August 31, 2025 • 32 mins
The Rolling Stones' "Get Yer Ya-Ya's Out" changed rock history as the ultimate live album experience, capturing the raw energy of their November 1969 performances with new guitarist Mick Taylor delivering an unforgettable sound.
• Released September 4, 1970, it features definitive versions of classics like "Jumpin' Jack Flash," "Midnight Rambler," and "Sympathy for the Devil"
• Side one includes Chuck Berry's "Carol," while side two features "Little Queenie"
• 40th anniversary edition includes additional tracks plus performances from opening acts BB King and Ike & Tina Turner
• Jimmy reveals how Suzanne Vega's "Tom's Diner" became the test song for creating the MP3 format
• Discusses AC/DC's "You Shook Me All Night Long" from 1980 and its universal appeal across generations
• Explores Silverchair's "Tomorrow" from 1995, recorded when band members were just 15 years old
• Features listener feedback through the Music in My Shoes mailbag segment
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:25):
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 94.
As always, I'm thrilled to behere with you.
Let's learn something new orremember something old.
So back on September 4th 1970,the Rolling Stones released Get
(00:54):
your Ya-Ya's Out live album theyrecorded in November of 1969.
Most of it came from two shows,actually three shows at Madison
Square Garden.
It was on November 27th and28th.
27th was one show, the 28th wastwo shows.
Can you imagine that?
Because a lot of the bands usedto do that back in the late 60s
(01:18):
and the early 70s they wouldplay like a Like a matinee.
Speaker 1 (01:21):
Yeah.
Speaker 2 (01:22):
And then do whatever and then come back and play the
Late Show.
It's funny because a lot oftimes the Late Show was either
really really good or reallyreally bad, because they had so
much time on their hands inbetween Right.
Speaker 1 (01:36):
Yeah, rock stars do what rock stars do.
Speaker 2 (01:39):
Yes, they do, and one of the songs was actually
recorded in Baltimore November26th, so it's all within a
three-day period that the albumhappens.
I first heard it on a radiostation and I don't remember
which one it was, but they woulddo this weekly thing where they
would play one side of an album.
(02:00):
I don't remember if it wasalways live or I just don't
remember, but I remember theywere going to play this and I
wasn't really if it was alwayslive or you just don't remember,
but I remember they were goingto play this and I wasn't really
familiar with it.
I knew a couple of the songsbut I didn't know all of it.
And I remember laying down onthe living room floor and had
the stereo system and you know,all ready to go and it came on
(02:24):
and I was absolutely blown awayby the first side of this album.
Guitarist Mick Taylor hadreplaced Brian Jones early
summer of 1969.
We've talked about that before.
You know, we talked about thetribute concert that they did in
Hyde Park.
I think it was July 3rd of 1969.
So we moved forward to November69 for this album that came out
(02:48):
in September of 70.
And Mick Taylor it was justunbelievable what he was able to
do with the Rolling Stones andthe direction that he helped
them get to with Keith Richards,and I don't think it's possible
that they could have done thatwith Brian Jones.
And Side One kicks off withJumba.
(03:09):
Jack Flash goes into Carol,which is a Chuck Berry song that
all of the early 60s Britishbands all had their own version
of.
Carol, like, seriously, you cango out there and whether it's
the Kinks or the Beatles or theRolling Stones or whoever,
everybody seemed to do that song.
(03:30):
Stray Cat Blues, love in Vain,which is the song that they
recorded in Baltimore.
And Side One ends with MidnightRambler, which I knew this
version because they would playthat on the radio.
Absolutely blown away bylistening to this.
So, carol, they did a rockversion.
(03:53):
Like most bands when they do it, it's kind of like that early
60s pop version of it.
But by now I mean they just dida really good one.
Stray Cat Blues, I mean theyare just on fire.
Love in Vain, what a greatblues song.
I mean it's just fantastic.
I can't talk about it enough.
(04:14):
I mean it really is one ofthose albums that is kind of you
know, I don't want to saylife-changing.
I hate saying things like thatBecause, at the end of the day,
music, you know, is don't wantto say life-changing.
I hate saying things like thatbecause, at the end of the day,
music, you know, is a greatthing and it's something that's
awesome to help us, you know,with life and get through life.
But as far as changing my lifeand stuff, I don't know, maybe
(04:38):
it got me, it ended up.
I got this podcast years later.
That's right, you know, but itis something that was really,
you know, made an impact on melistening to it and hearing
stuff, because you know, I knewall the Rolling Stones hit songs
up until you know this pointwhen I listened to it and I go
and I listen to Psy 2, you knowI end up picking up the album.
(04:59):
Sympathy for the Devil.
I knew this version also.
Sympathy for the Devil.
I Knew this Version Also.
Live With Me, little Queenie,another Chuck Berry song that
they just absolutely rock out onHonky Tonk Women and Street
Fighting man.
It is just unbelievable howgood of an album this is, and I
(05:22):
don't know if it's because theyknew that they were recording it
for an album.
I mean some of the RollingStone live albums, some are good
and some are awful, to be quitehonest.
So this one is absolutelyfantastic.
What they did for the 40thanniversary edition they
(05:44):
included some songs that theyplayed that weren't on the
original album prodigal son, yougotta move under my thumb, I'm
free and satisfaction.
And they didn't want to putsatisfaction on because they had
satisfaction on like at leastone live album before and kind
of want to show a differentdirection for them.
Under my Thumb is done justlike a little differently, so
(06:07):
it's actually kind of cool tolisten to.
But it also had songs from theopening bands, so BB King and
Ike and Tina Turner they openedup these shows.
Speaker 1 (06:21):
Oh, and that was on like the anniversary edition On
the anniversary edition.
Speaker 2 (06:24):
So some of the songs from BB and that was on like the
anniversary edition On theanniversary edition.
So some of the songs from BBKing that are on there is Every
Day.
I have the Blues.
He opens up with that.
I mean it's just a fantasticsong.
Why I Sing the Blues and Ikeand Tina Turner Gimme Some
Lovin' Son of a Preacher man.
Proud Mary, I've Been Loving youToo Long.
Come Together.
Proud Mary, I've been lovingyou too long.
Come together, it's justfantastic.
(06:46):
So I've been loving you toolong is kind of cool because you
have the Otis Redding version,sung from a man's point of view
and he made famous at MontereyPop Festival in 1967, and and
now you have Tina Turner'sversion from a woman's
perspective and it's the samesong, yet you feel these
(07:10):
different things and they conveydifferent things of their
feelings and it's super cool.
I just find that really coolthat they're able to do that.
You know, I've talked aboutOtis Redding making you feel
like he's singing it, like it'sactually happening to him.
Tina Turner does the same exactthing but just from a whole
different perspective, and Ilove things like that.
(07:32):
That's, you know, one of thethings I like about music, you
know.
Speaker 1 (07:36):
For sure yeah.
