December 14, 2024 • 72 mins
Ever wonder how the legendary Wu-Tang Clan managed to capture the hearts of fans across genres? Join us as we pay homage to their universal allure and navigate through some of the most notorious band rivalries in music history. In a refreshing new format, complete with share screen features, we touch on everything from personal updates, like welcoming Amanda back from college, to a small tech hiccup that delayed our last episode. We also take a walk down memory lane, revisiting the magnetic pull of the 1981 classic "Lonely is the Night" by Billy Squier, and engage you with a trivia challenge that promises fun prizes!
Nostalgia takes center stage as we reminisce about the era of cassette players and the love-hate relationship we all had with them. We'll chat about the thrill of early car stereos and share a laugh over a Depeche Mode concert memory from back in the day. This episode is a celebration of music's evolution, recognizing both the technological leaps and the lasting impact of artists like Billy Squier, whose catchy tunes have stood the test of time. We also dive into the complexities of music ownership and artist royalties in the streaming world—how much has changed and what might be lost along the way.
Feuds and friendships, creative clashes and collaborations—music history is rife with the kind of drama that shapes legendary bands. From the tumultuous dynamics within Pink Floyd and Fleetwood Mac to the commercial versus creative tensions of the Beach Boys, the stories are as intriguing as the music itself. Hear how personal conflicts and internal strife led to some of the most iconic albums of their time, and how bands like Guns N' Roses navigated the rocky road to fame. This episode is a deep dive into the human stories behind the music that defined generations.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
That nigga want.
Yeah.
Word up look out for the cops.
Cash food.
Word up Two for fives.
Over here, baby.
Word up two for fives.
Niggas got garbage down.
Word up Cash food.
Everything around me, cream get.
Yeah, check this, old fly shitout.
Speaker 2 (00:22):
Word up Cash food, everything around me, cream get
the money Dollar dollar billsy'all.
Speaker 1 (00:29):
I grew up on the crime side, the New York time
side.
Staying alive was no job.
Speaker 2 (00:34):
Yeah, see the hands.
Speaker 1 (00:35):
Moms bounced on old men.
So then we moved to Shaolinland.
A young dude, you're rockingthe gold suit.
Low goose, only way I begin toGO.
It's a Wu-Tang Christmas, yeah,should I do the whole show like
(00:57):
this?
Yeah.
Speaker 3 (01:04):
This is the new Milk Crates and turntables.
I just pump anything.
I don't do intros anymore, Ijump right in.
Got an interesting show tonight, changing things up, doing
things a little different.
I'm going to use a share screen, which I never did before.
We're going to talk about asong and we're going to read an
(01:28):
article 10 bands that hated eachother the most.
And I know some of you don'tlike this Wu-Tang stuff, you
don't like this rap stuff.
That's all right, it's allmusic.
It's Wu-Tang, though.
Come on, come on, come on.
(01:52):
Even if you don't like hip hop,you got to like.
Speaker 2 (01:54):
Wu-Tang Clan.
If you don't know them, lookthem up.
Speaker 3 (01:57):
Patty, welcome to the show and also welcome to the
podcast.
You know the name, I'm notgoing to say it.
It's streaming live right nowover a lot of platforms, but
it's all about the podcast.
You know no more intro.
So I can't say thank you forthat wonderful introduction,
amanda.
But I will say young Amanda iscoming home from college for the
(02:19):
holidays this weekend, so it'sgoing to be good, it'll be good
this weekend.
So it's going to be good, it'llbe good.
And yeah, I think tonight I'mgoing to break out a song from
the 80s.
So if you're not, really if youhaven't followed for a little
while, you know what?
I didn't even upload lastweek's episode, like I didn't.
(02:39):
I don't know how I forgot to dothat.
So I have last week's episodejust sitting.
I'm going to dump them bothtogether.
I don't know how I forgot to dothat, so I have last week's
episode just sitting.
I'm going to dump them bothtogether, I don't care.
I mean 165, 66.
I don't know what it is.
Now.
You know, I can kind of slackoff a little bit.
I think I don't know what doyou think?
(03:01):
Yeah, we're going to be talkingmusic, a particular song.
Let's see, like I started thislast episode that you haven't
heard yet.
If you're in the podcast world,I don't know which one you're
going to hear first, but yeah.
So let me, uh, let me get rightinto it.
(03:25):
Let's drop that Wu-Tang,Wu-Tang, forever, baby.
Let me go into my.
I like my chill hop music, mybackground music, and I can turn
that down a little.
Yeah, I like having a littlebackground music.
(03:45):
You know, it's weird when you doa podcast by yourself and
there's no one to bounceanything off of and there's no
feedback and you just kind ofhear that dead air and I don't
particularly like it.
So let me bring out this songand I'm going to try to stop
saying I listen to myselfsometimes and it drives me crazy
(04:09):
, but I'm in the moment, we'llsee.
You know when I'm talking.
So, yeah, let's get into thefirst song that we're talking
about, and this is an eighties.
I'd say it's an eightiesclassic.
This is an 80s.
I'd say it's an 80s classic.
I'd say it's an 80s classic.
I'm going to give you let mepull it up first.
(04:30):
Let's see over here.
There we go.
Not that one, nope, it's alwaysfunny that you hear, you see
these songs that have the samename but by different artists,
and you're like, eh, some makeit, some don't.
This one.
There's a song by Air Supply,and then there's this song.
(04:58):
Let's see, there we go.
Let's see there we go.
Let's see, let's get right intoit.
If that's not one of the HiAllison, welcome to the show.
(05:23):
Let me get you guys up on thescreen first.
I have it a little bit April,all about public speaking.
I think I pretty much havepublic speaking down.
It's just when you don't reallyplan.
You don't really plan and youjust kind of jump into the
podcast because you'recomfortable like that, and it's
(05:47):
not such a formal setting whereI have to really pay attention
to my enunciations andpronunciations and dramatic
pauses and I'm just talking toyou guys.
Richie Farino, my boy, my man.
Nice picture of the bald eaglebuddy.
Bobby G.
(06:07):
Bobby G A rare Thursday nightappearance.
Rare Thursday night appearance.
Bobby G I don't think Bobby Gis going to when I used to do
Coffee with the King and for youpeople that don't know that, a
whole nother thing.
You can see it on youtube.
There's a king of facebookchannel on youtube.
(06:29):
There's a whole shitload ofvideos of me just being an idiot
, um, but bobby g was thereevery sunday morning, coffee
with the king, uh.
So see, I just said it.
I said ah, I'm gonna try to tryto catch myself.
Let's get 10 facts.
10 facts about the song Lonelyis the Night for the podcast
(06:55):
listeners.
I'm just going to do this withthe people that are watching on
the live stream.
I have a.
Let's do this.
David O'Connell, my man, thankyou, thank you, all right, I'm
going to put this out there andI don't know how this is going
to work because it's like a 12second delay on the live stream
sometimes.
(07:16):
But I'm going to ask a question,and the first one that pops up
with the correct year We'll getit.
I have all these leftover Kingof Facebook coffee mugs and
koozies.
You'll get one for Christmas.
What year did Lonely is theNight by Billy Squire come out?
What year did it come out?
First one to give me the rightanswer gets a King of Facebook
(07:38):
coffee mug and a koozie.
They're really flimsy koozies.
They're not elaborate oranything, but they're cool.
Theysy koozies.
They're not elaborate oranything, but they're cool,
they're cool.
So what year did lonely is thenight come out?
And again, that is the, theclassic intro.
We'll blast that again.
(07:58):
Stop the presses.
Mark talent jumps right in 1981,sparking mocking uncle tal
gretzky bono hall of fame.
No well, my mocking talent gotit first he's getting that king
of facebook mug.
Funny thing is I was sendinghim one anyways.
(08:21):
So how's this?
I'm going to make an exceptionhere.
I was going to send Mark Talentone anyways, because we had a
talk recently we always talk butRichie Farino came in with 1981
(08:41):
.
So I'm going to send one toRichie too.
Richie, you got to message meyour address, so you'll get a
King of Facebook.
Both of you will get King ofFacebook coffee mugs, which are
now retro.
They're retro coffee mugs andI'll send them off to you before
(09:03):
Christmas.
You should get them forChristmas, but with that I
expect a picture of you and themug next to the Christmas tree.
So there's the stipulation.
So Lonely is the Night came outin 1981.
Do you know?
Let's see if anyone knows thename of the album.
What's the name of the albumthat Lonely Is the Night came
(09:27):
out on?
It was a big album for him.
It really is what broke him andput him on the charts.
That's kind of a tough one,because I don't know how many
people I never owned a BillySquire album personally because
they played the song on theradio so much.
It was.
(09:47):
Just, you know, love the song,so I didn't really have to buy
the album.
I was kind of a Billy Squirefan, I think, just like
everybody else.
I wasn't a super fan, but thename of the album was Don't Say
no.
It was commercial successreaching multi-platinum status.
(10:09):
Like I said, that was the album.
That was the song that kind ofput him on the radar.
Let's see.
Lonely is the Night Okay.
Another question let's see.
Lonely is the night Okay.
Another question what number didit peak at on the charts?
(10:32):
Does anybody take a guess?
Allison says you know whatAllison Lundy says.
You know I can't answerquestions from the past.
Yeah, I know, because the lastweek's episode with the drug era
, whatever we got into last week.
But where did it shot?
Where did it shot?
And I'll give you was it in thetop 10?
(10:55):
Was it from 11 to 20, 21 to 30,or 31 to 40?
It's in the top 40.
Richie Freeno says 14.
No, april says three.
Nope, I'll take a couple moreanswers.
It's either 1 to 10, 11 to 20,21 to 30, 31 to 40 in the top 40
(11:23):
.
Where did Lonely is the Nightchart back in 1981?
And well, I got three and 14,so I'm going to answer it
anyways.
Charted at number 30, right?
So if you were around backthen'd think that it was a
(11:47):
charted higher than that, butcharted at number 30.
Let's see what else do theyhave here?
I would, I know I thought itwould be top 10.
Also, if you had asked me, Iwould have said it was a top 10
song.
But you know what?
The music video.
The music video gave it abigger push than we thought on
(12:09):
the radio, because back in 81,82 I think, we were watching mtv
more than we were listening totop 40 radio maybe, and it was
in constant rotation on MTV.
So maybe that's why we havethis.
It's not a Mandela effect, it'sjust a misconception.
(12:34):
We'll call it a misconception.
Let me see, I just got a phonecall.
All right, I'll call that later.
So I think, yeah, because ofmtv, we thought it was it
charted higher.
(12:55):
You know, a song's been coveredby a few artists and I went and
listened to them and no one doesa different version of it.
Nobody, everybody does the sameversion.
So sometimes you hear artistscover other artists' songs and
they add their twist to it andyou know, sometimes it's good,
(13:15):
sometimes it's not.
But the artist that I heard Ifound it's the same version
Almost sounds just like it.
So my question is why bother?
Why bother version almostsounds just like it.
So my question is why bother?
Why bother?
Lonely in the night remains aclassic rock staple and is all,
it's all.
It's one of those constantplays on classic rock radio.
And uh, yeah, that's some factson that song.
(13:40):
So let's get back to it.
Let's get back to it.
Let's get back to that.
That again, that hook at thebeginning.
That's one of the probably, ifyou were to say, if you were to
say so, the 80s there was a lotof music, a lot of music in the
80s.
Of course it's a decade ofmusic, would you put.
Would you put Lonely is theNight in the top 100 songs of
(14:07):
the 80s?
100 songs sounds like a lot,but you got to think there was a
thousand songs at least thatcame out in that decade.
Right, you figure out more thanthat, I mean.
So would you put Lonely is theNight in the top 100 songs of
the 1980s?
(14:27):
I don't, no.
Richie Farino says no.
April says thankfully, don'tplay Rock Me Tonight, rock Me
(14:54):
Tonight, yeah.
Says thankful they don't playrock me, rock me tonight, yeah,
that's uh, oh yeah, that thatthat song is.
Uh, it's not one of his, um,not one of his.
It was a hit.
It was a hit.
It charted right.
I gotta do this if that's not80s, that's 80s right I mean,
(15:24):
it's not a bad song.
Speaker 2 (15:31):
It's catchy, it's 80s .
Speaker 3 (15:35):
Yeah Right, I think Billy had a formula.
I think he had a formula, Ithink he had a formula.
Really good intros, really goodintros.
Let's get back to this song.
That album is 33 years old.
(16:04):
That song is 33 years old.
That song is 33 years old yeah,billy you know a lot of people.
there was this thing on theinternet for a while, like
whatever happened to BillySquire?
(16:24):
What happened to Billy Squire?
Like nothing happened to BillySquire.
Billy Squire has been around,like he didn't just fall off the
map.
He didn't just all of a suddendisappear.
He was around, whether he wasproducing or he was always.
(16:52):
He never left.
Really, really mark towns isthe drums.
