October 5, 2025 • 73 mins
We trace a wild line from hip‑hop sampling and 70s rock hooks to a brand‑new supergroup, a fiery takedown of residency culture, a riff‑detective dive into Paranoid, and the unsung glue of Michael Anthony. We end on boomer one‑hit wonders and why some intros outlive the songs.
• sampling’s craft and the 70s sources it elevates
• Howl Owl Howl’s lineup, chemistry, and tour dates
• the Vegas residency economy and thin setlists
• Motley Crüe’s nostalgia, Dolly feature, and fan expectations
• Paranoid vs Half‑Life: riff similarity and influence
• Eddie Van Halen’s remarks vs Michael Anthony’s real impact
• why harmonies shape the Van Halen sound
• boomer one‑hit wonders and the power of intros
Thanks for watching. Thanks for listening. If you liked it, share it. If you didn’t like it, well, thanks for watching and listening for an hour and 12 minutes. You are the engine that runs this machine. Doing a show for you—the pleasure, the privilege is mine, and I’ll be back next week.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Scott (00:18):
What's up, everybody?
Yeah.
That's right.
That's right.
Get used to it.
It's only temporary.
It's the beginning of the show.
This is not my music forYouTube.
This is third base.
Words of wisdom.
(00:40):
Yeah, from I think aboutcertain night followers.
Yeah, 1990.
Some white boys.
The white boys got rhythm.
Some of us do.
Unlike a lot of you listeners.
And that's okay.
(01:08):
It's never too late to find therhythm.
Never too late to find therhythm.
Yeah.
So uh no Jack tonight.
I haven't even talked to Jackthis week.
I don't care.
I don't care.
Good evening, Patty.
(01:32):
How are you?
Good, good, good, good, good.
Alright, alright.
You know, a lot of these hiphop songs in the started in the
90s, even up to today.
So let me uh so this is was ituh uh Gary Wright.
Um yeah, you know the song.
(01:53):
I don't know, I don't know whyI'm drawing a blank right now.
Probably because I don't haveenough turbo, extra turbo, ice
coffee going.
So um, a lot of these hip-hopsongs, listen to this one came
out in uh about 87.
(02:16):
87 right here.
And and so we had that 70s hitthat was sampled by Third Bass,
and we got this one.
Right?
Right EPMD, strictly business.
(02:40):
From 1987.
So they they knew what theywere sampling, they knew what
they were doing.
Try to institute the master orthe M2 back.
They know a good song when theyhear one, these hip-hop dudes.
They were young dudes too.
And then there's uh there'sthis one.
Let's see.
(03:02):
Uh, here we go.
This is a this is a good samplecoming up right here.
Let me get a little volume onthis.
Here we go, you ready?
This is a good uh sample for ahip hop song you never thought
you'd hear.
But Naz is dead.
Speaker 02 (03:26):
Had to flip this track in y'all Jim Harris, all
the way king of the villages,Jim Harris.
Scott (03:41):
I know a lot of you people are like, uh, I don't
even hear that.
Well, I do, at least at thebeginning of the show.
I'm just saying, I'm justsaying.
They know good songs when theyhear and they know how to sample
it, and these people got paid.
I and Butterfly got paid, I'msure.
Who wrote I Shot the Sheriff?
Was it Bob Marley?
(04:02):
He got paid, Gary Wrights.
I don't even I don't even knowif he's still alive.
It's a stake up, I'm sure theygot paid eventually for it, but
that's always been the thing,right?
With sampling.
So, yeah, no Jack tonight, andthat's okay.
That's okay.
Like I said, haven't turned andheard from him all week, so I
(04:23):
will assume I don't go chasinghim.
No, not gonna do it.
Not gonna do it.
Patty says she likes a lot ofhip-hop.
There you go.
It's good stuff.
It's the white men, Patty.
That's the bottom line.
It's the white men.
Mostly.
White men have a thing againsthip-hop.
(04:47):
A lot of them do.
Not gonna say all of them.
Me.
I'm good with it.
Always been good with it, beengood with it since about 1982,
as a matter of fact.
So, uh, but that's a wholenother show that I'll never do.
So, yeah, so what do we gottoday?
(05:08):
Uh I got some more articles,reaction articles.
Let me pull up something righthere.
This is this I saw thisheadline.
Let's see what we got.
Let's see what this articleconsists of.
Get rid of that one.
(05:29):
Let me bring this over here.
Let me set this up.
Screen.
There we go.
Darius Rutgers, you know, fromHootie and the Blowfish, and
some very successful countrycareer.
Still going.
New supergroup with members ofREM and Black Crows announced
(05:54):
the tour.
So this is this is kind of aJoe Perry project thing, right?
Joe Perry project.
He got the lead singer from theBlack Crows, he got the bass
player from Stone Temple Pilots,he got uh Brad Whitford from
Aerosmith, and uh they weresupposed to have the drummer
from Stone Temple Pilots, but hehad a family emergency.
(06:15):
So they brought in his old JoePerry's old drummer that played
with the Joe Perry project for along time.
Uh Howl Owl Howl featuresRucker on vocals, Mike Mills on
bass, and Steve Gorman on drums.
So is this like a they'redropping their debut single on
Halloween?
(06:35):
So this isn't this isn't well,they they made an album,
evidently.
At least they recorded a songtogether.
So let's see what they have tosay about this.
Hootie and the Blowfishfrontman, Darius Rucker, which I
wonder if he I mean, he's had apretty successful solo career.
And the solo career, I believe,like Morrissey with the Smiths,
(06:58):
has lasted longer than Hootieand the Blowfish, if I'm not
mistaken here, but he's stillthe uh Hootie and the Blowfish
frontman, referred to as formersuper uh, has formed a super
group, Howl Owl Howl, with RMbassist Mike Mills, co-founding
(07:20):
former drummer of the BlackCrows, Steve Gorman, former
drummer of the Black Crows.
Co-founding former, okay, SteveGorman.
Uh their debut track, MyCologne, arrives October 31st,
and they're kicking off aninaugural tour that I won't be
going to.
Um November 3rd at the Vogue inIndianapolis, Indiana.
(07:44):
Feels great to be singing withthe rock band again, Rucker says
in a statement.
Uh, it's like buddies gettingtogether, also getting to play
with your idols.
The stuff we're writing is sodifferent than anything I've
tried to do before.
Uh, Mills shed Ruckersexcitement.
You never can complain.
Uh you can never explain bandchemistry, he says.
(08:04):
We all like each other and weall admire each other musically.
All those things come togetheras if it weren't fun, we
wouldn't be doing it.
And if it weren't fun, wewouldn't be doing it.
According to a press release,the group's music fuses organic
roots rock, whatever that is,blues, organic roots rock, with
an open-minded alternative flairmatching a fluid, feel-oriented
(08:31):
rhythm section to thebarrel-chested vocal rasp of an
iconic front man.
That's a lot of big words todescribe.
A three number one, a three-manband, number two, a three-man
band that just got together,pretty much.
I don't know, this organicroots, rock, open-minded
(08:53):
alternative flair, matching afluid feel-oriented rhythm
section.
What's the rhythm section?
You got a bass player and adrummer and a lead guitarist
that sings.
I don't know.
The group started with informaljam sessions back in 2021.
Okay, but it remained a secretuntil Rucker discussed it with
(09:16):
Rolling Stones, Brian Hyatt lastsummer.
You can call it a super groupif you want.
I don't call it a super group.
Uh, but I think people willreally be surprised at how good
it is.
I'll keep an open mind withthis.
I like Darius Rucker.
I liked REM.
I like the Black Crows.
So, you know, but we're just aband, we're friends, and we
jammed together one day atSteve's kids' school with
(09:39):
Nashville session player DonBukovic playing guitar, and we
were like, let's go in thestudio and see what happens.
It's nice to have all thatmoney where you can just do
that, huh?
And we went to the studio, andto be honest with you, magic
happened, and then I just can'twait for the record to get out.
Uh, there's still no word onwhen the album will hit, but
they'll definitely be playingsongs from it on their tour.
(10:00):
Their sets will mix Howl, Owl,Howl Origins with songs by REM,
the Black Crows, and Hootie andthe Blowfish, naturally.
That's what the Joe Perryproject did.
Uh, there's no singleguarantee, uh, Gorman said in a
statement.
We're finally going to get toplug-in and let it rip a little
bit.
Rucker is no stranger to theREM catalog.
Hootie and the Blowfish haveplayed Losing My Religion at
(10:22):
most of their concerts over thepast two decades.
They've also played Don't GoBack to Rockville, and it's the
end of the world as we know it.
And a handful of times they'vealso done She Talks to Angels by
the Black Crows.
Hootie and the Blowfish playeda special show at the Grand
Walia Resort in Maui, Hawaii onFebruary 26th.
(10:44):
But they've been off the roadsince last year and likely won't
be touring again anytime soon.
Okay.
It would be five more, five ormore years if we ever do it
again, he told Rolling Stone inthe middle of the 2024 tour.
I was surprised I agreed tothis tour because I mean, for
me, it's just like I'm goingbackwards.
You know, as an artist,sometimes you don't want to go
(11:04):
backwards.
So here are the dates if you'reinterested, if you're out there
in any of these locations,howl, owl, howls.
Tour dates.
November 3rd in Indianapolis,Indiana at The Vogue.
November 4th, Chicago, Illinoisat Metro Chicago.
November 6th, Washington, D.C.
at the 9 30 Club.
November 7th, Asbury Park, NewJersey, the Stone Pony.
(11:27):
November 8th, Boston Mass atthe Paradise Rock Club.
The Paradise Still Going.
Music Hall.
November 11th, New York, NewYork, uh, Webster Hall.
November 12th, PhiladelphiaUnion Transfer.
Uh November 14th, Athens,Georgia, Georgia Theater.
(11:48):
And November 15th, Atlanta,Georgia at the Variety
Playhouse.
I am sure that they will addmore dates to that as they go.
Let me see what's in the chat.
I'll come in.
I'm gonna have this on my shoe.
Let's see.
Uh big head.
Todd the wet sprockman.
I'm Todd the wet sprockman.
(12:10):
The wet sprockman.
Uh let me see.
I'm I'm here at the tamey,blah, blah, blah, blah, blah.
Uh Patty says Dave loves him.
Dave Phillips, king of the 45s.
Hello, Scott.
Yep, he does like Hootie andthe Blowfish.
But he likes, what is it?
(12:30):
Um, what's the name?
Matchbox 20.
I I don't get that.
Dave Phillips like fuckingraves about Matchbox 20.
They're so middle of the road.
They're just such an averageband.
I don't know.
We'll never agree on that, Kingof the 45s.
Uh let me see.
What else?
(12:51):
Uh, that's it for the rightnow.
All right.
Let's move on to the next.
Let's see what we got for thenext article here.
Like I said, I just pickedthese out.
Ah.
Oh, Jesus Christ.
Oh, Jesus.
I saw this one.
I was like, oh, this is gonnabe great.
(13:12):
Uh, I can go over here.
Get rid of that.
This one.
There we go.
After health and legal issues,Motley Crue kick starts itself
(13:35):
in Las Vegas.
Ah, again.
Have you seen any of thesevideos of Vince Neal singing?
I mean, if you got Vince Nealand David Lee Roth on the stage
together, I'd rather watch YokoOno.
To be honest with you.
(13:56):
I would rather watch Yoko Onoscream and screech and wail than
see David Lee Roth on hiswhatever that fucking tour is
and Vince Neal and whatever thatfucking, he doesn't even say,
at least David Lee Roth will tryto pronounce some words.
(14:17):
Vince Neal just doesn't do it.
He just goes, like he doesn'teven just make noise.
Go watch the videos.
It's not AI either.
Come on, kick stop my heart.
That's all he says.
And people are like, yeah, man.
Yeah, man.
(14:39):
Vince Neal, man.
Yeah, dude, Vince Neal.
Yeah, whatever.
All right, here we go.
Um after being sidelined formuch of the year, Motley Crewe
has returned to action with anew residency in Las Vegas in a
fresh compilation album.
(14:59):
Oh, a compilation album.
Oh, that includes a guestappearance by Dolly Parton.
What the fuck?
If the this is absolute old manfucking band selling out.
Jesus Christ.
(15:21):
Excuse me.
Excuse me.
I don't care about the micright now.
The group's Nikki Six tells usall about all that and more.
After an unexpected pause thisyear, really, Molly Crew has
(15:42):
kick-started its art.
Oh, that's bad.
And art this month in LasVegas.
You might remember that theglammy veteran hard rock act
from Los Angeles did sayfarewell when it's 17-month the
final tour wrapped up on NewYear's Eve in 2015 in its
hometown, right?
These guys just fucking.
(16:03):
But seven years later, it wasback playing stadiums, and
recently it began its thirdresidence in Las Vegas with 10
dates booked through October3rd, and people will pay to see
this shit.
Like I saw them back around2002 on their first comeback
(16:27):
tour.
So think of that.
And it was the opening show.
It was in Fort Lauderdale atthe arena there with a Florida
Panthers play, whatever it wascalled back then.
It was back then, it wassomething else.
It's changed names seven timessince.
But uh they were good.
They were actually good.
Mick Mars was with them.
Everything was good.
They put on a great show, butthat was 2002.
(16:49):
Ah, here we go.
Uh, as frontman Vince Neilexplained last year, the 2019
Netflix biopic, The Dirt.
That's exactly what he said.
That's how he said it, too.
(17:10):
Anyway.
I got us so many new fans.
The dirt got us so many newfans.
Oh, a whole new generation offans that hadn't seen Motley
Crew.
Well, they don't know what theymissed because what they're
seeing now isn't that.
That brought us back to want toplay again and keep making new
(17:31):
music.
That in turn led to the 2024 EPCanceled, which featured the
new title track and Dogs of War,uh, while the compilation album
from the beginning, for whichDolly Parton added fresh vocals
to the 40-year-old hit HomeSweet Home, came out in
conjunction with the New VegasResidency.
(17:52):
What is that?
I don't even know what I justread.