Speaker 2 (07:37):
So it's my favorite live album of all time.
Speaker 1 (07:40):
Oh, I didn't realize this.
Okay, it is Numero Uno.
Speaker 2 (07:43):
It's Numero Uno.
You know, a few episodes ago wetalked about the kinks one for
the road, which is in my topfive.
This is number one and it'sstill number one.
It's been number one since Iheard it and it has never
changed.
I have always said this is myfavorite live album, all right.
So I decided to go check andsee what people thought when it
(08:07):
came out, and Lester Bangs ofRolling Stone Magazine said in
an original review I have nodoubt that it's the best rock
concert ever put on record.
Now this is when it first cameout.
There's been 50 years of livealbums that have come out since
then.
(08:28):
In 2015, Rolling Stone named thealbum number 17 on its 50
greatest live albums of all time.
Definitely has stood the testof time.
Now, what's cool about thisRolling Stone list the 50
greatest albums?
It's not rock albums, it's allgenres, whether it's, you know,
(08:48):
R&B, rock, jazz I mean the wholething, the whole gamut.
So to make number 17 on thatlist, that's pretty cool.
You know what, Jimmy?
It's been a while.
I think it's music in my shoesmailbag time.
Speaker 1 (09:02):
All right Music in my shoes mailbag.
All right Music in my shoesmailbag.
Speaker 2 (09:07):
So on episode 87, live Aid, july 13th 1985, from
the Facebook page John in Iowa,queen stole the show and I saw
them live in Kansas City duringtheir heyday and it was the best
concert I've ever seen.
Randy in Gilmer Texas, I was inPhilly.
It was the best concert I'veever seen Randy in Gilmer Texas.
I was in Philly.
(09:29):
It was wonderful.
I'm jealous of you, randy.
I don't know why I didn't go.
I've mentioned that before.
I wish that I did, but, man,that must have been cool to have
been there.
Must have.
Yeah.
Wanda says Freddie Mercury isamazing and best of all time.
Freddie Mercury is amazing andbest of all time.
Rogelio in El Paso, texas,comments if they want to
(09:50):
generate more money, they shouldreissue concert shirts.
I sure as heck would buy acouple of them.
I love that idea because I wouldbuy one too, I think that would
be great, you know, to be ableto buy some old things from a
live aid or whatever it is.
Speaker 1 (10:05):
That's a great idea.
Yeah, I love that idea.
And for charity again, yeah.
Speaker 2 (10:09):
I would definitely do it.
I'd pay a little bit more thanwhat I paid for shirts back in
the 80s.
Now what I think is interestingis, as I was driving here I had
my phone on shuffle, you know,just randomly playing songs, and
from Live Aid, queen's BohemianRhapsody and Radio Gaga came on
.
And I just get a kick out ofthat, because so many times when
(10:32):
we're recording whether it'sright before or right after
something that we've talkedabout or about to talk about
plays, and that's pretty neat.
It is Episode 88, july 1980,WPLJ, the Kinks and the Gopher
Dance, patricia, wow, wplj wasone of the radio stations I
(10:54):
listened to when I decided to bea rocker Great memories.
I fully understand what you'retalking about, patricia.
I agree with you on that one.
Speaker 1 (11:03):
And guess what?
Music changed Patricia's life.
Speaker 2 (11:06):
Because she decided to become a rocker.
Yes, there you go.
There's a song.
Patricia is a rocker.
Speaker 1 (11:15):
Okay, all right, hey episode.
We'll work on that one.
Speaker 2 (11:17):
Yeah, we'll work on that one.
Episode 90, mtv top videos of1990, you can't touch this Now.
This comment is from me toJimmy.
So, jimmy, on that episode wetalked about Suzanne Vega and
Tom's Diner and being remixed byDNA and originally it was a
(11:37):
acapella and DNA put the musicto it and blah, blah, blah, blah
.
But the mother of the MP3, andI have been dying to ask you,
you, and it's kind of slipped mymind, but this is a great
opportunity.
Speaker 1 (11:50):
you said you were going to look into it yeah, so
you know, when they created themp3 they had to take all this
information that's in adigitized audio file.
You know it's.
It's a really big file,especially by old computer
standards, like a floppy diskback when we had those right
right, that wouldn't even holdone song, really uncompressed
(12:13):
format.
Yeah, and a uh, you know,obviously a cd will, but we
didn't have recordable cds untillater and so, uh they, they
wanted a format that was able togo across the internet, that
has a file size that you know isis manageable on a 14-4 modem,
(12:36):
if anybody remembers what thosewere, you know right, and so the
idea was you have to throw awaya whole lot of the information
and somehow make the sound stillgood, and it took a lot of work
and there was this guy namedbrandenburg that was working on
it and it was easier to makelike, like, say, you have a
(12:57):
really loud rock song, like, uh,like a nirvana song or
something it's like it's loudall the Um.
it's a little easier to compressthat because you can kind of
throw away some of the quieterstuff and your brain doesn't
notice it because it's so loud.
Okay, but something likeSuzanne Vegas Tom's diner is
(13:22):
really dynamic, like her voicegets loud and quiet and there
you can hear the room and youcan hear the nuance in her voice
and everything, and that's thatgets a lot harder to for the
algorithm to decide.
Okay, wait a minute, what arewe going to throw away to
compress this file and stillhave it sound good.
So Brandenburg was working andhe worked at a university and he
(13:47):
actually heard it down the hallSomebody was playing that song
and he said, oh my gosh, I needto find out what that is,
because that would be perfect.
That would be like the ultimatechallenge.
If we can make that sound goodcompressed, then we've really
got something that'll work oneverything.
So that's what he did and ittook him hundreds and hundreds
(14:08):
of tweaks on the algorithm toget it.
Because he said at first it wasjust like awful sounding really
, that, uh, that it would soundlike, you know, computerized and
crunchy and like a robot.
And so now, whenever you hearan MP3, you're hearing that song
(14:30):
as interpreted by his ears,listening to Suzanne Vega.
That's what the whole thing istuned to and it works on
everything.
Speaker 2 (14:42):
Yeah, I mean, that's a pretty cool story.
I'm glad I waited this longbecause it probably took you a
while to figure all that out.
Yeah, yeah, you know, I thinkthings like that.
You know technology, while Idon't necessarily understand all
of it and how it all works, butit's just amazing.
You know where you go from youknow the 78 record to the 33
(15:04):
record, to the you know eighttrack, to the cassette, to the
cd, to mp3.
You know, like just all ofthese different things that have
happened through time to tryand give us the ability to be
able to hear something betterfaster, you know yeah, sometimes
it made it better and sometimesit, like you said, made it
faster, easier, cheaper.
Speaker 1 (15:26):
Cassettes were a downgrade, really, from 8-tracks
, but you could rewind on them,which you couldn't do on an
8-track Right, and they werecheaper than an 8-track.