Yeah, it's a great it's a greatsong.
Speaker 2 (17:00):
It's a rock song, it's definitely rock and roll.
Speaker 3 (17:06):
The Richie Farino says he saw Billy Squire with
REO, speedwagon and Styx.
Not a concert I went to.
That was not my.
I was not a Styx fan Fuck Styx.
You know what Styx I like.
(17:27):
So here we go.
This is 43 years old.
Yeah, this song's 43 years old.
Yeah, jesus.
So it's heavy.
Right, let me see something.
I'm going to look something upright now.
(17:55):
Curious, let me see.
All right, let's see.
(18:16):
You know who produced this?
I thought the producer.
That's why I wanted to look itup.
The producer of this song isthe one and only Jim Steinman.
(18:36):
Jim Steinman produced this song.
That's why it's so good.
Jim Steinman basically madeMeatloaf Meatloaf, so that's why
(18:59):
it's got big sound.
Yeah, big sound.
So it was produced by JimSteinman.
Came out in 1981.
What's the run time on this song?
(19:20):
You know what?
It's?
Almost so.
For Top 40 Radio, the runtimeon this is just over four
minutes.
It was a great party song.
(19:57):
I'll tell you that I I canremember sometimes.
I know this was a great partysong.
You know.
I would say that it was a great, a great song to have on in
your car when you're drivingaround with your friends, with a
cooler, a beer in the backseat.
You know not that I'm condoningthat action, just saying Not
(20:20):
that I'm condoning that, notthat we ever did that, but we
did.
And you know you just crankthat up, so that's the song of
the night.
But you know what?
April said something.
April said that the same drumkick is the stroke.
So let's get a Billy Squirething tonight.
So let's see.
Let's see if that has the same.
(20:41):
There we go.
(21:07):
He has a formula so billy squireproduced this song himself, but
there's definitely.
(21:27):
It's formulaic in the sense ofthe drum beat.
You're right in the sense,april, that there is a
similarity in there In theguitar drops.
It's again, it's formulaic, butit worked.
You know Rick Astley wasformulaic in his songs.
(21:48):
You know his two or three hits,whatever he had, sounded the
same.
You can say the same for AlStewart.
Al Stewart is year of the cat.
In time Passengers are the samefucking song.
It's the same formula.
Al Stewart was brilliant.
He had Year of the Cat and itwas an original song.
(22:09):
No one heard anything like itbefore and it was a great story
and he had a great layout forthe song and then he had nothing
after that.
And then he decides you knowwhat I got to get back to that?
I got to get back to that.
So he comes up with timepassages.
Besides, you know what I got toget back to that?
I got to get back to that.
So he comes up with timepassages.
So if you listen to those twosongs back to back, it's almost
(22:30):
the same formula, but no onereally got.
I realized that when I was likeI don't know, three years ago.
I go, wait a minute.
This motherfucker was brilliant.
He kind of slid it in there andit worked.
He got two huge hits out ofthose songs and he's still
making money off those songs.
(22:53):
Um, yeah, so billy squire he, heproduced this song himself.
So, yeah, that's some BillySquire for the night.
Let's get the.
How many hits did he reallyhave?
How many hits did he reallyhave?
(23:15):
There is the.
Alright, I'm going to go toBilly Squire's greatest hits.
Yeah, this one, all right, I'mgoing to go to Billy Squire's
greatest hits.
Yeah, this one, right.
(23:38):
This first album was like it'skind of loaded.
Leanna Brennan all the way fromthe UK.
Speaker 2 (23:56):
Yeah.
Speaker 3 (23:57):
Yeah, this song was this, this.
So back in the day, back in theday and I don't know it's, it's
kind of a prove me wrong.
But if you a prove me wrong.
But if you bought an album andit had four good songs on it and
say there was 11 tracks, if youhad four good songs, that was a
(24:17):
good album Because you got fourreally good songs.
Then you got somemiddle-of-the-road songs, then
you got the throwaway songs, butpretty much on average that's
what you got out of these albums.
And thank God for the inventionof cassettes, because that's
when you could fast forwardthrough those things and even
technology back then.
(24:38):
So remember, when cassetteplayers first came out, you
would have to hit it, excuse me.
You'd hit stop and then play.
I just caught a comment thatRichie Farina said he never did
that drinking and driving thing.
Not Richie, no, no, no, no.
(25:04):
Of course he never did that.
He was a good boy.
Richie was a good boy.
In your car you would hit thatfast forward, you would hit that
stop.
You'd hit the fast forward,you'd hit the stop.
Then you'd have to hit rewindto get right to the beginning of
the song.
And then technology came in andI think we underappreciated
what we had at the time when youhad your stereo cassette player
in your car with your whatever.
You had your block punkspeakers, like I had, or you had
(25:26):
your jensen coaxials or jensentriaxles or whatever the
speakers of the day were backthen and you come out with like
the kenwood stereo, car stereowith cassette player and you'd
hit fast forward and it wouldstop on the next song, like
you're like oh geez Like.
(25:53):
I think we did not give thatenough respect for that back in
the day, did not give thatenough respect Because we were
young and dumb and drunk and,you know, a little out of
control.
But so what else did BillySquire?
I didn't mean that this this isthe beauty of this new format,
it can just go in any direction.
I I, I'm going to do somethingwith an article in a little
(26:13):
while, but uh, let's keepgetting into some, uh, some
Billy Squire.
So again, I think Billy Squireis one of those, one of those
artists where we heard him somuch, we saw him so much, we
thought you know, and then whenit goes away you kind of forget.
This happened to me withDepeche Mode.
(26:33):
So, back in, where was I?
I was stationed in SouthernCalifornia at March Air Force
Base, and a bunch of us gottickets to go see Depeche Mode
at an amphitheater somewhere inSouthern California around us
and it was let me stop that.
And so we get to the concertand you know we're up on the
(26:55):
hill and what's funny is so youcouldn't really do drugs when
you're in the Air Force.
It's really not acceptablebehavior Not that it was
acceptable in civilian life, butit's definitely unacceptable in
the military.
So somehow I ended up with alittle bottle of that amyl
(27:20):
nitrate or locker room, whateveryou call it instant rush, holy
shit.
Amyl nitrate or locker room,whatever you call it, instant
rush, holy shit.
So you know, you go see tepechemode and you and you're doing
that, you're hitting andeveryone's give me a hit, give
me a hit and we're all doing theliquid rush.
And it was.
It was kind of trippy, it wasnot healthy.
(27:42):
I can tell you that it's nothealthy for your brain or your
blood pressure or anything.
But well, you know, again youngand dumb.
So I'm at the uh, we're at thedepeche mode concert and it was
like, oh shit, they sang thatsong too.
Oh shit, I forgot about thatsong.
(28:02):
Oh shit, they did this one too,and you know, it's just one of
those things you take forgranted and then when you see it
and you hear it, like, oh wow,that you know they are.
That was the first time I'dseen them, so live, and I've
seen them five times, since it'sone of the only bands I'll see
multiple times.
But I think, think, billySquire is kind of that thing, so
(28:24):
we can go into.
What about this one?
Right, you already know thesong just from the beginning of
it.
He had great intros, hisproducer, they knew how to draw
(28:44):
you in immediately.
Good intros will do that.
So this one.
Speaker 2 (28:52):
Right Catchy.
Speaker 3 (29:02):
Catchy.
Right Now I'm getting copyrightviolations on my YouTube
channel for this.
I say this every week this isnot my music.
I don't own this music.
I don't claim this music.
(29:24):
I'm using fair use.
I hope he profits off this.
You can monetize this video ifyou want.
I'm not.
And uh, yeah, give billy somemoney.
Give billy some money.
You know the thing?
Uh, I don't know if you knewthis, but the way artists get
paid, or that's how artists getpaid on streaming is that is a
(29:46):
whole episode in itself or halfan episode.
It's really not fair.
But listen, they're getting paidand that's their business, but
evidently they don't get paiduntil.
Let me move my mic up, my newmic.
I love this microphone.
This is, yeah, what the hell?
(30:09):
I don't like the microphonestand on the arm.
Uh, they don't get paid untilthe first like 30 seconds of the
song has to has to be played.
The first 30 seconds of thesong has to be played, which is
why you don't get these longintros anymore in songs.
(30:33):
We used to get these long 35,40 second intros before anyone
would sing, or you know greatsongs, let me turn this down,
hold on.
But yeah, they don't.
Uh, they don't get paid untilthe first 30 seconds are played.
(30:53):
Because if you think about that, it makes sense.
It makes sense because then youjust get a bot to play the song
all the time, play songs allthe time over and over and play
like five, 10 seconds and cut itand do it again and they just
keeps generating revenue.
But 30 seconds?
(31:13):
How many people listen to asong for 30 seconds?
This generation doesn't thisinstant gratification.
They don't want to wait 30seconds.
That happened in my houserecently.
We're watching YouTube.
I don't know what we werewatching.
I love watching, like the nerd,the pop culture channels and
(31:38):
you know commercials poppingbecause I'm not going to pay for
commercial, free YouTube.
And it said, you know thecommercial pops on and then the
time is up in the top right-handcorner and it says we are a
minute, like the commercial isgoing to be a minute, and my and
my daughter, amanda, goes aminute.
(32:02):
Oh, that said everything.
That said everything.
I said, you know, like like theold guy, like the old guy, I
said, oh, yeah, well, back whenI was your age, we had four
minutes of commercials.
(32:22):
I had to do it.
I had to do it, but it was true, it was true.
We, we had to sit throughcommercials.
Uh, let me get rid of this.
It popped on my screen so okay,so we had.
All right, let's.
This wasn't one of his biggersongs, but Sounds a little
(33:12):
queen-ish, doesn't it?
Doesn't it sound a littlequeen-ish?
A?
Speaker 2 (33:17):
little influence.
When the daylight comes, you'rea runner.
In the night it turns you onlike a hunter light.
Speaker 3 (33:23):
This was the name of the album too.
This is the song.
This is the title song from thealbum Emotions.
Speaker 2 (33:28):
Emotions.
Speaker 3 (33:43):
Right, not a bad song .
Billy had a nice little run.
Let's see what else is on here.
I think this is the this nextsong.
Is this the song that was hisdownfall?
The video he said BackstreetBoys, all right, here we go.
(34:10):
Is this the one?
There's that one video?
When he had he danced aroundand pranced around and it was
like, oh, that was a big mistake.
Was it this one?
Or was it his Christmas song?
Speaker 2 (34:31):
I don't know.
Speaker 3 (34:37):
I don't think it was this one.
There was one video that washis downfall, Like they just.
Yeah, did I already play this?
I think I did.
Is this up at the top?
My kind of lover Always a night.
Is this a hit?
(35:00):
No See, you know if his song'sgood or not by the intro that
you hear.
That's not one.
This wasn't on the radio, butAll right.
(35:40):
I don't know if I've ever heardthis song before.
She's a Runner is the name ofthe song.
Off Emotions in Motion.
I've heard this song.
Now I know I've heard this song.
That's it.
(36:02):
Okay, I remember this song,minor hit.
This had a little radio play.
She's a runner.
Yeah, yeah, it might be betterthan some of those other songs.
I like this song better thanRock Me Tonight.
The Rock Me Tonight was a hit.
Speaker 2 (36:29):
This ain't a bad song .
Speaker 3 (36:34):
This is one of those forgotten songs.
What do they call them?
Like the Hidden Treasures orsomething like that?
Lost Hits, lost Hits of the 80s.
Like the hidden treasures orsomething like that?
Lost hits lost hits of the 80s?
I'm going to add this to myfinally manicured playlist on
Spotify.
This will be song number 456.
I'm going to add it to it rightnow.
(36:59):
I like this song, so you forgetthis shit.
But that's what this show isall about.
I'm going to find lost songs.
That's what I'm going to try todo.
This is still a.
It's a Work in motion.
Is that the term?
It's a work in motion?
It's a work in progress.
(37:20):
It's a work in progress.
Next week, I'm doing a.
I'm going to do a I think aChristmas show, I don't know.
Unless I do an early thefollowing week for Christmas.
We'll see, we'll do.
While I'm on this, let's seeLost hits.
(37:44):
I'm going to just do it.
What the hell?
What the fuck?
Speaker 2 (37:46):
We'll see how it goes .
Speaker 3 (37:49):
Okay, All right.
So I just pulled up thisplaylist.
Oh, Allison, good night, and Iwill see you next week,
hopefully.
All right, I'm going to pull up.
(38:22):
So this is one of those songsthat Billy Squire had.
There was a.
It was a little radio play, hada little bit of legs and kind
of didn't make it.
But I'm going to switch gearshere and I'm going to jump over
to Wang Chung.
Right, Everybody Wang Chungtonight.
Dance all days.
I think they had one other hit,but, if you ask me, this is
(38:43):
their best song and it's on thesoundtrack to the movie of the
same name.
