June 15, 2025 • 44 mins
We pay tribute to two musical legends who recently left us - Beach Boys' Brian Wilson and Sly and the Family Stone's Sly Stone - while celebrating their revolutionary contributions to music history.
• Brian Wilson, the creative genius behind the Beach Boys, died at age 82 on June 11, 2025
• Wilson's incredible harmonies and arrangements made songs like "In My Room" and "Don't Worry Baby" deeply relatable and timeless
• "Good Vibrations" demonstrates Wilson's production mastery, featuring different musicians recording sections over months
• Sly Stone of Sly and the Family Stone also passed in June, leaving behind the legacy of psychedelic soul and multiple hit songs
• A look back at The Smiths June 1985 concert at the Beacon Theater in NYC
• We explore our favorite cover songs, from Johnny Cash covering Nine Inch Nails to The Fugees' version of "No Woman, No Cry" to Van Halen covering The KInks "You Really Got Me"
Music in My Shoes" where music and memories intertwine.
Learn Something New or
Remember Something Old
Please like and follow the Music in my Shoes Facebook and Instagram pages and share the podcast with friends on your social media. Contact us at musicinmyshoes@gmail.com.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:24):
He's got the feeling in his toe-toe.
Speaker 2 (00:30):
He's got the feeling and it's out there growing.
Hey everybody, this is Jim Bogeand you're listening to Music
In my Shoes.
That was Vic Thrill kicking offepisode 83.
As always, I'm thrilled to behere with you.
Let's learn something new orremember something old.
Last episode I mentioned thatwhile I was growing up, there
(00:53):
was always music on in my houseand, besides listening to the
radio, we had an 8-track player,not one from 8-Track Johnny,
but like a regular home 8-trackplayer, yeah, and we would
listen to the Beach Boys 8-tracktapes on it.
And Little Deuce Coup from 1963,shut Down, volume 2 from 1964.
(01:19):
They seem to be on a lot.
Okay, we just listened to it awhole lot and, you know, got
into the.
You know the Beach Boys and thebeach sound and, at that time,
the car sound that they weregetting into.
But the creative mind behindthe Beach Boys, brian Wilson,
(01:39):
died at 82 on June 11, 2025.
And he was more than just amusician.
He was a singer, he was awriter, he was a composer, a
producer.
I mean, he did so much.
Speaker 1 (01:55):
And.
Speaker 2 (01:56):
I think was very in tune within his own head of how
things should sound and how theyshould be.
Speaker 1 (02:04):
Yeah, he had it all mapped out in his head, even
when other people didn't knowwhat direction he was going.
Speaker 2 (02:08):
Right and really had no idea what he was doing at
times.
Yet in his head it all madesense and then when they would
put the final product out, itwas like, oh yeah, this does
make sense, yeah.
So you know some of the songsthat I was listening to on those
, those two eight tracks, thesong little deuce coop, be true
(02:31):
to your school, 409, shut down,fun, fun, fun.
And they're allorry Baby, withlead vocals by Brian, and I just
love the harmonies in this songand you know it's just
(02:54):
incredible the sounds that theycould make, the harmonies that
they could do and what theybrought to the world of music.
Speaker 1 (03:03):
And what they brought to the world of music.
Yep, it's.
You know.
I really love their harmoniesand all of his arrangements and
he's just a creative genius andhe'll be missed.
Speaker 2 (03:15):
He definitely will be missed.
Well, it's been building upinside of me for oh, I don't
know how long, I don't know why,but I keep thinking something's
bound to go wrong.
That's from Don't Worry Baby.
Those lines are just super cool.
(03:36):
And again, you know I say itoften.
I'm not going to sit here andsay I, you know, don't say it,
but it's things that we havefelt.
I felt it Generally, things Ifelt, you know don't say it, but
it's things that we have felt,I felt it Generally, things I
felt you've felt at some pointin your life.
Jimmy, I'm sure you know that,man, things are like looking up,
it's got, but man, it's boundto go wrong, something's going
to happen.
(03:56):
And it's just a really goodsong Don't worry baby.
And that that high, I guessfalsetto.
You would say how he sang thatit just.
You know, some people when theysing that way, it sounds like
they're forcing it, but his wasjust so smooth, it really was.
Speaker 1 (04:18):
Yeah, yeah, I know he has a lot, of you know, depth
and body to his falsetto vocal.
Speaker 2 (04:24):
I couldn't have said that any better myself.
I mean seriously, you're right.
I guess that explains it thebest.
I got the Surfer Girl album onvinyl a couple of years later
and I thought the songs SurferGirl, catch a Wave and In my
Room were incredible songs andthey're all sung by Brian with
(04:49):
Mike Love on Catch a Wave.
And In my Room were incrediblesongs and they're all sung by
Brian with Mike Love on Catch aWave.
But they just seem to be.
Even though they were earliersongs, they still seem to be
mature songs right, especiallyIn my Room.
I feel like that's kind of asign of things to come from,
like Pet Sounds and everythingyeah, and it's another one of
those songs that he's singingfrom his heart and it's
(05:10):
something you know he's singingabout being in his bedroom in
Hawthorne, california, and it'ssomething that I can relate to,
I mean to me growing up, mybedroom was kind of like that
kingdom, that palace, thatsanctuary.
Yeah yeah, great word.
You know, there's a world whereI can go and tell my secrets to
(05:35):
in my room.
In this world I lock out all myworries and my fears in my room
.
How can you not relate to that?
I mean, that was just like wow,again, he wrote this.
And when he wrote it, eventhough I wasn't born, he was
(05:58):
saying man, this guy, jim, isreally going to like the song
and be able to relate to it.
And I think that so many artists, that people like that, they
can see things in the words andfeel things from the music, even
though it was not written forme, even though it was written
(06:18):
before I was born.
But I think that is true signsof a successful song, true signs
of genius.
And you know, that's how I feelabout that song and many of the
songs that the Beach Boys orother bands did.
So the Beach Boys had more hitsthan we can mention.
(06:40):
I mean, they really, really did.
Wouldn't it be nice?
Sloop John B, one of myfavorite Beach Boys songs, I
have the original 45.
California Girls I Get AroundSurfing USA, and then Good
Vibrations, which is amasterpiece from 1966.
(07:02):
But going back to what you saidearlier, jimmy, they recorded
this over months and months andbits and pieces, and nobody
could figure out what was goingon with this song.
Speaker 1 (07:14):
Yeah, he would just say okay, now you guys sing
these notes, and then you knowthey were going.
Okay, that part sounded good,but how does this tie together
with everything else?
Speaker 2 (07:24):
Yeah, multiple verses , bridges and choruses.
And this is the thing that getsme on this song is that he has
well-known drummers that areplaying on this song, but
they're only playing one bridge,or they're only playing this
(07:44):
chorus, or they're only playingthis chorus, or they're only
playing this verse, I didn'trealize.
And then another drummer'splaying this, oh, and then the
stand-up bass is by this personon this part and it's on this
part is another person, wow, andand the shakers, which I'm
assuming is kind of like amaraca, would that be?
Speaker 1 (08:02):
yeah, it depends.
I mean, they're all differentkinds of shakers, can be like an
egg, you know, like a littleegg, oh yeah yeah, there's even
different shakers.
Speaker 2 (08:12):
When you go and you look at this song and see who
the musicians are on it, it'sabsolutely incredible.
It's like this long and I knownobody there, but just imagine
it's this long.
Speaker 1 (08:26):
Yeah, he's making his hands like really really long.
Speaker 2 (08:28):
It's incredible and you don't think about it when
you listen to the song.
You don't think oh, this is adifferent upright bass player.
You don't think this is adifferent drummer.
You don't think any of that.
Speaker 1 (08:41):
And you don't think this is a song that was recorded
in bits and pieces over months,and you don't think about how
it changes tempo and meter andinstrumentation and everything
multiple times because it justit works, because he had that
genius to know that it was goingto work in his head.
Speaker 2 (09:00):
Yes, 100 percent.
And what we've talked about itbefore, what was that?
Um instrument that I guess youput your hands over?
The theremin yes, and explainthat one more time well it is.
Speaker 1 (09:14):
Uh works with the magnetic field around like an
antenna.
So you move one hand closer tothe bottom antenna and that
changes the volume, and then theone at the top, I think,
changes the pitch, and so youcan play music with it.
Speaker 2 (09:36):
And that kind of gave it the psychedelic spacey sound
.
Speaker 1 (09:40):
Yeah, they used to use it a lot on creepy horror,
creepy horror things in the 50sand 60s.
Speaker 2 (09:46):
Yeah, and it fit perfectly in this song.
When you say that, you're right, it really did fit.
So Brian had, you know, amental breakdown in 1964, mental
illness.
He had drug issues andbasically you know it stopped
him from touring with the band.
He just decided he was going tostay around and record and just
(10:08):
everything that was in his head.
Get that out.
And you know it's unfortunatebecause as time went on it all
got worse for him.
You know and you can read onhim and he talks about at one
point he put his bathrobe on inthe morning and he might not get
out of bed the entire day.
Speaker 1 (10:30):
Yeah, didn't he do some sort of press conference
from bed or something like that?
It seems like I've seen videoof him in bed.
Speaker 2 (10:37):
I don't know, but I definitely would believe it and
that it just became a fight forhim to be able to do most
anything.