The EP canceled, which featuredthe new title track and Dogs of
War, while the compilationalbum from the beginning, I
don't know who who the fuckwrites this shit.
But it wouldn't be Motleywithout some drama, and there's
been no shortage of that duringthe past two years.
(18:14):
Original guitarist McMas,supposed retirement from touring
in 2022, replaced by John Five,Rob Zombie, Marilyn Manson,
David Lura, great guitarist.
John Five's a great fuckingguitarist, has turned into still
pending lawsuits between himand the band.
And prior to the currentresidency, Neil told the Las
(18:35):
Vegas Review Journal that hesuffered a stroke last December
26th.
He sings like he suffered astroke.
He sings like he suffered astroke.
That's that explains it.
I'm not laughing at the guy.
That stroke is horrible.
That's terrible.
I'm just saying he sings likehe had a stroke.
(18:56):
That's that's all I'm saying.
It's horrible that he had astroke.
I don't want to be that guy.
Not making fun of that, but hesings like he had a stroke.
He had to go rehabilitation towalk and sing again.
Well, one of the rehabs worked.
One of them didn't.
(19:19):
Could not have had a bettersetup for that.
Could not have had.
And again, I don't read thesethings.
That's a great fucking setup.
That was a good come fullcircle, I should say, moment.
(19:43):
And to go rehab to walk andsing again.
Okay.
All right.
That forced the band topostpone the residency
originally scheduled for spring.
And to sit out July back to thebeginning of Well, concert for
(20:06):
Ozzie Osborne and Black Sabbath.
Thank God he sat that out.
Ozzy had Parkinson's.
Ozzy had like, you know, he hadnerve damage.
He couldn't move.
He's sitting in a giant blackthrone from hell.
He's got like all he's stillgot like things going on with
(20:28):
his brain, and he sang betterthan fucking Vince Neal.
God bless Ozzy.
So it hasn't exactly been thesame old situation for Motley
Crue, but the band is back toshouting at the devil.
No, no, not shouting,screeching and being.
(20:50):
Yeah, and the in the group'sNikki Six, and the group's Nikki
Six sounded like a regular Dr.
Filgun.
What the who wrote this shitwhen he checked in just before
the Vegas run?
Motley spent 2022 and 2023 backon tour with Def Leopard and On
Your Own and a lot of it instadiums.
(21:15):
What appeals what appeals Oh,so this is a question.
What appeals to you aboutsitting down in one place for a
residency like this?
Six, when you do these types ofshows, there's a lot of things
you can do that you can't do oris not easy to do with touring.
There's a lot of lightingthings that we can do, blah,
blah, blah.
That's exciting, reallyexciting.
It's wide open again in thisplace.
(21:35):
Okay.
Alright.
You're playing 13 songs atthese shows, including a medley
of covers.
How do you go about makingthey're only singing 13 songs?
That's it?
13 songs?
What the fuck?
Like even if I like MotleyCrue, I'm not gonna pay all that
(21:59):
money to see them sing just 13songs.
You gotta think, each song ison average, is on average two
and a half minutes to threeminutes.
Right?
I'll even be generous and saythree minutes.
Ten songs is 30 minutes.
Right?
(22:20):
Okay, let's get some littlegaps in between.
Speaker 01 (22:23):
It's Neil talking to the crowd.
Scott (22:27):
A couple minutes here and there.
So let me see.
That's 30.
So we'll stretch it to 40.
40 minutes?
Say 40 minutes, and then youadd those extra nine minutes on
for the songs.
49 minutes, add a little extra.
This show is like it's about anhour.
I that's what it seems like tome.
(22:50):
Even if it's an hour and 15minutes, like how do you stretch
13 songs into I mean a concertusually at least, at least
minimal 90 minutes.
At least all the shows I go to.
(23:11):
They only play in 13 songs.
Uh, let me see.
I talked to Nick Nikki Sixsays, I've talked to a lot of my
friends and my peers andsuccessful bands, and we all get
in get in an interesting place.
They want us to play about 90minutes, all right.
And there's a contract thatsays that, and there's a lot of
reasons for that that fans don'tunderstand.
(23:33):
So it has to be very this isour set.
This is fucking lazy, is whatthis is.
This is absolutely lazy.
That's his that's the cover upfor we're just too fucking lazy.
And when you have a largecatalog like we do, there are
the there are these songs youhave to play because they mean
so much to people.
(23:53):
We understand that there'sthere are those certain fans who
only want deep tracks.
In other words, this is goingto be an oldie show.
Uh, and there's certain fanswho just come to hear the hits
and have more uh and have a goodtime, and we try to balance it
out.
It's a challenge.
I know with some of my favoritebands, I'll go and be like,
what song are you playing?
I don't even know what songthat is.
(24:14):
And they're like, This isn'tsomething from 1964.
I'm like, okay, I was fouryears old.
I don't know that song.
But okay, asshole.
Now he's just a fuckingasshole.
If you're going to see a bandin concert and you supposedly
like them, you should probablyhave a good idea of their
(24:37):
catalog.
You should probably have a goodidea.
Don't say, oh, I was four yearsold when that song came up.
So, in other words, you neverlistened to anything other than
what, from their fifth album on,like you never went back and
listened.
That makes zero fucking senseto me.
This guy's just fucking lazy.
And there is, there issomething out there.
There is a conspiracy theoryout there that says that Nikki
(25:01):
Six doesn't, Mick Mars, the thethe former guitarist and one of
the founders of the band, uh,the one that they're they're
going to court with, he came outin a deposition and said that
fucking Nikki Six doesn't reallyplay the bass all the time.
That it's a backing track.
So I I Mick Mars wouldn't makethat.
(25:24):
He's not that kind of dude.
Like he just came out and said,I'm just telling you, the guy
play has a backing track for hisbass.
So he's not always playingbass.
Maybe, maybe, okay, I'm ontosomething here.
I'm onto something here.
Maybe, just maybe, Nikki Sixcan play the bass for real, and
(25:45):
Vince Neal will lip sync.
Yeah, that's the idea.
That's the idea.
Just fucking lip sync.
That's better.
That's so much better.
I should be their manager.
But let me say, I was for youon, so I don't know that song.
(26:05):
Then they play their big hitand you're excited.
So we get it.
It's not frustrating, but it'sa challenge.
No, it's fucking lazy.
What kind of requests do youget that surprise you?
Uh, well, quote, some peopleare like, Man, I wish you'd play
Stick to Your Guns.
And I'm like, how do you evenknow what that is?
That was a demo that ended upon the first version of Too Fast
(26:28):
for Love.
And when we signed withElectra, they were like, look,
you need to lose a song becauseit's affecting the sound of the
vinyl.
So Stick to Your Guns didn'tend up mocking that record.
And fans will come up askingfor it, and I'm like, what do we
take out?
Kickstop my hot.
So this guy doesn't, he'sfucking tone deaf.
He doesn't get it.
(26:50):
See, that dude that was talkingto him is the polar opposite of
what this douchebag is.
This dude knows the catalog.
This dude that said that tohim, he should be giving the
dude credit.
But instead he's mocking, oh,what should we do?
Kick out, kick stop my hot.
Yeah, well, fucking why not?
(27:10):
Right?
You're just doing a fuckingoldie song.
You're doing a greatest hits.
Oh, these dudes just you knowwhat?
What is it about these fuckingbands and actors and and all
that?
As they get older, they justget fucking douchey.
They just fucking get douchey.
You know?
I don't fucking get that.
(27:31):
Just be a fucking everybodyshould be Keanu Reeves.
That's it.
Everybody should be Tom Hardy.
Like those dudes get it.
Right?
Fucking no.
Oh, this dude like knows a songin their catalog that didn't
even make it to the end.
And he's like, what am Isupposed to do?
Shut the f I fucking hate thisarticle already.
(27:54):
But I committed to it, so I'mgonna finish it.
Fucking this is just gonna makeme more angry as we go.
Uh, what would be your choicefor a deep cut from the Motley
catalog?
Oh, I can't wait for this.
How about the fucking deep cutthat the kid asked him to play?
Too fast for love.
How about that, douchebag?
No.
(28:15):
No.
Let me see.
Uh one of my favorite songs toplay, and we haven't played it
in a while, is Piece of YourAction from Too Fast for Love.
Well, Stick to Your Guns wasthe song that the kid was
talking about.
Uh, I love Knock Em Dead Kid 2.
(28:35):
There's some reallyinteresting, cool songs we've
talked about.
Like from Generation Swine.
There's a song called A RatLike Me.
How about a douchebag like me?
And the song Generation Swine.
Uh, those are songs, uh, thoseare songs that haven't seen the
(28:56):
light of day in years.
When that album came out, itdidn't get rave reviews because
we used a lot of technology andwe're experimenting, and now for
some reason it's become a fanfavorite.
Jesus.
There have been quite a fewMotley compilations over the
years.
Yeah, Motley.
What was the impetus for fromthe beginning?
(29:19):
Well, I would think Nikki Sixwould probably respond.
They they probably didn't putthis in the answer.
What does impetus mean?
I'm not impetus.
I can still have sex.
Impetus?
What do you mean by impetus?
Well, okay.
I'm sure that I'm sure they cutthat out of the answer.
(29:40):
That's that's my theory.
Uh he says one of the reasonswe sold our catalog to P and to
BMG is they have such a greattrack record, and in spending a
lot of time with them, we knewthey were going to treat our
catalog correctly.
They fucking rehash the songsand they resell them.
What do you what do you mean,treat my catalog correctly?
They rehash the songs, theyresell them.
(30:02):
They sell them to advertisers,they sell them to movies,
because they have the rights tothem now, asshole.
I mean.
And they have.
So this from the beginning issomething they felt was a really
nice way to introduce youngerfans without really being like,
this is the greatest hits.
It isn't a greatest hitsrecord.
No, but your fucking show is,even though it's loaded with
(30:25):
hits.
Okay.
All right, let's let's rereadthis, people.
Let's reread this.
Something they felt was really,really, really nice way to
introduce younger fans withoutreally being like, this is a
(30:48):
greatest hits album.
It isn't a greatest hitsrecord, even though it's loaded
with hits.
Am I I know I'm not the onlyone that sees the idiocy in
this.
I know I'm not.
This dude is as fucking brightas a 10-watt bulb.
It's not a great hits album,but it's loaded with hits.
(31:12):
Isn't that a fucking greatesthits album?
It's got a really cool, it'sgot a lot of really cool tracks
on it, and I'm excited about it,man.
It's the same fucking greatesthits album that you put out 17
years ago.
And then fucking eight yearsago.
And now it's again.
(31:32):
But it's important that youkeep new fans interested in the
band and for them to go like,wow, I didn't know that this was
a Motley Cruz song.
Well, well, if they go and theybuy the album or they buy the
CD, excuse me, or they listen toit on Spotify, that's one
(31:56):
thing.
Then they're gonna go seeMotley Crue in concert and say,
Oh, I thought Motley Crue sangthis song.
Because it's gonna be horrible.
Or oh my God.
They spelled this O-M-I-G-O-D.
What the fuck is that?
(32:16):
Oh my god.
I love that song.
Like, worst article ever.
Worst fucking article ever.
For a band that's been around,God, G-A-W-D, God, 43 years or
something, you're always lookingat a way uh to kind of not
(32:39):
throw a pun at you, but to kindof kick start a new generation
of people and keep the band'sname out there and educate the
new fans as they come along.
Educate! Educate! Fucking whatthe fuck is Martley Crue
educating?
What could they possibly saywe're educating new fans on?
(33:02):
What, how to be fucking lazyand douchey in a fucking
asshole?
And fucking tone deaf?
And douchey?
Oh, this is gonna be good.
Did you invite Dolly to singHome Sweet Home during your
(33:23):
residency?
She's got one of her own comingup in Las Vegas later this
year.
You know, here he goes.
Fucking Nikki Einstein, youknow, and they did Y apostrophe
K N O W.
You know, we got to know Dollyand we talked a lot, and she
(33:47):
would tell me stories.
She's just a wonderful,wonderful woman.
Douche.
This fucking douche.
She loves that song, and herhusband loved that song.
So I might have done a littlenudge, nudge, nudge, like,
quote, hey, would you have alittle ratty tattooed guy with
(34:08):
black hair maybe come on stagewith you?
I'm nudging, I'm pushing, I'mhunting, I'm not saying it's
gonna happen, but why not ask?
This is fucking but oh my god,I'm I can't.
This is the danger, people.
This is the fucking danger.
This is the danger of notreading an article before you
(34:32):
read it live.
Because this thing would havebeen fucking deleted.
There's more.
I need some ice coffee.
Hold on.
Yeah, that's really what I needto get me fight.
Oh, I'm fucking I'm clickinghere.
Am I too loud?
I gotta turn down my gain here.
(34:54):
I don't know, I'm just gettingexcited.
I'm irritated.
Okay.
Wait, there's more.
Motley released a couple ofbrand new songs last year.
Will there be one more coming?
That was a lot of fun.
But we're kind of in this notin a rush mode.
(35:17):
No, please.
Please do us a favor.
Don't be in a rush.
Please.
In the old days, the treadmillwas you do an album, then you go
on the road for two years, thenyou write another album, and
you go back out on the road, andthen you come home and you're
immediately into writing andthen into recording studio, and
(35:38):
then they put you back on theroad.
That's a real burn.
But when you're younger and youdon't have family and you're
getting to live your dreams, youdo it.
Yeah, it's fucking life of arock star.
People warn you about that.
But spending too much time onthe road doesn't make for me
anymore because I have a family.
I spent Christmases in hotels,yeah, shooting heroin.
(36:02):
Merry Christmas.
Yeah, speedballing, snortingcoke.
Merry Christmas.
Uh along, maybe meet the bandat the bar for a drink and a
drumstick to feel like it was aholiday.
Uh that's not what I want to doanymore.
(36:23):
Is the creative drive differentnow?
I'm glad this is this is thelast question.
I think.
I think.
Uh we only work on music whensomething inspiring comes along.
So we're not on a schedule, andI don't find full-length albums
(36:44):
inspirational anymore.