Let's see, this is Wang Chung.
Now, Again, if you ask me,Dance All Days is a great song,
(39:05):
though that's a great song, butthis is my favorite, I think.
Speaker 1 (39:18):
Rock me tonight, every time you go away, I just
have to be together.
Every time you go away.
Speaker 3 (39:24):
I just have to be smart love together every time
you're away.
This is very un-Wang Chung, ifI do say so In the dark of the
day.
Speaker 2 (39:35):
In the dark of the night.
Every time I turn the light, Ifeel that God is not in heaven.
Speaker 3 (39:44):
In the dark of the night.
Some of these.
Is this a lost?
Is this a?
I don't know how I just tappedon this, but it's a great song
and I don't know what it means,but it's from the 80s.
Donald Fagan, igiy this isbasically Steely Dan, so
(40:32):
evidently they're doing a that.
They did a documentary on yachtrock and the director and
writer they called donald faganand they said hey, do you want
to be on this yacht rockdocumentary with steely dan?
And he literally told them howabout you go fuck yourself.
(40:54):
Good for him, you don't want tobe linked to that shit.
I mean, yacht Rock is YachtRock, but Steely Dan is Steely
Dan.
Why would you lower yourstandards to be on a documentary
about Yacht Rock?
I don't know.
So let's see.
(41:14):
I'm going to try something now.
I'm going to move over and dosomething.
Let's see how this works out.
Let me get rid of this.
Let me come over here, allright.
So we have 10 bands that hatedeach other with a passion.
So we had Oasis.
(41:34):
We all know about Oasis.
They're getting back together.
But Pink Floyd Pink Floyd theyhated each other after a while.
So it is, as the article says,one of the most seismic bands of
all time.
Pink Floyd spent most of theyears together in one feud or
(41:57):
another, but the real rift isformed and ever increasing
between Roger Waters and DavidGilmour as the two men fought a
war on the battlefield ofcreated differences.
Waters, a founding member ofthe band, has often been at
loggerheads with Gilmour.
I think he's always been alittle bit jealous of Gilmour,
if you ask me, just a littlejealous of him, who joined the
(42:22):
group to replace the lead singer, sid Barrett.
In 1968.
The group enjoyed some of themost unprecedented successes in
rock music history, deliveringrecord after record that topped
the charts and hailed the bandas supreme overlords of prog
rock.
But I think they crossed that awhile ago.
I don't know if they looked atas prog rock, I'd say they
(42:42):
looked at as rock and roll.
Still, as the years progressed,the two men were locked in a
power struggle.
I don't know if they looked atit as prog rock, I'd say they
looked at it as rock and roll.
Still, as the years progressed,the two men were locked in a
power struggle as the creativevisions collided and ultimately
Roger Waters left the band in 85.
Some of you might already knowthis story.
When Waters originally withdrewfrom the group, he immediately
locked horns with Gilmore in abit of legal battle that would
(43:02):
last years.
He immediately locked hornswith Gilmore in a bit of legal
battle that would last years.
To announce his departure,waters stated EMI and CBS
invoking the leaving memberclause of his contract and, as
the main creative force in theband, he didn't believe Pink
Floyd could continue in hisabsence.
How wrong he was.
Therefore, in October 86,waters started high court
(43:23):
proceedings to formally dissolvePink Floyd, labeling the group
a spent force.
Creatively, david Gilmour andNick Mason opposed this, stating
that Pink Floyd was goingnowhere and that Waters could
declare it dead.
While the group was stilltrying to make music, waters
eventually came to an agreementwhich saw him resign after
(43:43):
careful legal considerations in87.
Ever since then, the two men ateach uh at each end of the pink
floyd spectrum have continued totrade veiled insults in
insinuations, and they're notprivate about it.
Since then, things have soughtuh have soured even further,
with the feud taking on a morepolitical stance in recent years
(44:06):
.
Though they briefly reunited in2008 for the spectacular music
event Live 8, the chances ofthem ever getting back together
again about as likely as Gilmoregrowing his long hair back.
Well, roger Waters' wife gotinvolved and she called Gilmore
(44:27):
a.
He's a racist, he's a oh she.
Just she lambasted him onTwitter at the time.
But yeah, when the wife getsinvolved the shit starts getting
really weird.
Fleetwood Mac hated each other,I think, multiple times.
(44:48):
If you ask me, a caveat must beadded to this entry, though.
Fleetwood Mac were undoubtedlyall angry, hateful and hurt by
one or two different bandmembers.
During their years together,they have just about managed to
keep it together over the fivedecades they've been together.
It might be one of the mostastonishing feats in music
history, and it nearly didn'thappen.
(45:09):
On several occasions,discounting Peter Green's
departure from the group andStevie Nicks' dalliance with
solo work, the soft rock giantshave always found a way of
keeping their tempestuoustimeline moving forward.
Of course, the most notablemoment in their mutual disdain
came during the recording ofrumors which saw both the
couples in the group LindseyBuckingham, stevie Nicks, as
(45:32):
well as John and Christine McVieacrimoniously split.
Not only did that hefty doses,not only did that hefty doses of
cocaine add to the increasedtension, but each injured party
saw fit to pen a song abouttheir perceived offender.
I guess there was gloves offthere.
Somehow the band managed topull it all off and deliver one
(45:55):
of the greatest albums of the20th century.
True, that's a true statement.
Stevie Nicks would eventuallyseek solo stardom, but would
return to her rightful home atthe front of Fleetwood Mac.
Buckingham was recently kickedout of the band for breaching
their trust and becoming abusive.
Unlike most of the bands on ourlist, fleetwood Mac have
(46:15):
managed to keep it together justbarely.
So that's interesting.
So they kicked LindseyBuckingham officially out of the
band.
That's kind of what happened toJoey Kramer with Aerosmith.
Like I don't know.
It was like five years ago.
They're like you're done.
They officially kicked him outof the band, but you know what?
(46:35):
He's always going to be part ofAerosmith.
Boomers will always look atJoey Kramer as the drummer from
Aerosmith.
There's nothing that's evergoing to change that.
Lindsey Buckingham you can kickhim out of the band, but his
legacy is already set in stone.
He's the guitar player forFleetwood Mac.
He's one of the creative forcesin Fleetwood Mac.
(46:57):
He was one of the prime reasonsthat Fleetwood Mac became
Fleetwood Mac, because they werejust Fleetwood Mac before Nix
Buckingham and Nix came on board.
I who listens to old FleetwoodMac shit.
Who goes back and listens toFleetwood Mac with Peter Green?
You know it does very fewpeople hardcore Fleetwood Mac
(47:18):
fans do.
But before it was nobody waslistening to, like they weren't
even close to even close to theheights that they reached with
Lindsey Buckingham and StevieNicks.
So it's almost like two totallydifferent lives.
The Fleetwood Mac is that twototally, where they just kind of
dangled in mediocrity for alittle while but then they
(47:42):
became superstars.
The who Not only was PeteTownsend, the who's guitarist
and principal songwriter,recently shamed for his comments
on Keith Moon and JohnEntwessel's passing, but he has
always been vocal about hisdislike for Roger Daltrey.
The group always fought with oneanother, both verbally and
physically.
Yes, they have had throwdowns.
In fact, there is perhaps noband on this list who have
(48:06):
shared a much obvious disdainfor one another as the who.
But when all is said and done,daltrey and Townsend share the
most issues.
The two powerhouses of the bandhave always butted heads.
The two innately irritate eachother, which is remarkable
considering how long they'vebeen together in a group and how
this certainly is no recentbeef.
(48:27):
Another example of how, if onedoes one thing, the other goes
out of their way to do.
The other was when all right, Iread that wrong.
The other goes out of their wayto do.
The other was when RogerDaltrey spoke about his ardent
support for the Brexit campaign.
See politics, there you go.
And Townsend was vocal in hissupport for Remain to Stay, to
(48:53):
Remain to Stay.
I mean staying to the Telegraph.
I'm a Remainer, he is aBrexiteer.
I believe in God, he doesn't.
That's a British thing.
Townsend and Daughtry continueto fight during their live
performances, with a particularmoment where Roger comes over to
me, stands next to me and makessome kind of sloppy smile.
(49:14):
This is Townsend talking, whichis supposed to communicate some
kind of Everly Brothersrelationship we have for the
audience, which isn't actuallythere Infuriating the guitarist
to the point where he uhrecognizes the tune now in his
and as his lowest moment onstage.
The guitarist continues it'ssupposed to be an act where I'm
(49:37):
supposed to collide, colludelike we know each other very
well.
We look like enemies but we'refriends, really kind of look.
Often.
That will be the moment where Ilook him in the face and go you
fucking wanker, and he getsangry when I do that.
Uh, he says amidst the fit oflaughter.
Simon agarfunkel, simonagarfunkel uh, it may seem silly
(50:01):
to think that paul simonagarfunkel bickering over
pointless band details.
The music is so soft andindelibly delicate that any
strong words feel misplaced whenconsidering the pair, however,
their feud is a searing one andbellies their beautiful music.
It all began when, during theirtime as Tom and Jerry, simon
(50:24):
was offered the chance to recordtwo solo singles, something he
forgot to tell Garfunkel.
Really, you think he reallyforgot.
The real issue was, whileGarfunkel had one of the
smoothest vocals around, it wasSimon who was the group's
songwriter and because of thathe held all the cards.
That is always true.
(50:44):
The police is a and because ofthat he held all the cards.
That is always true.
The police is a perfect exampleof that.
Sting would come to the studiowith all the songs written, with
all the songs written, and youknow it used to piss off stewart
copeland and as of recently Iwatch a lot of stewart copeland
like reels on facebook and he isat the point and they're older
(51:05):
gentlemen, now they're olderguys.
He's like I didn't realize.
But he sting is fucking, hegoes.
He's a genius.
He was just an asshole.
But he's a genius asshole.
I just didn't like it at thetime.
So now they they've reconciledtheir thing.
That was a pretty, pretty bigfeud.
But so, getting back to it,because of that he held all the
(51:26):
cards.
Quote they both envied theother's place in the team.
The duo's manager said Pauloften thought the audience saw
Artie as the star because he wasthe featured singer and some
people probably thought Artieeven wrote the song.
See, that's yeah.
But Artie knew Paul wrote thesongs and thus controlled the
future of the pair.
(51:46):
I don't think he ever got overwhat happened with Tom and Jerry
following the show in 1970.
The duo shook hands in theparking lot and never returned
to the stage together With Artie.
There was no reason to talkabout it, said Simon, when he
agreed to make carnal knowledge.
Something was broken between us.
I just wanted to move on.
(52:06):
We were finished.
Now the ramones.
So the ramones had aninteresting relationship.
So it's punk rock, right?
Oh, let me take a blast of myturbo, triple turbo ice coffee,
hold on.
So the writing was on the wallfor the ramones almost as soon
as they spray painted theirnames on it.
(52:28):
Great way to put it.
The forefathers of new york citypunk, the quartet, may not have
shared any bloodlines, but theyfought like brothers.
Apart from the tempestuousrelationship that undercut
everything they did, the real,real dispute was between Joey
and Johnny Ramone.
The lead guitarist and singerof a group are always meant to
(52:51):
have the odd scuffle, but Joeyand Johnny were just
fundamentally different people.
Johnny, the son of a hotdrinking construction worker who
instilled the republican valuesinto the guitarist at every
turn, was miles away from theawkward and liberal Joey.
The two perpetually clashed andit wasn't just their political
(53:12):
values which were misaligned.
Perhaps the worst moment camewhen Johnny reportedly took
Joey's girlfriend from him,which prompted Joey to write the
KKK.
Took my baby away from him,which prompted Joey to write the
KKK, took my baby away.
I am not a Ramones fan in anyway, shape or form.
Trust me, I am not.
(53:32):
I think they're overrated.
I think the Ramones were uh,they, they, they had, they had
the look, they had the fast.
You know two minute songs.
They're not a lot of talent,but they're in the right place
at the right time, doing theright thing, and they became
(53:53):
bigger than their talentdeserved.
That's how I say it.
Uh, for whatever reason, plusthe whole thing with the ramones
, you know you think they're allrelated and oh they're not.
And back then, remember, therewas no internet, so a lot of
people didn't realize it untilyou know later on that oh,
(54:14):
they're not brothers.
So, but to write, the KKK tookmy baby away.
I got to give that some propsright there.
That's what that song's about.
Joey Amaki had also beeninvolved in a feud that was
thankfully buried a few yearsbefore Joey's sad death in 2001.
The Pixies, boston's own thePixies, you know, alternative
(54:39):
band, had a few alternative hits.
The Pixies are one of the mostunderrated bands of all time,
which they are More often citedas a searing inspiration.
Above being regarded as one ofthe greatest bands of the
alternative rock explosion, thePixies have often gone under the
radar.
Another note about the groupthat it's seemingly surrounded
(55:00):
by secrecy is their inner bandbattles.