And it's really a shame becausethis is someone that was a
genius that heard everything inhis head.
(10:59):
But I think some of the thingshe might have heard in his head,
from a personal standpoint,really caused him some havoc in
his life.
Speaker 1 (11:10):
Yeah, he probably had trouble getting out of his head
and being just in the realworld, you know.
Speaker 2 (11:14):
Yeah, I would agree with you.
So Pet Sounds you mentioned PetSounds.
It came out May 1966.
The Beatles had released RubberSoul in December 1965.
And that inspired Brian to tryand create the best rock and
roll album of all time and thatwas Pet Sounds.
(11:37):
And when Pet Sounds came out,everybody was talking about what
a great album it was thatinspired the Beatles to do Sgt
Pepper's Lonely Hearts Club Band.
Now, when you listen to themthere's not a lot of
similarities, but it is thatI've got to do something better
(11:58):
that made them work for it.
I think on Sgt Pepper's theharmonies on some of the songs
she's Leaving Home that comes upat the top of my head that you
can say, man, I can imagine thatbeing the Beach Boys singing.
Speaker 1 (12:15):
Right, and also the idea that it's an album that has
a concept and you can followthe thread from beginning to end
, unlike an album from 1964 thatwould just be a collection of
singles, you know Right.
Speaker 2 (12:38):
And so it was the beginning of the album era
really, whether they're in musicor they're in Hollywood that
have come across and, you know,put out their condolences to
Brian Wilson and what he meantto them and what they thought of
him as a musician.
I just think that's super coolbecause there's been a lot of
(12:59):
people out there that have saidthings about him and they're
from all across different typesof music that have said things
about him and they're from allacross different types of music.
And you know, I think that whenyou can captivate people from
all over, that says a lot aboutyou.
It says a lot about what you'reable to do, because ultimately,
music's a message.
You know, no matter what songit is, no matter what it's about
(13:23):
, it's some sort of message thatyou're trying to get across to
people and he was able to dothat with so many people.
It's just, it's incredible.
I mean, he really did so muchand in a short period of time.
You know a very short period oftime.
If you just look at the stuffthat was accomplished, you know
(13:45):
from 62 to 67, you know that'sunbelievable.
Did you ever get to see him notlong ago?
And you know he had his BeachBoys version and Mike Love has
(14:06):
his version and I didn't, and Ireally wish that I had.
Speaker 1 (14:13):
I got to see him probably 10 years ago at the Fox
Theater in Atlanta and it was agreat show.
Now, even then, brian wasdefinitely not at the top of his
game, you know.
You could tell that he had alot of great people around him
and they would support him whenhe was singing, but he, he
(14:34):
seemed like he was, you know,struggling physically and, uh, a
little bit so.
But it was a great show becausethey just had incredible
musicians.
And what I heard very recentlyabout that is that there was a
Beach Boys tribute band andBrian Wilson and Al Jardine, the
(14:56):
original Beach Boy, said, ohwell, why don't we just kind of
make them our band?
And so that's what they did.
And they added, uh, al's son,matt, could sing the really high
parts that brian couldn't singas well anymore, and they uh
folded all these people.
So it was about, you know, 10or 12 people in the in the band
(15:19):
up on stage, but it reallysounded great.
And we were were sitting nextto I took the whole family, we
were sitting next to a couplethat were probably teenagers in
1962, you know what I mean RightIn the mid-60s.
And when God Only Knows came on, they both grabbed each other's
(15:41):
hands and looked at each otherand a tear came to their you
know their eyes and it was.
It was really sweet because itwas obviously their song.
Speaker 2 (15:48):
There you go, I like that.
Yeah, that's cool, you know itis.
If it means something to you,especially after all those years
, you know, so be it.
Do my dreaming and my scheminglie awake and pray.
Do my crying and my sighinglaugh at yesterday.
(16:17):
So, jimmy, we just talked aboutBrian Wilson, but we also just
had Sly Stone of Sly and theFamily Stone, who died in June
as well, and they were the firstbig racially combined mixed
gender US band.
(16:40):
If you think about it, that justwasn't something that was
happening back in 1967.
Right, and you know theycreated psychedelic soul.
I think that as time went on itbecame kind of darker soul, but
it was psychedelic when theyfirst came out.
You know they had dance to themusic I Want to Take you Higher
(17:03):
Everyday People, which Iactually heard Joan Jett's
version of Everyday People theother day.
It just happened to randomlycome on and I remember as a kid,
as a young kid, being indifferent places you know, not
just my parents, but you knowwherever and I remember hearing
dance to the music so often.
(17:25):
I remember hearing everydaypeople so often, like they are
part of my really young musicalmemories.
One of my favorite all-timetitled songs by any group is by
sly and the Family Stone andit's called Thank you for
(17:48):
Letting Me Be Mice Elf Again.
Or, if you say it straightthrough and not that way, thank
you for Letting Me Be MyselfAgain.
And I just think that is socool and I imagine Prince
listened to that and saying Igot to spell things differently,
(18:11):
I got to be like Sly.
Speaker 1 (18:13):
I had no idea.
They spelled it that way.
Speaker 2 (18:15):
Yes, and I'm not saying that happened.
What I'm saying is I canimagine that happening.
Okay, I think that is one ofthe coolest album excuse me,
song titles of all time.
And and especially, you knowyou're going back in in a time.
I think it was 1969 when itcame out.
(18:37):
That's not what people did, youknow.
You just put what, what it was,you know.
So it actually hit numberoneary of 1970 on the billboard
hot 100 chart and you know theyperformed at woodstock in 1969.
Speaker 1 (18:53):
it was definitely, you know, one of the highlights
for for people they played atlike three in the morning and it
was still a legendary yesperforming yeah, they did, you
know, um, they.
Speaker 2 (19:04):
I have some of the songs on my phone that I
listened to.
You know it was just super cool.
I know I like to use the wordsuper cool, but it was, you know
.
But then Sly's drug use anderratic behavior just doomed the
group Ultimately.
Most of Sly's life was riddledwith drugs and it wasn't until
(19:27):
2019 that he quit them for good,where he finally was told if
you continue to do this, you'regoing to die.
And he realized he wasn't goingto beat it, but this was a
battle for over 50 years for him.
The fact that he was able tosurvive that long is
unbelievable and, you know, kindof like Brian Wilson who we
(19:50):
just talked about.
I mean, sometimes these musicalgeniuses, these people that are
able to do so much, they getcaught up in so many bad things
for them and and you don't getto see everything that they
possibly could have done.
It's sad, yeah, and it is, butI do hope he's somewhere dancing
(20:13):
to the music.
So, jimmy, june 17, 1985, theSmiths play the Beacon Theater
in New York City and I wanted togo to the show.
I was a big Smiths fan.
I really liked them from thefirst time I heard them I was a
big Smiths fan.
I really liked them from thefirst time I heard them.
This was a band that I liked,but I didn't really know anyone
who felt the same way as I did.
(20:34):
They might like a song or two,but that was kind of about it.
And even though the Meet HisMurder album came out, which
ended up having a bunch of hitsthat people ended up liking, it
only had come out a few monthsearlier and it wasn't something
that everybody knew about at thetime.
So I was begging people.
(20:55):
I was like, come on, you know,you know, I'll buy your ticket,
you know.
And people just kept turning medown, no, no, no.
And people just kept turning medown, no, no, no.
So I talked to a friend of minewho was not into the Smiths,
didn't even know who they were,wasn't into that type of music
whatsoever, was into just kindof like.
(21:15):
You know we call it classicrock today, but then it was just
rock.
Speaker 1 (21:19):
Yep.
Speaker 2 (21:20):
And I said to him I'm like you know I'm bummed out.
I want to go see this show.
Nobody wants to go.
He's like who is it?
I'm like you're not going to go, it's the Smiths.
And he's like, yeah, I don'tknow who they are.
He's like where are theyplaying?
I said the Beacon Theater.
He says, oh, I'll go.
And I'm like, wait a minute,that all of a sudden now he
(21:42):
wants to go.
He says my dad is a policeofficer and that's kind of like
his area.
He walks the beat around there.
He says I'll just tell my dadto get us on the guest list.
Oh, great.
So I'm like, come on.
I said you're going to get yourdad to get us on the guest list
(22:02):
to see a band that you don'teven know who they are?
He goes, yeah, it'll be fun.
He goes and I'll drive.
I'm like I'm in, I'm in Ifyou're going to drive and get us
into the show.
This is a show for me.
So June 17th 1985, we take hiscar, we drive in, you know, we
park a couple of streets awayand we're walking up and we go
(22:27):
to the box office and he's like,yeah, I'm officer blah blah son
, and they said hold on.
Someone came and got us anusher and they took us up, you
know, you know, up in thebalcony and they said here you
go, here are your seats.
We had no tickets, we hadnothing whatsoever.
I didn't even want to go to thebathroom during the show
(22:50):
because I'm afraid that if I getup and I cause back then, even
though people were all over theplace, they always seemed to ask
for your ticket you know, andI'm like I can't.
I got to sit right here, so gotin.
I mean, it worked.
I couldn't believe it.
It was great.
Billy Bragg opens up the show.
(23:11):
Oh, cool, yeah.
