about to be reblown now that I can
explain that was brought to you by a substance called cocaine.

Speaker 1 (56:07):
That's what all that powder was.

Speaker 4 (56:09):
Yeah, yeah, yeah, that's what they mean when they say
powdered wig. Yeah ha ha ha.

Speaker 1 (56:15):
I like this part.

Speaker 4 (56:16):
We I mean.

Speaker 1 (56:20):
I kind of you know the music, you know, geek
in me appreciates the all the the obsession with Mozart
at the time.

Speaker 2 (56:28):
Right, Well, I mean that it was the movie, the movie,
which I've still never seen. Apparently that's the story of
me and this podcast. I'm just gonna keep saying I
didn't see the.

Speaker 1 (56:37):
Movie, so so yeah, I've never seen the movie either.
But apparently the movie Amadeus is from what I undertand
I just I just saw an article like recently say
that like Amma Das is probably one of the most
like accurate bio music biopics that that has ever been made.

(56:59):
And I'm like, well, that's that's interesting.

Speaker 3 (57:03):
You know what's crazy is I haven't heard the song
what twenty years.

Speaker 2 (57:09):
We literally just heard it on Monday because we heard
a barbecue or the Monday before we heard a barbecue
and I had the Casey Caseum kind of down out
and it was on that was one of the top
hundred singles of the year.

Speaker 3 (57:17):
It's probably twenty maybe even thirty years. And while we've
just been here while y'all were talking, I'm sitting there
and it's.

Speaker 4 (57:22):
You can hear the whole thing in my head because
I know this song. So we used to make music
that good, right, And.

Speaker 3 (57:30):
What you just said about the complexity, Yeah, no, it's
amazing what this song is and for al to put
it in here and for it to be as good
as it is and the way it is.

Speaker 2 (57:43):
If you're weird now in nineteen eighty six or whenever
it was recording this eighty five or whatever, and someone says,
which of the songs in this polka Do you think
are going to age more poorly or people are gonna
forget faster that Falco song or that Rolling Stone song.
You would be like, oh, I'm not a foul call song, probably,
and like I would, are you many many more people

(58:04):
remember rocking on a dance than Harlem Shoffle one hundred percent?

Speaker 4 (58:08):
Yeah?

Speaker 1 (58:08):
Absolutely absolutely, what are we up to left shout my
tears for fear? Yeah, I mean I love this song to.

Speaker 4 (58:19):
Be so another one that he could have done damn
near or anything on the record.

Speaker 3 (58:22):
Yeah, yeah, yeah, I was gonna say I love shot,
I love this song, I love it here.

Speaker 4 (58:29):
This is.

Speaker 3 (58:31):
I just you can just you know it's it's not
Poka Bob, it's Robot Bob. I'm just gonna say, oh,
I love this song, I love it here, and it's
just going to repeat that over and over again.

Speaker 1 (58:40):
Well, I mean that's There's a lot of things that
I would rearrange if given the chance, and a lot
of you know, weird Al's catalog, but this polka is
not one of them.

Speaker 2 (58:50):
No, even like I said, like I don't, I don't
love the original, say you say me, but like I
wouldn't take it out of this I don't.

Speaker 4 (58:56):
No one remembers Harlem shuffle. I barely do.

Speaker 2 (58:58):
I wouldn't take it out of this Polka still though,
you know what I mean, Like this Bulk is perfect
the way it.

Speaker 3 (59:02):
Is a work of art. Yeah, it's time. I mean again,
this is why this is the title track. I mean,
you listen to this song from beginning to end. If
I was, I would be so proud of what he
accomplishes with this.

Speaker 4 (59:19):
Song with disagreeing with you.

Speaker 2 (59:21):
But also we saw on the biopic that at the
time there was a rash of Bulk parties, so I
would imagine that that was also probably like kind of
like trying to bring awareness to problem.

Speaker 4 (59:31):
Of course, I imagine.