The two generals of this war, awar which raged on for nearly a
decade, was the band's twoprincipal members, kim Deal and
Francis Black.
The duo always experienced afraught relationship, but as
Deal's songwriting knack beganto beckon and demand she be
(55:22):
given more time to expressherself creatively, the
guitarist became despondent,with Black's unrelenting control
.
In 2004, the two put thosedifferences aside to reunite the
Pixies and begin one of theircareer's more commercially
fruitful periods.
However, despite the singerclaiming they were always
(55:45):
friends, now it would appearthat the chances of the group
ever reuniting with Deal andBlack in the band is as far away
as it's ever been, with Dealmore interested in pursuing her
own creative projects.
Now Kim Deal, you might have herand her sister I'm sure you've
(56:06):
probably heard this song.
They got together, let me see,and they put one album out and
this was their.
It was a video.
It was a pretty well-receivedsong.
But when Kim Deal left thePixies her, her and her sister,
who eventually died of a heroinoverdose they looked almost
(56:28):
exactly alike too.
But this song, this is a 90sclassic and I know you've heard
it if you're listening to theradio.
That's a great bass line.
(56:56):
That is a great bass line.
That's Kim Deal on bass, onbass.
I know you.
If you were in the 90s, if youwere listening to the radio, you
(57:30):
heard this song.
I'm sorry, it's a great song.
That bass line though.
I love that bass line.
I just want to get to the breakand then I'll move on.
(58:02):
It's such a catchy tune.
Yeah, that's definitely.
That's a good jam.
I'm going to take a look atsomething here.
Hold on, so if I'm looking atmy phone and I do this, okay,
(58:23):
I'm looking at myself on thephone live.
I want to see how this see thisis all new how I have it up on
the screen and of course, thepodcast listeners can't see it,
but they can go to the YouTubechannel.
All right, that looks okay.
I'm happy with that for now,and let's get back to the show.
So yeah, then you move on toGuns N' Roses.
(58:46):
Do I really have to talk aboutthem?
No, is there anything that wedon't know about?
Guns and road is roses.
Uh, what the hell?
Success is usually one of thebiggest trap band traps.
Bands have to navigate, mustnavigate during the time
together.
Even the smallest taste ofsuccess can send a band into a
(59:08):
frenzy, like dropping a prick ofblood into a pool of sharks.
But when that success is trulyunfathomable, then chances are
you're in for a bumpy ride.
In the 80s, there was simply noband more successful than Guns
N' Roses, which is true.
I believe they broke out around87, maybe 86, end of 86.
(59:32):
The band eventually broke up dueto their uncharted success,
substance abuse issues and hugeegos that invariably accompany
it.
One such ego is axl rose, whoseemed hell-bent on destroying
the band and everyone involvedwith it.
That's what is he straddling?
Is he straddling?
Was the guitar player he justditched, like he was the first
one to ditch before the shit hitthe fan.
(59:54):
There's a video, I I think it'suh, it's welcome to the jungle.
Maybe or maybe a song afterthat where someone's holding up
a sign says where's izzy?
Because he just left, is he'straveling, just left.
He never came back to the band.
I, that was probably thesmartest move out of all of them
.
The singer had become theundoubted king of rock in the
(01:00:17):
1980s and continued hisdominance in the early 90s too,
finding himself front and centerfor most critical moments of
the band's history.
However, as rose began to seehimself as the band's focal
point, more and more he began toclash with the other members,
most notably the band'sguitarist, slash, who, arguably,
arguably, it's it's almost likea jagger and richards thing,
(01:00:41):
right, there's mick jagger fansand there's keith richards fans,
the smiths, there's morrisseyfans and there's johnny marr
fans, and you had slash fans andyou had Slash fans and Axl Rose
fans.
And this is what the problemwas, uh, an icon in his own
right.
Slash didn't take kindly toRose's behavior and left the
(01:01:03):
group with the intention ofnever returning or working with
Rose ever again.
Quote it wasn't even menecessarily leaving the band.
He told PS Morgan in 2012 quoteit was not continuing on with
the new band that Axl puttogether that he was now at the
helm of, which was the new GunsN' Roses.
They didn't call it that, butthat's what he called it.
(01:01:26):
I was given a contract tobasically join his new band and
it took about 24 hours before Idecided I think this is the end
of the line.
Hours before I decided I thinkthis is the end of the line.
Guns N' Roses reunited in 2016for an unprecedented tour, but
have since scuttled back totheir respective mansions and
seem intent on speaking everagain.
Intent on speaking ever again.
(01:01:48):
Whoever writes?
You know, back in the day,you'd have publishers and you'd
have proof readers, and todayanybody can just get on and
write an article.
This is off the subject, but Iread these things and, like
nobody caught that Nobodycatches.
There's words missing or they.
They miss word, something, Idon't know.
But on with the show the BeachBoys.
(01:02:09):
Well, I think we all.
If you're a music fan and youpaid attention, you kind of know
that there was, there was.
Mike love is just a totaldouchebag.
Mike love is just a douchebag,still is a douchebag.
Few bands can define the decadeof the 60s as succulent.
Succulently was succinctly,succinctly jesus, and sweetly as
(01:02:34):
the beach boys.
Their iconic surf music rock,surf rock sound set the waves in
motion for a culturalrevolution.
With their album pet sounds,they always confirmed their
place in the pop, place in popmusic.
One man, brian wilson, largelyunderpinned those successes, as
his meticulous style anddevotion to creating pop
(01:02:55):
soundscapes that nobody had everdreamed of before gave the band
their point of difference.
Amid a swelling of pop groups,wilson was the man behind the
music and he stared the BeachBoys down whatever creative
street he chose.
When Wilson's mental healthbegan to suffer amid the growing
pressure of being in charge, itwas Mike Love who grew
(01:03:15):
disdainful, perhaps upset, atthe lack of commercial
opportunity Wilson, taking careof himself, offered.
It was a difficult spot to bein, and Love seemingly believed
that the group could do justfine without Wilson steering the
ship.
Ever since then, the twofactions have been like warring
empires, while Love continued totour with the Beach Boys name
(01:03:38):
even after many of the band'sfamilial members had left and
sadly died.
Wilson found his own careeroutside the group.
However, it hasn't stopped thetwo from feuding and they
continue to fight their battlesin court occasionally.
To fight their battles in courtoccasionally.
It's a dark part of the BeachBoys' sunny disposition and
shows.
No matter the music, when moneyis involved, things will get
(01:04:01):
ugly quickly.
So there you go.
I left the Libertines out.
I don't think people reallyknow who the Libertines are the
Libertines.
I wasn't a big fan, but I leftthem out of this whole list.
So you've got nine bands thatreally hated each other.
And I didn't talk about oasisbecause we all know about oasis.
(01:04:21):
If you don't, then you weren'tpaying attention.
Let's see what do we got downat the bottom.
Is there anything, uh, worthlooking at?
What's this?
The only front man charliewatts said was better than
mcjagger actually working anaudience.
All right, let's.
(01:04:42):
Let's see what charlie wattssaid about a better front man
than mcjagger.
A lot has made of mcjagger andkeith richards significance.
After all, they are thefigureheads of the rolling
stones, one of the mostinfluential bands of all time,
great songwriters and thedefinitive stereotypical rock
stars, however, due to theirlong list of storied exploits,
(01:05:03):
including hightailing intofrance as tax exiles and richard
snorting his father's ashes,their characters overshadow the
many band members that proppedthem up over the years,
including the late drummercharlie watts.
The rolling stones could neverhave reached their towering
heights without watts behind thedrums in the stock.
(01:05:25):
There's people that will debatethat, but I think it's true.
If he wasn't a good enoughdrummer, they would not have
kept him.
In stark contrast to theflamboyant, outlandish personas
of the glimmer twins, wattsbrought a jazz infused
sophistication to his playing,providing an intellectually
nuanced counterbalance to theband's raw, raw rock and roll
(01:05:47):
energy.
His quiet, reserved demeanorwas perfectly suited to the man
behind the kit, the steadymusical anchor every band needs.
Eschewing the excess of hisbandmates' hedonistic lifestyles
, the understated rhythmicgenius remained a breath of
fresh, ice-cold air through theband's storied career.
(01:06:09):
Watts was an original until thevery end.
It was never one to be pulledin directions he he didn't want
to.
Although he attributed hisbrief dalliance with drugs and
alcoholism in the 1980s to amidlife crisis, it's absolutely
symbolic of his character thathe stayed faithful to his wife,
shirley when on the road,brilliantly when the group's vis
(01:06:31):
, when the group visited hughheft, this playboy Mansion
during the 1972 US tour andpresumably got up to all kinds
of filth, he removed himselffrom danger and instead took
advantage of the sprawling gamerooms, as implied by sketching
(01:06:58):
every tour bed he slept on since1967, which probably allowed
him to be in the group for solong, despite not being one for
both of hedonistic mania, likemost of his bandmates.
This is why you could often seehim smirking behind the kit
when they were in their heyday.
He was likely laughing at whatwas unfolding and how ridiculous
others in the band looked.
(01:07:19):
Just as Watts was the quietestmember of the band and the
coolest head, he also was one ofthe best placed to comment on
the nature of the other RollingStones Due to his position as
the drummer and his naturallyreserved character.
He was a perennial observerduring his time with them.
He knew things about them thatthey didn't even comprehend.
In 1994 he gave an enlighteninginterview at 60 minutes giving
(01:07:43):
his honest opinion on each man'srole in the rolling stones.
His comments on mick jaggerwere particularly interesting,
despite one punching the frontonce punching the front man for
calling him my drummer.
That is a whole story that is.
It's hilarious.
You can look it up.
Uh, jagger tried to get allfroggy with him and arrogant and
(01:08:06):
joking with him and he calledcharlie watts's hotel room.
He says where's my drummer?
And and he called from hishotel room to charlie watts.
Charlie watts got up, gotdressed, went downstairs to mick
jagger's room, knocked on thedoor.
Mick jagger opened the door andcharlie watts proceed to punch
him square in the face and saidI'm not your fucking drummer,
(01:08:29):
I'm not your fucking drummer.
That never happened again.
What uh was in no doubt about,what was supreme about Jagger's
revered onstage presence andnamed the only man he thought
topped him.
Although he knew Jagger was thebest, watts believed James
Brown outdid him when he was inhis pump with his electric
(01:08:54):
aerobic moves going a stepfurther than Jagger's.
You know what?
I never put that together, likeI never.
If you were to say who's abetter front man, would it be
James Brown or Mick Jagger?
Hmm, I never thought of thatbefore.
Never thought of that before.
(01:09:16):
Never thought of thatInteresting what said Mick is
just the best front man in theworld.
I mean, that is the nicestpossible way.
I think he's the best thing onthe stage in the world, apart
from, probably, james Brown whenhe was younger.
I mean actually working in anaudience of 50,000 to 60,000
people, just standing in frontof three guitar players or two
guitar players and the bassplayer and singing Mick is the
(01:09:40):
best thing in the world I thinkit's ever seen.
Uh, it's a big call.
But Watts was right.
Jagger took the lot, took a lotof front, took a lot from Brown
when he was forming his famousapproach in the early days of
the Rolling Stones.
His spirited, relentlessmovement across the stage and
expressive delivery wereprecursors to that of the
englishman.
He simply wouldn't be the samewithout the influence of the get
(01:10:03):
up singer.
So there you go.
That's very interesting.
I never, I never looked at that.
That's something I'm going toponder and maybe put it out
there as a.
You make the call on myFacebook page.
Who was a better front man,mick Jagger or James Brown in
his, in his day, both of them intheir prime?
Who was a better front man?
So let me get off of this, letme get back to my screen.
(01:10:27):
There we go and that's it.
That's it for the show.
That's it for the show.
It's a.
It's a new format.
I'm going to work it out, I'llget the kinks out.
I'm going to get some copyrightviolations.
Let me go over here to the chat.
Let's bring this up real quick.
Let's do an overlay and seewhere we're at.
(01:10:50):
April says James Brown all day.
Yeah, well, I don't think thisis can't argue with it, can't
argue with it.
But all right, everybody, thankyou for watching, thank you for
listening.
If you liked it, share it Ifyou didn't like it.
Thanks for listening orwatching for an hour and 15
minutes.
Again, this is a work inprogress.
We're going to get this thingfine-tuned and if you have any
(01:11:14):
ideas, reach out to me.
You can find me on facebook,you can email me at milk grids
and turntables, at gmailcom orwhatever.
But I kind of like it.
It's entertaining, engagingmusic, playing music.
It's music podcast and we'llsee how far this goes until
something else comes up andwe'll change it again.
But, as my favorite artist,morrissey, he says, doing the
(01:11:40):
show for you, to quote him, thepleasure, the privilege is mine.
Patty, thank you.
I'm glad you liked the show.
Patty is a.
Patty is a how can I put it?