And then the Smiths come out.
They open up with William.
It Was Really Nothing.
Love the song.
Next song's Nowhere Fast.
One of my favorite Smith songs.
I love the bass on it.
They end up, you know, duringthe show they play how Soon Is
Now.
But how Soon Is Now, if Iremember correctly, was just
(23:31):
different.
They couldn't get all of thosesounds of when you're listening
to it.
Speaker 1 (23:36):
Yeah, because that was very complicated.
You know, that was like a BrianWilson type of a thing that
Johnny Marr did, where he hookedup like eight different
amplifiers that all had thistremolo effect on them and they
had to be synchronized and itwas like herding cats to make it
happen, and so they had to keeprecording, section by section
by section, to make it sound theway it sounds yeah, and it did
(23:58):
not come across that way in 1985at the Beacon Theater
Definitely sounded less layered,you know, it was just kind of
more of a straightforward songthan on the album.
Speaker 2 (24:14):
Shakespeare's Sister love that song.
The Headmaster Ritual Mita'sMurder, closed out the set and
then the second song of theencore was this Charming man,
which was one of my favoritesongs and probably the second
song.
No, you know what?
I think it was the first songthat I heard by the Smiths.
I think that was the first songthey did a second encore.
(24:37):
Please, please, please, let MeGet what I Want, followed by
Miserable Lie.
During both of the songs, fansare up on the stage.
Now Morrissey's missing linesbecause he can't get to the
microphone stand and likesecurity's doing stuff, but
they're not doing it quickenough.
You know, and it's just likeit's kind of like pandemonium
(24:59):
going on the stage and hedoesn't really like it.
You can see that and it's funnybecause you know now, knowing
Morrissey the way he is, hedoesn't really like it.
You can see that and it's funnybecause you know now, knowing
Morrissey the way he is, hedoesn't necessarily like to be
touched, he doesn't want peoplehovering all around him.
I think he put up with it in1985 because you know that was
the beginning of them and youknow you don't want to get
(25:21):
people mad and not want to buyyour records.
So the second song of the thirdencore, barbarism, begins at
Home, one of my favorite Smithsongs, great version.
They just jammed to it and itwas really cool to see a non-jam
band jam to a song.
Oh, and it was.
(25:42):
You know.
Again he missed lines becausepeople came up on the stage.
It just was cool.
You know it probably went on.
And about 10 feet tops in frontof me I notice Andy Warhol is
(26:12):
walking down.
He's at the show.
They had used some of hisphotos.
I think it was for their firstalbum that they had released,
maybe some more for singles, I'mnot 100% sure, but it was so,
so cool.
Like this is Andy Warhol.
You know, like this is neat.
It was the only time I've everseen him in my life and I was
(26:33):
that close to him and people, um, once we got down below, people
were getting his autograph.
I regret that I didn't.
I was kind of like I'm, I'msuper cool, I don't need his
autograph.
Speaker 1 (26:46):
Yeah, you don't need it.
Speaker 2 (26:48):
I wish I got it, jimmy, I got to be honest.
I have to be honest.
Speaker 1 (26:51):
You know how many autographs I have.
I'm going to go with hint.
Speaker 2 (27:05):
Wow, wow, jimmy, you know what I am going to actually
autograph something now, justbecause you have said that, I
feel like it's my civic duty todo it, and the fact that all
these years later that I am kindof bummed that I didn't get
(27:26):
Andy Warhol's autograph.
Yeah, I just put my name.
Is that good enough?
That's good.
Speaker 1 (27:32):
Yeah, because that makes it easier for me to sell
on eBay.
No personal details.
Speaker 2 (27:42):
Oh my God, you are funny, you are funny, you are
funny.
You know what I'll tell you.
I'm going to say it one moretime because I'm laughing so
hard.
You know what time it is, jimmy, what time?
Music in my shoes, mailbag time.
Speaker 1 (27:58):
Music in my shoes mailbag.
Speaker 2 (28:03):
Yes, music in my shoes, mailbag time.
Yes, music in my shoes, mailbagtime.
Regarding episode 81, theGoonies a psychedelic rolls and
Wooly Bully, jennifer andGeorgia emailed.
I yelled at my phone when Jimmysaid he hadn't seen the Goonies
.
Sir, you have homework.
(28:23):
Okay, all right, accepted wow,I mean just right to the point.
Calls you sir, and if you'rebeing called sir, I think that
you do have to answer it no, I'mimpressed.
Speaker 1 (28:37):
I'm definitely like taking heed there you go.
Speaker 2 (28:41):
I still can't believe you haven't seen.
And just so you know, manypeople have asked me about it.
Speaker 1 (28:48):
Just so you know, somebody the other day was
talking about the Goonies as ifeverybody knows it and I had to
admit that I'd never seen it andthey were like what?
And yeah, it wasn't even aperson that was like a kid in
the 80s, it was a person thatsaw it in the 90s, when they
were, you know, they're not asold as us.
Speaker 2 (29:09):
There you go.
So you need to answer thatchallenge and we need to hear
about it.
All right, all right, I'll doit.
It's on record here, I know.
All right, we're lookingforward to that, jimmy, we're
looking forward to that Jimmy.
So on the same episode we werediscussing the band Gang of Four
with Mike Mills of REM coveringthe Velvet Underground's Sweet
(29:32):
Chain.
I had gone to the Gang of Fourshow and, jimmy, you said the
Cowboy Junkies version of SweetChain was the best cover of the
song.
Speaker 1 (29:45):
I said that Phish did the best cover of it.
Speaker 2 (29:46):
Okay, Well, that got a listener to write in Jim and
Jimmy, you started aconversation about cover songs.
Got me thinking, Thought I'dgive you my top ones and hear
your thoughts.
Cool Number four no Woman, noCry, the Fugees cover of Bob
(30:08):
Marley.
I love it.
I love the Fugees version.
I love Bob Marley's version andBob Marley's version.
It's the live one that mostpeople know.
Most people don't know thestudio.
The live one was recorded 50years ago in London in July 1975
(30:30):
.
Oh, Pretty cool.
Speaker 1 (30:32):
It is.
Speaker 2 (30:33):
I like that.
I like the Fugees, I do.
I like Wyclef John a lot andjust listening to that song and
just, oh man, it's a good song.
So I like the number four song.
Number three Hard Luck Woman,garth Brooks cover of Kiss Jimmy
(30:53):
.
With you being the subjectmatter expert on Kiss, I'm going
to defer to you on that song.
I don't have anything to add atall.
Speaker 1 (31:02):
Well, I do.
So I listened to a podcast.
Uh, this podcast called rock ontours.
That, uh, they do interviewswith old rock stars and they had
paul stanley on there from kissand he talked about how he had
written hard luck woman for rodstewart, but rod stewart didn't
(31:23):
want to do it, so so Peter Crissdid it in Kiss.
Speaker 2 (31:26):
Really?
Yeah, I did not know that.
Yeah, but I guess you figured Ididn't know that.
So Garth Brooks' version.
Are you familiar with it?
Speaker 1 (31:35):
I may have heard it, but I don't think I am.
Speaker 2 (31:37):
Yeah, I haven't.
I don't think I've heard eitherone to be honest.
Sorry, but it's the truth.
I've heard either one to behonest.
Sorry, but it's the truth.
Number two Valerie AmyWinehouse.
Cover of the Zootons.
I never heard the song byeither one.
What I did listen to it You'rekidding me.
Speaker 1 (31:57):
I'm not kidding, you've never heard Amy Winehouse
, valerie.
No, that's worse than theGoonies.
Speaker 2 (32:02):
No, it's not.
Yes, it is.
When I saw Valerie in thisemail that he sent, I
immediately thought of the SteveWinwood song.
Never heard of the song before.
Now I've listened to it.
It's a Mark Ronson song I read,and that she is the singer.
She's with him playing this.
(32:24):
You know this song?
Pretty good song.
It's a pretty good song.
Speaker 1 (32:28):
Yeah, it's kind of her signature song.
Speaker 2 (32:30):
No, that's not her signature song.
Yeah, it's one of them.
I would go with Rehab.
Well, I was going to say rehab,but what's the other one?
I don't know.
Speaker 1 (32:43):
Back to Black.
I'm not an expert on AmyWinehouse, and even I know
Valerie.
Speaker 2 (32:49):
That's amazing.
I did not know the song, Okay,but I've heard it now, I've
listened to it.
So number one I will survive.
The cake cover of Gloria Gaynor.
I love this cover I have sincethe day one and it's one of
those songs people either loveor they hate.
There's not a lot in the middleand I love how Kate kind of
(33:14):
changed up the style of it andyou know how, the acoustic
guitar, the way that he plays it, and just singing it a
different way.
I love it.
I love Gloria Gaynor's versiontoo, but I think Kate did a
great job with this.
Speaker 1 (33:27):
Yeah, it's fun because it's kind of feels
tongue-in-cheek, but it's notnecessarily.
You know, it's just anotherversion of it, but you've got
this kind of straight-voiced youknow male singing it, so it
gives it a completely differentfeel.
Speaker 2 (33:43):
Yeah, and with a cool you know solo in the middle of
it.
Just a great song, great.
I love that as number one.
So keep up the great work.
Love the show sign BigfootParts Unknown.
