November 9, 2025 • 33 mins
The lights drop in Atlanta and Paul McCartney steps into a room full of memory—and invention. We unpack how an icon in his eighties still delivers a two-hour-forty marathon by leaning on tight harmonies, a punchy horn section, and the kind of live tech that lets Being for the Benefit of Mr. Kite explode off a modern stage. The show’s emotional peak arrives when Paul sings I’ve Got a Feeling with John via Get Back footage, a moment that proves technology can connect past and present without cheapening either one.
From there we chase the thread of discovery. Remember when The Doors felt brand new again in 1980? A radio deep dive, Apocalypse Now, and a greatest hits record turned Hello, I Love You and Riders on the Storm into fresh obsessions for a new generation. We map that rush forward and backward: how L.A. Woman and Morrison Hotel still punch, how Mr. Mojo Risin’ became every teenager’s riddle. Along the way, we decode the stories behind The Rolling Stones’ Get Off of My Cloud and Neil Diamond’s Cracklin’ Rosie, and how fame, loneliness, and late-night singalongs sneak into pop myth.
Then we give American Beauty the close listen it deserves. From Box of Rain’s tenderness to Ripple’s campfire wisdom and Truckin’s road-scarred grin, we talk sequencing, sunshine daydream codas, and the tradition behind I Know You Rider. We round out the tour with U2’s Boy—lean, urgent, and still startling—and a Ramones reappraisal that finds great songs beneath Phil Spector’s glossy wall. Through it all, one idea keeps returning: artists adapt, listeners evolve, and the best songs keep meeting us where we are.
If that resonates, hit play, follow the show, and share it with a friend who loves live music and music history. Leave a review to tell us which song hit you differently this time—we’ll feature our favorite takes on a future episode.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
SPEAKER_03 (00:34):
Hey everybody, this is Jim Boge, and you're
listening to Music in My Shoes.
That was Vic Thrill kicking offepisode 104.
As always, I'm thrilled to behere with you.
Let's learn something new orremember something old.
So, Jimmy, the other night I gotto see Paul McCartney at State
Farm Arena here in Atlanta.
(00:55):
And it was November 2nd, Sundaynight.
What a great way to end aweekend.
And it was so good.
And, you know, Paul's up in his80s now.
I was a little concerned.
But one of the things that hedid, I think he realizes, you
know, his voice is going alittle bit.
(01:16):
Is that they lowered the volumeon the voice a little bit, they
jacked up the music just alittle bit.
But they also had the band singcertain parts of the song with
him to help him where he didn'thave to strain.
And I think that that's howolder musicians they really need
to do things like that.
They can't sing the way theyonce did.
(01:37):
And Paul, for so many years, wasable to, but time is catching
up, you know?
It was fantastic.
It was worth it.
What a great time.
You know, every time I I seehim, I just can't believe that I
am watching Paul McCartney.
You know, the Beatles are myfavorite band.
SPEAKER_01 (01:57):
It is that feeling, doesn't it?
SPEAKER_03 (01:58):
It's just like that's the guy.
It is.
It it truly, truly is.
And, you know, he opened up withhelp.
Um, coming up was after that.
You know, those are songs thatwe've talked on, you know, the
the show that just this year wewe talked in depth on both of
those.
He had a horn section.
So with coming up, where youhave the horns, you had the
(02:21):
horns.
And, you know, he played somedifferent songs with the horns,
and it just sounded really,really good.
Got to get you into my life,drive my car, uh let me roll it
from uh Wings, um, GettingBetter, Let Him In, which was a
1976 hit for Wings, and it namedrops The Everly Brothers, where
(02:46):
it talks about Phil and Don.
Oh, oh yeah.
And it's mostly about familymembers, but then some famous
people.
But I remember the first timethat I heard it back in 1976, I
was like, I wonder if they'retalking about the Everly
Brothers.
SPEAKER_01 (03:02):
Like that's you picked up on it then.
SPEAKER_03 (03:03):
Yeah, I listened to the Everly Brothers a lot when I
was a kid.
I was really into them because alot of musicians would always
say, you know, give them creditfor you know being influential
on them.
So I just kind of wanted tolisten to them.
So I did, you know, immediately.
He did this song called MyValentine, which he wrote for
his wife, and it's a really goodsong.
(03:26):
And he sounds great because oneof the things, as you get older,
if you write a song now and youwrite it in a voice you can
sing, you can sing it reallywell now.
You understand what I'm saying,right?
Yeah.
Uh maybe I'm amazed.
I've just seen a face, you know,acoustic guitar, and it's one of
(03:49):
my favorite Beatles songs.
And just to see this song beingplayed off a rubber sole, I it's
like being a kid.
It really, truly is.
Like I'm just singing, you know,and people around me have their
phones out and they're videoing,and I'm trying to be like super
quiet because I don't want to beon there.
I don't want to ruin theirvideo, you know.
(04:11):
They want Paul, not Jim, youknow.
Uh Love Me Do.
He did Dance Tonight, which is areally good uh Paul McCartney
solo song, and on that he playsthe mandolin.