Speaker 2 (59:33):
The only other thing I want to say about Shout
being in this is that this is for me. I
forgot what song it was you mentioned earlier, but the
way maybe Cistudio, the way he delivers the vocal and
and Shout is such a serious song. Like it's like,
I mean, they're talking about men's mental illness, like forty
years we say we talk about it now, but we
really don't. But they were talking about it forty years
before anybody said we were going to talk about it

(59:55):
and the way come on just great, oh oh, just
just wonderful.

Speaker 1 (01:00:02):
It's it's true.

Speaker 2 (01:00:03):
And again you and I just had this discussion with
some of you the other night about Weirdale's never laughing
at he's laughing with and I don't think he would
ever be like, yeah, I'm making fun of that because
he I mean, he's smart. He knew that's an important song.
So the way he's doing it is very much laughing with.
He's not laughing at it.

Speaker 1 (01:00:20):
Oh yeah, we had We had a We had another
couple over recently to to listen to music, and like,
they had no idea that Weird Now did stuff other
than parodies. So we had to explain to them, and
we put poodle Hat on, played it front to back
and blew everybody's mind.

Speaker 4 (01:00:41):
What made you decided poodle.

Speaker 1 (01:00:43):
Hat because that's collid it's our favorite. Well, the first
conversation that Russ and I ever had is a poodle
hat episode of this show.

Speaker 3 (01:00:52):
Okay, so uh, I like poodle Hat. I probably would
have gone with running with running lessens, that's fair if
I was if I was going to show somebody out
for the first time and had to have one album
to say this is what we al is.

Speaker 4 (01:01:08):
I probably would have put on Wrung with Scissors.

Speaker 1 (01:01:10):
Yeah, that's not a wrong choice either. You know. I
think a lot of it is knowing who your audience is,
and I would agree, what are they gonna what are
they gonna launch onto? Yeah? Absolutely, So we're at it now.
We're at the end of this, right, Wang.

Speaker 4 (01:01:27):
Chung, Yeah, we're back to the controversy.

Speaker 1 (01:01:31):
Well. While performing Poka Party Live during the opening during
when he was opening for the Monkeys on tour, Everybody
Have Fun Tonight by Wang Chung was included between shout
and Papa don't preach. Oh that's interesting, And then when
he did it on the New Year's Eve thing, he
just took out Papa don't reach.

Speaker 2 (01:01:46):
I wonder, well, never mind, I've already wondered a bunch.
I just wonder if maybe the one Papa don't preach,
like maybe fell off the charts even faster than the
other one or something. I don't know, there's there's a
there's a decision process there.

Speaker 1 (01:01:57):
Oh for sure. Yeah, And who's to say. I don't know.
But one of the things with this Polka ending with
Papa don't Preach as it does, something always comes to
mind for me. And there's an episode I think it
was before Jimmy Fallon even had the Tonight Show and
it was still just Late Night with Jimmy Fallon. He
had lin Manuel Miranda on as a guest because Hamilton was,

(01:02:19):
you know, just kind of starting and doing all that stuff,
and these two guys started geeking out about weird Al
and this polka specifically and the way this polka ends specifically.
So these two are sitting there on the set of
Jimmy's Late Night Show going I'm gonna keep my baby,
and like they are laughing, crying with each other like

(01:02:42):
all about this. So there is a whole swath of
people that know that Weird Al does this kind of
thing because of that complete nerd out conversation between Jimmy
Fallon and lin Manuel Miranda. And I love that it's
this polka that that did that, because, as we've been saying,
kind of like this entire episode, this polka is where
he really was finding his feet with no.

Speaker 4 (01:03:03):
I couldn't agree more.

Speaker 2 (01:03:05):
For all the faults that people say that this album has,
there's so many pluses to it, and that the polka
is like a shining example, like you have this polka
to thank for all of the poka brilliance that comes
after it, right, like, no end of this.

Speaker 3 (01:03:21):
There's a reason this is the title track, and this
polka is setting the bar of Oh I experimented, I
kind of got Okay, this is where I'm going, this
is what I want to do with this, and now
this is.

Speaker 4 (01:03:39):
Here's the bar. Right, here's the bar.