Now Bigfoot Parts Unknown haswritten in before All right To
Mailbag, so we definitelyappreciate that.
So I put together kind of aquick list here of some of the
(34:09):
songs that I like that arecovers.
Speaker 1 (34:11):
Yeah.
Speaker 2 (34:12):
And it's not.
You know, I can't tell you thisis my top five.
It's not.
I put a quick list, I didn'tthink a whole lot about it.
But Fish, the entire VelvetUnderground loaded album.
They recorded, they released itlive.
It's from October 31st 1998 inLas Vegas and that's what Sweet
(34:33):
Jane is on.
They do the whole album.
It is fantastic.
It truly is.
You really got me the Van Halenversion of the Kinks.
You really got me the Van Halenversion of the Kinks.
I love the Kinks version.
I love the Kinks live version.
I love the Van Halen version.
I just enjoy them.
Speaker 1 (34:56):
I think they're good.
The Van Halen version was greatbecause it was a vehicle for
Eddie Van Halen to solo in theearly days.
It was on the first album,right?
I?
Speaker 2 (35:07):
believe so.
Speaker 1 (35:09):
And so, yeah, it's just kind of a simple riff for
him to do his thing over.
But yeah, I mean I'm obviouslypartial to the Kinks version.
It changed music forever.
Speaker 2 (35:20):
Yes, it did.
All Along the Watchtower, JimiHendrix covering Bob Dylan.
Speaker 1 (35:26):
Yeah, that was on my list.
Speaker 2 (35:28):
Really.
Speaker 1 (35:29):
Yeah.
Speaker 2 (35:29):
Mr Tambourine man, the Birds covering Bob.
Speaker 1 (35:32):
Dylan, good one, yeah .
Speaker 2 (35:33):
What are some of your songs?
Speaker 1 (35:36):
So I have a song called Superman that was
originally by the Click and youmay know the cover version done
by REM on Life's Rich Pageant.
Speaker 2 (35:48):
I did not know it was a cover.
Speaker 1 (35:50):
It was a cover and the Click was from.
That version was from 1969, Ibelieve late 60s Really, and
it's a really unusual version.
It's kind of got like all thisreverb on it and, uh, it's, it's
fun.
But the rem version is isbetter.
It's just kind of a better popsong the way rem does it, but
(36:12):
it's weirder the other way forsure.
Uh, louis louis was a songwritten by richard berry.
He did with richard berry andthe pharaohs and his version is
fun to listen to because therhythm is different than what we
know it as the version thateverybody knows better, I think,
(36:32):
is the Kingsman, which I thinkis just a fantastic live
recording.
I mean, it just captures thereckless abandon of the Kingsmen
and they were tight enough andloose enough and it just seemed
like a party right.
Speaker 2 (36:51):
Oh yeah.
Speaker 1 (36:52):
Richard Berry had written that song.
He was in a bar and talking toa bartender something about a
sailing ship, and he said, oh mygosh, okay.
And he'd heard this rhythm that, uh, some sort of a band from
another country had played arhythm and he, he wrote the
(37:14):
rhythm down and like marks onthis bar napkin, and he wrote
down a few lyrics and then hewent home and wrote Louie, louie
and that's uh, you know, it'sbecome one of the most covered
songs in the world.
But I think that the Kingsmanversion is the best.
Speaker 2 (37:30):
And I think that's another one of those songs.
You just don't have any ideawhat they're saying.
Speaker 1 (37:34):
Yeah, you can understand it a little bit
better.
On the Richard Berry versionhave you ever heard the Kinks
version?
Speaker 2 (37:42):
I don't think so.
Speaker 1 (37:43):
Yeah, I hadn't heard it either and I looked it up
recently.
It's fun.
Again, it has a differentrhythm the way that Ray sings it
than what you're accustomed to.
And, yeah, it's fun.
My last one I've got TaintedLove.
Have you ever heard theoriginal version?
(38:04):
So we know the Soft Cell cover.
I know it's a cover.
I you ever heard the originalversion?
So we know the soft sell cover.
Speaker 2 (38:07):
Right, I know it's a cover.
Speaker 1 (38:08):
I've never heard the original the original it was
kind of a 70s, more of like asoul, uh, a little bit of disco
in it.
Uh, gloria jones was the singerand it's that soft cell
completely reimagined it forwhat we know.
Speaker 2 (38:26):
You know they gave it that kind of stark, uh european
feel that it has yeah, and Ithink, uh, was this mark ahman
is um the singer of soft cell.
His voice, just the sound ofhis voice, just gives it this
crazy, dark, mysterious way ofof performing the song Again.
(38:47):
I've never heard the original.
I knew it was a cover, I justnever heard the original.
Speaker 1 (38:52):
So they just played the other night.
Played on Saturday night atChastain Park here in Atlanta.
Soft Cell did.
My friend Rob went, said it wasgood.
Speaker 2 (39:03):
Those are some pretty good songs there, Jimmy.
Speaker 1 (39:05):
Yeah, that was a fun thing to do.
Thank you, bigfoot.
I have a couple more, oh you do, I do Hurt.
Speaker 2 (39:13):
Johnny Cash covering Nine Inch Nails, and that's one
of those songs that you got towatch the video at the same time
.
It just gives it this wholedifferent meaning than when
listening to Nine Inch NailsRowboat.
Johnny Cash covering Beck.
This song is fantastic.
It's almost like it was writtenfor Johnny Cash.
(39:35):
It is great.
If you've not heard this song,you have to listen to it.
Really, really good, I love it.
Yeah, I don't know that oneChanges.
Charles Bradley covering BlackSabbath.
Do you remember the BlackSabbath song Changes.
Speaker 1 (39:50):
I don't think I do.
Speaker 2 (39:52):
Well, I think it came out like in 1972.
It came out, you know, kind ofafter the super hard rock period
that they had.
It's a really good song.
This guy Charles Bradleycovered it.
Gives it a lot more soul to it.
And I heard it.
I was binge-watching Suits andall of a sudden I hear the song.
(40:14):
I'm like wait a minute, that'sthe Black Sabbath song, but
that's not Ozzy Osbourne singing.
Yeah, and I looked it up and itwas this guy, charles Bradley
Awesome version.
This is one that I thought thatyou would have said Jimmy
Needles and Pins the Ramonescovering the Searchers.
I mean, I love that song.
(40:35):
I think that song is fantastic.
I listen to Needles and Pins aton and when I listen to it I
normally just listen to it againand then again, and then again.
Speaker 1 (40:44):
It's just like I Do you listen to the Ramones
version or the Searchers version?
Speaker 2 (40:47):
The Ramones, definitely.
It's like I binge listen, Ijust keep boom, let me hear it
again, let me hear it again, letme hear it again.
I just love it.
And then my final is I LoveRock and Roll.
Speaker 1 (41:00):
Yeah, that's a great one.
I was going to put that on mylist, but I didn't think we were
going to put so many Jim.
Speaker 2 (41:06):
Well, Joan Jett and the Blackhearts came to mind, so
I put it on the list.
Speaker 1 (41:10):
I love that song Covering the Arrows version.
I don't think I've ever heardthe Arrows version.
Speaker 2 (41:16):
I've not heard it either.
Speaker 1 (41:26):
My brother had that record.
I think it came out in 1981,and I brought it for show and
tell to school and played.
Speaker 2 (41:30):
I Love Rock and Roll on the little record player in
our classroom.
Oh my Lord, the fifth grade,nice, nice.
So you can reach us atmusicinmyshoes at gmailcom with
any questions or any challengesthat you'd like to give Jimmy,
because I do believe he needs towatch the Goonies.
Please like and follow theMusic in my Shoes Facebook and
Instagram pages and share thepodcast on your own social media
(41:50):
.
Speaker 1 (41:50):
Music in my shoes mailbag.
Speaker 2 (41:56):
According to my watch , it's Minute with Jimmy.
It's time for Minute with Jimmy.
Minute with Jimmy.
Minute with Jimmy.
It's time for Minute with Jimmy.
Minute with Jimmymy with jimmy.
Speaker 1 (42:03):
With jimmy it's time for a minute with jimmy, with
jimmy, with jimmy, so.
So my daughter, lily, just sentme a, uh new single by the band
super chunk that came out lastweek and it's called is it
making you feel something?
It's a three song single thatthey released and it has, uh,
you know, really really cool ifyou have ever heard super chunk.
(42:24):
It's it's a three-song singlethat they released and it has
really really cool.
If you have ever heard SuperChunk.
It's a really great example oftheir sound.
They've become a little bit moreaccessible and poppy.
They started out as a real punkband.
It's called Is it Making youFeel Something?
It also has a song on it calledBruised Lung.
That's a really great song andeverybody dies.
(42:46):
It sounds like maybe that wouldbe a really dark record, but
you know the songs have have afun feel to them.
I think everybody will likethem.
You got to check it out.
It's the first three songs froman upcoming august lp that they
have coming out and the name ofthat is songs in the key of
yikes.
So be on the lookout for that.
Listen Songs in the Key ofYikes.
So be on the lookout for that.
(43:07):
Listen to those three songsSuper chunk.
Speaker 2 (43:11):
I like it, jimmy, I like it.
My name is Jimmy.
Jimmy.