With the way people consumemusic now, you can spend so much
of your time and your life andyour passion to do 11, 12, 15
songs and only have one or tworeally cut through.
So we would rather do two orthree to get them out, and then
we feel inspired to do anotherthree or four.
That's kind of the path we'reon now.
(37:04):
Just feels natural.
Yeah.
In other words, they lost theirfucking desire.
They just want to make moneynow.
Uh, were you guys sorry to haveto miss the backup, uh, the
back to the beginning show inJuly?
It was something we were unableto do because Neil's health
issue.
Uh, we had to reschedule ourresidency.
It was something we couldn't doeven if we wanted to.
(37:27):
I did watch it and I thought itwas great, and everybody showed
up because they loved him andsupported him.
But man, I gotta tell you, I'mlike, go, Ozzy.
Way to fucking go without aband, man.
He really did it.
You you we he had a band?
What do you mean without aband?
He had a fucking band.
Oh, we don't have him anymore.
(37:51):
No shit, Sherlock.
But one of the greatest rockstars of all times came while we
were here on this planet andwent back to the fucking stars,
man.
He's like, I came down there, Ikicked some fucking ass.
You can't.
Oh, there's this dude.
Oh, there's more.
I think there's one more.
Okay.
(38:11):
A lot of Motley's reputationwas established during your tour
opening for Aussie back in1984, too.
Yeah, to be honest with you,the reason we're even on the
phone today is because Ozzy andSharon.
Sharon saw a band thatsomething was happening with,
and it was a perfect fit forAussie.
We just became so close, andOzzy took us around the world
(38:32):
and just did everything for us.
And of course, all the wild funstories that are Aussie.
But honestly, they broke ourband, and I'll never be in, I'll
forever be in debt to Sharonand Ozzy for that.
Okay.
All right, done.
Fucking done.
Oh, it's only 39 minutes intothis thing.
(38:54):
This is, I almost didn't.
Let's see, what do we got?
Ah, Todd Sauckman.
Uh Matchbox 20 was great liveand content.
Blah, blah, blah.
Uh, whatever.
All right.
Let me let me find somethingbetter to share me up.
(39:15):
Uh let's see what this does.
Wait a minute.
Did Black Sabbath rip?
While we're on the BlackSabbath thing.
While we're on the BlackSabbath thing.
Let's uh let's see what this isall about.
No, well, okay, yeah.
(39:36):
Let's just see what this isabout.
Uh dun dun dun.
Let's get rid of that.
There we go.
Next on the screen, did BlackSabbath rip off this band's rip
(39:56):
off this band while writing oneof their most famous songs?
All right, there's no two waysabout it.
Black Sabbath's Paranoid wasone of those rare songs that
provided catching lightning inthe bottle is indeed possible.
Proved that catching lightningin the bottle is indeed
possible, and which went on tobecome a cornerstone of all
(40:17):
future rock music.
True.
According to numerous accountsby different members of the
legendary band, the song wasnotoriously cobbled together
during a lunch break while BlackSabbath, uh, while Sabbath
recorded the uh the eponymous uh1970 studio album, and as Tony
(40:38):
Iomie would often say, had verylittle to do with the sound and
the vibe Iommi and company hadgoing for themselves.
Nevertheless, it became theheavy metal Godfather's only top
20 hit.
While a new wave of interest inthe period between Black
Sabbath's Triumphant Back to theBeginning, farewell show on
July 5th, and Ozzy Osborn'spassing on the 22nd carried
(41:02):
Paranoid to the top of theBillboard Hot Hard Rock Songs.
Back in 2015, however, GuitarWorld suggested that the iconic
riff from Paranoid soundsuncannily from similar to a song
called Get Down, reportedlyreleased by the Michigan-based
(41:22):
collective half uh half-life ayear before.
All right, let's let's so let'swell we got done.
I don't care.
Let's see what we got here.
So let's go with uh suggestedthe iconic riff from Paranoid.
So let's go to Paranoid, let'ssee what we got.
Paranoid.
N-O-I-D.
(41:43):
Black Sabbath.
Here we go.
Let's see what we got.
All right, this is what we got.
Right.
All right, I think we get it.
We all know that.
We all know that.
(42:04):
Now, let's see if there's othersongs available and we can uh
based on uh reportedly get downby Half-Life.
So let's see, get down Mightnot even be on uh let's see.
(42:24):
Half-Life.
I don't oh, let me see.
Here we go.
All right.
Oh shit, I can hear it.
That's a good one.
(42:48):
Yeah.
Oh yeah.
No doubt about that.
It even kicks in right whenOzzy starts singing.
That guy starts singing, theguy from uh Half-Life.
Ah so as per Guitar World,Half-Life released a song via
(43:11):
the independent label A SquareRecords, but failed to gain
traction on Detroit on Detroitradio stations.
The song subsequently fell intoobscurity, but was reissued as
a part of the compilation titledA Square, of course, the story
of Michigan's legendary A-SquareRecords.
Oh, A Square, okay.
Uh, while it would be very hardto imagine Tony Iomie ripping
(43:35):
off an obscure underground bandhalf the half a world away, it
didn't matter.
While sitting in thepre-uh-internet Birmingham of
the early 1970s, the sonicsimilarities between the two
songs are certainly there.
Back in 2023, Tony Iomi notedhow he had never written such a
(43:55):
short song before Paranoid, hesaid.
Uh we were in the studio doingthe Paranoid album.
The other guys went out forsomething to eat, and I sat in
the studio, and the album'sproducer, Roger Bain, said, We
need another song.
We haven't got enough songs onthe album.
Can you put one together?
I went, well, no.
Uh we were only in there for acouple of days, you see, and I
(44:17):
said, Well, I don't know.
I've never written athree-minute song.
Sabbath's always written songsthat were five minutes or six
minutes long, unlike MotleyCrewe.
So I came up with the idea andwaited until the others came
back and from the pub, and thenI played them in the idea, and
basically uh we've done it thereand then.
(44:38):
We've done it there and then.
So I don't know.
That's that that's prettyclose.
Let's see.
That song's called Get Down.
(45:44):
It came out about a yearbefore.
So you never know how musictravels, man.
And I don't know.
That's really fucking close.
That's an extreme coincidence.
That is, I don't know, man.
You make the call.
(46:04):
You make the call.
I it's too close.
It's too again, Ozzy, the thesingers kick in right around the
same time, too.
I mean, how does that likethat's like Pink Floyd saying
they didn't, you know, another Idon't I believe that they
(46:25):
didn't um write Dark Side of theMoon in conjunction with the
Wizard of Oz movie.
That's one of those insanecoincidences, too.
But this is this is kind ofclose.
That's kind of close.
All right, let's find anotherarticle.
Let's see, let's do one more.
Let's do one more.
Um how about the member?
(46:49):
All right, yeah, let's do thisone.
Let's do this one.
This this looks interesting.
There we go.
There we go, okay.
The member, Eddie Van Halensaid had no impact on Van Halen.
(47:13):
Oh boy.
Oh boy.
Ah, here we go.
Uh, what do we got here?
Was there any real sense inquestioning Eddie Van Halen on
anything Van Halen ever did?
I don't know.
The guitar legend was alwaysgoing to have a major say in
(47:34):
whatever the band were doingevery single time they made a
new record.
And while Sammy Hagar and DavidLee Roth, let me get rid of
this.
Okay, while Sammy Hagar andDavid Lee Roth helped bring
structure to everything, it wasall going to come down to
Eddie's handiwork.
(47:56):
But even if everyone let him dohis own thing, Eddie didn't
really think that they were allcarrying their weight like they
should either.
Because when looking at bothclassic lineups of the band,
it's not like anyone else wasgoing to question that Eddie was
the star.
He might have not he might nothave wanted to have his name in
lights like Roth did.
But the pure spectacle ofseeing him play was worth the
(48:20):
price of admission.
What he was doing feltsuperhuman at the time, but when
any band member is doing thatmuch, everyone else is going to
look like musical windowdressing.
And it's not like Hagar andRoth were exactly the most
well-rounded musicians in thegroup either.
Each of them brought somethingunique to the table, but whereas
the Red Rocker had a lot morevocal range than Roth did, both
(48:44):
of them did have their pitfallsevery now and again.
There was a third incarnationof the group, but the less said
about Gary Sharon's time in theband, the better off most of us
will be, despite Sherone havinga great voice.
Eddie wasn't going to keep hismouth shut when it came to what
his late what his lead singershad said over the years.
He felt like he was stabbed inthe back multiple times by both
(49:06):
front men.
He was paranoid.
I just think Eddie Van Halenwas a prima donna, and he was
paranoid.
And he had an ego.
But for as much resentment thathe had for both of them after
they left, there was alwaystension brewing between him and
Michael Anthony from the firsttime they began performing.
(49:26):
Get rid of this over here.
Looking back on the classiclineup, Eddie thought Anthony
hardly did anything to earnhimself a spot in rock and roll
history like he did, saying,quote, at least Dave pulled his
weight.
Mike did it.
He didn't really ever doanything.
He had zero input whatsoever.
(49:49):
Well, who the fuck is going tohave any input in that band with
fucking David Lee Roth andEddie Van Halen?
Like who's going to have anyinput?
It's like George Harrisonbarely had input with McCartney
and Lennon.
So he just doesn't like, hedidn't like the fact, and I'm
predicting this is going to bepart of the article, uh, that
(50:11):
Michael Anthony left and startedplaying with Sammy Hagar, and
him and Sammy Hagar were reallygood friends.
And I think, I think Eddie VanHalen hated that.
And so now he's just being sourgrapes.
Uh, he didn't ever really doanything.
He had zero input whatsoever,period.
But he remodeled his wholehouse and bought himself a Turbo
Carrera off the money he madeoff of us.
(50:33):
Whatever.
I I never even listened to hisbass when we were recorded when
we recorded.
Oh, this dude.
He was petty.
This dude was petty.
Then again, we are weremembering the same version of
Michael Anthony here?
Uh, sure.
His lines weren't the hardestthing in the world to master,
(50:56):
but his job keeping the rhythmsection tight was one of the
most exciting parts of VanHalen's records.
He's right.
Absolutely right.
Running with the Devil and SoThis Is Love have certain
atmosphere to them thanks toAnthony.
And it's not stretching to saythat he was as much a part of
this sound as Alex was.
He's right.
He's absolutely right.
(51:16):
But Eddie Van Halen was a pettyperson.
He was a petty little man inthe end.
You don't want to think of yourmusic idols, your rock idols as
that, but he was a petty littleman at the end as he got older.
And let's not forget thatimmaculate high voice on some of
their classics.
While Eddie said time and timeagain that he never liked Mike's
(51:38):
harmonies on the record becausehe could fucking sing better
than Eddie Van Allen.
There's a reason why the bandsimply didn't sound the same
when he when his son Wolfgangtook over on bass.
That's right.
That's right.
No knock on Wolfie.
Good for him.
But there's a lot of characterthat Anthony's voice brought to
the table, and Michael Anthonyknows that.
(51:58):
The fans know this.
There's no doubt about that.
The fan, any Van Halen, any,not Eddie, any Van Halen fan
knows this.
And that was the secret weaponthat no one realized was there
until it was suddenly wasn't.
Now, I think a lot of usappreciated that backing vocals.
Anthony is more than happy tokeep on trucking with Sammy
(52:21):
Hagar's band whenever he gets achance, but he should never be
treated as a secondary characterin Van Halen's story either.
He may have been the last oneto create tension and start
trouble, but every band needsthat quiet member to help bring
a sense of peace every singletime they walk into the studio.
That's right.
There you go.
We'll just that that's that'sending like that.
(52:42):
And that's true.
That's true.
You can't take that away.
I mean you just don't want tohear shit like that.
It just shows, like it makesEddie Van Halen look even worse
than he really was.
You know?
Fucking asshole.
Let me see.
What do we got here?
Um was there a lawsuit?
(53:06):
I hear it too.
I it doesn't say if there was alawsuit, Perry.
Lightfingers Devich AI.
Uh Steve Stevens, let's seewhat he says here at the bottom.
I was introduced to Van Halenat the McLean compound.
So, Steve Stevens, I have anabsolute, I love Steve Stevens,
(53:27):
by the way.
It's not his real last name,but I I love this dude.
And there's a lot of goodmemories hanging together when
we were younger.
He had this, I believe it wasthis like like a burgundy red,
maybe.
Chevy and Paula, if I'm notmistaken.
We're in that kind of realm ofcar.
(53:49):
And he had the fucking.
This is probably 1980.
1979, 1980, maybe.
He had this fucking boomingstereo.
Booming fucking stereo.
And I believe he had thefucking Jensen coaxles or
(54:09):
triaxles, one or the other.
It was a maroon caprice, that'sright.
And that's back when fuckinggas was like 75 cents a gallon.
And we would, that's how wehung out.
It'd be the fucking middle ofwinter.
We got school, it's a Wednesdaynight, but we're all fucking
cruising around, everyone pitchin a buck or tube for gas, and
(54:30):
we would just fight, and thatshit was like a fucking literal
indoor concert in the back ofthat fucking thing.
There'd be like six of usstuffed in him.
It was it was a it was a bigcar, so or five, three in the
back, two in the front.
But that was a great fuckingmemories, man.
That maroon caprice will liveforever in my memory.
(54:51):
And and running with the devil,I swear, I swear, and this is
not a terrible thing to say,this would prove my right hand
to my my late brother Colin, whoI still miss to every second of
every day.
Uh, I swear, every time I hearrunning with the devil, I
(55:13):
fucking go back to like 1980 inthat fucking red, the maroon
caprice.
I swear to God, that's thefucking one of the that's just a
great memory for me.
It was just so fucking coolback then.
Everything was better backthen.
Let's see what uh DavePhillips, king of the 45, says
here.
The traveling Wilburries were asuper group with Harrison Petty
(55:35):
and Lynn Dill.
Yeah, that's a super group.
We're going back to that.
Uh let me see.
Dave Phillips also says uhClapton was phenomenal, a
Mohegan son this past Saturdaynight.
Okay.
And Steve Stevens says thefirst time you heard Running
with the Devil was at our house.