Speaker 3 (01:03:41):
Everything has to be as good as this, if not better,
going forward. Yep, and I mean, honest to goodness, it
sets the bar. There's a couple of polkas that will
get to talk about that don't quite reach this bar.
And then there's some polkas that are just like trying
to pull vault over this bar and say, yeah, this

(01:04:04):
is this is.

Speaker 4 (01:04:04):
What it's supposed to be. And like you said, I mean,
we'll we'll discuss it all when it happens.

Speaker 2 (01:04:08):
But like I would argue too that any of the
polkas that fall short of the mark, all right, you
can only do so much with the material that's around,
Do you know what I mean?

Speaker 3 (01:04:17):
So so so I I do you want to ask
a question? The next album does not have a polka?
Is it because this Polka is so good that Al
doesn't think he can top it. Do we think it's
because the timing of the that next album is too
close to this album to have songs to do that with,
or do we think that this is I mean, or

(01:04:39):
do we think that, hey, he led with this polka
and this album's not his not wasn't certainly wasn't a hit,
So hey, I got to back off the polka?

Speaker 4 (01:04:50):
I mean, what is it? A combination of all?

Speaker 2 (01:04:52):
I mean, my immediate guess would be that because they
were released so close together and there wasn't like a
ton that we because you gotta remember and again, Grandpa's
gonna go on about the way music used to be,
but hits used to have legs back then. Stuff would
be on the charts for six, seven, eight, nine months,
you know, So like there wasn't really a ton of
new material that had hit between now and uh, and

(01:05:16):
that that was that was enormous hits, you know, And
like I mean, he there's so many parodies on that
record that he covered like a ton of what was
big hits at that point.

Speaker 3 (01:05:26):
So you heard it here for Russ says the eighty
six was a terrible year for music.

Speaker 2 (01:05:32):
You heard it this eighty six wasn't even a discussion
with eighty four or eighty seven. You're right, So, I
mean it's it's a good year. But I mean Prince
put out two fantastic records in eighty five and eighty six,
and they were still like not out the years, weren't anywhere,
not even in a discussion with eighty four and eighty seven.

Speaker 1 (01:05:48):
Right, So I don't know. I mean, you who's the series?
Why he does it? Because we had a Pokemon.

Speaker 4 (01:05:59):
Coward. Maybe we'll start doing that. Let's try and shame
him into it, them into coming on the show.

Speaker 2 (01:06:04):
Yeah, because you know where all has always been well
to react to that, you.

Speaker 1 (01:06:07):
Know, can we make him look like a jerk.

Speaker 4 (01:06:10):
We're gonna make him look like a jerk in front
of millions.

Speaker 1 (01:06:13):
Well dozens of people, the dozens and dozens to quote
McK foley, the dozens and dozens. That's it. Yeah, I
love this. I love the selection of Papa Don't Preach
to end this Poka. I think it's great. I think
it's a good. It's a great Madonna track to to

(01:06:35):
put in this situation, and.

Speaker 3 (01:06:38):
You're ending with Madonna. Seriously, you're ending with Madonna.

Speaker 2 (01:06:42):
This is and another record that had a billion heads
off of it, True Blue. You could have done anything
off that record.

Speaker 3 (01:06:49):
But if you're going to if you want the last
song to be memorable, I mean, and and that's what
he does with a lot of the poka. You end
with something that people are gonna remember, something you can
play with a little bit.

Speaker 4 (01:07:04):
This is that, and it's it's it's freaking Madonna. I mean.

Speaker 3 (01:07:08):
And of course Madonna in eighty six is not Madonna
of today, who is still relevant forty years later, but
it is you kind of had the sense that Madonna
was this was always.

Speaker 4 (01:07:23):
Going to be this star.

Speaker 3 (01:07:24):
Oh true, yep, I mean, and so yeah, end with
Madonna that I love it.

Speaker 1 (01:07:29):
That's true. You just gotta end it with Madonna, because
that makes all the sense in the world. Ah, what
a great thing, what a beautiful thing. I'm just trying
to check and see. Oh my goodness. Yeah, we're gonna
have a good time on this. This series is fantastic.
But pokea Bob, yes, thank you so much for being
here to cover Polkas and we don't have to decide

(01:07:53):
in this moment. But there is no poka on the
next album.