And then the drummer, and Ithink the drummer's name is Abe,
if I'm not mistaken.
Okay.
He's in the background and he isdoing uh like the Macarena
(04:33):
dance, and he's doing, youremember that floss dance that
everybody used to do?
Yep.
And he you're just like laughingbecause you know, Paul's
serious, he's got the mandolin,you know, everybody's gonna
dance tonight, and here's thisguy in the background.
It's just cool, it's just a lotof fun.
Uh, Blackbird, that got a lot ofapplause, you know, just him and
(04:54):
the solo uh acoustic.
They did now and then, and wetalked about now and then in two
years ago, November of 2023,when the song came out.
And I didn't like the song whenit first came out.
And then after a while, I kindof revisited and you know, the
blow kind of softened, and Ifelt like it was better than
(05:14):
what I was giving it initially.
But what I really liked aboutit, it was this real archival
video and photo footage of theBeatles throughout it on the
screens.
And, you know, I wasn't watchingthe band at all.
I was watching all the video andthe photos, and it really kind
(05:37):
of took you back to the Beatlesand kind of, I guess, you know,
how he felt when they decided toto release this song two years
ago.
And, you know, it just, I don'tknow, I appreciated the song a
little bit more.
I don't think I listened to itthat much.
It was really just watchingeverything and just like, man, I
wish I could have been part ofthat whole thing back in the
(06:00):
day.
You know, I'm not even namingall the songs, I've haven't even
uh listed all of them, but hestill did like Lady Madonna,
Jet, you know, the Great Wingssong.
Being for the benefit of Mr.
Kite, which is a John song,which is kind of cool that he,
you know, he's singing this Johnsong.
And the thing that really mademe think while I'm watching it,
(06:22):
and I've seen him play itbefore, is the Beatles stopped
touring so that they could makemusic that you couldn't tour
with.
But the way that technology haschanged through all of time you
can play being for the benefitof Mr.
Kite, which is off of Sgt.
Pepper's, you can play that in ashow now.
(06:43):
Like you can probably playalmost any song in concert,
whereas back in the day you justcouldn't do it.
You know, it wasn't possible todo it.
Uh he followed that up withsomething, a George song, you
know, started playing it onukulele.
Really good.
And then Band on the Run, Let ItBe, Live and Let Die, Hey Jude.
(07:09):
All right.
So 29 songs have been played,and now next is the encore.
Like it's just so incrediblethat that much could happen.
And he comes out, he does I'vegot a feeling, and you know,
with the new technology, again,technology's everything.
He's able to sing that song withJohn and from the get back
(07:32):
movie, Let It Be, which itoriginally was titled.
They take the parts where Johnsang and they put it up there,
you know, when they're on therooftop and you know, in in uh
England, in London, England,back in in January of '69, and
they have it, and they're doinga duet, and it's just like, this
is so cool.
You know, like you're being ableto witness something that you
(07:56):
didn't think that you possiblycould.
SPEAKER_01 (07:57):
Imagine how cool it is for Paul.
SPEAKER_03 (07:59):
Yeah, you know, he at times was looking up at John,
like he was looking at the videoscreen, just soaking it in.
Yeah.
And this is a guy that is ontour, and you know, he's been
playing these shows, but you canstill see it means everything to
him.
Uh, Sergeant Pepper's LonelyHearts Club band, Helter
(08:20):
Skelter, Golden Slumbers, carrythat weight, and it ends with
the end.
And 35 songs, two hours, 40minutes, well spent money.
And I can't help but thinking,will I see him again?
You know, he's you know, early80s, and you know, comes a point
(08:42):
where you stop touring.
And I hope it's not, but Iwatched that show and I enjoyed
it like it was.
I'm wearing my Paul McCartney2025 tour t-shirt.
And um it was it was a lot offun, you know.
I've seen him before, I knowyou've seen him before.
Um, like you said, it's likewatching the man, like this guy
(09:07):
is responsible for so much ofwhat's happened after, and today
people still want to play withhim, and they still want to be
part of him.
And it just it's really cool.
It really, really is.
(09:41):
They would have differentprograms, whether it was an
interview with the band, or theywould highlight that band's
music, or or you know, justdifferent things.
I can't even think of all thestuff.
But one of them was the doors.
And, you know, I had heard thedoors probably light my fire,
maybe a couple of pop songs thatthey had.
(10:02):
But in April of 1980, I reallylearned a lot more about them.
In October 1980, the Doorsreleased a greatest hits album,
and that kind of like explodedthe doors for people my age that
didn't know about them.
You know, the doors kind of hadfaded out once Jim Morrison died
(10:23):
in 1971.
The other members tried to keepthe band together, they did two
albums.
You know, I don't like to saythis often, but it sucked.
And, you know, kind of tarnishedmaybe the image of the band a
little bit.
But then when Apocalypse Nowcame out, and you have it
(10:44):
opening up with the end, and allof a sudden now people like, oh
man, yeah, I remember the doors,and this greatest hits comes out
in 1980, or like I talked aboutin April of 80 on the radio
hearing a bunch about them, itstarts to pique interest.
But for someone like me, thatinterest is all new songs, you
(11:04):
know.