My house.
Yeah.
Me and my brothers uh we had uhwe used to have a good time at
(55:58):
that house.
Yes, we did.
Uh let me see.
And he also says he didn'tknow.
I I've never knew thatcomparison to those two songs
either, Paranoid and that thatother song.
Um what else we got?
He says uh Paranoid was myleast favorite Sabbath song.
Once it got so much airplay, itsoured me.
(56:19):
Yeah.
Rob Elston says, if they couldexume Ozzy today, he would sound
better than Vitz Neil.
You ain't lying there, brother.
You are not lying there.
Uh Dave Hills, long livematchbox.
(56:40):
Fuck Matchbox 20.
Like I said, Perry LightfingerDevich said, was there a
lawsuit?
Uh I don't know.
I don't think there was.
Oh, wait, look what I can lookat.
What do we got here?
Look, hey, everybody.
Let me see.
What do we got?
Cheap followers onStreamboo.com.
Remove the space.
Yeah.
(57:00):
Cheap followers.
Get the fuck.
I'm add to the block list.
Blocked, fucker.
Clemenito111.
Get off my screen.
Get off my screen.
Fucking spammers.
That's what you get when you goon all these live sites.
Someone's gonna jump in on you.
Uh let me, what do we got?
(57:23):
All right, we're coming up inan hour.
I'm I'm gonna call it quitshere.
The only maybe I'll pick someof these up next week.
I have uh the layered legacy ofNirvana's Come As You Are, uh,
Double Meanings, Nam MissLawsuits, Town Memorials, and
more.
I have uh celebrated rock bandexplains decision to wind down
(57:44):
touring cites record industrythievery.
That's garbage.
The group garbage.
And she actually, I have avideo.
Shirley Manson actually said,This is it.
We aren't touring anymore.
Uh, one hit wonders only okay.
You know, we'll finish withthis one.
Stick around, people.
Here we go.
I I I I let's do this.
Well, we'll we'll end this oneon a good note.
(58:05):
Let me get rid of uh we'regonna end this one on a good
note for real boomers.
All right, let's get rid ofthis.
Give me my typical littleseven-second gap here.
Screen.
One hit wonders, share.
Here we go.
(58:25):
One hit wonders, only realboomers.
Remember.
Okay.
Only real boomers.
Are you a real boomer?
In the ever-shifting landscapeof popular music, some artists
capture lightning in a bottlewith one undeniable hit, only to
(58:46):
recede from the limelightthereafter.
There are the one-hit wondersthat define an era.
For those who grew up in the60s and 70s, the radio was a
constant companion delivering asteady stream of new songs that
became the soundtrack of ouryouth, of to their youth.
And it was.
I mean, we were blessed to beable to just a radio was
everything to us.
(59:06):
It really was, right?
Back in the day.
There was no other distraction.
The only thing that was incompetition with the radio,
there were two things that werein your house that were in
competition with the radio.
Think about this.
Your stereo system, whatevermakeup it was, right?
(59:26):
Your stereo system and your TV.
That was it.
You had one, two, or three.
That was your entertainment inyour house.
So it was an easy rotation,right?
It's an easy rotation.
And radio was fuckingeverything to us.
Everything.
I mean, how many fucking Sundaymornings, every Sunday morning,
(59:50):
Casey Kasem's top four,American, top 40 radio.
Like that thing is a three hourfucking show, and we listen to
it.
Carrying our little radio.
Radio with us if we're goingoutside, whatever.
But think about that.
There was only two other uh uhthings that competed with radio
back in those days.
(01:00:10):
There was the TV and yourstereo system, if you even had
one.
Okay, the radio was a constantcompanion, delivering a steady
stream of new songs that becamethe soundtrack of our youth.
While many artists went on touh to long-storied careers, some
left an indelible mark withjust a single iconic tune that
only true baby boomers willinstantly recall.
(01:00:30):
These forgotten chot topperswere massive hits in their day,
but their creators rarelyreplicated that mainstream
success, becoming unique sonicbookmarks for a generation.
Here are ten such songs thatshone brightly, then faded into
nostalgic memory.
All right, these are one-hitwonders.
Uh we'll see.
(01:00:50):
Okay, one.
Uh Spirit in the Sky, NormanGreenbaum.
Now that is a great that's oneof the greatest intros in music
history.
And if you know me, if youfollow me on Facebook, or I do
these on TikTok.
It's the only thing I do onTikTok.
I put I do these little shortsnow called uh Which Song Do You
Like Better?
Or Which Intro Do You LikeBetter?
(01:01:13):
So this is coming up.
This one is coming up.
This Spirit in the Sky is areally, really hard intro.
You better be a really good.
Let me see.
Let me let I I gotta play itnow, just at least the intro.
Uh no, go away here.
Here we go.
No, yeah, here we go.
(01:01:34):
Such a great fucking intro,right?
But the song doesn't match theintro.
The song does not match theintro.
It's never meshed with me.
Like, this should be somethingfucking heavy coming after this,
(01:01:54):
right?
Especially when the reverbkicks in.
Like, something's supposed tocome that's gonna fucking blow
your mind, right?
Right?
No.
It's just it just never meshedwith me.
That intro does not fit thatsong.
(01:02:17):
That should, that groove shouldhave stayed all the way
through.
If I was the producer in thestudio, I'm like, this is stick
with this, work through it, comeup with something heavy,
something that's gonna be inyour face, fucking groovy, man,
right?
No, we get this whole fuckingspiritual thing.
(01:02:37):
I love the song, don't get mewrong, but I I also think I'm
right here.
And and if you agree with me orif you disagree with me, say it
in the comments.
Let me see.
Uh yep, Spirit of the Sky was araw psychedelic rock track.
Not really psychedelic,featuring a distinct fuzz guitar
(01:02:57):
and gospel-like lyrics.
That's why it wasn'tpsychedelic rock.
Um, it was more of a yeah, thatrock gospel, both salvation,
captioned in zeitgeist.
It's unique sound and spiritualtheme made it a massive,
ubiquitous hit across the rockuh and pop radio, standing as
(01:03:18):
the counterculture met the newdecade.
So yeah, I I think if thatintro wasn't there in in in feel
free to argue with me on this.
It's just a debate.
And uh God bless Charlie Kirk.
Um just a debate.
But I think if that introwasn't there, this song would
(01:03:40):
not have made it.
I really don't think it wouldhave.
I think it would have been justan average song that would not
have charted high, you know.
I think that intro is whatdraws you in, and then it's
like, well, okay.
The song's driving rhythm andmemorable guitar tone made it
instantly recognizable on anyradio document.
There is a good guitar solo atthe end, but despite its
(01:04:02):
enduring popularity and frequentlicensing and films decades
later, Noah McGream neverachieved similar chart success.
Song became so iconic that itovershadowed everything else he
ever recorded.
The Gilligan syndrome.
That's what I call the Gilligansyndrome.
Yeah, Gilligan, none of thoseactors really ever got work
after Gilligan's Island.
Uh, making him synonymous withthe single track, but that
(01:04:25):
single track made him a lot offucking money, people, if he had
the right deal.
Uh for Boom, he's hearing thoseopening guitar cords, right?
Instantly transport them backto 1970, where the song seemed
to play everywhere.
All right, number two, in thesummertime, Mungo Jerry.
Okay.
It's it's a it's kind of in thesummertime when the wither is
(01:04:45):
uh it's it's a good song.
It's catchy.
It's a catchy tune.
That's the thing about in thesummertime.
It's just a catchy tune.
I'm not going to play itbecause I don't want to play
every fucking song that's comingup.
But uh, yeah, okay.
It's it's if somebody said whosings in the summertime, most if
you're a real boomer, you wouldsay Mungo Jerry, right?
But he never did anything.
(01:05:06):
While Mungo Jerry had someminor success in the UK and
Europe with subsequent releases,in the summertime remains their
only significant internationalpop hit.
The band's other songs nevermatched the universal appeal and
shot success of this summerclassic.
Uh for baby boomers, the songrepresents carefree optimism in
the 70s summers, and the worldseemed full of possibilities.
(01:05:28):
Shocking Blue, Venus, right?
Good version, good song.
Uh Banana Rama did a greatcover version, a great, great
cover version of it.
Um one of the best covers I'veever heard of a song.
I I do believe, but then again,I love Bananorama.
They are.
They really are a guiltypleasure for me.
(01:05:50):
I love Bananorama.
I out of all the girl bands, Ilove Bananarama.
Overall, they were theprettiest, too.
They were the prettiest.
The go-go's were dogs.
They were dogs, except forBelinda Carlisle.
The rest are dogs.
And then you have uh uh who isit?
(01:06:10):
Walk like an Egyptian.
She's the prettiest one in theband.
Susannah Hoff.
Anyway, I digress.
Uh let me see.
Shocking Blue never managed toreplicate the global success of
Venus, making it their definingand only major international
hit.
That was Sweden, Swedish, Ibelieve.
(01:06:30):
Uh the band continuedrecording, had some success in
Europe.
Nothing came close to theworldwide phenomenon of Venus
because it's a great song.
That is a, you know, uh, but II it's one of those questions,
though, if you ask a boomer,like who sang Venus?
Maybe they might not knowShocking Blue.
Uh Lady Demonstrated BananaRam, it's cover version.
(01:06:51):
There you go, became a hit inthe 80s, introducing the melody
to a new generation, and theygot paid.
Vehicle, Izah.
Much.
This is a okay.
Let me see.
I gotta, this is this is aboomer song.
It's a great fucking song, too.
I love this song.
This is that whole trumpetthing that was going on with
(01:07:16):
Chicago, what sweat tears.
Right?
It's a good intro, too.
It's a good intro.
That's a great song.
I'm your vehicle, baby.
(01:07:38):
Yeah, I can sing.
Okay, I'm not gonna read thatwhole thing.
Let's go to the next one.
Kung Fu Fighting.
Kyle Douglas is number five.
We all know that song.
That's a boomer.
Everybody knows that song.
I won't even talk about thatsong.
Number six, play that funkymusic, Wild Cherry.
Okay.
Yeah, they never really didanything after that.
(01:07:58):
It's a boomer, it's a trueboomer song, no doubt about it.
Uh, you know, especially whenthey say white boy, right?
Every white boy is like, yeah,yeah.
Although a lot of my whitefriends aren't really that
funky.
As I said at the beginning ofthe last three episodes.
You white boys, you white boys,they won't really have much
(01:08:20):
rhythm.
Just saying.
From one white boy that hasrhythm to another that doesn't
have rhythm, you don't have muchrhythm.
You can debate me on Facebookon that.
Ah, number seven, you light upmy life.
So this is also from thePoseidon Adventure, which was a
mega hit, right?
The Poseidon Adventure was amega hit.
(01:08:41):
So this was the song in themovie, and Debbie Boone, Pat
Boone's daughter, I believe, andyou know, uh, You Light Up My
Life.
Like, that was such a huge songthat she was never gonna top
that.
She just wasn't.
That's that's the problem withhaving a hit too early in your
career.
See, all right, American Pie.
This is he's Don McLean was nota one-hit wonder.
(01:09:03):
He was not a one-hit wonder.
He had like three hits, fourhits.
So I don't know.
I don't know why they would putthat in there.
Because a fucking Gen Xer wrotethis article, I'm sure.
Pillow Talk by Sylvia.
Uh let's hear that.
I don't I don't do I know thissong.
(01:09:26):
I'm sure I do, but let's see.
Let's see what we got.
Speaker 01 (01:09:39):
Okay.
Scott (01:09:43):
No.
Nah, I can't I can't this guy'sthis this right is losing me
now.
That's not a I mean, that's anaverage, to me, that was that's
an average, that's a disco hit.
You know, that was nah.
Alright, what's this?
(01:10:06):
Uh Nah nah, hey, hey, kissthem, kiss them goodbye.
What?
Steve's catchy anthematic poprock song.
Now I gotta hear this one too.
It's this is getting away fromme now.
Nah, nah.
Hey, hey, kiss them goodbye.
What do what do we got?
What do we got?
(01:10:26):
Oh yeah.
Hey, hey, hey, goodbye.
Okay.
All right.
Oh, yeah.
All right.
Yeah, that that I'll give youthat.
Yeah.
I I I'll be honest, I didn'tknow Steam was the band that
sang that.
I I just learned something.
(01:10:46):
So that is a one-hit wonder.
Conclusion.
These songs, while perhaps thesole major hits for their
artists, were far fromthrowaways.
They captured the spirit oftheir time.
They did, showcased uniquemusical ideas and became uh
deeply ingrained in the memoriesof Generation Each track.
Baby boomers, these one-hitwonders aren't just trivia
answers, nostalgic curiosity.
(01:11:08):
Okay, blah, blah, blah.
All right, there we go.
There we go.
We got rid of all that.
Let's get rid of this.
I don't know what we have.
Do we have any more comments?
Best intro ever, 25 or 6-4.
Uh, best intro ever, 25 to 6 to4.
Ah, great one.
Good night, Scott.
Yep, Dave Phillips.
Going to watch football.
(01:11:28):
Great show as always, myfriend.
Steve Stevens.
Loved it.
Okay.
Yep.
Well, I'm uh I'm going.
Dr.
Vera, the beautiful, amazing,brilliant Dr.
Vera, my wife.
And Vera's not her first name,by the way.
It's a thing.
Um, she's home now, so I'mgonna go meet her.
(01:11:48):
And uh, everybody, as I alwayssay, uh, thanks for watching.
Thanks for listening.
If you liked it, share it.
If you didn't like it, well,thanks for watching and
listening for an hour and 12minutes.
I always appreciate you.
You are the engine that runsthis machine.
If it wasn't for you, it'd justbe me doing this, and I'd still
do it because I love doingthis.
This is my church, as I say.
This is my church, this is mymy uh my zen.
(01:12:12):
Uh, whenever I get onWednesday, Thursday night live.
I love doing this.
It's cathartic, it'stherapeutic for me uh on so many
levels, and you guys are alwaysnice enough to watch and
listen, and I do appreciate it,honestly, uh, from the bottom of
my heart.