And then MP3s are a downgradefrom CDs, but you can send them
across the Internet on a slowconnection.
Speaker 2 (15:46):
So yeah, Well, that was good.
I like that, jimmy, thanks.
And that person who had thatcomment man, that guy's a real
good guy.
Speaker 1 (15:54):
Oh wait, that was me that was from Jim in Georgia,
right that was Jim in Georgia.
Speaker 2 (15:59):
Hey, anyway, let's move on.
Episode 91, the Beatles Helpand live in Atlanta 1965,
jennifer in Snellville, georgia,really loved the interview with
Lucy.
Can't imagine how weird tothink of her at 13 going to the
concert and years later seeingPaul McCartney with her kids.
I wonder how many of thosescreaming girls have revisited
(16:22):
with their children.
I think that's a cool thought,you know?
Yeah, it is.
I could watch a documentary ofsome of those stories Great show
.
And then she says something.
But it kind of reminded me ofsomething.
It's almost like she meant toput PS.
You remember when you wouldalways be like PS.
You would say something and belike PS and then throw something
(16:43):
in.
So in my mind I feel like shewanted to say oh, great yeah, so
me too.
Yeah, your family's glad thatyou watched the Goonies.
So PS again.
She didn't put it in my mind.
I'm saying what why did we dothat?
You can't just go at it, youknow Right.
(17:04):
So you put it at the bottom.
You say PS.
Oh yeah, you know, the Beatleshad that song.
Ps, I Love you Right.
Speaker 1 (17:25):
So I'm just thinking about this.
So they wrote a whole letter tothe girl and they're like wait
a minute, I forgot to say I loveyou.
Exactly that.
Speaker 2 (17:30):
Exactly what came to my head when you were saying
that, like, wow, as I write thisletter, send my love to you,
but you didn't say I love youuntil after PS, I love you, wow,
wow.
But hey, I do agree withJennifer here.
You know, lucy was a fantasticguest.
Really enjoyed having her onand talking about what it was
(17:51):
like to see the Beatles atAtlanta Stadium here in Atlanta.
It was like to see the Beatlesat Atlanta Stadium here in
Atlanta and it definitely mustbe cool to have been 13, like
she said, see this band and then, you know, as she got older and
her kids got older and couldappreciate it, going to see Paul
McCartney.
I think she said she saw RingoStarr also.
I mean, that is just neat.
(18:12):
You know I've seen PaulMcCartney and Ringo Starr with
my kids, but I didn't see theBeatles.
So that's just super cool,really like it.
Yeah, so also same episode.
Daryl says, may the truth betold, the Isley brothers are the
greatest family group of alltime, and I'm thinking he's
(18:33):
mentioning the Isleys from theirconnection with the Beatles of
releasing their version of Twistand Shout in 1962.
Beatles released theirs in UKin 1963, and then here in the US
in 1964.
So I'm kind of thinking thatthat's the connection that he's
(18:54):
trying to make there.
The Isley Brothers definitelyare one of the greatest family
groups of all time.
I mean, they really had a tonof family members in the band,
even as they had differentversions of the group.
They would bring in differentfamily members.
Speaker 1 (19:10):
Oh, I didn't know that.
Speaker 2 (19:13):
Twist and Shout is a great song.
The Isley Brothers version isgreat.
The version that is done by theBeatles is fantastic.
But the parade scene in themovie Ferris Bueller's Day Off
is just.
That is epic, you know.
Speaker 1 (19:34):
Yeah, and that's the Beatles version.
Speaker 2 (19:36):
That's the Beatles version.
That's the Beatles version.
But what's cool is that theythrow in like the marching band.
They throw the marching bandinto parts of the song, so while
you're watching them in thescene, you can also hear them.
So it's not like straight.
Hey, let's just play the record, let's add this, and I really
thought that was cool because itreally made it seem a little
(19:58):
bit more lifelike.
Not that Matthew Broderick wasdoing the best job of I don't
want to say he was lip syncing,Was he miming, or what would you
say, jimmy?
Speaker 1 (20:07):
I would say he's lip syncing.
Speaker 2 (20:09):
Lip syncing yeah.
Speaker 1 (20:10):
Okay.
Speaker 2 (20:11):
Not that you know he was doing a bad job, but it was.
You know it was okay.
But I love that scene from themovie.
I enjoyed having Lucy on.
That was a great episode.
Thank you, jennifer.
Great, great feedback.
Yes, Episode 92, I Want my $2,cheap Trick, squeeze Queen and
(20:31):
the Cars.
Jimmy spoke about Big Maybeland her version of Whole Lotta
Shakin' going on from 1955.
Scott in Georgia.
A lot of Georgia people comingin on this episode here comments
and to keep the big rock androll inspiration there going,
(20:53):
don't forget.
Speaker 1 (20:54):
Big Mama Thornton's Hound Dog in 1953.
Yes, classic, another onethat's like slower in the old
version, right.
Speaker 2 (21:00):
Yes, it is slower in the old version.
So Big Mama Thornton wasplaying in a bar in San
Francisco.
All right, she didn't make aton of money.
She says she made about 500bucks off of that song.
That was it.
Even after Elvis did it, sheyou know, back then you could
get robbed blind on signingcontracts.
Speaker 1 (21:22):
She only-.
I think 500 bucks was a lotmore than it is now, but still.
Speaker 2 (21:26):
Yeah, it was a one-time payment that you know.
That's basically.
She said what she got.
So she's at a bar playing.
Janis Joplin was in attendanceat one of her shows at the San
Francisco bar and here's thesong Ball and Chain, and Janis
Joplin and Big Brother and theHolding Company they end up
(21:47):
playing at a Monterey PopFestival and it was unbelievable
, just, you know did fantasticbluesy version and kept, you
know, a lot of the feeling thatBig Mama Thornton had in it.
You know Janis Joplin did thatReally really cool.
And you know I get a kick outof when we have things and we
(22:12):
talk about things and how thingsare connected, of when we have
things and we talk about thingsand how things are connected and
something as simple as Janicegoing into a bar and seeing Big
Mama Thornton and then all of asudden, ball and Chain is, you
know, one of her big songs.
So, yeah, awesome.
I was reminded by podcastchecker Sue Ann that the
director of Better Off Dead,savage Steve Holland, was
(22:36):
related to a teacher we had inhigh school, mr Gels, and Mr
Gels' daughter was in the 1986movie One Crazy Summer, also
starring John Cusack anddirected by Savage Steve Holland
.
Savage Steve Holland is a greatname, it is.
I love that name but a lot ofpeople for some reason think
(22:58):
that one crazy summer is like asequel to better off dead.
And it's not at all.
It has no connection.
But I do remember mr galstalking about his daughter who's
a young, young kid, was goingto be in this movie and like oh
sure, yeah, whatever, but sureenough she was.