Speaker 4 (01:07:56):
But we're not gonna you know that makes me sad, right.

Speaker 1 (01:07:57):
I know we're not gonna make you skip an album
though you have.

Speaker 2 (01:08:00):
Yeah, I just spoke about to talk about Even Worse anyways,
Yeah you know, he was.

Speaker 4 (01:08:04):
Like, oh, you know what, I let's just have a
quick even Worse discussion.

Speaker 1 (01:08:08):
Yeah, well, no, you have almost card lunch to pick.

Speaker 4 (01:08:12):
I already know. I figured it out.

Speaker 3 (01:08:14):
I was looking at it and I looked at it
today because I thought it might come up. What song
and even Worse? And as I have shared, Even Worse
is my album. That's the album, the first one that
I really knew every song, and I love Even Worse.
But as I'm running through the track list, there was
one song that just absolutely slapped me up by the

(01:08:36):
head and said original cool and it is You Make Me,
which is my favorite song to see him play in concert.
When his concert starts with you Make Me, I fanboy
because it is so good. It's such to me, the

(01:08:58):
quintessential weird house song. And up until I looked at
the track list, I was thinking, oh, it's gotta be
stuck on the close with Vana White. It's gotta be
the close with Vana White. It's gotta because it's such
a good song. And I look at the track list.
I was like, no, no, no, it's gotta be You
Make Me.

Speaker 4 (01:09:11):
It's such a jim.

Speaker 1 (01:09:12):
That's so funny. You know, Bob, do you know what
you accidentally did for the next album. I think it's great.
You're you're accidentally setting yourself up to be the episode
after Uh Jeff again, am I really?

Speaker 3 (01:09:25):
Yeah?

Speaker 1 (01:09:25):
Because he picked his songs just six words long, and
then you picked You Make Me. So that's how it
goes now.

Speaker 4 (01:09:31):
I mean, we're gonna have to do that.

Speaker 3 (01:09:33):
So so since I'm locked into Polka's, uh Jeff has
no choice.

Speaker 1 (01:09:38):
He has no choice. Uh Jeff has no choice.

Speaker 4 (01:09:40):
He's always going to be right in front of me.

Speaker 1 (01:09:41):
That's fantastic, that's marvelous. I mean, any closing thoughts about.

Speaker 4 (01:09:49):
It, Well, we have to rate the song.

Speaker 1 (01:09:50):
Oh, we do have to rate it.

Speaker 4 (01:09:52):
We can't. We cannot leave without rating this Polka.

Speaker 1 (01:09:54):
All right, I'm just gonna you know, I'm gonna give
this a twenty seven because this is a this is
a very very very good Poka. This is again, like
I said, finding his Feet Polka. So I'm just gonna
go ahead and do it twenty seven out of twenty
seven for me, no notes, go.

Speaker 4 (01:10:08):
Ahead, Bob, twenty seven out of twenty seven.

Speaker 3 (01:10:11):
I have to and And there may be a polka
coming up where I give it a twenty seven plus.
But this is the perfect polka. It is worthy of
being the title track for the album. It is the
if if I want somebody to know what in the

(01:10:33):
eighties in the eighties, if I wanted somebody to know
what a polka was and say, okay, this is what
weird Out does with the poka, I would use this
one right one hundred. This would be the one I'd
put on because in the eighties you'd know every single song.

Speaker 4 (01:10:47):
Yeah, and except.

Speaker 3 (01:10:48):
For Harlem, you know every you know every single song,
and it is this is the quintessential where this sets
the bar.

Speaker 4 (01:10:57):
It is the bar.

Speaker 2 (01:10:58):
Before you all started. I was going to jokingly give
it twenty six based on how or Harlem Shovel being involved,
but then no, like just be on the landmark alone
of the fact that, like all good polka leads back
to this, right, that's like like I'll even allow say
you say me being involved.

Speaker 4 (01:11:17):
Yeah, it's the perfect polka. Where do we go from here.