This this doing this, this islike episode 190 or something,
and and it's just uh I just lovedoing this.
(01:12:35):
I love it.
So it's more than justpodcasting and live streaming
today.
So, with all that said, doingall these shows for you, to
quote my favorite artistMorrissey, who just had a death
threat.
Why does somebody want tofucking hurt Morrissey?
Really?
Anyways, we'll talk about thatnext week.
Doing a show for you.
(01:12:56):
The pleasure, the privilege ismine, and I'll be back next
week.
What's up, everybody?
Yeah.
That's right.
That's right.
Get used to it.
It's only temporary.
It's the beginning of the show.
This is not my music forYouTube.
This is third base.
Words of wisdom.
(00:40):
Yeah, from I think aboutcertain night followers.
Yeah, 1990.
Some white boys.
The white boys got rhythm.
Some of us do.
Unlike a lot of you listeners.
And that's okay.
(01:08):
It's never too late to find therhythm.
Never too late to find therhythm.
Yeah.
So uh no Jack tonight.
I haven't even talked to Jackthis week.
I don't care.
I don't care.
Good evening, Patty.
(01:32):
How are you?
Good, good, good, good, good.
Alright, alright.
You know, a lot of these hiphop songs in the started in the
90s, even up to today.
So let me uh so this is was ituh uh Gary Wright.
Um yeah, you know the song.
(01:53):
I don't know, I don't know whyI'm drawing a blank right now.
Probably because I don't haveenough turbo, extra turbo, ice
coffee going.
So um, a lot of these hip-hopsongs, listen to this one came
out in uh about 87.
(02:16):
87 right here.
And and so we had that 70s hitthat was sampled by Third Bass,
and we got this one.
Right?
Right EPMD, strictly business.
(02:40):
From 1987.
So they they knew what theywere sampling, they knew what
they were doing.
Try to institute the master orthe M2 back.
They know a good song when theyhear one, these hip-hop dudes.
They were young dudes too.
And then there's uh there'sthis one.
Let's see.
(03:02):
Uh, here we go.
This is a this is a good samplecoming up right here.
Let me get a little volume onthis.
Here we go, you ready?
This is a good uh sample for ahip hop song you never thought
you'd hear.
But Naz is dead.
Speaker 02 (03:26):
Had to flip this track in y'all Jim Harris, all
the way king of the villages,Jim Harris.
Scott (03:41):
I know a lot of you people are like, uh, I don't
even hear that.
Well, I do, at least at thebeginning of the show.
I'm just saying, I'm justsaying.
They know good songs when theyhear and they know how to sample
it, and these people got paid.
I and Butterfly got paid, I'msure.
Who wrote I Shot the Sheriff?
Was it Bob Marley?
(04:02):
He got paid, Gary Wrights.
I don't even I don't even knowif he's still alive.
It's a stake up, I'm sure theygot paid eventually for it, but
that's always been the thing,right?
With sampling.
So, yeah, no Jack tonight, andthat's okay.
That's okay.
Like I said, haven't turned andheard from him all week, so I
(04:23):
will assume I don't go chasinghim.
No, not gonna do it.
Not gonna do it.
Patty says she likes a lot ofhip-hop.
There you go.
It's good stuff.
It's the white men, Patty.
That's the bottom line.
It's the white men.
Mostly.
White men have a thing againsthip-hop.
(04:47):
A lot of them do.
Not gonna say all of them.
Me.
I'm good with it.
Always been good with it, beengood with it since about 1982,
as a matter of fact.
So, uh, but that's a wholenother show that I'll never do.
So, yeah, so what do we gottoday?
(05:08):
Uh I got some more articles,reaction articles.
Let me pull up something righthere.
This is this I saw thisheadline.
Let's see what we got.
Let's see what this articleconsists of.
Get rid of that one.
(05:29):
Let me bring this over here.
Let me set this up.
Screen.
There we go.
Darius Rutgers, you know, fromHootie and the Blowfish, and
some very successful countrycareer.
Still going.
New supergroup with members ofREM and Black Crows announced
(05:54):
the tour.
So this is this is kind of aJoe Perry project thing, right?
Joe Perry project.
He got the lead singer from theBlack Crows, he got the bass
player from Stone Temple Pilots,he got uh Brad Whitford from
Aerosmith, and uh they weresupposed to have the drummer
from Stone Temple Pilots, but hehad a family emergency.
(06:15):
So they brought in his old JoePerry's old drummer that played
with the Joe Perry project for along time.
Uh Howl Owl Howl featuresRucker on vocals, Mike Mills on
bass, and Steve Gorman on drums.
So is this like a they'redropping their debut single on
Halloween?
(06:35):
So this isn't this isn't well,they they made an album,
evidently.
At least they recorded a songtogether.
So let's see what they have tosay about this.
Hootie and the Blowfishfrontman, Darius Rucker, which I
wonder if he I mean, he's had apretty successful solo career.
And the solo career, I believe,like Morrissey with the Smiths,
(06:58):
has lasted longer than Hootieand the Blowfish, if I'm not
mistaken here, but he's stillthe uh Hootie and the Blowfish
frontman, referred to as formersuper uh, has formed a super
group, Howl Owl Howl, with RMbassist Mike Mills, co-founding
(07:20):
former drummer of the BlackCrows, Steve Gorman, former
drummer of the Black Crows.
Co-founding former, okay, SteveGorman.
Uh their debut track, MyCologne, arrives October 31st,
and they're kicking off aninaugural tour that I won't be
going to.
Um November 3rd at the Vogue inIndianapolis, Indiana.
(07:44):
Feels great to be singing withthe rock band again, Rucker says
in a statement.
Uh, it's like buddies gettingtogether, also getting to play
with your idols.
The stuff we're writing is sodifferent than anything I've
tried to do before.
Uh, Mills shed Ruckersexcitement.
You never can complain.
Uh you can never explain bandchemistry, he says.
(08:04):
We all like each other and weall admire each other musically.
All those things come togetheras if it weren't fun, we
wouldn't be doing it.
And if it weren't fun, wewouldn't be doing it.
According to a press release,the group's music fuses organic
roots rock, whatever that is,blues, organic roots rock, with
an open-minded alternative flairmatching a fluid, feel-oriented
(08:31):
rhythm section to thebarrel-chested vocal rasp of an
iconic front man.
That's a lot of big words todescribe.
A three number one, a three-manband, number two, a three-man
band that just got together,pretty much.
I don't know, this organicroots, rock, open-minded
(08:53):
alternative flair, matching afluid feel-oriented rhythm
section.
What's the rhythm section?
You got a bass player and adrummer and a lead guitarist
that sings.
I don't know.
The group started with informaljam sessions back in 2021.
Okay, but it remained a secretuntil Rucker discussed it with
(09:16):
Rolling Stones, Brian Hyatt lastsummer.
You can call it a super groupif you want.
I don't call it a super group.
Uh, but I think people willreally be surprised at how good
it is.
I'll keep an open mind withthis.
I like Darius Rucker.
I liked REM.
I like the Black Crows.
So, you know, but we're just aband, we're friends, and we
jammed together one day atSteve's kids' school with
(09:39):
Nashville session player DonBukovic playing guitar, and we
were like, let's go in thestudio and see what happens.
It's nice to have all thatmoney where you can just do
that, huh?
And we went to the studio, andto be honest with you, magic
happened, and then I just can'twait for the record to get out.
Uh, there's still no word onwhen the album will hit, but
they'll definitely be playingsongs from it on their tour.
(10:00):
Their sets will mix Howl, Owl,Howl Origins with songs by REM,
the Black Crows, and Hootie andthe Blowfish, naturally.
That's what the Joe Perryproject did.
Uh, there's no singleguarantee, uh, Gorman said in a
statement.
We're finally going to get toplug-in and let it rip a little
bit.
Rucker is no stranger to theREM catalog.
Hootie and the Blowfish haveplayed Losing My Religion at
(10:22):
most of their concerts over thepast two decades.
They've also played Don't GoBack to Rockville, and it's the
end of the world as we know it.
And a handful of times they'vealso done She Talks to Angels by
the Black Crows.
Hootie and the Blowfish playeda special show at the Grand
Walia Resort in Maui, Hawaii onFebruary 26th.
(10:44):
But they've been off the roadsince last year and likely won't
be touring again anytime soon.
Okay.
It would be five more, five ormore years if we ever do it
again, he told Rolling Stone inthe middle of the 2024 tour.
I was surprised I agreed tothis tour because I mean, for
me, it's just like I'm goingbackwards.
You know, as an artist,sometimes you don't want to go
(11:04):
backwards.
So here are the dates if you'reinterested, if you're out there
in any of these locations,howl, owl, howls.
Tour dates.
November 3rd in Indianapolis,Indiana at The Vogue.
November 4th, Chicago, Illinoisat Metro Chicago.
November 6th, Washington, D.C.
at the 9 30 Club.
November 7th, Asbury Park, NewJersey, the Stone Pony.
(11:27):
November 8th, Boston Mass atthe Paradise Rock Club.
The Paradise Still Going.
Music Hall.
November 11th, New York, NewYork, uh, Webster Hall.
November 12th, PhiladelphiaUnion Transfer.
Uh November 14th, Athens,Georgia, Georgia Theater.
(11:48):
And November 15th, Atlanta,Georgia at the Variety
Playhouse.
I am sure that they will addmore dates to that as they go.
Let me see what's in the chat.
I'll come in.
I'm gonna have this on my shoe.
Let's see.
Uh big head.
Todd the wet sprockman.
I'm Todd the wet sprockman.
(12:10):
The wet sprockman.
Uh let me see.
I'm I'm here at the tamey,blah, blah, blah, blah, blah.
Uh Patty says Dave loves him.
Dave Phillips, king of the 45s.
Hello, Scott.
Yep, he does like Hootie andthe Blowfish.
But he likes, what is it?
(12:30):
Um, what's the name?
Matchbox 20.
I I don't get that.
Dave Phillips like fuckingraves about Matchbox 20.
They're so middle of the road.
They're just such an averageband.
I don't know.
We'll never agree on that, Kingof the 45s.
Uh let me see.
What else?
(12:51):
Uh, that's it for the rightnow.
All right.
Let's move on to the next.
Let's see what we got for thenext article here.
Like I said, I just pickedthese out.
Ah.
Oh, Jesus Christ.
Oh, Jesus.
I saw this one.
I was like, oh, this is gonnabe great.
(13:12):
Uh, I can go over here.
Get rid of that.
This one.
There we go.
After health and legal issues,Motley Crue kick starts itself
(13:35):
in Las Vegas.
Ah, again.
Have you seen any of thesevideos of Vince Neal singing?
I mean, if you got Vince Nealand David Lee Roth on the stage
together, I'd rather watch YokoOno.
To be honest with you.
(13:56):
I would rather watch Yoko Onoscream and screech and wail than
see David Lee Roth on hiswhatever that fucking tour is
and Vince Neal and whatever thatfucking, he doesn't even say,
at least David Lee Roth will tryto pronounce some words.
(14:17):
Vince Neal just doesn't do it.
He just goes, like he doesn'teven just make noise.
Go watch the videos.
It's not AI either.
Come on, kick stop my heart.
That's all he says.
And people are like, yeah, man.
Yeah, man.
(14:39):
Vince Neal, man.
Yeah, dude, Vince Neal.
Yeah, whatever.
All right, here we go.
Um after being sidelined formuch of the year, Motley Crewe
has returned to action with anew residency in Las Vegas in a
fresh compilation album.
(14:59):
Oh, a compilation album.
Oh, that includes a guestappearance by Dolly Parton.
What the fuck?
If the this is absolute old manfucking band selling out.
Jesus Christ.
(15:21):
Excuse me.
Excuse me.
I don't care about the micright now.
The group's Nikki Six tells usall about all that and more.
After an unexpected pause thisyear, really, Molly Crew has
(15:42):
kick-started its art.
Oh, that's bad.
And art this month in LasVegas.
You might remember that theglammy veteran hard rock act
from Los Angeles did sayfarewell when it's 17-month the
final tour wrapped up on NewYear's Eve in 2015 in its
hometown, right?
These guys just fucking.
(16:03):
But seven years later, it wasback playing stadiums, and
recently it began its thirdresidence in Las Vegas with 10
dates booked through October3rd, and people will pay to see
this shit.
Like I saw them back around2002 on their first comeback
(16:27):
tour.
So think of that.
And it was the opening show.
It was in Fort Lauderdale atthe arena there with a Florida
Panthers play, whatever it wascalled back then.
It was back then, it wassomething else.
It's changed names seven timessince.
But uh they were good.
They were actually good.
Mick Mars was with them.
Everything was good.
They put on a great show, butthat was 2002.
(16:49):
Ah, here we go.
Uh, as frontman Vince Neilexplained last year, the 2019
Netflix biopic, The Dirt.
That's exactly what he said.
That's how he said it, too.
(17:10):
Anyway.
I got us so many new fans.
The dirt got us so many newfans.
Oh, a whole new generation offans that hadn't seen Motley
Crew.
Well, they don't know what theymissed because what they're
seeing now isn't that.
That brought us back to want toplay again and keep making new
(17:31):
music.
That in turn led to the 2024 EPCanceled, which featured the
new title track and Dogs of War,uh, while the compilation album
from the beginning, for whichDolly Parton added fresh vocals
to the 40-year-old hit HomeSweet Home, came out in
conjunction with the New VegasResidency.
(17:52):
What is that?
I don't even know what I justread.
The EP canceled, which featuredthe new title track and Dogs of
War, while the compilationalbum from the beginning, I
don't know who who the fuckwrites this shit.
But it wouldn't be Motleywithout some drama, and there's
been no shortage of that duringthe past two years.
(18:14):
Original guitarist McMas,supposed retirement from touring
in 2022, replaced by John Five,Rob Zombie, Marilyn Manson,
David Lura, great guitarist.
John Five's a great fuckingguitarist, has turned into still
pending lawsuits between himand the band.
And prior to the currentresidency, Neil told the Las
(18:35):
Vegas Review Journal that hesuffered a stroke last December
26th.