(23:18):
Episode 93, isle of wight 1970,horde festival, 1995, blotto,
and this beat goes on.
I talked about casey, of caseyand the sunshine band and that
he did not think that they werea disco band and listener Barry
says that makes two of us.
(23:39):
Okay, he said he couldn'tbelieve KC and the Sunshine Band
was disco Like.
When he first heard it he waslike no, they're not.
And kind of was taken abackthat people would actually think
that they were a disco band.
All right all right, I respectBarry, but you know what Music's
not a competition.
Whether it's disco or R&B orfunk or rock or pop or jazz or
(24:02):
Hill Street Blues, it's stillmusic.
Hey, you can reach us atmusicinmyshoes at gmailcom if
you'd like to talk aboutanything that you've heard on
the show or bring up a new topic.
Please like and follow theMusic in my Shoes Facebook and
Instagram pages.
We would appreciate it.
Let's revisit some more Musicin my Shoes.
(24:32):
You Shook Me All Night Longenters Billboard Hot 100
September 6, 1980 and peaks atnumber 35 on November 8.
I know you talked about thealbum from ACDC Back in Black a
few episodes ago, jimmy.
This album deserves to betalked about many times because
it is fantastic from beginningto end.
(24:54):
You shook me all night long.
Guitar starts, but then whenthat drum kicks in, it's like
we're ready to rock.
You know, oh yeah, and you knowshe was a fast machine.
She kept her motor clean.
She was the best damn womanthat I ever seen.
I mean, you know that this songis going to places that you
(25:18):
haven't seen in a while.
Speaker 1 (25:20):
And it was either the first or one of the first songs
that Brian Johnson ever wrote.
Speaker 2 (25:25):
And he did a great job with it.
And you know, with that, Ithink you know, there's some
people like Bon Scott you know,who had died I think it was
February 1980, that he had wroteit.
And I really think, in myopinion not that my opinion
counts for anything I think thatBrian Johnson had some of the
things you know notes from BonScott and Bon Scott would write
(25:49):
down lines and have things andbe like you know what, hey, that
looks like a cool line, and soforth, and I just think the song
is absolutely classic.
It's got some of those you knowcomedic things that Bon Scott
would be known for in some ofthe songs that he would do.
But Brian Johnson really did agreat job, you know, with the
song, singing the song andreally, you know, brought back a
(26:12):
band that you thought was done.
Speaker 1 (26:15):
you know Now.
I mean, maybe he had some notesfrom Bon Scott, but when I
listened to a podcast with himrecently, he didn't say anything
about that.
He said that they gave him themusic, they gave him the title
and he had to write the song.
Speaker 2 (26:29):
Isn't that cool.
Like this is the title, writethe song.
And I know they do that formovies and different things like
that, and you know that's justcool to be able to do something
like that.
Speaker 1 (26:40):
Yeah, every band works differently and that's a
way that I've never really heardof doing it.
You know, they record theentire music track and come up
with the title, and then they'relike, all right, write the
lyrics.
Speaker 2 (26:53):
You shook me all night long.
I don't know, but I thinkalmost everybody loves this song
Because you can be at a weddingand a DJ is playing.
And this song starts to playand there's like 70-year-old,
80-year-old people getting onthe floor.
They want to dance to this song.
(27:13):
They're ready to go.
Speaker 1 (27:15):
Well, and there are young people that are, you know,
excited about it too.
Speaker 2 (27:23):
Oh yeah, it's everybody you know.
But the 70 and 80 year oldpeople that are just kind of
hanging out on the side, all ofa sudden they hear the beginning
of that and it is like it's allover.
You know, they're ready to comeout on the floor, do some
splits.
I mean it's crazy, some splits.
I mean it's crazy, speaking ofcrazy, tick, tick, tick.
It's Minute with Jimmy.
It's time for Minute with Jimmy.
Minute with Jimmy.
Minute with Jimmy.
Speaker 1 (27:47):
It's time for Minute with Jimmy, minute with Jimmy,
minute with Jimmy.
So I noticed you know, jim, youtalk about movies a lot and
I've never really talked aboutmovies as much.
Right, I talked about SpinalTap recently.
Another movie from 1985, 40years ago, was Fletch, the Chevy
Chase comedy.
I say that it's Chevy Chase athis absolute pinnacle as a
(28:17):
comedic force.
It was a perfect movie for himas a comedic force.
It was a perfect movie for him.
He got to play all thesedifferent characters because his
character was always kind ofundercover and pretending to be
somebody else.
He had crazy names, rangingfrom Harry S Truman to John
Babar, you know, to Dr RosenRosen and everything in between.
And it had so many lines in itthat when I was in high school,
(28:38):
when my buddies and I we wouldjust always be quoting Fletch
lines, you know, billet to theunderhills, all these, you know,
put some three-in-one oil andsome gauze pads on it, that sort
of stuff.
And I haven't seen it in a longtime, but I have great memories
of Fletch.
Speaker 2 (28:58):
You know, jimmy, I have forgotten about that movie.
I'm going to actually watch itbecause, you're right, it was
funny.
He did have all those lines andI think he had like Fletch and
then wasn't there like FletchLives and there was like some
sequels.
Speaker 1 (29:14):
Yeah, they weren't that good.
Speaker 2 (29:16):
Yeah, I believe, if I'm not mistaken, I think the
original Fletch.
My father worked at Newsday fora time up in New York and I
think they filmed some of thescenes, some of the office
scenes at Newsday for Fletch.
Speaker 1 (29:30):
Oh cool.
Speaker 2 (29:31):
Yeah, I like that, jimmy.
Now I have a movie Now I'veseen it, but I need to go
revisit it.
Speaker 1 (29:37):
Me too.
Speaker 2 (29:39):
My name is Jimmy, so Jimmy, back in late 1994,
someone gave me a promo cassetteof a band I never heard of with
just a few songs on it.
One song stood out to me it's12 o'clock and it's a wonderful
day.
I know you hate me, but I'llask anyway.
Won't you come with me to aplace in a little town.
(30:08):
The only way to get there is togo straight down the song
Tomorrow by Silverchair, Threeguys from Australia they were 15
at the time.
Speaker 1 (30:18):
Oh, wow.
Speaker 2 (30:19):
And I wore that cassette out.
I'm like I couldn't find itanywhere.
There's nowhere to find it andI would just listen to that
cassette over and over and over.
So the band re-records it in1995 for the Frog Stomp album,
and one day on the radio Iactually hear this song that I
(30:39):
have had since, you know, 1994.
At some point it peaked atnumber one on alternative
airplay on September 2nd 1995,30 years ago, and it was number
one on mainstream rock airplayon september 23rd.
I still think I listened to ita bunch the other day.
(31:01):
It is a great song and when youstart to think that they're 15
years old yeah it isunbelievable.
The guitar work is fantastic,really good.
Just it's grungy but it's not.