Speaker 3 (01:11:20):
I mean because because I know pretty sure I know
what polka's next, and.

Speaker 4 (01:11:28):
This is a great polka. This is the bar.

Speaker 2 (01:11:31):
The polka that's next is Rolling Stone songs people actually remember, true.

Speaker 3 (01:11:37):
True, and there's there's a lot to be said about
that polka. I could not agree more because I love
the Rolling Stones and I love the Rolling Stones because
of that polka.

Speaker 2 (01:11:47):
Yeah, so I know a lot of people I'm not
kidding that bought the Hot Rocks album because it's I mean,
it's we'll get to it, but it's the it's it's
based off of the Hot Rocks great sits package, which
is why it was called the Hot Rocks Polka.

Speaker 4 (01:12:01):
Right.

Speaker 2 (01:12:01):
I know people who bought the Hot Rocks CD because
of that polka. So I know more people.

Speaker 1 (01:12:08):
You know yet another one?

Speaker 3 (01:12:09):
I just seriously because we I I'm not the music
Russ's I don't know who. Back in the eighties, we
don't have Spotify, we don't have the we don't have
the scroller where it's telling you who's singing what song.

Speaker 4 (01:12:25):
I have, so I have no idea and I.

Speaker 3 (01:12:28):
Didn't listen to Casey Kase So unless I got the
privilege every now and then yeah, but so I don't know.

Speaker 4 (01:12:35):
I know lots of songs. I don't know who sings what.

Speaker 3 (01:12:37):
So it was one of those I'm listening to Hot
Ross Poka and I was like, man, I know all
these songs. This is great, this is a great polka
that Oh this is all Rolling Stones?

Speaker 4 (01:12:47):
Is it really? I didn't know I knew so many
Rolling Stones songs.

Speaker 1 (01:12:51):
Yeah, it was.

Speaker 4 (01:12:51):
It was one of those where it's like, oh, I
like the Rolling Stones. I had no idea none.

Speaker 1 (01:12:57):
When we get there, that'll be very interesting because I'm
already in my brain like, hey, you get off of
my That's.

Speaker 4 (01:13:03):
It's the whole thing.

Speaker 3 (01:13:04):
You realize we're teasing a polka that we're not going to.

Speaker 2 (01:13:07):
But but every every every segue in that PoCA.

Speaker 1 (01:13:12):
Is perfect soul.

Speaker 4 (01:13:13):
Anyway, speaking of sege, the end of thee, the end.

Speaker 1 (01:13:16):
Of this poke, Bob, thank you very much for gracing
us with your Poka presence in this Poka party. Poka Party,
Poka party.

Speaker 4 (01:13:23):
That's funny. I can't help but laugh. He likes this part.

Speaker 3 (01:13:31):
So yes, no, thank you for having me. You know,
I love to sit here and talk polkas. I can
do this all day and I mean a matter of fact,
I mean, if you wanted to, we could spend a
whole day just cutting all the rest of the polkas
and then you can just have them at the time capsule.
So oh my god, we're just popping them in.

Speaker 1 (01:13:46):
Right, that would be something else. But then we wouldn't
get to have you over for pizza again.

Speaker 4 (01:13:51):
Yes, and that is part of the fun.

Speaker 1 (01:13:53):
That is part of the fun of this. Well, poke, Bob,
thank you so much for coming back.

Speaker 4 (01:13:58):
Thank you for having me us.

Speaker 1 (01:13:59):
Russ, thank you for rolling yourself in here as you do.
You know he didn't roll himself, he rolls the chair.
Next time you need to physic chair chair in there.
Thank you for walking in.

Speaker 2 (01:14:10):
I finally got a chair guy, look at that.

Speaker 1 (01:14:13):
And thank you me for being here also. Anyway, we'll
come at you again next time. I am hoping to
have insane I back to do a sidewin with Bok
a party recap, and then we'll see where all of
that goes and then move on to side to after
after all that happens. And you know, we've got some

(01:14:35):
fun guests lined up for side two as well, so
buckle up, it's gonna be a good time. All right, everybody,
Bye bye,

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