She's like a weather bell forthe show.
She's a weather.
If she likes it, then she'lllet me know.
(01:12:01):
If she doesn't, she'll just benice and say something other
than uh said.
Thanks, great show.
Thanks for all the info andmore to come.
I'm going to fine tune this in2025.
Uh, maybe next week is aChristmas show.
I have some issues.
Well, I have issues, but I havesome issues with some Christmas
songs that I might bring up.
(01:12:23):
I might bring up some.
I have issues Lyrics, mostlylyrics.
There's some nonsensical lyricsin Christmas songs and maybe
I'll expose them next week.
So, with that, everybody, Iappreciate it.
Thank you, and now I have twoepisodes to upload tomorrow.
(01:12:44):
All right, everybody, have agreat weekend.
That nigga want.
Yeah.
Word up look out for the cops.
Cash food.
Word up Two for fives.
Over here, baby.
Word up two for fives.
Niggas got garbage down.
Word up Cash food.
Everything around me, cream get.
Yeah, check this, old fly shitout.
Speaker 2 (00:22):
Word up Cash food, everything around me, cream get
the money Dollar dollar billsy'all.
Speaker 1 (00:29):
I grew up on the crime side, the New York time
side.
Staying alive was no job.
Speaker 2 (00:34):
Yeah, see the hands.
Speaker 1 (00:35):
Moms bounced on old men.
So then we moved to Shaolinland.
A young dude, you're rockingthe gold suit.
Low goose, only way I begin toGO.
It's a Wu-Tang Christmas, yeah,should I do the whole show like
(00:57):
this?
Yeah.
Speaker 3 (01:04):
This is the new Milk Crates and turntables.
I just pump anything.
I don't do intros anymore, Ijump right in.
Got an interesting show tonight, changing things up, doing
things a little different.
I'm going to use a share screen, which I never did before.
We're going to talk about asong and we're going to read an
(01:28):
article 10 bands that hated eachother the most.
And I know some of you don'tlike this Wu-Tang stuff, you
don't like this rap stuff.
That's all right, it's allmusic.
It's Wu-Tang, though.
Come on, come on, come on.
(01:52):
Even if you don't like hip hop,you got to like.
Speaker 2 (01:54):
Wu-Tang Clan.
If you don't know them, lookthem up.
Speaker 3 (01:57):
Patty, welcome to the show and also welcome to the
podcast.
You know the name, I'm notgoing to say it.
It's streaming live right nowover a lot of platforms, but
it's all about the podcast.
You know no more intro.
So I can't say thank you forthat wonderful introduction,
amanda.
But I will say young Amanda iscoming home from college for the
(02:19):
holidays this weekend, so it'sgoing to be good, it'll be good
this weekend.
So it's going to be good, it'llbe good.
And yeah, I think tonight I'mgoing to break out a song from
the 80s.
So if you're not, really if youhaven't followed for a little
while, you know what?
I didn't even upload lastweek's episode, like I didn't.
(02:39):
I don't know how I forgot to dothat.
So I have last week's episodejust sitting.
I'm going to dump them bothtogether.
I don't know how I forgot to dothat, so I have last week's
episode just sitting.
I'm going to dump them bothtogether, I don't care.
I mean 165, 66.
I don't know what it is.
Now.
You know, I can kind of slackoff a little bit.
I think I don't know what doyou think?
(03:01):
Yeah, we're going to be talkingmusic, a particular song.
Let's see, like I started thislast episode that you haven't
heard yet.
If you're in the podcast world,I don't know which one you're
going to hear first, but yeah.
So let me, uh, let me get rightinto it.
(03:25):
Let's drop that Wu-Tang,Wu-Tang, forever, baby.
Let me go into my.
I like my chill hop music, mybackground music, and I can turn
that down a little.
Yeah, I like having a littlebackground music.
(03:45):
You know, it's weird when you doa podcast by yourself and
there's no one to bounceanything off of and there's no
feedback and you just kind ofhear that dead air and I don't
particularly like it.
So let me bring out this songand I'm going to try to stop
saying I listen to myselfsometimes and it drives me crazy
(04:09):
, but I'm in the moment, we'llsee.
You know when I'm talking.
So, yeah, let's get into thefirst song that we're talking
about, and this is an eighties.
I'd say it's an eightiesclassic.
This is an 80s.
I'd say it's an 80s classic.
I'd say it's an 80s classic.
I'm going to give you let mepull it up first.
(04:30):
Let's see over here.
There we go.
Not that one, nope, it's alwaysfunny that you hear, you see
these songs that have the samename but by different artists,
and you're like, eh, some makeit, some don't.
This one.
There's a song by Air Supply,and then there's this song.
(04:58):
Let's see, there we go.
Let's see there we go.
Let's see, let's get right intoit.
If that's not one of the HiAllison, welcome to the show.
(05:23):
Let me get you guys up on thescreen first.
I have it a little bit April,all about public speaking.
I think I pretty much havepublic speaking down.
It's just when you don't reallyplan.
You don't really plan and youjust kind of jump into the
podcast because you'recomfortable like that, and it's
(05:47):
not such a formal setting whereI have to really pay attention
to my enunciations andpronunciations and dramatic
pauses and I'm just talking toyou guys.
Richie Farino, my boy, my man.
Nice picture of the bald eaglebuddy.
Bobby G.
(06:07):
Bobby G A rare Thursday nightappearance.
Rare Thursday night appearance.
Bobby G I don't think Bobby Gis going to when I used to do
Coffee with the King and for youpeople that don't know that, a
whole nother thing.
You can see it on youtube.
There's a king of facebookchannel on youtube.
(06:29):
There's a whole shitload ofvideos of me just being an idiot
, um, but bobby g was thereevery sunday morning, coffee
with the king, uh.
So see, I just said it.
I said ah, I'm gonna try to tryto catch myself.
Let's get 10 facts.
10 facts about the song Lonelyis the Night for the podcast
(06:55):
listeners.
I'm just going to do this withthe people that are watching on
the live stream.
I have a.
Let's do this.
David O'Connell, my man, thankyou, thank you, all right, I'm
going to put this out there andI don't know how this is going
to work because it's like a 12second delay on the live stream
sometimes.
(07:16):
But I'm going to ask a question,and the first one that pops up
with the correct year We'll getit.
I have all these leftover Kingof Facebook coffee mugs and
koozies.
You'll get one for Christmas.
What year did Lonely is theNight by Billy Squire come out?
What year did it come out?
First one to give me the rightanswer gets a King of Facebook
(07:38):
coffee mug and a koozie.
They're really flimsy koozies.
They're not elaborate oranything, but they're cool.
Theysy koozies.
They're not elaborate oranything, but they're cool,
they're cool.
So what year did lonely is thenight come out?
And again, that is the, theclassic intro.
We'll blast that again.
(07:58):
Stop the presses.
Mark talent jumps right in 1981,sparking mocking uncle tal
gretzky bono hall of fame.
No well, my mocking talent gotit first he's getting that king
of facebook mug.
Funny thing is I was sendinghim one anyways.
(08:21):
So how's this?
I'm going to make an exceptionhere.
I was going to send Mark Talentone anyways, because we had a
talk recently we always talk butRichie Farino came in with 1981
(08:41):
.
So I'm going to send one toRichie too.
Richie, you got to message meyour address, so you'll get a
King of Facebook.
Both of you will get King ofFacebook coffee mugs, which are
now retro.
They're retro coffee mugs andI'll send them off to you before
(09:03):
Christmas.
You should get them forChristmas, but with that I
expect a picture of you and themug next to the Christmas tree.
So there's the stipulation.
So Lonely is the Night came outin 1981.
Do you know?
Let's see if anyone knows thename of the album.
What's the name of the albumthat Lonely Is the Night came
(09:27):
out on?
It was a big album for him.
It really is what broke him andput him on the charts.
That's kind of a tough one,because I don't know how many
people I never owned a BillySquire album personally because
they played the song on theradio so much.
It was.
(09:47):
Just, you know, love the song,so I didn't really have to buy
the album.
I was kind of a Billy Squirefan, I think, just like
everybody else.
I wasn't a super fan, but thename of the album was Don't Say
no.
It was commercial successreaching multi-platinum status.
(10:09):
Like I said, that was the album.
That was the song that kind ofput him on the radar.
Let's see.
Lonely is the Night Okay.
Another question let's see.
Lonely is the night Okay.
Another question what number didit peak at on the charts?
(10:32):
Does anybody take a guess?
Allison says you know whatAllison Lundy says.
You know I can't answerquestions from the past.
Yeah, I know, because the lastweek's episode with the drug era
, whatever we got into last week.
But where did it shot?
Where did it shot?
And I'll give you was it in thetop 10?
(10:55):
Was it from 11 to 20, 21 to 30,or 31 to 40?
It's in the top 40.
Richie Freeno says 14.
No, april says three.
Nope, I'll take a couple moreanswers.
It's either 1 to 10, 11 to 20,21 to 30, 31 to 40 in the top 40
(11:23):
.
Where did Lonely is the Nightchart back in 1981?
And well, I got three and 14,so I'm going to answer it
anyways.
Charted at number 30, right?
So if you were around backthen'd think that it was a
(11:47):
charted higher than that, butcharted at number 30.
Let's see what else do theyhave here?
I would, I know I thought itwould be top 10.
Also, if you had asked me, Iwould have said it was a top 10
song.
But you know what?
The music video.
The music video gave it abigger push than we thought on
(12:09):
the radio, because back in 81,82 I think, we were watching mtv
more than we were listening totop 40 radio maybe, and it was
in constant rotation on MTV.
So maybe that's why we havethis.
It's not a Mandela effect, it'sjust a misconception.
(12:34):
We'll call it a misconception.
Let me see, I just got a phonecall.
All right, I'll call that later.
So I think, yeah, because ofmtv, we thought it was it
charted higher.
(12:55):
You know, a song's been coveredby a few artists and I went and
listened to them and no one doesa different version of it.
Nobody, everybody does the sameversion.
So sometimes you hear artistscover other artists' songs and
they add their twist to it andyou know, sometimes it's good,
(13:15):
sometimes it's not.
But the artist that I heard Ifound it's the same version
Almost sounds just like it.
So my question is why bother?
Why bother version almostsounds just like it.
So my question is why bother?
Why bother?
Lonely in the night remains aclassic rock staple and is all,
it's all.
It's one of those constantplays on classic rock radio.
And uh, yeah, that's some factson that song.
(13:40):
So let's get back to it.
Let's get back to it.
Let's get back to that.
That again, that hook at thebeginning.
That's one of the probably, ifyou were to say, if you were to
say so, the 80s there was a lotof music, a lot of music in the
80s.
Of course it's a decade ofmusic, would you put.
Would you put Lonely is theNight in the top 100 songs of
(14:07):
the 80s?
100 songs sounds like a lot,but you got to think there was a
thousand songs at least thatcame out in that decade.
Right, you figure out more thanthat, I mean.
So would you put Lonely is theNight in the top 100 songs of
the 1980s?
(14:27):
I don't, no.
Richie Farino says no.
April says thankfully, don'tplay Rock Me Tonight, rock Me
(14:54):
Tonight, yeah.
Says thankful they don't playrock me, rock me tonight, yeah,
that's uh, oh yeah, that thatthat song is.
Uh, it's not one of his, um,not one of his.
It was a hit.
It was a hit.
It charted right.
I gotta do this if that's not80s, that's 80s right I mean,
(15:24):
it's not a bad song.
Speaker 2 (15:31):
It's catchy, it's 80s .
Speaker 3 (15:35):
Yeah Right, I think Billy had a formula.
I think he had a formula, Ithink he had a formula.
Really good intros, really goodintros.
Let's get back to this song.
That album is 33 years old.
(16:04):
That song is 33 years old.
That song is 33 years old yeah,billy you know a lot of people.
there was this thing on theinternet for a while, like
whatever happened to BillySquire?
(16:24):
What happened to Billy Squire?
Like nothing happened to BillySquire.
Billy Squire has been around,like he didn't just fall off the
map.
He didn't just all of a suddendisappear.
He was around, whether he wasproducing or he was always.
(16:52):
He never left.
Really, really mark towns isthe drums.
Yeah, it's a great it's a greatsong.
Speaker 2 (17:00):
It's a rock song, it's definitely rock and roll.
Speaker 3 (17:06):
The Richie Farino says he saw Billy Squire with
REO, speedwagon and Styx.
Not a concert I went to.
That was not my.
I was not a Styx fan Fuck Styx.
You know what Styx I like.
(17:27):
So here we go.
This is 43 years old.
Yeah, this song's 43 years old.
Yeah, jesus.
So it's heavy.
Right, let me see something.
I'm going to look something upright now.
(17:55):
Curious, let me see.
All right, let's see.
(18:16):
You know who produced this?
I thought the producer.
That's why I wanted to look itup.
The producer of this song isthe one and only Jim Steinman.