It's got cool voice becausethey're Australian trying to do
(31:21):
it's just a cool song.
It really is All right.
Yeah, there's no bathroom andthere is no sink.
The water out of the tap isvery hard to drink.
I'll tell you what else is hardto drink.
That that's it for episode 94of Music in my Shoes.
I'd like to thank Jimmy Guthrie, show producer and owner of
(31:44):
Arcade 160 Studios located herein Atlanta, georgia, and Vic
Thrill for our podcast music.
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.
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 94.
As always, I'm thrilled to behere with you.
Let's learn something new orremember something old.
So back on September 4th 1970,the Rolling Stones released Get
(00:54):
your Ya-Ya's Out live album theyrecorded in November of 1969.
Most of it came from two shows,actually three shows at Madison
Square Garden.
It was on November 27th and28th.
27th was one show, the 28th wastwo shows.
Can you imagine that?
Because a lot of the bands usedto do that back in the late 60s
(01:18):
and the early 70s they wouldplay like a Like a matinee.
Speaker 1 (01:21):
Yeah.
Speaker 2 (01:22):
And then do whatever and then come back and play the
Late Show.
It's funny because a lot oftimes the Late Show was either
really really good or reallyreally bad, because they had so
much time on their hands inbetween Right.
Speaker 1 (01:36):
Yeah, rock stars do what rock stars do.
Speaker 2 (01:39):
Yes, they do, and one of the songs was actually
recorded in Baltimore November26th, so it's all within a
three-day period that the albumhappens.
I first heard it on a radiostation and I don't remember
which one it was, but they woulddo this weekly thing where they
would play one side of an album.
(02:00):
I don't remember if it wasalways live or I just don't
remember, but I remember theywere going to play this and I
wasn't really if it was alwayslive or you just don't remember,
but I remember they were goingto play this and I wasn't really
familiar with it.
I knew a couple of the songsbut I didn't know all of it.
And I remember laying down onthe living room floor and had
the stereo system and you know,all ready to go and it came on
(02:24):
and I was absolutely blown awayby the first side of this album.
Guitarist Mick Taylor hadreplaced Brian Jones early
summer of 1969.
We've talked about that before.
You know, we talked about thetribute concert that they did in
Hyde Park.
I think it was July 3rd of 1969.
So we moved forward to November69 for this album that came out
(02:48):
in September of 70.
And Mick Taylor it was justunbelievable what he was able to
do with the Rolling Stones andthe direction that he helped
them get to with Keith Richards,and I don't think it's possible
that they could have done thatwith Brian Jones.
And Side One kicks off withJumba.
(03:09):
Jack Flash goes into Carol,which is a Chuck Berry song that
all of the early 60s Britishbands all had their own version
of.
Carol, like, seriously, you cango out there and whether it's
the Kinks or the Beatles or theRolling Stones or whoever,
everybody seemed to do that song.
(03:30):
Stray Cat Blues, love in Vain,which is the song that they
recorded in Baltimore.
And Side One ends with MidnightRambler, which I knew this
version because they would playthat on the radio.
Absolutely blown away bylistening to this.
So, carol, they did a rockversion.
(03:53):
Like most bands when they do it, it's kind of like that early
60s pop version of it.
But by now I mean they just dida really good one.
Stray Cat Blues, I mean theyare just on fire.
Love in Vain, what a greatblues song.
I mean it's just fantastic.
I can't talk about it enough.
(04:14):
I mean it really is one ofthose albums that is kind of you
know, I don't want to saylife-changing.
I hate saying things like thatBecause, at the end of the day,
music, you know, is don't wantto say life-changing.
I hate saying things like thatbecause, at the end of the day,
music, you know, is a greatthing and it's something that's
awesome to help us, you know,with life and get through life.
But as far as changing my lifeand stuff, I don't know, maybe
(04:38):
it got me, it ended up.
I got this podcast years later.
That's right, you know, but itis something that was really,
you know, made an impact on melistening to it and hearing
stuff, because you know, I knewall the Rolling Stones hit songs
up until you know this pointwhen I listened to it and I go
and I listen to Psy 2, you knowI end up picking up the album.
(04:59):
Sympathy for the Devil.
I knew this version also.
Sympathy for the Devil.
I Knew this Version Also.
Live With Me, little Queenie,another Chuck Berry song that
they just absolutely rock out onHonky Tonk Women and Street
Fighting man.
It is just unbelievable howgood of an album this is, and I
(05:22):
don't know if it's because theyknew that they were recording it
for an album.
I mean some of the RollingStone live albums, some are good
and some are awful, to be quitehonest.
So this one is absolutelyfantastic.
What they did for the 40thanniversary edition they
(05:44):
included some songs that theyplayed that weren't on the
original album prodigal son, yougotta move under my thumb, I'm
free and satisfaction.
And they didn't want to putsatisfaction on because they had
satisfaction on like at leastone live album before and kind
of want to show a differentdirection for them.
Under my Thumb is done justlike a little differently, so
(06:07):
it's actually kind of cool tolisten to.
But it also had songs from theopening bands, so BB King and
Ike and Tina Turner they openedup these shows.
Speaker 1 (06:21):
Oh, and that was on like the anniversary edition On
the anniversary edition.
Speaker 2 (06:24):
So some of the songs from BB and that was on like the
anniversary edition On theanniversary edition.
So some of the songs from BBKing that are on there is Every
Day.
I have the Blues.
He opens up with that.
I mean it's just a fantasticsong.
Why I Sing the Blues and Ikeand Tina Turner Gimme Some
Lovin' Son of a Preacher man.
Proud Mary, I've Been Loving youToo Long.
Come Together.
Proud Mary, I've been lovingyou too long.
Come together, it's justfantastic.
(06:46):
So I've been loving you toolong is kind of cool because you
have the Otis Redding version,sung from a man's point of view
and he made famous at MontereyPop Festival in 1967, and and
now you have Tina Turner'sversion from a woman's
perspective and it's the samesong, yet you feel these
(07:10):
different things and they conveydifferent things of their
feelings and it's super cool.
I just find that really coolthat they're able to do that.
You know, I've talked aboutOtis Redding making you feel
like he's singing it, like it'sactually happening to him.
Tina Turner does the same exactthing but just from a whole
different perspective, and Ilove things like that.
(07:32):
That's, you know, one of thethings I like about music, you
know.
Speaker 1 (07:36):
For sure yeah.
Speaker 2 (07:37):
So it's my favorite live album of all time.
Speaker 1 (07:40):
Oh, I didn't realize this.
Okay, it is Numero Uno.
Speaker 2 (07:43):
It's Numero Uno.
You know, a few episodes ago wetalked about the kinks one for
the road, which is in my topfive.
This is number one and it'sstill number one.
It's been number one since Iheard it and it has never
changed.
I have always said this is myfavorite live album, all right.