He sings like he suffered astroke.
He sings like he suffered astroke.
That's that explains it.
I'm not laughing at the guy.
That stroke is horrible.
That's terrible.
I'm just saying he sings likehe had a stroke.
(18:56):
That's that's all I'm saying.
It's horrible that he had astroke.
I don't want to be that guy.
Not making fun of that, but hesings like he had a stroke.
He had to go rehabilitation towalk and sing again.
Well, one of the rehabs worked.
One of them didn't.
(19:19):
Could not have had a bettersetup for that.
Could not have had.
And again, I don't read thesethings.
That's a great fucking setup.
That was a good come fullcircle, I should say, moment.
(19:43):
And to go rehab to walk andsing again.
Okay.
All right.
That forced the band topostpone the residency
originally scheduled for spring.
And to sit out July back to thebeginning of Well, concert for
(20:06):
Ozzie Osborne and Black Sabbath.
Thank God he sat that out.
Ozzy had Parkinson's.
Ozzy had like, you know, he hadnerve damage.
He couldn't move.
He's sitting in a giant blackthrone from hell.
He's got like all he's stillgot like things going on with
(20:28):
his brain, and he sang betterthan fucking Vince Neal.
God bless Ozzy.
So it hasn't exactly been thesame old situation for Motley
Crue, but the band is back toshouting at the devil.
No, no, not shouting,screeching and being.
(20:50):
Yeah, and the in the group'sNikki Six, and the group's Nikki
Six sounded like a regular Dr.
Filgun.
What the who wrote this shitwhen he checked in just before
the Vegas run?
Motley spent 2022 and 2023 backon tour with Def Leopard and On
Your Own and a lot of it instadiums.
(21:15):
What appeals what appeals Oh,so this is a question.
What appeals to you aboutsitting down in one place for a
residency like this?
Six, when you do these types ofshows, there's a lot of things
you can do that you can't do oris not easy to do with touring.
There's a lot of lightingthings that we can do, blah,
blah, blah.
That's exciting, reallyexciting.
It's wide open again in thisplace.
(21:35):
Okay.
Alright.
You're playing 13 songs atthese shows, including a medley
of covers.
How do you go about makingthey're only singing 13 songs?
That's it?
13 songs?
What the fuck?
Like even if I like MotleyCrue, I'm not gonna pay all that
(21:59):
money to see them sing just 13songs.
You gotta think, each song ison average, is on average two
and a half minutes to threeminutes.
Right?
I'll even be generous and saythree minutes.
Ten songs is 30 minutes.
Right?
(22:20):
Okay, let's get some littlegaps in between.
Speaker 01 (22:23):
It's Neil talking to the crowd.
Scott (22:27):
A couple minutes here and there.
So let me see.
That's 30.
So we'll stretch it to 40.
40 minutes?
Say 40 minutes, and then youadd those extra nine minutes on
for the songs.
49 minutes, add a little extra.
This show is like it's about anhour.
I that's what it seems like tome.
(22:50):
Even if it's an hour and 15minutes, like how do you stretch
13 songs into I mean a concertusually at least, at least
minimal 90 minutes.
At least all the shows I go to.
(23:11):
They only play in 13 songs.
Uh, let me see.
I talked to Nick Nikki Sixsays, I've talked to a lot of my
friends and my peers andsuccessful bands, and we all get
in get in an interesting place.
They want us to play about 90minutes, all right.
And there's a contract thatsays that, and there's a lot of
reasons for that that fans don'tunderstand.
(23:33):
So it has to be very this isour set.
This is fucking lazy, is whatthis is.
This is absolutely lazy.
That's his that's the cover upfor we're just too fucking lazy.
And when you have a largecatalog like we do, there are
the there are these songs youhave to play because they mean
so much to people.
(23:53):
We understand that there'sthere are those certain fans who
only want deep tracks.
In other words, this is goingto be an oldie show.
Uh, and there's certain fanswho just come to hear the hits
and have more uh and have a goodtime, and we try to balance it
out.
It's a challenge.
I know with some of my favoritebands, I'll go and be like,
what song are you playing?
I don't even know what songthat is.
(24:14):
And they're like, This isn'tsomething from 1964.
I'm like, okay, I was fouryears old.
I don't know that song.
But okay, asshole.
Now he's just a fuckingasshole.
If you're going to see a bandin concert and you supposedly
like them, you should probablyhave a good idea of their
(24:37):
catalog.
You should probably have a goodidea.
Don't say, oh, I was four yearsold when that song came up.
So, in other words, you neverlistened to anything other than
what, from their fifth album on,like you never went back and
listened.
That makes zero fucking senseto me.
This guy's just fucking lazy.
And there is, there issomething out there.
There is a conspiracy theoryout there that says that Nikki
(25:01):
Six doesn't, Mick Mars, the thethe former guitarist and one of
the founders of the band, uh,the one that they're they're
going to court with, he came outin a deposition and said that
fucking Nikki Six doesn't reallyplay the bass all the time.
That it's a backing track.
So I I Mick Mars wouldn't makethat.
(25:24):
He's not that kind of dude.
Like he just came out and said,I'm just telling you, the guy
play has a backing track for hisbass.
So he's not always playingbass.
Maybe, maybe, okay, I'm ontosomething here.
I'm onto something here.
Maybe, just maybe, Nikki Sixcan play the bass for real, and
(25:45):
Vince Neal will lip sync.
Yeah, that's the idea.
That's the idea.
Just fucking lip sync.
That's better.
That's so much better.
I should be their manager.
But let me say, I was for youon, so I don't know that song.
(26:05):
Then they play their big hitand you're excited.
So we get it.
It's not frustrating, but it'sa challenge.
No, it's fucking lazy.
What kind of requests do youget that surprise you?
Uh, well, quote, some peopleare like, Man, I wish you'd play
Stick to Your Guns.
And I'm like, how do you evenknow what that is?
That was a demo that ended upon the first version of Too Fast
(26:28):
for Love.
And when we signed withElectra, they were like, look,
you need to lose a song becauseit's affecting the sound of the
vinyl.
So Stick to Your Guns didn'tend up mocking that record.
And fans will come up askingfor it, and I'm like, what do we
take out?
Kickstop my hot.
So this guy doesn't, he'sfucking tone deaf.
He doesn't get it.
(26:50):
See, that dude that was talkingto him is the polar opposite of
what this douchebag is.
This dude knows the catalog.
This dude that said that tohim, he should be giving the
dude credit.
But instead he's mocking, oh,what should we do?
Kick out, kick stop my hot.
Yeah, well, fucking why not?
(27:10):
Right?
You're just doing a fuckingoldie song.
You're doing a greatest hits.
Oh, these dudes just you knowwhat?
What is it about these fuckingbands and actors and and all
that?
As they get older, they justget fucking douchey.
They just fucking get douchey.
You know?
I don't fucking get that.
(27:31):
Just be a fucking everybodyshould be Keanu Reeves.
That's it.
Everybody should be Tom Hardy.
Like those dudes get it.
Right?
Fucking no.
Oh, this dude like knows a songin their catalog that didn't
even make it to the end.
And he's like, what am Isupposed to do?
Shut the f I fucking hate thisarticle already.
(27:54):
But I committed to it, so I'mgonna finish it.
Fucking this is just gonna makeme more angry as we go.
Uh, what would be your choicefor a deep cut from the Motley
catalog?
Oh, I can't wait for this.
How about the fucking deep cutthat the kid asked him to play?
Too fast for love.
How about that, douchebag?
No.
(28:15):
No.
Let me see.
Uh one of my favorite songs toplay, and we haven't played it
in a while, is Piece of YourAction from Too Fast for Love.
Well, Stick to Your Guns wasthe song that the kid was
talking about.
Uh, I love Knock Em Dead Kid 2.
(28:35):
There's some reallyinteresting, cool songs we've
talked about.
Like from Generation Swine.
There's a song called A RatLike Me.
How about a douchebag like me?
And the song Generation Swine.
Uh, those are songs, uh, thoseare songs that haven't seen the
(28:56):
light of day in years.
When that album came out, itdidn't get rave reviews because
we used a lot of technology andwe're experimenting, and now for
some reason it's become a fanfavorite.
Jesus.
There have been quite a fewMotley compilations over the
years.
Yeah, Motley.
What was the impetus for fromthe beginning?
(29:19):
Well, I would think Nikki Sixwould probably respond.
They they probably didn't putthis in the answer.
What does impetus mean?
I'm not impetus.
I can still have sex.
Impetus?
What do you mean by impetus?
Well, okay.
I'm sure that I'm sure they cutthat out of the answer.
(29:40):
That's that's my theory.
Uh he says one of the reasonswe sold our catalog to P and to
BMG is they have such a greattrack record, and in spending a
lot of time with them, we knewthey were going to treat our
catalog correctly.
They fucking rehash the songsand they resell them.
What do you what do you mean,treat my catalog correctly?
They rehash the songs, theyresell them.
(30:02):
They sell them to advertisers,they sell them to movies,
because they have the rights tothem now, asshole.
I mean.
And they have.
So this from the beginning issomething they felt was a really
nice way to introduce youngerfans without really being like,
this is the greatest hits.
It isn't a greatest hitsrecord.
No, but your fucking show is,even though it's loaded with
(30:25):
hits.
Okay.
All right, let's let's rereadthis, people.
Let's reread this.
Something they felt was really,really, really nice way to
introduce younger fans withoutreally being like, this is a
(30:48):
greatest hits album.
It isn't a greatest hitsrecord, even though it's loaded
with hits.
Am I I know I'm not the onlyone that sees the idiocy in
this.
I know I'm not.
This dude is as fucking brightas a 10-watt bulb.
It's not a great hits album,but it's loaded with hits.
(31:12):
Isn't that a fucking greatesthits album?
It's got a really cool, it'sgot a lot of really cool tracks
on it, and I'm excited about it,man.
It's the same fucking greatesthits album that you put out 17
years ago.
And then fucking eight yearsago.
And now it's again.
(31:32):
But it's important that youkeep new fans interested in the
band and for them to go like,wow, I didn't know that this was
a Motley Cruz song.
Well, well, if they go and theybuy the album or they buy the
CD, excuse me, or they listen toit on Spotify, that's one
(31:56):
thing.
Then they're gonna go seeMotley Crue in concert and say,
Oh, I thought Motley Crue sangthis song.
Because it's gonna be horrible.
Or oh my God.
They spelled this O-M-I-G-O-D.
What the fuck is that?
(32:16):
Oh my god.
I love that song.
Like, worst article ever.
Worst fucking article ever.
For a band that's been around,God, G-A-W-D, God, 43 years or
something, you're always lookingat a way uh to kind of not
(32:39):
throw a pun at you, but to kindof kick start a new generation
of people and keep the band'sname out there and educate the
new fans as they come along.
Educate! Educate! Fucking whatthe fuck is Martley Crue
educating?
What could they possibly saywe're educating new fans on?
(33:02):
What, how to be fucking lazyand douchey in a fucking
asshole?
And fucking tone deaf?
And douchey?
Oh, this is gonna be good.
Did you invite Dolly to singHome Sweet Home during your
(33:23):
residency?
She's got one of her own comingup in Las Vegas later this
year.
You know, here he goes.
Fucking Nikki Einstein, youknow, and they did Y apostrophe
K N O W.
You know, we got to know Dollyand we talked a lot, and she
(33:47):
would tell me stories.
She's just a wonderful,wonderful woman.
Douche.
This fucking douche.
She loves that song, and herhusband loved that song.
So I might have done a littlenudge, nudge, nudge, like,
quote, hey, would you have alittle ratty tattooed guy with
(34:08):
black hair maybe come on stagewith you?
I'm nudging, I'm pushing, I'mhunting, I'm not saying it's
gonna happen, but why not ask?
This is fucking but oh my god,I'm I can't.
This is the danger, people.
This is the fucking danger.
This is the danger of notreading an article before you
(34:32):
read it live.
Because this thing would havebeen fucking deleted.
There's more.
I need some ice coffee.
Hold on.
Yeah, that's really what I needto get me fight.
Oh, I'm fucking I'm clickinghere.
Am I too loud?
I gotta turn down my gain here.
(34:54):
I don't know, I'm just gettingexcited.
I'm irritated.
Okay.
Wait, there's more.
Motley released a couple ofbrand new songs last year.
Will there be one more coming?
That was a lot of fun.
But we're kind of in this notin a rush mode.
(35:17):
No, please.
Please do us a favor.
Don't be in a rush.
Please.
In the old days, the treadmillwas you do an album, then you go
on the road for two years, thenyou write another album, and
you go back out on the road, andthen you come home and you're
immediately into writing andthen into recording studio, and
(35:38):
then they put you back on theroad.
That's a real burn.
But when you're younger and youdon't have family and you're
getting to live your dreams, youdo it.
Yeah, it's fucking life of arock star.
People warn you about that.
But spending too much time onthe road doesn't make for me
anymore because I have a family.
I spent Christmases in hotels,yeah, shooting heroin.
(36:02):
Merry Christmas.
Yeah, speedballing, snortingcoke.
Merry Christmas.
Uh along, maybe meet the bandat the bar for a drink and a
drumstick to feel like it was aholiday.
Uh that's not what I want to doanymore.
(36:23):
Is the creative drive differentnow?
I'm glad this is this is thelast question.
I think.
I think.
Uh we only work on music whensomething inspiring comes along.
So we're not on a schedule, andI don't find full-length albums
(36:44):
inspirational anymore.
With the way people consumemusic now, you can spend so much
of your time and your life andyour passion to do 11, 12, 15
songs and only have one or tworeally cut through.
So we would rather do two orthree to get them out, and then
we feel inspired to do anotherthree or four.
That's kind of the path we'reon now.
(37:04):
Just feels natural.
Yeah.
In other words, they lost theirfucking desire.
They just want to make moneynow.
Uh, were you guys sorry to haveto miss the backup, uh, the
back to the beginning show inJuly?
It was something we were unableto do because Neil's health
issue.
Uh, we had to reschedule ourresidency.