I've had a lot of fun todaytalking about all different
types of things, butunfortunately that's it for
episode 83 of Music in my Shoes.
Unfortunately, that's it forepisode 83 of Music in my Shoes.
I'd like to thank you, jimmy.
Jimmy Guthrie, show producerand owner of Arcade 160 Studios
(43:31):
located right here in Atlanta,georgia, and Vic Thrill for the
podcast music.
Now it's dark and I'm alone,but I won't be afraid in my room
.
This is Jim Boge, and I hopeyou learned something new or
remembered something old.
We'll meet again on our nextepisode.
Until then, live life and keepthe music playing.
(43:54):
Thank you.
He's got the feeling in his toe-toe.
Speaker 2 (00:30):
He's got the feeling and it's out there growing.
Hey everybody, this is Jim Bogeand you're listening to Music
In my Shoes.
That was Vic Thrill kicking offepisode 83.
As always, I'm thrilled to behere with you.
Let's learn something new orremember something old.
Last episode I mentioned thatwhile I was growing up, there
(00:53):
was always music on in my houseand, besides listening to the
radio, we had an 8-track player,not one from 8-Track Johnny,
but like a regular home 8-trackplayer, yeah, and we would
listen to the Beach Boys 8-tracktapes on it.
And Little Deuce Coup from 1963,shut Down, volume 2 from 1964.
(01:19):
They seem to be on a lot.
Okay, we just listened to it awhole lot and, you know, got
into the.
You know the Beach Boys and thebeach sound and, at that time,
the car sound that they weregetting into.
But the creative mind behindthe Beach Boys, brian Wilson,
(01:39):
died at 82 on June 11, 2025.
And he was more than just amusician.
He was a singer, he was awriter, he was a composer, a
producer.
I mean, he did so much.
Speaker 1 (01:55):
And.
Speaker 2 (01:56):
I think was very in tune within his own head of how
things should sound and how theyshould be.
Speaker 1 (02:04):
Yeah, he had it all mapped out in his head, even
when other people didn't knowwhat direction he was going.
Speaker 2 (02:08):
Right and really had no idea what he was doing at
times.
Yet in his head it all madesense and then when they would
put the final product out, itwas like, oh yeah, this does
make sense, yeah.
So you know some of the songsthat I was listening to on those
, those two eight tracks, thesong little deuce coop, be true
(02:31):
to your school, 409, shut down,fun, fun, fun.
And they're allorry Baby, withlead vocals by Brian, and I just
love the harmonies in this songand you know it's just
(02:54):
incredible the sounds that theycould make, the harmonies that
they could do and what theybrought to the world of music.
Speaker 1 (03:03):
And what they brought to the world of music.
Yep, it's.
You know.
I really love their harmoniesand all of his arrangements and
he's just a creative genius andhe'll be missed.
Speaker 2 (03:15):
He definitely will be missed.
Well, it's been building upinside of me for oh, I don't
know how long, I don't know why,but I keep thinking something's
bound to go wrong.
That's from Don't Worry Baby.
Those lines are just super cool.
(03:36):
And again, you know I say itoften.
I'm not going to sit here andsay I, you know, don't say it,
but it's things that we havefelt.
I felt it Generally, things Ifelt, you know don't say it, but
it's things that we have felt,I felt it Generally, things I
felt you've felt at some pointin your life.
Jimmy, I'm sure you know that,man, things are like looking up,
it's got, but man, it's boundto go wrong, something's going
to happen.
(03:56):
And it's just a really goodsong Don't worry baby.
And that that high, I guessfalsetto.
You would say how he sang thatit just.
You know, some people when theysing that way, it sounds like
they're forcing it, but his wasjust so smooth, it really was.
Speaker 1 (04:18):
Yeah, yeah, I know he has a lot, of you know, depth
and body to his falsetto vocal.
Speaker 2 (04:24):
I couldn't have said that any better myself.
I mean seriously, you're right.
I guess that explains it thebest.
I got the Surfer Girl album onvinyl a couple of years later
and I thought the songs SurferGirl, catch a Wave and In my
Room were incredible songs andthey're all sung by Brian with
(04:49):
Mike Love on Catch a Wave.
And In my Room were incrediblesongs and they're all sung by
Brian with Mike Love on Catch aWave.
But they just seem to be.
Even though they were earliersongs, they still seem to be
mature songs right, especiallyIn my Room.
I feel like that's kind of asign of things to come from,
like Pet Sounds and everythingyeah, and it's another one of
those songs that he's singingfrom his heart and it's
(05:10):
something you know he's singingabout being in his bedroom in
Hawthorne, california, and it'ssomething that I can relate to,
I mean to me growing up, mybedroom was kind of like that
kingdom, that palace, thatsanctuary.
Yeah yeah, great word.
You know, there's a world whereI can go and tell my secrets to
(05:35):
in my room.
In this world I lock out all myworries and my fears in my room
.
How can you not relate to that?
I mean, that was just like wow,again, he wrote this.
And when he wrote it, eventhough I wasn't born, he was
(05:58):
saying man, this guy, jim, isreally going to like the song
and be able to relate to it.
And I think that so many artists, that people like that, they
can see things in the words andfeel things from the music, even
though it was not written forme, even though it was written
(06:18):
before I was born.
But I think that is true signsof a successful song, true signs
of genius.
And you know, that's how I feelabout that song and many of the
songs that the Beach Boys orother bands did.
So the Beach Boys had more hitsthan we can mention.
(06:40):
I mean, they really, really did.
Wouldn't it be nice?
Sloop John B, one of myfavorite Beach Boys songs, I
have the original 45.
California Girls I Get AroundSurfing USA, and then Good
Vibrations, which is amasterpiece from 1966.
(07:02):
But going back to what you saidearlier, jimmy, they recorded
this over months and months andbits and pieces, and nobody
could figure out what was goingon with this song.
Speaker 1 (07:14):
Yeah, he would just say okay, now you guys sing
these notes, and then you knowthey were going.
Okay, that part sounded good,but how does this tie together
with everything else?
Speaker 2 (07:24):
Yeah, multiple verses , bridges and choruses.
And this is the thing that getsme on this song is that he has
well-known drummers that areplaying on this song, but
they're only playing one bridge,or they're only playing this
(07:44):
chorus, or they're only playingthis chorus, or they're only
playing this verse, I didn'trealize.
And then another drummer'splaying this, oh, and then the
stand-up bass is by this personon this part and it's on this
part is another person, wow, andand the shakers, which I'm
assuming is kind of like amaraca, would that be?
Speaker 1 (08:02):
yeah, it depends.
I mean, they're all differentkinds of shakers, can be like an
egg, you know, like a littleegg, oh yeah yeah, there's even
different shakers.
Speaker 2 (08:12):
When you go and you look at this song and see who
the musicians are on it, it'sabsolutely incredible.
It's like this long and I knownobody there, but just imagine
it's this long.
Speaker 1 (08:26):
Yeah, he's making his hands like really really long.
Speaker 2 (08:28):
It's incredible and you don't think about it when
you listen to the song.
You don't think oh, this is adifferent upright bass player.
You don't think this is adifferent drummer.
You don't think any of that.
Speaker 1 (08:41):
And you don't think this is a song that was recorded
in bits and pieces over months,and you don't think about how
it changes tempo and meter andinstrumentation and everything
multiple times because it justit works, because he had that
genius to know that it was goingto work in his head.
Speaker 2 (09:00):
Yes, 100 percent.
And what we've talked about itbefore, what was that?
Um instrument that I guess youput your hands over?
The theremin yes, and explainthat one more time well it is.
Speaker 1 (09:14):
Uh works with the magnetic field around like an
antenna.
So you move one hand closer tothe bottom antenna and that
changes the volume, and then theone at the top, I think,
changes the pitch, and so youcan play music with it.
Speaker 2 (09:36):
And that kind of gave it the psychedelic spacey sound
.
Speaker 1 (09:40):
Yeah, they used to use it a lot on creepy horror,
creepy horror things in the 50sand 60s.
Speaker 2 (09:46):
Yeah, and it fit perfectly in this song.
When you say that, you're right, it really did fit.
So Brian had, you know, amental breakdown in 1964, mental
illness.
He had drug issues andbasically you know it stopped
him from touring with the band.
He just decided he was going tostay around and record and just
(10:08):
everything that was in his head.
Get that out.
And you know it's unfortunatebecause as time went on it all
got worse for him.
You know and you can read onhim and he talks about at one
point he put his bathrobe on inthe morning and he might not get
out of bed the entire day.
Speaker 1 (10:30):
Yeah, didn't he do some sort of press conference
from bed or something like that?
It seems like I've seen videoof him in bed.
Speaker 2 (10:37):
I don't know, but I definitely would believe it and
that it just became a fight forhim to be able to do most
anything.
And it's really a shame becausethis is someone that was a
genius that heard everything inhis head.
(10:59):
But I think some of the thingshe might have heard in his head,
from a personal standpoint,really caused him some havoc in
his life.
Speaker 1 (11:10):
Yeah, he probably had trouble getting out of his head
and being just in the realworld, you know.
Speaker 2 (11:14):
Yeah, I would agree with you.
So Pet Sounds you mentioned PetSounds.
It came out May 1966.
The Beatles had released RubberSoul in December 1965.