So I decided to go check andsee what people thought when it
(08:07):
came out, and Lester Bangs ofRolling Stone Magazine said in
an original review I have nodoubt that it's the best rock
concert ever put on record.
Now this is when it first cameout.
There's been 50 years of livealbums that have come out since
then.
(08:28):
In 2015, Rolling Stone named thealbum number 17 on its 50
greatest live albums of all time.
Definitely has stood the testof time.
Now, what's cool about thisRolling Stone list the 50
greatest albums?
It's not rock albums, it's allgenres, whether it's, you know,
(08:48):
R&B, rock, jazz I mean the wholething, the whole gamut.
So to make number 17 on thatlist, that's pretty cool.
You know what, Jimmy?
It's been a while.
I think it's music in my shoesmailbag time.
Speaker 1 (09:02):
All right Music in my shoes mailbag.
All right Music in my shoesmailbag.
Speaker 2 (09:07):
So on episode 87, live Aid, july 13th 1985, from
the Facebook page John in Iowa,queen stole the show and I saw
them live in Kansas City duringtheir heyday and it was the best
concert I've ever seen.
Randy in Gilmer Texas, I was inPhilly.
It was the best concert I'veever seen Randy in Gilmer Texas.
I was in Philly.
(09:29):
It was wonderful.
I'm jealous of you, randy.
I don't know why I didn't go.
I've mentioned that before.
I wish that I did, but, man,that must have been cool to have
been there.
Must have.
Yeah.
Wanda says Freddie Mercury isamazing and best of all time.
Freddie Mercury is amazing andbest of all time.
Rogelio in El Paso, texas,comments if they want to
(09:50):
generate more money, they shouldreissue concert shirts.
I sure as heck would buy acouple of them.
I love that idea because I wouldbuy one too, I think that would
be great, you know, to be ableto buy some old things from a
live aid or whatever it is.
Speaker 1 (10:05):
That's a great idea.
Yeah, I love that idea.
And for charity again, yeah.
Speaker 2 (10:09):
I would definitely do it.
I'd pay a little bit more thanwhat I paid for shirts back in
the 80s.
Now what I think is interestingis, as I was driving here I had
my phone on shuffle, you know,just randomly playing songs, and
from Live Aid, queen's BohemianRhapsody and Radio Gaga came on
.
And I just get a kick out ofthat, because so many times when
(10:32):
we're recording whether it'sright before or right after
something that we've talkedabout or about to talk about
plays, and that's pretty neat.
It is Episode 88, july 1980,WPLJ, the Kinks and the Gopher
Dance, patricia, wow, wplj wasone of the radio stations I
(10:54):
listened to when I decided to bea rocker Great memories.
I fully understand what you'retalking about, patricia.
I agree with you on that one.
Speaker 1 (11:03):
And guess what?
Music changed Patricia's life.
Speaker 2 (11:06):
Because she decided to become a rocker.
Yes, there you go.
There's a song.
Patricia is a rocker.
Speaker 1 (11:15):
Okay, all right, hey episode.
We'll work on that one.
Speaker 2 (11:17):
Yeah, we'll work on that one.
Episode 90, mtv top videos of1990, you can't touch this Now.
This comment is from me toJimmy.
So, jimmy, on that episode wetalked about Suzanne Vega and
Tom's Diner and being remixed byDNA and originally it was a
(11:37):
acapella and DNA put the musicto it and blah, blah, blah, blah
.
But the mother of the MP3, andI have been dying to ask you,
you, and it's kind of slipped mymind, but this is a great
opportunity.
Speaker 1 (11:50):
you said you were going to look into it yeah, so
you know, when they created themp3 they had to take all this
information that's in adigitized audio file.
You know it's.
It's a really big file,especially by old computer
standards, like a floppy diskback when we had those right
right, that wouldn't even holdone song, really uncompressed
(12:13):
format.
Yeah, and a uh, you know,obviously a cd will, but we
didn't have recordable cds untillater and so, uh they, they
wanted a format that was able togo across the internet, that
has a file size that you know isis manageable on a 14-4 modem,
(12:36):
if anybody remembers what thosewere, you know right, and so the
idea was you have to throw awaya whole lot of the information
and somehow make the sound stillgood, and it took a lot of work
and there was this guy namedbrandenburg that was working on
it and it was easier to makelike, like, say, you have a
(12:57):
really loud rock song, like, uh,like a nirvana song or
something it's like it's loudall the Um.
it's a little easier to compressthat because you can kind of
throw away some of the quieterstuff and your brain doesn't
notice it because it's so loud.
Okay, but something likeSuzanne Vegas Tom's diner is
(13:22):
really dynamic, like her voicegets loud and quiet and there
you can hear the room and youcan hear the nuance in her voice
and everything, and that's thatgets a lot harder to for the
algorithm to decide.
Okay, wait a minute, what arewe going to throw away to
compress this file and stillhave it sound good.
So Brandenburg was working andhe worked at a university and he
(13:47):
actually heard it down the hallSomebody was playing that song
and he said, oh my gosh, I needto find out what that is,
because that would be perfect.
That would be like the ultimatechallenge.
If we can make that sound goodcompressed, then we've really
got something that'll work oneverything.
So that's what he did and ittook him hundreds and hundreds
(14:08):
of tweaks on the algorithm toget it.
Because he said at first it wasjust like awful sounding really
, that, uh, that it would soundlike, you know, computerized and
crunchy and like a robot.
And so now, whenever you hearan MP3, you're hearing that song
(14:30):
as interpreted by his ears,listening to Suzanne Vega.
That's what the whole thing istuned to and it works on
everything.
Speaker 2 (14:42):
Yeah, I mean, that's a pretty cool story.
I'm glad I waited this longbecause it probably took you a
while to figure all that out.
Yeah, yeah, you know, I thinkthings like that.
You know technology, while Idon't necessarily understand all
of it and how it all works, butit's just amazing.
You know where you go from youknow the 78 record to the 33
(15:04):
record, to the you know eighttrack, to the cassette, to the
cd, to mp3.
You know, like just all ofthese different things that have
happened through time to tryand give us the ability to be
able to hear something betterfaster, you know yeah, sometimes
it made it better and sometimesit, like you said, made it
faster, easier, cheaper.
Speaker 1 (15:26):
Cassettes were a downgrade, really, from 8-tracks
, but you could rewind on them,which you couldn't do on an
8-track Right, and they werecheaper than an 8-track.
And then MP3s are a downgradefrom CDs, but you can send them
across the Internet on a slowconnection.
Speaker 2 (15:46):
So yeah, Well, that was good.
I like that, jimmy, thanks.
And that person who had thatcomment man, that guy's a real
good guy.
Speaker 1 (15:54):
Oh wait, that was me that was from Jim in Georgia,
right that was Jim in Georgia.
Speaker 2 (15:59):
Hey, anyway, let's move on.