(18:36):
Jim Steinman produced this song.
That's why it's so good.
Jim Steinman basically madeMeatloaf Meatloaf, so that's why
(18:59):
it's got big sound.
Yeah, big sound.
So it was produced by JimSteinman.
Came out in 1981.
What's the run time on this song?
(19:20):
You know what?
It's?
Almost so.
For Top 40 Radio, the runtimeon this is just over four
minutes.
It was a great party song.
(19:57):
I'll tell you that I I canremember sometimes.
I know this was a great partysong.
You know.
I would say that it was a great, a great song to have on in
your car when you're drivingaround with your friends, with a
cooler, a beer in the backseat.
You know not that I'm condoningthat action, just saying Not
(20:20):
that I'm condoning that, notthat we ever did that, but we
did.
And you know you just crankthat up, so that's the song of
the night.
But you know what?
April said something.
April said that the same drumkick is the stroke.
So let's get a Billy Squirething tonight.
So let's see.
Let's see if that has the same.
(20:41):
There we go.
(21:07):
He has a formula so billy squireproduced this song himself, but
there's definitely.
(21:27):
It's formulaic in the sense ofthe drum beat.
You're right in the sense,april, that there is a
similarity in there In theguitar drops.
It's again, it's formulaic, butit worked.
You know Rick Astley wasformulaic in his songs.
(21:48):
You know his two or three hits,whatever he had, sounded the
same.
You can say the same for AlStewart.
Al Stewart is year of the cat.
In time Passengers are the samefucking song.
It's the same formula.
Al Stewart was brilliant.
He had Year of the Cat and itwas an original song.
(22:09):
No one heard anything like itbefore and it was a great story
and he had a great layout forthe song and then he had nothing
after that.
And then he decides you knowwhat I got to get back to that?
I got to get back to that.
So he comes up with timepassages.
Besides, you know what I got toget back to that?
I got to get back to that.
So he comes up with timepassages.
So if you listen to those twosongs back to back, it's almost
(22:30):
the same formula, but no onereally got.
I realized that when I was likeI don't know, three years ago.
I go, wait a minute.
This motherfucker was brilliant.
He kind of slid it in there andit worked.
He got two huge hits out ofthose songs and he's still
making money off those songs.
(22:53):
Um, yeah, so billy squire he, heproduced this song himself.
So, yeah, that's some BillySquire for the night.
Let's get the.
How many hits did he reallyhave?
How many hits did he reallyhave?
(23:15):
There is the.
Alright, I'm going to go toBilly Squire's greatest hits.
Yeah, this one, all right, I'mgoing to go to Billy Squire's
greatest hits.
Yeah, this one, right.
(23:38):
This first album was like it'skind of loaded.
Leanna Brennan all the way fromthe UK.
Speaker 2 (23:56):
Yeah.
Speaker 3 (23:57):
Yeah, this song was this, this.
So back in the day, back in theday and I don't know it's, it's
kind of a prove me wrong.
But if you a prove me wrong.
But if you bought an album andit had four good songs on it and
say there was 11 tracks, if youhad four good songs, that was a
(24:17):
good album Because you got fourreally good songs.
Then you got somemiddle-of-the-road songs, then
you got the throwaway songs, butpretty much on average that's
what you got out of these albums.
And thank God for the inventionof cassettes, because that's
when you could fast forwardthrough those things and even
technology back then.
(24:38):
So remember, when cassetteplayers first came out, you
would have to hit it, excuse me.
You'd hit stop and then play.
I just caught a comment thatRichie Farina said he never did
that drinking and driving thing.
Not Richie, no, no, no, no.
(25:04):
Of course he never did that.
He was a good boy.
Richie was a good boy.
In your car you would hit thatfast forward, you would hit that
stop.
You'd hit the fast forward,you'd hit the stop.
Then you'd have to hit rewindto get right to the beginning of
the song.
And then technology came in andI think we underappreciated
what we had at the time when youhad your stereo cassette player
in your car with your whatever.
You had your block punkspeakers, like I had, or you had
(25:26):
your jensen coaxials or jensentriaxles or whatever the
speakers of the day were backthen and you come out with like
the kenwood stereo, car stereowith cassette player and you'd
hit fast forward and it wouldstop on the next song, like
you're like oh geez Like.
(25:53):
I think we did not give thatenough respect for that back in
the day, did not give thatenough respect Because we were
young and dumb and drunk and,you know, a little out of
control.
But so what else did BillySquire?
I didn't mean that this this isthe beauty of this new format,
it can just go in any direction.
I I, I'm going to do somethingwith an article in a little
(26:13):
while, but uh, let's keepgetting into some, uh, some
Billy Squire.
So again, I think Billy Squireis one of those, one of those
artists where we heard him somuch, we saw him so much, we
thought you know, and then whenit goes away you kind of forget.
This happened to me withDepeche Mode.
(26:33):
So, back in, where was I?
I was stationed in SouthernCalifornia at March Air Force
Base, and a bunch of us gottickets to go see Depeche Mode
at an amphitheater somewhere inSouthern California around us
and it was let me stop that.
And so we get to the concertand you know we're up on the
(26:55):
hill and what's funny is so youcouldn't really do drugs when
you're in the Air Force.
It's really not acceptablebehavior Not that it was
acceptable in civilian life, butit's definitely unacceptable in
the military.
So somehow I ended up with alittle bottle of that amyl
(27:20):
nitrate or locker room, whateveryou call it instant rush, holy
shit.
Amyl nitrate or locker room,whatever you call it, instant
rush, holy shit.
So you know, you go see tepechemode and you and you're doing
that, you're hitting andeveryone's give me a hit, give
me a hit and we're all doing theliquid rush.
And it was.
It was kind of trippy, it wasnot healthy.
(27:42):
I can tell you that it's nothealthy for your brain or your
blood pressure or anything.
But well, you know, again youngand dumb.
So I'm at the uh, we're at thedepeche mode concert and it was
like, oh shit, they sang thatsong too.
Oh shit, I forgot about thatsong.
(28:02):
Oh shit, they did this one too,and you know, it's just one of
those things you take forgranted and then when you see it
and you hear it, like, oh wow,that you know they are.
That was the first time I'dseen them, so live, and I've
seen them five times, since it'sone of the only bands I'll see
multiple times.
But I think, think, billySquire is kind of that thing, so
(28:24):
we can go into.
What about this one?
Right, you already know thesong just from the beginning of
it.
He had great intros, hisproducer, they knew how to draw
(28:44):
you in immediately.
Good intros will do that.
So this one.
Speaker 2 (28:52):
Right Catchy.
Speaker 3 (29:02):
Catchy.
Right Now I'm getting copyrightviolations on my YouTube
channel for this.
I say this every week this isnot my music.
I don't own this music.
I don't claim this music.
(29:24):
I'm using fair use.
I hope he profits off this.
You can monetize this video ifyou want.
I'm not.
And uh, yeah, give billy somemoney.
Give billy some money.
You know the thing?
Uh, I don't know if you knewthis, but the way artists get
paid, or that's how artists getpaid on streaming is that is a
(29:46):
whole episode in itself or halfan episode.
It's really not fair.
But listen, they're getting paidand that's their business, but
evidently they don't get paiduntil.
Let me move my mic up, my newmic.
I love this microphone.
This is, yeah, what the hell?
(30:09):
I don't like the microphonestand on the arm.
Uh, they don't get paid untilthe first like 30 seconds of the
song has to has to be played.
The first 30 seconds of thesong has to be played, which is
why you don't get these longintros anymore in songs.
(30:33):
We used to get these long 35,40 second intros before anyone
would sing, or you know greatsongs, let me turn this down,
hold on.
But yeah, they don't.
Uh, they don't get paid untilthe first 30 seconds are played.
(30:53):
Because if you think about that, it makes sense.
It makes sense because then youjust get a bot to play the song
all the time, play songs allthe time over and over and play
like five, 10 seconds and cut itand do it again and they just
keeps generating revenue.
But 30 seconds?
(31:13):
How many people listen to asong for 30 seconds?
This generation doesn't thisinstant gratification.
They don't want to wait 30seconds.
That happened in my houserecently.
We're watching YouTube.
I don't know what we werewatching.
I love watching, like the nerd,the pop culture channels and
(31:38):
you know commercials poppingbecause I'm not going to pay for
commercial, free YouTube.
And it said, you know thecommercial pops on and then the
time is up in the top right-handcorner and it says we are a
minute, like the commercial isgoing to be a minute, and my and
my daughter, amanda, goes aminute.
(32:02):
Oh, that said everything.
That said everything.
I said, you know, like like theold guy, like the old guy, I
said, oh, yeah, well, back whenI was your age, we had four
minutes of commercials.
(32:22):
I had to do it.
I had to do it, but it was true, it was true.
We, we had to sit throughcommercials.
Uh, let me get rid of this.
It popped on my screen so okay,so we had.
All right, let's.
This wasn't one of his biggersongs, but Sounds a little
(33:12):
queen-ish, doesn't it?
Doesn't it sound a littlequeen-ish?
A?
Speaker 2 (33:17):
little influence.
When the daylight comes, you'rea runner.
In the night it turns you onlike a hunter light.
Speaker 3 (33:23):
This was the name of the album too.
This is the song.
This is the title song from thealbum Emotions.
Speaker 2 (33:28):
Emotions.
Speaker 3 (33:43):
Right, not a bad song .
Billy had a nice little run.
Let's see what else is on here.
I think this is the this nextsong.
Is this the song that was hisdownfall?
The video he said BackstreetBoys, all right, here we go.
(34:10):
Is this the one?
There's that one video?
When he had he danced aroundand pranced around and it was
like, oh, that was a big mistake.
Was it this one?
Or was it his Christmas song?
Speaker 2 (34:31):
I don't know.
Speaker 3 (34:37):
I don't think it was this one.
There was one video that washis downfall, Like they just.
Yeah, did I already play this?
I think I did.
Is this up at the top?
My kind of lover Always a night.
Is this a hit?
(35:00):
No See, you know if his song'sgood or not by the intro that
you hear.
That's not one.
This wasn't on the radio, butAll right.
(35:40):
I don't know if I've ever heardthis song before.
She's a Runner is the name ofthe song.
Off Emotions in Motion.
I've heard this song.
Now I know I've heard this song.
That's it.
(36:02):
Okay, I remember this song,minor hit.
This had a little radio play.
She's a runner.
Yeah, yeah, it might be betterthan some of those other songs.
I like this song better thanRock Me Tonight.
The Rock Me Tonight was a hit.
Speaker 2 (36:29):
This ain't a bad song .
Speaker 3 (36:34):
This is one of those forgotten songs.
What do they call them?
Like the Hidden Treasures orsomething like that?
Lost Hits, lost Hits of the 80s.
Like the hidden treasures orsomething like that?
Lost hits lost hits of the 80s?
I'm going to add this to myfinally manicured playlist on
Spotify.
This will be song number 456.
I'm going to add it to it rightnow.
(36:59):
I like this song, so you forgetthis shit.
But that's what this show isall about.
I'm going to find lost songs.
That's what I'm going to try todo.
This is still a.
It's a Work in motion.
Is that the term?
It's a work in motion?
It's a work in progress.
(37:20):
It's a work in progress.
Next week, I'm doing a.
I'm going to do a I think aChristmas show, I don't know.
Unless I do an early thefollowing week for Christmas.
We'll see, we'll do.
While I'm on this, let's seeLost hits.
(37:44):
I'm going to just do it.
What the hell?
What the fuck?
Speaker 2 (37:46):
We'll see how it goes .
Speaker 3 (37:49):
Okay, All right.
So I just pulled up thisplaylist.
Oh, Allison, good night, and Iwill see you next week,
hopefully.
All right, I'm going to pull up.
(38:22):
So this is one of those songsthat Billy Squire had.
There was a.
It was a little radio play, hada little bit of legs and kind
of didn't make it.
But I'm going to switch gearshere and I'm going to jump over
to Wang Chung.
Right, Everybody Wang Chungtonight.
Dance all days.
I think they had one other hit,but, if you ask me, this is
(38:43):
their best song and it's on thesoundtrack to the movie of the
same name.
Let's see, this is Wang Chung.
Now, Again, if you ask me,Dance All Days is a great song,
(39:05):
though that's a great song, butthis is my favorite, I think.
Speaker 1 (39:18):
Rock me tonight, every time you go away, I just
have to be together.
Every time you go away.
Speaker 3 (39:24):
I just have to be smart love together every time
you're away.
This is very un-Wang Chung, ifI do say so In the dark of the
day.
Speaker 2 (39:35):
In the dark of the night.
Every time I turn the light, Ifeel that God is not in heaven.
Speaker 3 (39:44):
In the dark of the night.
Some of these.
Is this a lost?
Is this a?
I don't know how I just tappedon this, but it's a great song
and I don't know what it means,but it's from the 80s.