It was something we couldn't doeven if we wanted to.
(37:27):
I did watch it and I thought itwas great, and everybody showed
up because they loved him andsupported him.
But man, I gotta tell you, I'mlike, go, Ozzy.
Way to fucking go without aband, man.
He really did it.
You you we he had a band?
What do you mean without aband?
He had a fucking band.
Oh, we don't have him anymore.
(37:51):
No shit, Sherlock.
But one of the greatest rockstars of all times came while we
were here on this planet andwent back to the fucking stars,
man.
He's like, I came down there, Ikicked some fucking ass.
You can't.
Oh, there's this dude.
Oh, there's more.
I think there's one more.
Okay.
(38:11):
A lot of Motley's reputationwas established during your tour
opening for Aussie back in1984, too.
Yeah, to be honest with you,the reason we're even on the
phone today is because Ozzy andSharon.
Sharon saw a band thatsomething was happening with,
and it was a perfect fit forAussie.
We just became so close, andOzzy took us around the world
(38:32):
and just did everything for us.
And of course, all the wild funstories that are Aussie.
But honestly, they broke ourband, and I'll never be in, I'll
forever be in debt to Sharonand Ozzy for that.
Okay.
All right, done.
Fucking done.
Oh, it's only 39 minutes intothis thing.
(38:54):
This is, I almost didn't.
Let's see, what do we got?
Ah, Todd Sauckman.
Uh Matchbox 20 was great liveand content.
Blah, blah, blah.
Uh, whatever.
All right.
Let me let me find somethingbetter to share me up.
(39:15):
Uh let's see what this does.
Wait a minute.
Did Black Sabbath rip?
While we're on the BlackSabbath thing.
While we're on the BlackSabbath thing.
Let's uh let's see what this isall about.
No, well, okay, yeah.
(39:36):
Let's just see what this isabout.
Uh dun dun dun.
Let's get rid of that.
There we go.
Next on the screen, did BlackSabbath rip off this band's rip
(39:56):
off this band while writing oneof their most famous songs?
All right, there's no two waysabout it.
Black Sabbath's Paranoid wasone of those rare songs that
provided catching lightning inthe bottle is indeed possible.
Proved that catching lightningin the bottle is indeed
possible, and which went on tobecome a cornerstone of all
(40:17):
future rock music.
True.
According to numerous accountsby different members of the
legendary band, the song wasnotoriously cobbled together
during a lunch break while BlackSabbath, uh, while Sabbath
recorded the uh the eponymous uh1970 studio album, and as Tony
(40:38):
Iomie would often say, had verylittle to do with the sound and
the vibe Iommi and company hadgoing for themselves.
Nevertheless, it became theheavy metal Godfather's only top
20 hit.
While a new wave of interest inthe period between Black
Sabbath's Triumphant Back to theBeginning, farewell show on
July 5th, and Ozzy Osborn'spassing on the 22nd carried
(41:02):
Paranoid to the top of theBillboard Hot Hard Rock Songs.
Back in 2015, however, GuitarWorld suggested that the iconic
riff from Paranoid soundsuncannily from similar to a song
called Get Down, reportedlyreleased by the Michigan-based
(41:22):
collective half uh half-life ayear before.
All right, let's let's so let'swell we got done.
I don't care.
Let's see what we got here.
So let's go with uh suggestedthe iconic riff from Paranoid.
So let's go to Paranoid, let'ssee what we got.
Paranoid.
N-O-I-D.
(41:43):
Black Sabbath.
Here we go.
Let's see what we got.
All right, this is what we got.
Right.
All right, I think we get it.
We all know that.
We all know that.
(42:04):
Now, let's see if there's othersongs available and we can uh
based on uh reportedly get downby Half-Life.
So let's see, get down Mightnot even be on uh let's see.
(42:24):
Half-Life.
I don't oh, let me see.
Here we go.
All right.
Oh shit, I can hear it.
That's a good one.
(42:48):
Yeah.
Oh yeah.
No doubt about that.
It even kicks in right whenOzzy starts singing.
That guy starts singing, theguy from uh Half-Life.
Ah so as per Guitar World,Half-Life released a song via
(43:11):
the independent label A SquareRecords, but failed to gain
traction on Detroit on Detroitradio stations.
The song subsequently fell intoobscurity, but was reissued as
a part of the compilation titledA Square, of course, the story
of Michigan's legendary A-SquareRecords.
Oh, A Square, okay.
Uh, while it would be very hardto imagine Tony Iomie ripping
(43:35):
off an obscure underground bandhalf the half a world away, it
didn't matter.
While sitting in thepre-uh-internet Birmingham of
the early 1970s, the sonicsimilarities between the two
songs are certainly there.
Back in 2023, Tony Iomi notedhow he had never written such a
(43:55):
short song before Paranoid, hesaid.
Uh we were in the studio doingthe Paranoid album.
The other guys went out forsomething to eat, and I sat in
the studio, and the album'sproducer, Roger Bain, said, We
need another song.
We haven't got enough songs onthe album.
Can you put one together?
I went, well, no.
Uh we were only in there for acouple of days, you see, and I
(44:17):
said, Well, I don't know.
I've never written athree-minute song.
Sabbath's always written songsthat were five minutes or six
minutes long, unlike MotleyCrewe.
So I came up with the idea andwaited until the others came
back and from the pub, and thenI played them in the idea, and
basically uh we've done it thereand then.
(44:38):
We've done it there and then.
So I don't know.
That's that that's prettyclose.
Let's see.
That song's called Get Down.
(45:44):
It came out about a yearbefore.
So you never know how musictravels, man.
And I don't know.
That's really fucking close.
That's an extreme coincidence.
That is, I don't know, man.
You make the call.
(46:04):
You make the call.
I it's too close.
It's too again, Ozzy, the thesingers kick in right around the
same time, too.
I mean, how does that likethat's like Pink Floyd saying
they didn't, you know, another Idon't I believe that they
(46:25):
didn't um write Dark Side of theMoon in conjunction with the
Wizard of Oz movie.
That's one of those insanecoincidences, too.
But this is this is kind ofclose.
That's kind of close.
All right, let's find anotherarticle.
Let's see, let's do one more.
Let's do one more.
Um how about the member?
(46:49):
All right, yeah, let's do thisone.
Let's do this one.
This this looks interesting.
There we go.
There we go, okay.
The member, Eddie Van Halensaid had no impact on Van Halen.
(47:13):
Oh boy.
Oh boy.
Ah, here we go.
Uh, what do we got here?
Was there any real sense inquestioning Eddie Van Halen on
anything Van Halen ever did?
I don't know.
The guitar legend was alwaysgoing to have a major say in
(47:34):
whatever the band were doingevery single time they made a
new record.
And while Sammy Hagar and DavidLee Roth, let me get rid of
this.
Okay, while Sammy Hagar andDavid Lee Roth helped bring
structure to everything, it wasall going to come down to
Eddie's handiwork.
(47:56):
But even if everyone let him dohis own thing, Eddie didn't
really think that they were allcarrying their weight like they
should either.
Because when looking at bothclassic lineups of the band,
it's not like anyone else wasgoing to question that Eddie was
the star.
He might have not he might nothave wanted to have his name in
lights like Roth did.
But the pure spectacle ofseeing him play was worth the
(48:20):
price of admission.
What he was doing feltsuperhuman at the time, but when
any band member is doing thatmuch, everyone else is going to
look like musical windowdressing.
And it's not like Hagar andRoth were exactly the most
well-rounded musicians in thegroup either.
Each of them brought somethingunique to the table, but whereas
the Red Rocker had a lot morevocal range than Roth did, both
(48:44):
of them did have their pitfallsevery now and again.
There was a third incarnationof the group, but the less said
about Gary Sharon's time in theband, the better off most of us
will be, despite Sherone havinga great voice.
Eddie wasn't going to keep hismouth shut when it came to what
his late what his lead singershad said over the years.
He felt like he was stabbed inthe back multiple times by both
(49:06):
front men.
He was paranoid.
I just think Eddie Van Halenwas a prima donna, and he was
paranoid.
And he had an ego.
But for as much resentment thathe had for both of them after
they left, there was alwaystension brewing between him and
Michael Anthony from the firsttime they began performing.
(49:26):
Get rid of this over here.
Looking back on the classiclineup, Eddie thought Anthony
hardly did anything to earnhimself a spot in rock and roll
history like he did, saying,quote, at least Dave pulled his
weight.
Mike did it.
He didn't really ever doanything.
He had zero input whatsoever.
(49:49):
Well, who the fuck is going tohave any input in that band with
fucking David Lee Roth andEddie Van Halen?
Like who's going to have anyinput?
It's like George Harrisonbarely had input with McCartney
and Lennon.
So he just doesn't like, hedidn't like the fact, and I'm
predicting this is going to bepart of the article, uh, that
(50:11):
Michael Anthony left and startedplaying with Sammy Hagar, and
him and Sammy Hagar were reallygood friends.
And I think, I think Eddie VanHalen hated that.
And so now he's just being sourgrapes.
Uh, he didn't ever really doanything.
He had zero input whatsoever,period.
But he remodeled his wholehouse and bought himself a Turbo
Carrera off the money he madeoff of us.
(50:33):
Whatever.
I I never even listened to hisbass when we were recorded when
we recorded.
Oh, this dude.
He was petty.
This dude was petty.
Then again, we are weremembering the same version of
Michael Anthony here?
Uh, sure.
His lines weren't the hardestthing in the world to master,
(50:56):
but his job keeping the rhythmsection tight was one of the
most exciting parts of VanHalen's records.
He's right.
Absolutely right.
Running with the Devil and SoThis Is Love have certain
atmosphere to them thanks toAnthony.
And it's not stretching to saythat he was as much a part of
this sound as Alex was.
He's right.
He's absolutely right.
(51:16):
But Eddie Van Halen was a pettyperson.
He was a petty little man inthe end.
You don't want to think of yourmusic idols, your rock idols as
that, but he was a petty littleman at the end as he got older.
And let's not forget thatimmaculate high voice on some of
their classics.
While Eddie said time and timeagain that he never liked Mike's
(51:38):
harmonies on the record becausehe could fucking sing better
than Eddie Van Allen.
There's a reason why the bandsimply didn't sound the same
when he when his son Wolfgangtook over on bass.
That's right.
That's right.
No knock on Wolfie.
Good for him.
But there's a lot of characterthat Anthony's voice brought to
the table, and Michael Anthonyknows that.
(51:58):
The fans know this.
There's no doubt about that.
The fan, any Van Halen, any,not Eddie, any Van Halen fan
knows this.
And that was the secret weaponthat no one realized was there
until it was suddenly wasn't.
Now, I think a lot of usappreciated that backing vocals.
Anthony is more than happy tokeep on trucking with Sammy
(52:21):
Hagar's band whenever he gets achance, but he should never be
treated as a secondary characterin Van Halen's story either.
He may have been the last oneto create tension and start
trouble, but every band needsthat quiet member to help bring
a sense of peace every singletime they walk into the studio.
That's right.
There you go.
We'll just that that's that'sending like that.
(52:42):
And that's true.
That's true.
You can't take that away.
I mean you just don't want tohear shit like that.
It just shows, like it makesEddie Van Halen look even worse
than he really was.
You know?
Fucking asshole.
Let me see.
What do we got here?
Um was there a lawsuit?
(53:06):
I hear it too.
I it doesn't say if there was alawsuit, Perry.
Lightfingers Devich AI.
Uh Steve Stevens, let's seewhat he says here at the bottom.
I was introduced to Van Halenat the McLean compound.
So, Steve Stevens, I have anabsolute, I love Steve Stevens,
(53:27):
by the way.
It's not his real last name,but I I love this dude.
And there's a lot of goodmemories hanging together when
we were younger.
He had this, I believe it wasthis like like a burgundy red,
maybe.
Chevy and Paula, if I'm notmistaken.
We're in that kind of realm ofcar.
(53:49):
And he had the fucking.
This is probably 1980.
1979, 1980, maybe.
He had this fucking boomingstereo.
Booming fucking stereo.
And I believe he had thefucking Jensen coaxles or
(54:09):
triaxles, one or the other.
It was a maroon caprice, that'sright.
And that's back when fuckinggas was like 75 cents a gallon.
And we would, that's how wehung out.
It'd be the fucking middle ofwinter.
We got school, it's a Wednesdaynight, but we're all fucking
cruising around, everyone pitchin a buck or tube for gas, and
(54:30):
we would just fight, and thatshit was like a fucking literal
indoor concert in the back ofthat fucking thing.
There'd be like six of usstuffed in him.
It was it was a it was a bigcar, so or five, three in the
back, two in the front.
But that was a great fuckingmemories, man.
That maroon caprice will liveforever in my memory.
(54:51):
And and running with the devil,I swear, I swear, and this is
not a terrible thing to say,this would prove my right hand
to my my late brother Colin, whoI still miss to every second of
every day.
Uh, I swear, every time I hearrunning with the devil, I
(55:13):
fucking go back to like 1980 inthat fucking red, the maroon
caprice.
I swear to God, that's thefucking one of the that's just a
great memory for me.
It was just so fucking coolback then.
Everything was better backthen.
Let's see what uh DavePhillips, king of the 45, says
here.
The traveling Wilburries were asuper group with Harrison Petty
(55:35):
and Lynn Dill.
Yeah, that's a super group.
We're going back to that.
Uh let me see.
Dave Phillips also says uhClapton was phenomenal, a
Mohegan son this past Saturdaynight.
Okay.
And Steve Stevens says thefirst time you heard Running
with the Devil was at our house.
My house.
Yeah.
Me and my brothers uh we had uhwe used to have a good time at
(55:58):
that house.
Yes, we did.
Uh let me see.
And he also says he didn'tknow.
I I've never knew thatcomparison to those two songs
either, Paranoid and that thatother song.
Um what else we got?
He says uh Paranoid was myleast favorite Sabbath song.
Once it got so much airplay, itsoured me.
(56:19):
Yeah.
Rob Elston says, if they couldexume Ozzy today, he would sound
better than Vitz Neil.