And that inspired Brian to tryand create the best rock and
roll album of all time and thatwas Pet Sounds.
(11:37):
And when Pet Sounds came out,everybody was talking about what
a great album it was thatinspired the Beatles to do Sgt
Pepper's Lonely Hearts Club Band.
Now, when you listen to themthere's not a lot of
similarities, but it is thatI've got to do something better
(11:58):
that made them work for it.
I think on Sgt Pepper's theharmonies on some of the songs
she's Leaving Home that comes upat the top of my head that you
can say, man, I can imagine thatbeing the Beach Boys singing.
Speaker 1 (12:15):
Right, and also the idea that it's an album that has
a concept and you can followthe thread from beginning to end
, unlike an album from 1964 thatwould just be a collection of
singles, you know Right.
Speaker 2 (12:38):
And so it was the beginning of the album era
really, whether they're in musicor they're in Hollywood that
have come across and, you know,put out their condolences to
Brian Wilson and what he meantto them and what they thought of
him as a musician.
I just think that's super coolbecause there's been a lot of
(12:59):
people out there that have saidthings about him and they're
from all across different typesof music that have said things
about him and they're from allacross different types of music.
And you know, I think that whenyou can captivate people from
all over, that says a lot aboutyou.
It says a lot about what you'reable to do, because ultimately,
music's a message.
You know, no matter what songit is, no matter what it's about
(13:23):
, it's some sort of message thatyou're trying to get across to
people and he was able to dothat with so many people.
It's just, it's incredible.
I mean, he really did so muchand in a short period of time.
You know a very short period oftime.
If you just look at the stuffthat was accomplished, you know
(13:45):
from 62 to 67, you know that'sunbelievable.
Did you ever get to see him notlong ago?
And you know he had his BeachBoys version and Mike Love has
(14:06):
his version and I didn't, and Ireally wish that I had.
Speaker 1 (14:13):
I got to see him probably 10 years ago at the Fox
Theater in Atlanta and it was agreat show.
Now, even then, brian wasdefinitely not at the top of his
game, you know.
You could tell that he had alot of great people around him
and they would support him whenhe was singing, but he, he
(14:34):
seemed like he was, you know,struggling physically and, uh, a
little bit so.
But it was a great show becausethey just had incredible
musicians.
And what I heard very recentlyabout that is that there was a
Beach Boys tribute band andBrian Wilson and Al Jardine, the
(14:56):
original Beach Boy, said, ohwell, why don't we just kind of
make them our band?
And so that's what they did.
And they added, uh, al's son,matt, could sing the really high
parts that brian couldn't singas well anymore, and they uh
folded all these people.
So it was about, you know, 10or 12 people in the in the band
(15:19):
up on stage, but it reallysounded great.
And we were were sitting nextto I took the whole family, we
were sitting next to a couplethat were probably teenagers in
1962, you know what I mean RightIn the mid-60s.
And when God Only Knows came on, they both grabbed each other's
(15:41):
hands and looked at each otherand a tear came to their you
know their eyes and it was.
It was really sweet because itwas obviously their song.
Speaker 2 (15:48):
There you go, I like that.
Yeah, that's cool, you know itis.
If it means something to you,especially after all those years
, you know, so be it.
Do my dreaming and my scheminglie awake and pray.
Do my crying and my sighinglaugh at yesterday.
(16:17):
So, jimmy, we just talked aboutBrian Wilson, but we also just
had Sly Stone of Sly and theFamily Stone, who died in June
as well, and they were the firstbig racially combined mixed
gender US band.
(16:40):
If you think about it, that justwasn't something that was
happening back in 1967.
Right, and you know theycreated psychedelic soul.
I think that as time went on itbecame kind of darker soul, but
it was psychedelic when theyfirst came out.
You know they had dance to themusic I Want to Take you Higher
(17:03):
Everyday People, which Iactually heard Joan Jett's
version of Everyday People theother day.
It just happened to randomlycome on and I remember as a kid,
as a young kid, being indifferent places you know, not
just my parents, but you knowwherever and I remember hearing
dance to the music so often.
(17:25):
I remember hearing everydaypeople so often, like they are
part of my really young musicalmemories.
One of my favorite all-timetitled songs by any group is by
sly and the Family Stone andit's called Thank you for
(17:48):
Letting Me Be Mice Elf Again.
Or, if you say it straightthrough and not that way, thank
you for Letting Me Be MyselfAgain.
And I just think that is socool and I imagine Prince
listened to that and saying Igot to spell things differently,
(18:11):
I got to be like Sly.
Speaker 1 (18:13):
I had no idea.
They spelled it that way.
Speaker 2 (18:15):
Yes, and I'm not saying that happened.
What I'm saying is I canimagine that happening.
Okay, I think that is one ofthe coolest album excuse me,
song titles of all time.
And and especially, you knowyou're going back in in a time.
I think it was 1969 when itcame out.
(18:37):
That's not what people did, youknow.
You just put what, what it was,you know.
So it actually hit numberoneary of 1970 on the billboard
hot 100 chart and you know theyperformed at woodstock in 1969.
Speaker 1 (18:53):
it was definitely, you know, one of the highlights
for for people they played atlike three in the morning and it
was still a legendary yesperforming yeah, they did, you
know, um, they.
Speaker 2 (19:04):
I have some of the songs on my phone that I
listened to.
You know it was just super cool.
I know I like to use the wordsuper cool, but it was, you know
.
But then Sly's drug use anderratic behavior just doomed the
group Ultimately.
Most of Sly's life was riddledwith drugs and it wasn't until
(19:27):
2019 that he quit them for good,where he finally was told if
you continue to do this, you'regoing to die.
And he realized he wasn't goingto beat it, but this was a
battle for over 50 years for him.
The fact that he was able tosurvive that long is
unbelievable and, you know, kindof like Brian Wilson who we
(19:50):
just talked about.
I mean, sometimes these musicalgeniuses, these people that are
able to do so much, they getcaught up in so many bad things
for them and and you don't getto see everything that they
possibly could have done.
It's sad, yeah, and it is, butI do hope he's somewhere dancing
(20:13):
to the music.
So, jimmy, june 17, 1985, theSmiths play the Beacon Theater
in New York City and I wanted togo to the show.
I was a big Smiths fan.
I really liked them from thefirst time I heard them I was a
big Smiths fan.
I really liked them from thefirst time I heard them.
This was a band that I liked,but I didn't really know anyone
who felt the same way as I did.
(20:34):
They might like a song or two,but that was kind of about it.
And even though the Meet HisMurder album came out, which
ended up having a bunch of hitsthat people ended up liking, it
only had come out a few monthsearlier and it wasn't something
that everybody knew about at thetime.
So I was begging people.
(20:55):
I was like, come on, you know,you know, I'll buy your ticket,
you know.
And people just kept turning medown, no, no, no.
And people just kept turning medown, no, no, no.
So I talked to a friend of minewho was not into the Smiths,
didn't even know who they were,wasn't into that type of music
whatsoever, was into just kindof like.
(21:15):
You know we call it classicrock today, but then it was just
rock.
Speaker 1 (21:19):
Yep.
Speaker 2 (21:20):
And I said to him I'm like you know I'm bummed out.
I want to go see this show.
Nobody wants to go.
He's like who is it?
I'm like you're not going to go, it's the Smiths.
And he's like, yeah, I don'tknow who they are.
He's like where are theyplaying?
I said the Beacon Theater.
He says, oh, I'll go.
And I'm like, wait a minute,that all of a sudden now he
(21:42):
wants to go.
He says my dad is a policeofficer and that's kind of like
his area.
He walks the beat around there.
He says I'll just tell my dadto get us on the guest list.
Oh, great.
So I'm like, come on.
I said you're going to get yourdad to get us on the guest list
(22:02):
to see a band that you don'teven know who they are?
He goes, yeah, it'll be fun.
He goes and I'll drive.
I'm like I'm in, I'm in Ifyou're going to drive and get us
into the show.
This is a show for me.
So June 17th 1985, we take hiscar, we drive in, you know, we
park a couple of streets awayand we're walking up and we go
(22:27):
to the box office and he's like,yeah, I'm officer blah blah son
, and they said hold on.
Someone came and got us anusher and they took us up, you
know, you know, up in thebalcony and they said here you
go, here are your seats.
We had no tickets, we hadnothing whatsoever.
I didn't even want to go to thebathroom during the show
(22:50):
because I'm afraid that if I getup and I cause back then, even
though people were all over theplace, they always seemed to ask
for your ticket you know, andI'm like I can't.
I got to sit right here, so gotin.
I mean, it worked.
I couldn't believe it.
It was great.
Billy Bragg opens up the show.
(23:11):
Oh, cool, yeah.
And then the Smiths come out.
They open up with William.
It Was Really Nothing.
Love the song.
Next song's Nowhere Fast.
One of my favorite Smith songs.
I love the bass on it.
They end up, you know, duringthe show they play how Soon Is
Now.
But how Soon Is Now, if Iremember correctly, was just
(23:31):
different.
They couldn't get all of thosesounds of when you're listening
to it.
Speaker 1 (23:36):
Yeah, because that was very complicated.