Donald Fagan, igiy this isbasically Steely Dan, so
(40:32):
evidently they're doing a that.
They did a documentary on yachtrock and the director and
writer they called donald faganand they said hey, do you want
to be on this yacht rockdocumentary with steely dan?
And he literally told them howabout you go fuck yourself.
(40:54):
Good for him, you don't want tobe linked to that shit.
I mean, yacht Rock is YachtRock, but Steely Dan is Steely
Dan.
Why would you lower yourstandards to be on a documentary
about Yacht Rock?
I don't know.
So let's see.
(41:14):
I'm going to try something now.
I'm going to move over and dosomething.
Let's see how this works out.
Let me get rid of this.
Let me come over here, allright.
So we have 10 bands that hatedeach other with a passion.
So we had Oasis.
(41:34):
We all know about Oasis.
They're getting back together.
But Pink Floyd Pink Floyd theyhated each other after a while.
So it is, as the article says,one of the most seismic bands of
all time.
Pink Floyd spent most of theyears together in one feud or
(41:57):
another, but the real rift isformed and ever increasing
between Roger Waters and DavidGilmour as the two men fought a
war on the battlefield ofcreated differences.
Waters, a founding member ofthe band, has often been at
loggerheads with Gilmour.
I think he's always been alittle bit jealous of Gilmour,
if you ask me, just a littlejealous of him, who joined the
(42:22):
group to replace the lead singer, sid Barrett.
In 1968.
The group enjoyed some of themost unprecedented successes in
rock music history, deliveringrecord after record that topped
the charts and hailed the bandas supreme overlords of prog
rock.
But I think they crossed that awhile ago.
I don't know if they looked atas prog rock, I'd say they
(42:42):
looked at as rock and roll.
Still, as the years progressed,the two men were locked in a
power struggle.
I don't know if they looked atit as prog rock, I'd say they
looked at it as rock and roll.
Still, as the years progressed,the two men were locked in a
power struggle as the creativevisions collided and ultimately
Roger Waters left the band in 85.
Some of you might already knowthis story.
When Waters originally withdrewfrom the group, he immediately
locked horns with Gilmore in abit of legal battle that would
(43:02):
last years.
He immediately locked hornswith Gilmore in a bit of legal
battle that would last years.
To announce his departure,waters stated EMI and CBS
invoking the leaving memberclause of his contract and, as
the main creative force in theband, he didn't believe Pink
Floyd could continue in hisabsence.
How wrong he was.
Therefore, in October 86,waters started high court
(43:23):
proceedings to formally dissolvePink Floyd, labeling the group
a spent force.
Creatively, david Gilmour andNick Mason opposed this, stating
that Pink Floyd was goingnowhere and that Waters could
declare it dead.
While the group was stilltrying to make music, waters
eventually came to an agreementwhich saw him resign after
(43:43):
careful legal considerations in87.
Ever since then, the two men ateach uh at each end of the pink
floyd spectrum have continued totrade veiled insults in
insinuations, and they're notprivate about it.
Since then, things have soughtuh have soured even further,
with the feud taking on a morepolitical stance in recent years
(44:06):
.
Though they briefly reunited in2008 for the spectacular music
event Live 8, the chances ofthem ever getting back together
again about as likely as Gilmoregrowing his long hair back.
Well, roger Waters' wife gotinvolved and she called Gilmore
(44:27):
a.
He's a racist, he's a oh she.
Just she lambasted him onTwitter at the time.
But yeah, when the wife getsinvolved the shit starts getting
really weird.
Fleetwood Mac hated each other,I think, multiple times.
(44:48):
If you ask me, a caveat must beadded to this entry, though.
Fleetwood Mac were undoubtedlyall angry, hateful and hurt by
one or two different bandmembers.
During their years together,they have just about managed to
keep it together over the fivedecades they've been together.
It might be one of the mostastonishing feats in music
history, and it nearly didn'thappen.
(45:09):
On several occasions,discounting Peter Green's
departure from the group andStevie Nicks' dalliance with
solo work, the soft rock giantshave always found a way of
keeping their tempestuoustimeline moving forward.
Of course, the most notablemoment in their mutual disdain
came during the recording ofrumors which saw both the
couples in the group LindseyBuckingham, stevie Nicks, as
(45:32):
well as John and Christine McVieacrimoniously split.
Not only did that hefty doses,not only did that hefty doses of
cocaine add to the increasedtension, but each injured party
saw fit to pen a song abouttheir perceived offender.
I guess there was gloves offthere.
Somehow the band managed topull it all off and deliver one
(45:55):
of the greatest albums of the20th century.
True, that's a true statement.
Stevie Nicks would eventuallyseek solo stardom, but would
return to her rightful home atthe front of Fleetwood Mac.
Buckingham was recently kickedout of the band for breaching
their trust and becoming abusive.
Unlike most of the bands on ourlist, fleetwood Mac have
(46:15):
managed to keep it together justbarely.
So that's interesting.
So they kicked LindseyBuckingham officially out of the
band.
That's kind of what happened toJoey Kramer with Aerosmith.
Like I don't know.
It was like five years ago.
They're like you're done.
They officially kicked him outof the band, but you know what?
(46:35):
He's always going to be part ofAerosmith.
Boomers will always look atJoey Kramer as the drummer from
Aerosmith.
There's nothing that's evergoing to change that.
Lindsey Buckingham you can kickhim out of the band, but his
legacy is already set in stone.
He's the guitar player forFleetwood Mac.
He's one of the creative forcesin Fleetwood Mac.
(46:57):
He was one of the prime reasonsthat Fleetwood Mac became
Fleetwood Mac, because they werejust Fleetwood Mac before Nix
Buckingham and Nix came on board.
I who listens to old FleetwoodMac shit.
Who goes back and listens toFleetwood Mac with Peter Green?
You know it does very fewpeople hardcore Fleetwood Mac
(47:18):
fans do.
But before it was nobody waslistening to, like they weren't
even close to even close to theheights that they reached with
Lindsey Buckingham and StevieNicks.
So it's almost like two totallydifferent lives.
The Fleetwood Mac is that twototally, where they just kind of
dangled in mediocrity for alittle while but then they
(47:42):
became superstars.
The who Not only was PeteTownsend, the who's guitarist
and principal songwriter,recently shamed for his comments
on Keith Moon and JohnEntwessel's passing, but he has
always been vocal about hisdislike for Roger Daltrey.
The group always fought with oneanother, both verbally and
physically.
Yes, they have had throwdowns.
In fact, there is perhaps noband on this list who have
(48:06):
shared a much obvious disdainfor one another as the who.
But when all is said and done,daltrey and Townsend share the
most issues.
The two powerhouses of the bandhave always butted heads.
The two innately irritate eachother, which is remarkable
considering how long they'vebeen together in a group and how
this certainly is no recentbeef.
(48:27):
Another example of how, if onedoes one thing, the other goes
out of their way to do.
The other was when all right, Iread that wrong.
The other goes out of their wayto do.
The other was when RogerDaltrey spoke about his ardent
support for the Brexit campaign.
See politics, there you go.
And Townsend was vocal in hissupport for Remain to Stay, to
(48:53):
Remain to Stay.
I mean staying to the Telegraph.
I'm a Remainer, he is aBrexiteer.
I believe in God, he doesn't.
That's a British thing.
Townsend and Daughtry continueto fight during their live
performances, with a particularmoment where Roger comes over to
me, stands next to me and makessome kind of sloppy smile.
(49:14):
This is Townsend talking, whichis supposed to communicate some
kind of Everly Brothersrelationship we have for the
audience, which isn't actuallythere Infuriating the guitarist
to the point where he uhrecognizes the tune now in his
and as his lowest moment onstage.
The guitarist continues it'ssupposed to be an act where I'm
(49:37):
supposed to collide, colludelike we know each other very
well.
We look like enemies but we'refriends, really kind of look.
Often.
That will be the moment where Ilook him in the face and go you
fucking wanker, and he getsangry when I do that.
Uh, he says amidst the fit oflaughter.
Simon agarfunkel, simonagarfunkel uh, it may seem silly
(50:01):
to think that paul simonagarfunkel bickering over
pointless band details.
The music is so soft andindelibly delicate that any
strong words feel misplaced whenconsidering the pair, however,
their feud is a searing one andbellies their beautiful music.
It all began when, during theirtime as Tom and Jerry, simon
(50:24):
was offered the chance to recordtwo solo singles, something he
forgot to tell Garfunkel.
Really, you think he reallyforgot.
The real issue was, whileGarfunkel had one of the
smoothest vocals around, it wasSimon who was the group's
songwriter and because of thathe held all the cards.
That is always true.
(50:44):
The police is a and because ofthat he held all the cards.
That is always true.
The police is a perfect exampleof that.
Sting would come to the studiowith all the songs written, with
all the songs written, and youknow it used to piss off stewart
copeland and as of recently Iwatch a lot of stewart copeland
like reels on facebook and he isat the point and they're older
(51:05):
gentlemen, now they're olderguys.
He's like I didn't realize.
But he sting is fucking, hegoes.
He's a genius.
He was just an asshole.
But he's a genius asshole.
I just didn't like it at thetime.
So now they they've reconciledtheir thing.
That was a pretty, pretty bigfeud.
But so, getting back to it,because of that he held all the
(51:26):
cards.
Quote they both envied theother's place in the team.
The duo's manager said Pauloften thought the audience saw
Artie as the star because he wasthe featured singer and some
people probably thought Artieeven wrote the song.
See, that's yeah.
But Artie knew Paul wrote thesongs and thus controlled the
future of the pair.
(51:46):
I don't think he ever got overwhat happened with Tom and Jerry
following the show in 1970.
The duo shook hands in theparking lot and never returned
to the stage together With Artie.
There was no reason to talkabout it, said Simon, when he
agreed to make carnal knowledge.
Something was broken between us.
I just wanted to move on.
(52:06):
We were finished.
Now the ramones.
So the ramones had aninteresting relationship.
So it's punk rock, right?
Oh, let me take a blast of myturbo, triple turbo ice coffee,
hold on.
So the writing was on the wallfor the ramones almost as soon
as they spray painted theirnames on it.
(52:28):
Great way to put it.
The forefathers of new york citypunk, the quartet, may not have
shared any bloodlines, but theyfought like brothers.
Apart from the tempestuousrelationship that undercut
everything they did, the real,real dispute was between Joey
and Johnny Ramone.
The lead guitarist and singerof a group are always meant to
(52:51):
have the odd scuffle, but Joeyand Johnny were just
fundamentally different people.
Johnny, the son of a hotdrinking construction worker who
instilled the republican valuesinto the guitarist at every
turn, was miles away from theawkward and liberal Joey.
The two perpetually clashed andit wasn't just their political
(53:12):
values which were misaligned.
Perhaps the worst moment camewhen Johnny reportedly took
Joey's girlfriend from him,which prompted Joey to write the
KKK.
Took my baby away from him,which prompted Joey to write the
KKK, took my baby away.
I am not a Ramones fan in anyway, shape or form.
Trust me, I am not.
(53:32):
I think they're overrated.
I think the Ramones were uh,they, they, they had, they had
the look, they had the fast.
You know two minute songs.
They're not a lot of talent,but they're in the right place
at the right time, doing theright thing, and they became
(53:53):
bigger than their talentdeserved.
That's how I say it.
Uh, for whatever reason, plusthe whole thing with the ramones
, you know you think they're allrelated and oh they're not.
And back then, remember, therewas no internet, so a lot of
people didn't realize it untilyou know later on that oh,
(54:14):
they're not brothers.
So, but to write, the KKK tookmy baby away.
I got to give that some propsright there.
That's what that song's about.
Joey Amaki had also beeninvolved in a feud that was
thankfully buried a few yearsbefore Joey's sad death in 2001.
The Pixies, boston's own thePixies, you know, alternative
(54:39):
band, had a few alternative hits.
The Pixies are one of the mostunderrated bands of all time,
which they are More often citedas a searing inspiration.
Above being regarded as one ofthe greatest bands of the
alternative rock explosion, thePixies have often gone under the
radar.
Another note about the groupthat it's seemingly surrounded
(55:00):
by secrecy is their inner bandbattles.
The two generals of this war, awar which raged on for nearly a
decade, was the band's twoprincipal members, kim Deal and
Francis Black.
The duo always experienced afraught relationship, but as
Deal's songwriting knack beganto beckon and demand she be
(55:22):
given more time to expressherself creatively, the
guitarist became despondent,with Black's unrelenting control
.
In 2004, the two put thosedifferences aside to reunite the
Pixies and begin one of theircareer's more commercially
fruitful periods.
However, despite the singerclaiming they were always
(55:45):
friends, now it would appearthat the chances of the group
ever reuniting with Deal andBlack in the band is as far away
as it's ever been, with Dealmore interested in pursuing her
own creative projects.
Now Kim Deal, you might have herand her sister I'm sure you've
(56:06):
probably heard this song.