Episode 91, the Beatles Helpand live in Atlanta 1965,
jennifer in Snellville, georgia,really loved the interview with
Lucy.
Can't imagine how weird tothink of her at 13 going to the
concert and years later seeingPaul McCartney with her kids.
I wonder how many of thosescreaming girls have revisited
(16:22):
with their children.
I think that's a cool thought,you know?
Yeah, it is.
I could watch a documentary ofsome of those stories Great show
.
And then she says something.
But it kind of reminded me ofsomething.
It's almost like she meant toput PS.
You remember when you wouldalways be like PS.
You would say something and belike PS and then throw something
(16:43):
in.
So in my mind I feel like shewanted to say oh, great yeah, so
me too.
Yeah, your family's glad thatyou watched the Goonies.
So PS again.
She didn't put it in my mind.
I'm saying what why did we dothat?
You can't just go at it, youknow Right.
(17:04):
So you put it at the bottom.
You say PS.
Oh yeah, you know, the Beatleshad that song.
Ps, I Love you Right.
Speaker 1 (17:25):
So I'm just thinking about this.
So they wrote a whole letter tothe girl and they're like wait
a minute, I forgot to say I loveyou.
Exactly that.
Speaker 2 (17:30):
Exactly what came to my head when you were saying
that, like, wow, as I write thisletter, send my love to you,
but you didn't say I love youuntil after PS, I love you, wow,
wow.
But hey, I do agree withJennifer here.
You know, lucy was a fantasticguest.
Really enjoyed having her onand talking about what it was
(17:51):
like to see the Beatles atAtlanta Stadium here in Atlanta.
It was like to see the Beatlesat Atlanta Stadium here in
Atlanta and it definitely mustbe cool to have been 13, like
she said, see this band and then, you know, as she got older and
her kids got older and couldappreciate it, going to see Paul
McCartney.
I think she said she saw RingoStarr also.
I mean, that is just neat.
(18:12):
You know I've seen PaulMcCartney and Ringo Starr with
my kids, but I didn't see theBeatles.
So that's just super cool,really like it.
Yeah, so also same episode.
Daryl says, may the truth betold, the Isley brothers are the
greatest family group of alltime, and I'm thinking he's
(18:33):
mentioning the Isleys from theirconnection with the Beatles of
releasing their version of Twistand Shout in 1962.
Beatles released theirs in UKin 1963, and then here in the US
in 1964.
So I'm kind of thinking thatthat's the connection that he's
(18:54):
trying to make there.
The Isley Brothers definitelyare one of the greatest family
groups of all time.
I mean, they really had a tonof family members in the band,
even as they had differentversions of the group.
They would bring in differentfamily members.
Speaker 1 (19:10):
Oh, I didn't know that.
Speaker 2 (19:13):
Twist and Shout is a great song.
The Isley Brothers version isgreat.
The version that is done by theBeatles is fantastic.
But the parade scene in themovie Ferris Bueller's Day Off
is just.
That is epic, you know.
Speaker 1 (19:34):
Yeah, and that's the Beatles version.
Speaker 2 (19:36):
That's the Beatles version.
That's the Beatles version.
But what's cool is that theythrow in like the marching band.
They throw the marching bandinto parts of the song, so while
you're watching them in thescene, you can also hear them.
So it's not like straight.
Hey, let's just play the record, let's add this, and I really
thought that was cool because itreally made it seem a little
(19:58):
bit more lifelike.
Not that Matthew Broderick wasdoing the best job of I don't
want to say he was lip syncing,Was he miming, or what would you
say, jimmy?
Speaker 1 (20:07):
I would say he's lip syncing.
Speaker 2 (20:09):
Lip syncing yeah.
Speaker 1 (20:10):
Okay.
Speaker 2 (20:11):
Not that you know he was doing a bad job, but it was.
You know it was okay.
But I love that scene from themovie.
I enjoyed having Lucy on.
That was a great episode.
Thank you, jennifer.
Great, great feedback.
Yes, Episode 92, I Want my $2,cheap Trick, squeeze Queen and
(20:31):
the Cars.
Jimmy spoke about Big Maybeland her version of Whole Lotta
Shakin' going on from 1955.
Scott in Georgia.
A lot of Georgia people comingin on this episode here comments
and to keep the big rock androll inspiration there going,
(20:53):
don't forget.
Speaker 1 (20:54):
Big Mama Thornton's Hound Dog in 1953.
Yes, classic, another onethat's like slower in the old
version, right.
Speaker 2 (21:00):
Yes, it is slower in the old version.
So Big Mama Thornton wasplaying in a bar in San
Francisco.
All right, she didn't make aton of money.
She says she made about 500bucks off of that song.
That was it.
Even after Elvis did it, sheyou know, back then you could
get robbed blind on signingcontracts.
Speaker 1 (21:22):
She only-.
I think 500 bucks was a lotmore than it is now, but still.
Speaker 2 (21:26):
Yeah, it was a one-time payment that you know.
That's basically.
She said what she got.
So she's at a bar playing.
Janis Joplin was in attendanceat one of her shows at the San
Francisco bar and here's thesong Ball and Chain, and Janis
Joplin and Big Brother and theHolding Company they end up
(21:47):
playing at a Monterey PopFestival and it was unbelievable
, just, you know did fantasticbluesy version and kept, you
know, a lot of the feeling thatBig Mama Thornton had in it.
You know Janis Joplin did thatReally really cool.
And you know I get a kick outof when we have things and we
(22:12):
talk about things and how thingsare connected, of when we have
things and we talk about thingsand how things are connected and
something as simple as Janicegoing into a bar and seeing Big
Mama Thornton and then all of asudden, ball and Chain is, you
know, one of her big songs.
So, yeah, awesome.
I was reminded by podcastchecker Sue Ann that the
director of Better Off Dead,savage Steve Holland, was
(22:36):
related to a teacher we had inhigh school, mr Gels, and Mr
Gels' daughter was in the 1986movie One Crazy Summer, also
starring John Cusack anddirected by Savage Steve Holland
.
Savage Steve Holland is a greatname, it is.
I love that name but a lot ofpeople for some reason think
(22:58):
that one crazy summer is like asequel to better off dead.
And it's not at all.
It has no connection.
But I do remember mr galstalking about his daughter who's
a young, young kid, was goingto be in this movie and like oh
sure, yeah, whatever, but sureenough she was.
(23:18):
Episode 93, isle of wight 1970,horde festival, 1995, blotto,
and this beat goes on.
I talked about casey, of caseyand the sunshine band and that
he did not think that they werea disco band and listener Barry
says that makes two of us.
(23:39):
Okay, he said he couldn'tbelieve KC and the Sunshine Band
was disco Like.
When he first heard it he waslike no, they're not.
And kind of was taken abackthat people would actually think
that they were a disco band.
All right all right, I respectBarry, but you know what Music's
not a competition.