You ain't lying there, brother.
You are not lying there.
Uh Dave Hills, long livematchbox.
(56:40):
Fuck Matchbox 20.
Like I said, Perry LightfingerDevich said, was there a
lawsuit?
Uh I don't know.
I don't think there was.
Oh, wait, look what I can lookat.
What do we got here?
Look, hey, everybody.
Let me see.
What do we got?
Cheap followers onStreamboo.com.
Remove the space.
Yeah.
(57:00):
Cheap followers.
Get the fuck.
I'm add to the block list.
Blocked, fucker.
Clemenito111.
Get off my screen.
Get off my screen.
Fucking spammers.
That's what you get when you goon all these live sites.
Someone's gonna jump in on you.
Uh let me, what do we got?
(57:23):
All right, we're coming up inan hour.
I'm I'm gonna call it quitshere.
The only maybe I'll pick someof these up next week.
I have uh the layered legacy ofNirvana's Come As You Are, uh,
Double Meanings, Nam MissLawsuits, Town Memorials, and
more.
I have uh celebrated rock bandexplains decision to wind down
(57:44):
touring cites record industrythievery.
That's garbage.
The group garbage.
And she actually, I have avideo.
Shirley Manson actually said,This is it.
We aren't touring anymore.
Uh, one hit wonders only okay.
You know, we'll finish withthis one.
Stick around, people.
Here we go.
I I I I let's do this.
Well, we'll we'll end this oneon a good note.
(58:05):
Let me get rid of uh we'regonna end this one on a good
note for real boomers.
All right, let's get rid ofthis.
Give me my typical littleseven-second gap here.
Screen.
One hit wonders, share.
Here we go.
(58:25):
One hit wonders, only realboomers.
Remember.
Okay.
Only real boomers.
Are you a real boomer?
In the ever-shifting landscapeof popular music, some artists
capture lightning in a bottlewith one undeniable hit, only to
(58:46):
recede from the limelightthereafter.
There are the one-hit wondersthat define an era.
For those who grew up in the60s and 70s, the radio was a
constant companion delivering asteady stream of new songs that
became the soundtrack of ouryouth, of to their youth.
And it was.
I mean, we were blessed to beable to just a radio was
everything to us.
(59:06):
It really was, right?
Back in the day.
There was no other distraction.
The only thing that was incompetition with the radio,
there were two things that werein your house that were in
competition with the radio.
Think about this.
Your stereo system, whatevermakeup it was, right?
(59:26):
Your stereo system and your TV.
That was it.
You had one, two, or three.
That was your entertainment inyour house.
So it was an easy rotation,right?
It's an easy rotation.
And radio was fuckingeverything to us.
Everything.
I mean, how many fucking Sundaymornings, every Sunday morning,
(59:50):
Casey Kasem's top four,American, top 40 radio.
Like that thing is a three hourfucking show, and we listen to
it.
Carrying our little radio.
Radio with us if we're goingoutside, whatever.
But think about that.
There was only two other uh uhthings that competed with radio
back in those days.
(01:00:10):
There was the TV and yourstereo system, if you even had
one.
Okay, the radio was a constantcompanion, delivering a steady
stream of new songs that becamethe soundtrack of our youth.
While many artists went on touh to long-storied careers, some
left an indelible mark withjust a single iconic tune that
only true baby boomers willinstantly recall.
(01:00:30):
These forgotten chot topperswere massive hits in their day,
but their creators rarelyreplicated that mainstream
success, becoming unique sonicbookmarks for a generation.
Here are ten such songs thatshone brightly, then faded into
nostalgic memory.
All right, these are one-hitwonders.
Uh we'll see.
(01:00:50):
Okay, one.
Uh Spirit in the Sky, NormanGreenbaum.
Now that is a great that's oneof the greatest intros in music
history.
And if you know me, if youfollow me on Facebook, or I do
these on TikTok.
It's the only thing I do onTikTok.
I put I do these little shortsnow called uh Which Song Do You
Like Better?
Or Which Intro Do You LikeBetter?
(01:01:13):
So this is coming up.
This one is coming up.
This Spirit in the Sky is areally, really hard intro.
You better be a really good.
Let me see.
Let me let I I gotta play itnow, just at least the intro.
Uh no, go away here.
Here we go.
No, yeah, here we go.
(01:01:34):
Such a great fucking intro,right?
But the song doesn't match theintro.
The song does not match theintro.
It's never meshed with me.
Like, this should be somethingfucking heavy coming after this,
(01:01:54):
right?
Especially when the reverbkicks in.
Like, something's supposed tocome that's gonna fucking blow
your mind, right?
Right?
No.
It's just it just never meshedwith me.
That intro does not fit thatsong.
(01:02:17):
That should, that groove shouldhave stayed all the way
through.
If I was the producer in thestudio, I'm like, this is stick
with this, work through it, comeup with something heavy,
something that's gonna be inyour face, fucking groovy, man,
right?
No, we get this whole fuckingspiritual thing.
(01:02:37):
I love the song, don't get mewrong, but I I also think I'm
right here.
And and if you agree with me orif you disagree with me, say it
in the comments.
Let me see.
Uh yep, Spirit of the Sky was araw psychedelic rock track.
Not really psychedelic,featuring a distinct fuzz guitar
(01:02:57):
and gospel-like lyrics.
That's why it wasn'tpsychedelic rock.
Um, it was more of a yeah, thatrock gospel, both salvation,
captioned in zeitgeist.
It's unique sound and spiritualtheme made it a massive,
ubiquitous hit across the rockuh and pop radio, standing as
(01:03:18):
the counterculture met the newdecade.
So yeah, I I think if thatintro wasn't there in in in feel
free to argue with me on this.
It's just a debate.
And uh God bless Charlie Kirk.
Um just a debate.
But I think if that introwasn't there, this song would
(01:03:40):
not have made it.
I really don't think it wouldhave.
I think it would have been justan average song that would not
have charted high, you know.
I think that intro is whatdraws you in, and then it's
like, well, okay.
The song's driving rhythm andmemorable guitar tone made it
instantly recognizable on anyradio document.
There is a good guitar solo atthe end, but despite its
(01:04:02):
enduring popularity and frequentlicensing and films decades
later, Noah McGream neverachieved similar chart success.
Song became so iconic that itovershadowed everything else he
ever recorded.
The Gilligan syndrome.
That's what I call the Gilligansyndrome.
Yeah, Gilligan, none of thoseactors really ever got work
after Gilligan's Island.
Uh, making him synonymous withthe single track, but that
(01:04:25):
single track made him a lot offucking money, people, if he had
the right deal.
Uh for Boom, he's hearing thoseopening guitar cords, right?
Instantly transport them backto 1970, where the song seemed
to play everywhere.
All right, number two, in thesummertime, Mungo Jerry.
Okay.
It's it's a it's kind of in thesummertime when the wither is
(01:04:45):
uh it's it's a good song.
It's catchy.
It's a catchy tune.
That's the thing about in thesummertime.
It's just a catchy tune.
I'm not going to play itbecause I don't want to play
every fucking song that's comingup.
But uh, yeah, okay.
It's it's if somebody said whosings in the summertime, most if
you're a real boomer, you wouldsay Mungo Jerry, right?
But he never did anything.
(01:05:06):
While Mungo Jerry had someminor success in the UK and
Europe with subsequent releases,in the summertime remains their
only significant internationalpop hit.
The band's other songs nevermatched the universal appeal and
shot success of this summerclassic.
Uh for baby boomers, the songrepresents carefree optimism in
the 70s summers, and the worldseemed full of possibilities.
(01:05:28):
Shocking Blue, Venus, right?
Good version, good song.
Uh Banana Rama did a greatcover version, a great, great
cover version of it.
Um one of the best covers I'veever heard of a song.
I I do believe, but then again,I love Bananorama.
They are.
They really are a guiltypleasure for me.
(01:05:50):
I love Bananorama.
I out of all the girl bands, Ilove Bananarama.
Overall, they were theprettiest, too.
They were the prettiest.
The go-go's were dogs.
They were dogs, except forBelinda Carlisle.
The rest are dogs.
And then you have uh uh who isit?
(01:06:10):
Walk like an Egyptian.
She's the prettiest one in theband.
Susannah Hoff.
Anyway, I digress.
Uh let me see.
Shocking Blue never managed toreplicate the global success of
Venus, making it their definingand only major international
hit.
That was Sweden, Swedish, Ibelieve.
(01:06:30):
Uh the band continuedrecording, had some success in
Europe.
Nothing came close to theworldwide phenomenon of Venus
because it's a great song.
That is a, you know, uh, but II it's one of those questions,
though, if you ask a boomer,like who sang Venus?
Maybe they might not knowShocking Blue.
Uh Lady Demonstrated BananaRam, it's cover version.
(01:06:51):
There you go, became a hit inthe 80s, introducing the melody
to a new generation, and theygot paid.
Vehicle, Izah.
Much.
This is a okay.
Let me see.
I gotta, this is this is aboomer song.
It's a great fucking song, too.
I love this song.
This is that whole trumpetthing that was going on with
(01:07:16):
Chicago, what sweat tears.
Right?
It's a good intro, too.
It's a good intro.
That's a great song.
I'm your vehicle, baby.
(01:07:38):
Yeah, I can sing.
Okay, I'm not gonna read thatwhole thing.
Let's go to the next one.
Kung Fu Fighting.
Kyle Douglas is number five.
We all know that song.
That's a boomer.
Everybody knows that song.
I won't even talk about thatsong.
Number six, play that funkymusic, Wild Cherry.
Okay.
Yeah, they never really didanything after that.
(01:07:58):
It's a boomer, it's a trueboomer song, no doubt about it.
Uh, you know, especially whenthey say white boy, right?
Every white boy is like, yeah,yeah.
Although a lot of my whitefriends aren't really that
funky.
As I said at the beginning ofthe last three episodes.
You white boys, you white boys,they won't really have much
(01:08:20):
rhythm.
Just saying.
From one white boy that hasrhythm to another that doesn't
have rhythm, you don't have muchrhythm.
You can debate me on Facebookon that.
Ah, number seven, you light upmy life.
So this is also from thePoseidon Adventure, which was a
mega hit, right?
The Poseidon Adventure was amega hit.
(01:08:41):
So this was the song in themovie, and Debbie Boone, Pat
Boone's daughter, I believe, andyou know, uh, You Light Up My
Life.
Like, that was such a huge songthat she was never gonna top
that.
She just wasn't.
That's that's the problem withhaving a hit too early in your
career.
See, all right, American Pie.
This is he's Don McLean was nota one-hit wonder.
(01:09:03):
He was not a one-hit wonder.
He had like three hits, fourhits.
So I don't know.
I don't know why they would putthat in there.
Because a fucking Gen Xer wrotethis article, I'm sure.
Pillow Talk by Sylvia.
Uh let's hear that.
I don't I don't do I know thissong.
(01:09:26):
I'm sure I do, but let's see.
Let's see what we got.
Speaker 01 (01:09:39):
Okay.
Scott (01:09:43):
No.
Nah, I can't I can't this guy'sthis this right is losing me
now.
That's not a I mean, that's anaverage, to me, that was that's
an average, that's a disco hit.
You know, that was nah.
Alright, what's this?
(01:10:06):
Uh Nah nah, hey, hey, kissthem, kiss them goodbye.
What?
Steve's catchy anthematic poprock song.
Now I gotta hear this one too.
It's this is getting away fromme now.
Nah, nah.
Hey, hey, kiss them goodbye.
What do what do we got?
What do we got?
(01:10:26):
Oh yeah.
Hey, hey, hey, goodbye.
Okay.
All right.
Oh, yeah.
All right.
Yeah, that that I'll give youthat.
Yeah.
I I I'll be honest, I didn'tknow Steam was the band that
sang that.
I I just learned something.
(01:10:46):
So that is a one-hit wonder.
Conclusion.
These songs, while perhaps thesole major hits for their
artists, were far fromthrowaways.
They captured the spirit oftheir time.
They did, showcased uniquemusical ideas and became uh
deeply ingrained in the memoriesof Generation Each track.
Baby boomers, these one-hitwonders aren't just trivia
answers, nostalgic curiosity.
(01:11:08):
Okay, blah, blah, blah.
All right, there we go.
There we go.
We got rid of all that.
Let's get rid of this.
I don't know what we have.
Do we have any more comments?
Best intro ever, 25 or 6-4.
Uh, best intro ever, 25 to 6 to4.
Ah, great one.
Good night, Scott.
Yep, Dave Phillips.
Going to watch football.
(01:11:28):
Great show as always, myfriend.
Steve Stevens.
Loved it.
Okay.
Yep.
Well, I'm uh I'm going.
Dr.
Vera, the beautiful, amazing,brilliant Dr.
Vera, my wife.
And Vera's not her first name,by the way.
It's a thing.
Um, she's home now, so I'mgonna go meet her.
(01:11:48):
And uh, everybody, as I alwayssay, uh, thanks for watching.
Thanks for listening.
If you liked it, share it.
If you didn't like it, well,thanks for watching and
listening for an hour and 12minutes.
I always appreciate you.
You are the engine that runsthis machine.
If it wasn't for you, it'd justbe me doing this, and I'd still
do it because I love doingthis.
This is my church, as I say.
This is my church, this is mymy uh my zen.
(01:12:12):
Uh, whenever I get onWednesday, Thursday night live.
I love doing this.
It's cathartic, it'stherapeutic for me uh on so many
levels, and you guys are alwaysnice enough to watch and
listen, and I do appreciate it,honestly, uh, from the bottom of
my heart.
This this doing this, this islike episode 190 or something,
and and it's just uh I just lovedoing this.
(01:12:35):
I love it.
So it's more than justpodcasting and live streaming
today.
So, with all that said, doingall these shows for you, to
quote my favorite artistMorrissey, who just had a death
threat.
Why does somebody want tofucking hurt Morrissey?
Really?
Anyways, we'll talk about thatnext week.
Doing a show for you.
(01:12:56):
The pleasure, the privilege ismine, and I'll be back next
week.
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