They got together, let me see,and they put one album out and
this was their.
It was a video.
It was a pretty well-receivedsong.
But when Kim Deal left thePixies her, her and her sister,
who eventually died of a heroinoverdose they looked almost
(56:28):
exactly alike too.
But this song, this is a 90sclassic and I know you've heard
it if you're listening to theradio.
That's a great bass line.
(56:56):
That is a great bass line.
That's Kim Deal on bass, onbass.
I know you.
If you were in the 90s, if youwere listening to the radio, you
(57:30):
heard this song.
I'm sorry, it's a great song.
That bass line though.
I love that bass line.
I just want to get to the breakand then I'll move on.
(58:02):
It's such a catchy tune.
Yeah, that's definitely.
That's a good jam.
I'm going to take a look atsomething here.
Hold on, so if I'm looking atmy phone and I do this, okay,
(58:23):
I'm looking at myself on thephone live.
I want to see how this see thisis all new how I have it up on
the screen and of course, thepodcast listeners can't see it,
but they can go to the YouTubechannel.
All right, that looks okay.
I'm happy with that for now,and let's get back to the show.
So yeah, then you move on toGuns N' Roses.
(58:46):
Do I really have to talk aboutthem?
No, is there anything that wedon't know about?
Guns and road is roses.
Uh, what the hell?
Success is usually one of thebiggest trap band traps.
Bands have to navigate, mustnavigate during the time
together.
Even the smallest taste ofsuccess can send a band into a
(59:08):
frenzy, like dropping a prick ofblood into a pool of sharks.
But when that success is trulyunfathomable, then chances are
you're in for a bumpy ride.
In the 80s, there was simply noband more successful than Guns
N' Roses, which is true.
I believe they broke out around87, maybe 86, end of 86.
(59:32):
The band eventually broke up dueto their uncharted success,
substance abuse issues and hugeegos that invariably accompany
it.
One such ego is axl rose, whoseemed hell-bent on destroying
the band and everyone involvedwith it.
That's what is he straddling?
Is he straddling?
Was the guitar player he justditched, like he was the first
one to ditch before the shit hitthe fan.
(59:54):
There's a video, I I think it'suh, it's welcome to the jungle.
Maybe or maybe a song afterthat where someone's holding up
a sign says where's izzy?
Because he just left, is he'straveling, just left.
He never came back to the band.
I, that was probably thesmartest move out of all of them
.
The singer had become theundoubted king of rock in the
(01:00:17):
1980s and continued hisdominance in the early 90s too,
finding himself front and centerfor most critical moments of
the band's history.
However, as rose began to seehimself as the band's focal
point, more and more he began toclash with the other members,
most notably the band'sguitarist, slash, who, arguably,
arguably, it's it's almost likea jagger and richards thing,
(01:00:41):
right, there's mick jagger fansand there's keith richards fans,
the smiths, there's morrisseyfans and there's johnny marr
fans, and you had slash fans andyou had Slash fans and Axl Rose
fans.
And this is what the problemwas, uh, an icon in his own
right.
Slash didn't take kindly toRose's behavior and left the
(01:01:03):
group with the intention ofnever returning or working with
Rose ever again.
Quote it wasn't even menecessarily leaving the band.
He told PS Morgan in 2012 quoteit was not continuing on with
the new band that Axl puttogether that he was now at the
helm of, which was the new GunsN' Roses.
They didn't call it that, butthat's what he called it.
(01:01:26):
I was given a contract tobasically join his new band and
it took about 24 hours before Idecided I think this is the end
of the line.
Hours before I decided I thinkthis is the end of the line.
Guns N' Roses reunited in 2016for an unprecedented tour, but
have since scuttled back totheir respective mansions and
seem intent on speaking everagain.
Intent on speaking ever again.
(01:01:48):
Whoever writes?
You know, back in the day,you'd have publishers and you'd
have proof readers, and todayanybody can just get on and
write an article.
This is off the subject, but Iread these things and, like
nobody caught that Nobodycatches.
There's words missing or they.
They miss word, something, Idon't know.
But on with the show the BeachBoys.
(01:02:09):
Well, I think we all.
If you're a music fan and youpaid attention, you kind of know
that there was, there was.
Mike love is just a totaldouchebag.
Mike love is just a douchebag,still is a douchebag.
Few bands can define the decadeof the 60s as succulent.
Succulently was succinctly,succinctly jesus, and sweetly as
(01:02:34):
the beach boys.
Their iconic surf music rock,surf rock sound set the waves in
motion for a culturalrevolution.
With their album pet sounds,they always confirmed their
place in the pop, place in popmusic.
One man, brian wilson, largelyunderpinned those successes, as
his meticulous style anddevotion to creating pop
(01:02:55):
soundscapes that nobody had everdreamed of before gave the band
their point of difference.
Amid a swelling of pop groups,wilson was the man behind the
music and he stared the BeachBoys down whatever creative
street he chose.
When Wilson's mental healthbegan to suffer amid the growing
pressure of being in charge, itwas Mike Love who grew
(01:03:15):
disdainful, perhaps upset, atthe lack of commercial
opportunity Wilson, taking careof himself, offered.
It was a difficult spot to bein, and Love seemingly believed
that the group could do justfine without Wilson steering the
ship.
Ever since then, the twofactions have been like warring
empires, while Love continued totour with the Beach Boys name
(01:03:38):
even after many of the band'sfamilial members had left and
sadly died.
Wilson found his own careeroutside the group.
However, it hasn't stopped thetwo from feuding and they
continue to fight their battlesin court occasionally.
To fight their battles in courtoccasionally.
It's a dark part of the BeachBoys' sunny disposition and
shows.
No matter the music, when moneyis involved, things will get
(01:04:01):
ugly quickly.
So there you go.
I left the Libertines out.
I don't think people reallyknow who the Libertines are the
Libertines.
I wasn't a big fan, but I leftthem out of this whole list.
So you've got nine bands thatreally hated each other.
And I didn't talk about oasisbecause we all know about oasis.
(01:04:21):
If you don't, then you weren'tpaying attention.
Let's see what do we got downat the bottom.
Is there anything, uh, worthlooking at?
What's this?
The only front man charliewatts said was better than
mcjagger actually working anaudience.
All right, let's.
(01:04:42):
Let's see what charlie wattssaid about a better front man
than mcjagger.
A lot has made of mcjagger andkeith richards significance.
After all, they are thefigureheads of the rolling
stones, one of the mostinfluential bands of all time,
great songwriters and thedefinitive stereotypical rock
stars, however, due to theirlong list of storied exploits,
(01:05:03):
including hightailing intofrance as tax exiles and richard
snorting his father's ashes,their characters overshadow the
many band members that proppedthem up over the years,
including the late drummercharlie watts.
The rolling stones could neverhave reached their towering
heights without watts behind thedrums in the stock.
(01:05:25):
There's people that will debatethat, but I think it's true.
If he wasn't a good enoughdrummer, they would not have
kept him.
In stark contrast to theflamboyant, outlandish personas
of the glimmer twins, wattsbrought a jazz infused
sophistication to his playing,providing an intellectually
nuanced counterbalance to theband's raw, raw rock and roll
(01:05:47):
energy.
His quiet, reserved demeanorwas perfectly suited to the man
behind the kit, the steadymusical anchor every band needs.
Eschewing the excess of hisbandmates' hedonistic lifestyles
, the understated rhythmicgenius remained a breath of
fresh, ice-cold air through theband's storied career.
(01:06:09):
Watts was an original until thevery end.
It was never one to be pulledin directions he he didn't want
to.
Although he attributed hisbrief dalliance with drugs and
alcoholism in the 1980s to amidlife crisis, it's absolutely
symbolic of his character thathe stayed faithful to his wife,
shirley when on the road,brilliantly when the group's vis
(01:06:31):
, when the group visited hughheft, this playboy Mansion
during the 1972 US tour andpresumably got up to all kinds
of filth, he removed himselffrom danger and instead took
advantage of the sprawling gamerooms, as implied by sketching
(01:06:58):
every tour bed he slept on since1967, which probably allowed
him to be in the group for solong, despite not being one for
both of hedonistic mania, likemost of his bandmates.
This is why you could often seehim smirking behind the kit
when they were in their heyday.
He was likely laughing at whatwas unfolding and how ridiculous
others in the band looked.
(01:07:19):
Just as Watts was the quietestmember of the band and the
coolest head, he also was one ofthe best placed to comment on
the nature of the other RollingStones Due to his position as
the drummer and his naturallyreserved character.
He was a perennial observerduring his time with them.
He knew things about them thatthey didn't even comprehend.
In 1994 he gave an enlighteninginterview at 60 minutes giving
(01:07:43):
his honest opinion on each man'srole in the rolling stones.
His comments on mick jaggerwere particularly interesting,
despite one punching the frontonce punching the front man for
calling him my drummer.
That is a whole story that is.
It's hilarious.
You can look it up.
Uh, jagger tried to get allfroggy with him and arrogant and
(01:08:06):
joking with him and he calledcharlie watts's hotel room.
He says where's my drummer?
And and he called from hishotel room to charlie watts.
Charlie watts got up, gotdressed, went downstairs to mick
jagger's room, knocked on thedoor.
Mick jagger opened the door andcharlie watts proceed to punch
him square in the face and saidI'm not your fucking drummer,
(01:08:29):
I'm not your fucking drummer.
That never happened again.
What uh was in no doubt about,what was supreme about Jagger's
revered onstage presence andnamed the only man he thought
topped him.
Although he knew Jagger was thebest, watts believed James
Brown outdid him when he was inhis pump with his electric
(01:08:54):
aerobic moves going a stepfurther than Jagger's.
You know what?
I never put that together, likeI never.
If you were to say who's abetter front man, would it be
James Brown or Mick Jagger?
Hmm, I never thought of thatbefore.
Never thought of that before.
(01:09:16):
Never thought of thatInteresting what said Mick is
just the best front man in theworld.
I mean, that is the nicestpossible way.
I think he's the best thing onthe stage in the world, apart
from, probably, james Brown whenhe was younger.
I mean actually working in anaudience of 50,000 to 60,000
people, just standing in frontof three guitar players or two
guitar players and the bassplayer and singing Mick is the
(01:09:40):
best thing in the world I thinkit's ever seen.
Uh, it's a big call.
But Watts was right.
Jagger took the lot, took a lotof front, took a lot from Brown
when he was forming his famousapproach in the early days of
the Rolling Stones.
His spirited, relentlessmovement across the stage and
expressive delivery wereprecursors to that of the
englishman.
He simply wouldn't be the samewithout the influence of the get
(01:10:03):
up singer.
So there you go.
That's very interesting.
I never, I never looked at that.
That's something I'm going toponder and maybe put it out
there as a.
You make the call on myFacebook page.
Who was a better front man,mick Jagger or James Brown in
his, in his day, both of them intheir prime?
Who was a better front man?
So let me get off of this, letme get back to my screen.
(01:10:27):
There we go and that's it.
That's it for the show.
That's it for the show.
It's a.
It's a new format.
I'm going to work it out, I'llget the kinks out.
I'm going to get some copyrightviolations.
Let me go over here to the chat.
Let's bring this up real quick.
Let's do an overlay and seewhere we're at.
(01:10:50):
April says James Brown all day.
Yeah, well, I don't think thisis can't argue with it, can't
argue with it.
But all right, everybody, thankyou for watching, thank you for
listening.
If you liked it, share it Ifyou didn't like it.
Thanks for listening orwatching for an hour and 15
minutes.
Again, this is a work inprogress.
We're going to get this thingfine-tuned and if you have any
(01:11:14):
ideas, reach out to me.
You can find me on facebook,you can email me at milk grids
and turntables, at gmailcom orwhatever.
But I kind of like it.
It's entertaining, engagingmusic, playing music.
It's music podcast and we'llsee how far this goes until
something else comes up andwe'll change it again.
But, as my favorite artist,morrissey, he says, doing the
(01:11:40):
show for you, to quote him, thepleasure, the privilege is mine.
Patty, thank you.
I'm glad you liked the show.
Patty is a.
Patty is a how can I put it?
She's like a weather bell forthe show.
She's a weather.
If she likes it, then she'lllet me know.
(01:12:01):
If she doesn't, she'll just benice and say something other
than uh said.
Thanks, great show.
Thanks for all the info andmore to come.
I'm going to fine tune this in2025.
Uh, maybe next week is aChristmas show.
I have some issues.
Well, I have issues, but I havesome issues with some Christmas
songs that I might bring up.
(01:12:23):
I might bring up some.
I have issues Lyrics, mostlylyrics.
There's some nonsensical lyricsin Christmas songs and maybe
I'll expose them next week.
So, with that, everybody, Iappreciate it.
Thank you, and now I have twoepisodes to upload tomorrow.
(01:12:44):
All right, everybody, have agreat weekend.
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