Whether it's disco or R&B orfunk or rock or pop or jazz or
(24:02):
Hill Street Blues, it's stillmusic.
Hey, you can reach us atmusicinmyshoes at gmailcom if
you'd like to talk aboutanything that you've heard on
the show or bring up a new topic.
Please like and follow theMusic in my Shoes Facebook and
Instagram pages.
We would appreciate it.
Let's revisit some more Musicin my Shoes.
(24:32):
You Shook Me All Night Longenters Billboard Hot 100
September 6, 1980 and peaks atnumber 35 on November 8.
I know you talked about thealbum from ACDC Back in Black a
few episodes ago, jimmy.
This album deserves to betalked about many times because
it is fantastic from beginningto end.
(24:54):
You shook me all night long.
Guitar starts, but then whenthat drum kicks in, it's like
we're ready to rock.
You know, oh yeah, and you knowshe was a fast machine.
She kept her motor clean.
She was the best damn womanthat I ever seen.
I mean, you know that this songis going to places that you
(25:18):
haven't seen in a while.
Speaker 1 (25:20):
And it was either the first or one of the first songs
that Brian Johnson ever wrote.
Speaker 2 (25:25):
And he did a great job with it.
And you know, with that, Ithink you know, there's some
people like Bon Scott you know,who had died I think it was
February 1980, that he had wroteit.
And I really think, in myopinion not that my opinion
counts for anything I think thatBrian Johnson had some of the
things you know notes from BonScott and Bon Scott would write
(25:49):
down lines and have things andbe like you know what, hey, that
looks like a cool line, and soforth, and I just think the song
is absolutely classic.
It's got some of those you knowcomedic things that Bon Scott
would be known for in some ofthe songs that he would do.
But Brian Johnson really did agreat job, you know, with the
song, singing the song andreally, you know, brought back a
(26:12):
band that you thought was done.
Speaker 1 (26:15):
you know Now.
I mean, maybe he had some notesfrom Bon Scott, but when I
listened to a podcast with himrecently, he didn't say anything
about that.
He said that they gave him themusic, they gave him the title
and he had to write the song.
Speaker 2 (26:29):
Isn't that cool.
Like this is the title, writethe song.
And I know they do that formovies and different things like
that, and you know that's justcool to be able to do something
like that.
Speaker 1 (26:40):
Yeah, every band works differently and that's a
way that I've never really heardof doing it.
You know, they record theentire music track and come up
with the title, and then they'relike, all right, write the
lyrics.
Speaker 2 (26:53):
You shook me all night long.
I don't know, but I thinkalmost everybody loves this song
Because you can be at a weddingand a DJ is playing.
And this song starts to playand there's like 70-year-old,
80-year-old people getting onthe floor.
They want to dance to this song.
(27:13):
They're ready to go.
Speaker 1 (27:15):
Well, and there are young people that are, you know,
excited about it too.
Speaker 2 (27:23):
Oh yeah, it's everybody you know.
But the 70 and 80 year oldpeople that are just kind of
hanging out on the side, all ofa sudden they hear the beginning
of that and it is like it's allover.
You know, they're ready to comeout on the floor, do some
splits.
I mean it's crazy, some splits.
I mean it's crazy, speaking ofcrazy, tick, tick, tick.
It's Minute with Jimmy.
It's time for Minute with Jimmy.
Minute with Jimmy.
Minute with Jimmy.
Speaker 1 (27:47):
It's time for Minute with Jimmy, minute with Jimmy,
minute with Jimmy.
So I noticed you know, jim, youtalk about movies a lot and
I've never really talked aboutmovies as much.
Right, I talked about SpinalTap recently.
Another movie from 1985, 40years ago, was Fletch, the Chevy
Chase comedy.
I say that it's Chevy Chase athis absolute pinnacle as a
(28:17):
comedic force.
It was a perfect movie for himas a comedic force.
It was a perfect movie for him.
He got to play all thesedifferent characters because his
character was always kind ofundercover and pretending to be
somebody else.
He had crazy names, rangingfrom Harry S Truman to John
Babar, you know, to Dr RosenRosen and everything in between.
And it had so many lines in itthat when I was in high school,
(28:38):
when my buddies and I we wouldjust always be quoting Fletch
lines, you know, billet to theunderhills, all these, you know,
put some three-in-one oil andsome gauze pads on it, that sort
of stuff.
And I haven't seen it in a longtime, but I have great memories
of Fletch.
Speaker 2 (28:58):
You know, jimmy, I have forgotten about that movie.
I'm going to actually watch itbecause, you're right, it was
funny.
He did have all those lines andI think he had like Fletch and
then wasn't there like FletchLives and there was like some
sequels.
Speaker 1 (29:14):
Yeah, they weren't that good.
Speaker 2 (29:16):
Yeah, I believe, if I'm not mistaken, I think the
original Fletch.
My father worked at Newsday fora time up in New York and I
think they filmed some of thescenes, some of the office
scenes at Newsday for Fletch.
Speaker 1 (29:30):
Oh cool.
Speaker 2 (29:31):
Yeah, I like that, jimmy.
Now I have a movie Now I'veseen it, but I need to go
revisit it.
Speaker 1 (29:37):
Me too.
Speaker 2 (29:39):
My name is Jimmy, so Jimmy, back in late 1994,
someone gave me a promo cassetteof a band I never heard of with
just a few songs on it.
One song stood out to me it's12 o'clock and it's a wonderful
day.
I know you hate me, but I'llask anyway.
Won't you come with me to aplace in a little town.
(30:08):
The only way to get there is togo straight down the song
Tomorrow by Silverchair, Threeguys from Australia they were 15
at the time.
Speaker 1 (30:18):
Oh, wow.
Speaker 2 (30:19):
And I wore that cassette out.
I'm like I couldn't find itanywhere.
There's nowhere to find it andI would just listen to that
cassette over and over and over.
So the band re-records it in1995 for the Frog Stomp album,
and one day on the radio Iactually hear this song that I
(30:39):
have had since, you know, 1994.
At some point it peaked atnumber one on alternative
airplay on September 2nd 1995,30 years ago, and it was number
one on mainstream rock airplayon september 23rd.
I still think I listened to ita bunch the other day.
(31:01):
It is a great song and when youstart to think that they're 15
years old yeah it isunbelievable.
The guitar work is fantastic,really good.
Just it's grungy but it's not.
It's got cool voice becausethey're Australian trying to do
(31:21):
it's just a cool song.
It really is All right.
Yeah, there's no bathroom andthere is no sink.
The water out of the tap isvery hard to drink.
I'll tell you what else is hardto drink.
That that's it for episode 94of Music in my Shoes.
I'd like to thank Jimmy Guthrie, show producer and owner of
(31:44):
Arcade 160 Studios located herein Atlanta, georgia, and Vic
Thrill for our podcast music.
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.
Thank you.
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