You know, that was like a BrianWilson type of a thing that
Johnny Marr did, where he hookedup like eight different
amplifiers that all had thistremolo effect on them and they
had to be synchronized and itwas like herding cats to make it
happen, and so they had to keeprecording, section by section
by section, to make it sound theway it sounds yeah, and it did
(23:58):
not come across that way in 1985at the Beacon Theater
Definitely sounded less layered,you know, it was just kind of
more of a straightforward songthan on the album.
Speaker 2 (24:14):
Shakespeare's Sister love that song.
The Headmaster Ritual Mita'sMurder, closed out the set and
then the second song of theencore was this Charming man,
which was one of my favoritesongs and probably the second
song.
No, you know what?
I think it was the first songthat I heard by the Smiths.
I think that was the first songthey did a second encore.
(24:37):
Please, please, please, let MeGet what I Want, followed by
Miserable Lie.
During both of the songs, fansare up on the stage.
Now Morrissey's missing linesbecause he can't get to the
microphone stand and likesecurity's doing stuff, but
they're not doing it quickenough.
You know, and it's just likeit's kind of like pandemonium
(24:59):
going on the stage and hedoesn't really like it.
You can see that and it's funnybecause you know now, knowing
Morrissey the way he is, hedoesn't really like it.
You can see that and it's funnybecause you know now, knowing
Morrissey the way he is, hedoesn't necessarily like to be
touched, he doesn't want peoplehovering all around him.
I think he put up with it in1985 because you know that was
the beginning of them and youknow you don't want to get
(25:21):
people mad and not want to buyyour records.
So the second song of the thirdencore, barbarism, begins at
Home, one of my favorite Smithsongs, great version.
They just jammed to it and itwas really cool to see a non-jam
band jam to a song.
Oh, and it was.
(25:42):
You know.
Again he missed lines becausepeople came up on the stage.
It just was cool.
You know it probably went on.
And about 10 feet tops in frontof me I notice Andy Warhol is
(26:12):
walking down.
He's at the show.
They had used some of hisphotos.
I think it was for their firstalbum that they had released,
maybe some more for singles, I'mnot 100% sure, but it was so,
so cool.
Like this is Andy Warhol.
You know, like this is neat.
It was the only time I've everseen him in my life and I was
(26:33):
that close to him and people, um, once we got down below, people
were getting his autograph.
I regret that I didn't.
I was kind of like I'm, I'msuper cool, I don't need his
autograph.
Speaker 1 (26:46):
Yeah, you don't need it.
Speaker 2 (26:48):
I wish I got it, jimmy, I got to be honest.
I have to be honest.
Speaker 1 (26:51):
You know how many autographs I have.
I'm going to go with hint.
Speaker 2 (27:05):
Wow, wow, jimmy, you know what I am going to actually
autograph something now, justbecause you have said that, I
feel like it's my civic duty todo it, and the fact that all
these years later that I am kindof bummed that I didn't get
(27:26):
Andy Warhol's autograph.
Yeah, I just put my name.
Is that good enough?
That's good.
Speaker 1 (27:32):
Yeah, because that makes it easier for me to sell
on eBay.
No personal details.
Speaker 2 (27:42):
Oh my God, you are funny, you are funny, you are
funny.
You know what I'll tell you.
I'm going to say it one moretime because I'm laughing so
hard.
You know what time it is, jimmy, what time?
Music in my shoes, mailbag time.
Speaker 1 (27:58):
Music in my shoes mailbag.
Speaker 2 (28:03):
Yes, music in my shoes, mailbag time.
Yes, music in my shoes, mailbagtime.
Regarding episode 81, theGoonies a psychedelic rolls and
Wooly Bully, jennifer andGeorgia emailed.
I yelled at my phone when Jimmysaid he hadn't seen the Goonies
.
Sir, you have homework.
(28:23):
Okay, all right, accepted wow,I mean just right to the point.
Calls you sir, and if you'rebeing called sir, I think that
you do have to answer it no, I'mimpressed.
Speaker 1 (28:37):
I'm definitely like taking heed there you go.
Speaker 2 (28:41):
I still can't believe you haven't seen.
And just so you know, manypeople have asked me about it.
Speaker 1 (28:48):
Just so you know, somebody the other day was
talking about the Goonies as ifeverybody knows it and I had to
admit that I'd never seen it andthey were like what?
And yeah, it wasn't even aperson that was like a kid in
the 80s, it was a person thatsaw it in the 90s, when they
were, you know, they're not asold as us.
Speaker 2 (29:09):
There you go.
So you need to answer thatchallenge and we need to hear
about it.
All right, all right, I'll doit.
It's on record here, I know.
All right, we're lookingforward to that, jimmy, we're
looking forward to that Jimmy.
So on the same episode we werediscussing the band Gang of Four
with Mike Mills of REM coveringthe Velvet Underground's Sweet
(29:32):
Chain.
I had gone to the Gang of Fourshow and, jimmy, you said the
Cowboy Junkies version of SweetChain was the best cover of the
song.
Speaker 1 (29:45):
I said that Phish did the best cover of it.
Speaker 2 (29:46):
Okay, Well, that got a listener to write in Jim and
Jimmy, you started aconversation about cover songs.
Got me thinking, Thought I'dgive you my top ones and hear
your thoughts.
Cool Number four no Woman, noCry, the Fugees cover of Bob
(30:08):
Marley.
I love it.
I love the Fugees version.
I love Bob Marley's version andBob Marley's version.
It's the live one that mostpeople know.
Most people don't know thestudio.
The live one was recorded 50years ago in London in July 1975
(30:30):
.
Oh, Pretty cool.
Speaker 1 (30:32):
It is.
Speaker 2 (30:33):
I like that.
I like the Fugees, I do.
I like Wyclef John a lot andjust listening to that song and
just, oh man, it's a good song.
So I like the number four song.
Number three Hard Luck Woman,garth Brooks cover of Kiss Jimmy
(30:53):
.
With you being the subjectmatter expert on Kiss, I'm going
to defer to you on that song.
I don't have anything to add atall.
Speaker 1 (31:02):
Well, I do.
So I listened to a podcast.
Uh, this podcast called rock ontours.
That, uh, they do interviewswith old rock stars and they had
paul stanley on there from kissand he talked about how he had
written hard luck woman for rodstewart, but rod stewart didn't
(31:23):
want to do it, so so Peter Crissdid it in Kiss.
Speaker 2 (31:26):
Really?
Yeah, I did not know that.
Yeah, but I guess you figured Ididn't know that.
So Garth Brooks' version.
Are you familiar with it?
Speaker 1 (31:35):
I may have heard it, but I don't think I am.
Speaker 2 (31:37):
Yeah, I haven't.
I don't think I've heard eitherone to be honest.
Sorry, but it's the truth.
I've heard either one to behonest.
Sorry, but it's the truth.
Number two Valerie AmyWinehouse.
Cover of the Zootons.
I never heard the song byeither one.
What I did listen to it You'rekidding me.
Speaker 1 (31:57):
I'm not kidding, you've never heard Amy Winehouse
, valerie.
No, that's worse than theGoonies.
Speaker 2 (32:02):
No, it's not.
Yes, it is.
When I saw Valerie in thisemail that he sent, I
immediately thought of the SteveWinwood song.
Never heard of the song before.
Now I've listened to it.
It's a Mark Ronson song I read,and that she is the singer.
She's with him playing this.
(32:24):
You know this song?
Pretty good song.
It's a pretty good song.
Speaker 1 (32:28):
Yeah, it's kind of her signature song.
Speaker 2 (32:30):
No, that's not her signature song.
Yeah, it's one of them.
I would go with Rehab.
Well, I was going to say rehab,but what's the other one?
I don't know.
Speaker 1 (32:43):
Back to Black.
I'm not an expert on AmyWinehouse, and even I know
Valerie.
Speaker 2 (32:49):
That's amazing.
I did not know the song, Okay,but I've heard it now, I've
listened to it.
So number one I will survive.
The cake cover of Gloria Gaynor.
I love this cover I have sincethe day one and it's one of
those songs people either loveor they hate.
There's not a lot in the middleand I love how Kate kind of
(33:14):
changed up the style of it andyou know how, the acoustic
guitar, the way that he plays it, and just singing it a
different way.
I love it.
I love Gloria Gaynor's versiontoo, but I think Kate did a
great job with this.
Speaker 1 (33:27):
Yeah, it's fun because it's kind of feels
tongue-in-cheek, but it's notnecessarily.
You know, it's just anotherversion of it, but you've got
this kind of straight-voiced youknow male singing it, so it
gives it a completely differentfeel.
Speaker 2 (33:43):
Yeah, and with a cool you know solo in the middle of
it.
Just a great song, great.
I love that as number one.
So keep up the great work.
Love the show sign BigfootParts Unknown.
Now Bigfoot Parts Unknown haswritten in before All right To
Mailbag, so we definitelyappreciate that.
So I put together kind of aquick list here of some of the
(34:09):
songs that I like that arecovers.
Speaker 1 (34:11):
Yeah.
Speaker 2 (34:12):
And it's not.
You know, I can't tell you thisis my top five.
It's not.
I put a quick list, I didn'tthink a whole lot about it.
But Fish, the entire VelvetUnderground loaded album.
They recorded, they released itlive.
It's from October 31st 1998 inLas Vegas and that's what Sweet
(34:33):
Jane is on.
They do the whole album.
It is fantastic.
It truly is.
You really got me the Van Halenversion of the Kinks.
You really got me the Van Halenversion of the Kinks.
I love the Kinks version.
I love the Kinks live version.
I love the Van Halen version.
I just enjoy them.
Speaker 1 (34:56):
I think they're good.
The Van Halen version was greatbecause it was a vehicle for
Eddie Van Halen to solo in theearly days.
It was on the first album,right?
I?
Speaker 2 (35:07):
believe so.
Speaker 1 (35:09):
And so, yeah, it's just kind of a simple riff for
him to do his thing over.
But yeah, I mean I'm obviouslypartial to the Kinks version.
It changed music forever.
Speaker 2 (35:20):
Yes, it did.
All Along the Watchtower, JimiHendrix covering Bob Dylan.
Speaker 1 (35:26):
Yeah, that was on my list.
Speaker 2 (35:28):
Really.
Speaker 1 (35:29):
Yeah.
Speaker 2 (35:29):
Mr Tambourine man, the Birds covering Bob.
Speaker 1 (35:32):
Dylan, good one, yeah .
Speaker 2 (35:33):
What are some of your songs?
Speaker 1 (35:36):
So I have a song called Superman that was
originally by the Click and youmay know the cover version done
by REM on Life's Rich Pageant.
Speaker 2 (35:48):
I did not know it was a cover.
Speaker 1 (35:50):
It was a cover and the Click was from.
That version was from 1969, Ibelieve late 60s Really, and
it's a really unusual version.
It's kind of got like all thisreverb on it and, uh, it's, it's
fun.
But the rem version is isbetter.
It's just kind of a better popsong the way rem does it, but
(36:12):
it's weirder the other way forsure.
Uh, louis louis was a songwritten by richard berry.
He did with richard berry andthe pharaohs and his version is
fun to listen to because therhythm is different than what we
know it as the version thateverybody knows better, I think,
(36:32):
is the Kingsman, which I thinkis just a fantastic live
recording.
I mean, it just captures thereckless abandon of the Kingsmen
and they were tight enough andloose enough and it just seemed
like a party right.
Speaker 2 (36:51):
Oh yeah.
Speaker 1 (36:52):
Richard Berry had written that song.
He was in a bar and talking toa bartender something about a
sailing ship, and he said, oh mygosh, okay.
And he'd heard this rhythm that, uh, some sort of a band from
another country had played arhythm and he, he wrote the
(37:14):
rhythm down and like marks onthis bar napkin, and he wrote
down a few lyrics and then hewent home and wrote Louie, louie
and that's uh, you know, it'sbecome one of the most covered
songs in the world.
But I think that the Kingsmanversion is the best.
Speaker 2 (37:30):
And I think that's another one of those songs.
You just don't have any ideawhat they're saying.
Speaker 1 (37:34):
Yeah, you can understand it a little bit
better.
On the Richard Berry versionhave you ever heard the Kinks
version?
Speaker 2 (37:42):
I don't think so.
Speaker 1 (37:43):
Yeah, I hadn't heard it either and I looked it up
recently.
It's fun.
Again, it has a differentrhythm the way that Ray sings it
than what you're accustomed to.
And, yeah, it's fun.
My last one I've got TaintedLove.
Have you ever heard theoriginal version?
(38:04):
So we know the Soft Cell cover.
I know it's a cover.
I you ever heard the originalversion?
So we know the soft sell cover.
Speaker 2 (38:07):
Right, I know it's a cover.
Speaker 1 (38:08):
I've never heard the original the original it was
kind of a 70s, more of like asoul, uh, a little bit of disco
in it.
Uh, gloria jones was the singerand it's that soft cell
completely reimagined it forwhat we know.
Speaker 2 (38:26):
You know they gave it that kind of stark, uh european
feel that it has yeah, and Ithink, uh, was this mark ahman
is um the singer of soft cell.
His voice, just the sound ofhis voice, just gives it this
crazy, dark, mysterious way ofof performing the song Again.
(38:47):
I've never heard the original.
I knew it was a cover, I justnever heard the original.
Speaker 1 (38:52):
So they just played the other night.
Played on Saturday night atChastain Park here in Atlanta.
Soft Cell did.
My friend Rob went, said it wasgood.
Speaker 2 (39:03):
Those are some pretty good songs there, Jimmy.
Speaker 1 (39:05):
Yeah, that was a fun thing to do.
Thank you, bigfoot.
I have a couple more, oh you do, I do Hurt.
Speaker 2 (39:13):
Johnny Cash covering Nine Inch Nails, and that's one
of those songs that you got towatch the video at the same time
.
It just gives it this wholedifferent meaning than when
listening to Nine Inch NailsRowboat.
Johnny Cash covering Beck.
This song is fantastic.
It's almost like it was writtenfor Johnny Cash.
(39:35):
It is great.
If you've not heard this song,you have to listen to it.
Really, really good, I love it.
Yeah, I don't know that oneChanges.
Charles Bradley covering BlackSabbath.
Do you remember the BlackSabbath song Changes.
Speaker 1 (39:50):
I don't think I do.
Speaker 2 (39:52):
Well, I think it came out like in 1972.
It came out, you know, kind ofafter the super hard rock period
that they had.
It's a really good song.
This guy Charles Bradleycovered it.
Gives it a lot more soul to it.
And I heard it.
I was binge-watching Suits andall of a sudden I hear the song.
(40:14):
I'm like wait a minute, that'sthe Black Sabbath song, but
that's not Ozzy Osbourne singing.
Yeah, and I looked it up and itwas this guy, charles Bradley
Awesome version.
This is one that I thought thatyou would have said Jimmy
Needles and Pins the Ramonescovering the Searchers.
I mean, I love that song.
(40:35):
I think that song is fantastic.
I listen to Needles and Pins aton and when I listen to it I
normally just listen to it againand then again, and then again.
Speaker 1 (40:44):
It's just like I Do you listen to the Ramones
version or the Searchers version?
Speaker 2 (40:47):
The Ramones, definitely.
It's like I binge listen, Ijust keep boom, let me hear it
again, let me hear it again, letme hear it again.
I just love it.
And then my final is I LoveRock and Roll.
Speaker 1 (41:00):
Yeah, that's a great one.
I was going to put that on mylist, but I didn't think we were
going to put so many Jim.
Speaker 2 (41:06):
Well, Joan Jett and the Blackhearts came to mind, so
I put it on the list.
Speaker 1 (41:10):
I love that song Covering the Arrows version.
I don't think I've ever heardthe Arrows version.
Speaker 2 (41:16):
I've not heard it either.
Speaker 1 (41:26):
My brother had that record.
I think it came out in 1981,and I brought it for show and
tell to school and played.
Speaker 2 (41:30):
I Love Rock and Roll on the little record player in
our classroom.
Oh my Lord, the fifth grade,nice, nice.
So you can reach us atmusicinmyshoes at gmailcom with
any questions or any challengesthat you'd like to give Jimmy,
because I do believe he needs towatch the Goonies.
Please like and follow theMusic in my Shoes Facebook and
Instagram pages and share thepodcast on your own social media
(41:50):
.
Speaker 1 (41:50):
Music in my shoes mailbag.
Speaker 2 (41:56):
According to my watch , it's Minute with Jimmy.
It's time for Minute with Jimmy.
Minute with Jimmy.
Minute with Jimmy.
It's time for Minute with Jimmy.
Minute with Jimmymy with jimmy.
Speaker 1 (42:03):
With jimmy it's time for a minute with jimmy, with
jimmy, with jimmy, so.
So my daughter, lily, just sentme a, uh new single by the band
super chunk that came out lastweek and it's called is it
making you feel something?
It's a three song single thatthey released and it has, uh,
you know, really really cool ifyou have ever heard super chunk.
(42:24):
It's it's a three-song singlethat they released and it has
really really cool.
If you have ever heard SuperChunk.
It's a really great example oftheir sound.
They've become a little bit moreaccessible and poppy.
They started out as a real punkband.
It's called Is it Making youFeel Something?
It also has a song on it calledBruised Lung.
That's a really great song andeverybody dies.
(42:46):
It sounds like maybe that wouldbe a really dark record, but
you know the songs have have afun feel to them.
I think everybody will likethem.
You got to check it out.
It's the first three songs froman upcoming august lp that they
have coming out and the name ofthat is songs in the key of
yikes.
So be on the lookout for that.
Listen Songs in the Key ofYikes.
So be on the lookout for that.
(43:07):
Listen to those three songsSuper chunk.
Speaker 2 (43:11):
I like it, jimmy, I like it.
My name is Jimmy.
Jimmy.
I've had a lot of fun todaytalking about all different
types of things, butunfortunately that's it for
episode 83 of Music in my Shoes.
Unfortunately, that's it forepisode 83 of Music in my Shoes.
I'd like to thank you, jimmy.
Jimmy Guthrie, show producerand owner of Arcade 160 Studios
(43:31):
located right here in Atlanta,georgia, and Vic Thrill for the
podcast music.
Now it's dark and I'm alone,but I won't be afraid in my room
.
This is Jim Boge, and I hopeyou learned something new or
remembered something old.
We'll meet again on our nextepisode.
Until then, live life and keepthe music playing.
(43:54):
Thank you.
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