I don't know a lot of these.
And, you know, this album, it'syou know, it starts off with
Hello, I love you, light myfire, people are strange.
And, you know, I am 13, I'mabout to be 14, and it's like
people are strange when you're astranger.
And it's like, man, those wordsare really cool.
Like, I want to sing that andand you know, let people hear
(11:27):
that I know the song and Love MeTwo Times, Riders on the Storm.
And then the second side wasBreak on Through, Roadhouse
Blues, Not to Touch the Earth.
You know, not to touch the earthis a part of a like a bigger
song, uh, like kind of like asuite that that Jim Morrison had
wrote, and kind of like poetryreally put to music.
(11:50):
And I'm like, oh man, I wish Icould do that.
Like that is cool that he's ableto do that.
Uh Touch Me, and then you know,LA Woman.
And with LA Woman, short timeafter is when I learned that
when he sings Mr.
Mojo Ryzen, if you take theletters and switch them around,
it spells Jim Morrison.
(12:10):
Almost.
Oh, yeah.
But you know, it's like whenyou're a kid, it spells it, you
know.
You know, when you're a kid,it's like this is it, you know?
And it just was a really cooltime to be discovering new music
to me and to my friends becausewe didn't know it at all.
(12:34):
And just it took us into, youknow, getting different albums
by the doors.
And at first, where you thinkthe first album is this really
good album, but then once youlisten to it and you can hear
some of the the technology atthe time wasn't the best.
So it's it sounds very early60-ish, some of the songs, not
(12:56):
Light My Fire, but some of thesongs on it too.
But then you're like, Oh, let meget LA Woman or Morrison Hotel,
and you're like, Oh my lord,with you know, LA Woman with
that song and Riders on theStorm, and it's just like
insane, all of this musicalknowledge that's just hitting
(13:16):
you.
And at the same time, ACDC Backin Black is the big album that's
out at the time, and you'relistening to this other stuff,
and it was just really cool.
It's a really cool time for me,and um, you know, I haven't
forgotten it.
I've always uh remembered it.
I love the doors, and uh that'sa little bit, I guess, through
(13:40):
the whole uh through this year,that's how uh I got into the
doors.
And after that, um I read thebook uh No One Here Gets Out
Alive, the paperback book.
I think it was Danny Sugarmanthat wrote that book.
And you got to see some, youknow, um read, not see, but read
some, you know, backstoriesabout the doors and you know,
(14:01):
hanging out with Janice Joplinor Jimi Hendricks or recording
this and how this happened.
And it just seemed like it wasall new, but it wasn't.
Jim Morrison had been dead nineyears, you know.
But it was a cool time of mylife, and I really enjoyed that.
So I just thought that I wouldshare that.
It was great that you sharedthat.
(14:22):
Well, thank you.
You know what else I'm gonnashare?
I'm gonna share some more musicin my shoes.
The Rolling Stones Get Off of MyCloud peaked at number one on
Billboard Hot 100, November 6,1965.
I live on the corner on the 99thfloor of my block, and I sit at
(14:42):
home looking out the window,imagining the world has stopped.
This song is kind of an answerto all of the popularity and the
chaos that happened to theRolling Stones once satisfaction
came out, and that they couldn'tgo anywhere without being
(15:03):
recognized.
And it's one of my favoritesongs.
I actually have the original 45.
It was my aunt's, and I have itat my house, and I just think
that this original 45 iseverything, like it's so cool
because it's it's from when thetime that it was released, and
it's a great song.
(15:24):
Um and if you remember, it'shey, hey, you you get off my
cloud, don't hang around, boy,choose a crowd on my cloud.
And that's what the RollingStones felt at the time.
And I think that you know, asmuch as you want to be famous,
(15:45):
you know, fame can definitelylead to some loneliness from the
standpoint of everyone's comingat you and it's overwhelming, so
now you gotta kind of pull back,and now you don't want anybody
near you, and it's right, it'skind of like everyone has an
ulterior motive, right?
SPEAKER_01 (16:00):
They want they want your fame, they want, you know,
what you're what you've got.
Yes.
SPEAKER_03 (16:04):
I feel that way with you sometimes that um that you
want my fame.
Only a little.
Well, I'm glad that you uh atleast admit it.
Makes me feel better.
I mean, I have shoes too.
Oh, that was good.
(16:25):
I like that, Jimmy.
Thank you.
Oh man.
No, I have no fame whatsoever.
So any fame that you're tryingis very, very little, Jimmy.
Hey, so Neil Diamond, CracklandRose, he peaked at number one on
Billboard Hot 100, October 10th,1970.
Crackland Rose, you're astarbought woman, but you make
(16:46):
me sing like a guitar hummin.
So do you know the story behindthis?
No.
Okay, I'm gonna tell you.
Crackland Rose was a or maybe itwas Crackland Rosey, I think it
was Crackland Rose, was a wine.
And there was this town thatthere were more men than women.
(17:09):
And so if you couldn't get adate because the men had already
asked out all the women, peoplewould go buy this wine, and
that's why you're a star barwoman, and those guys would just
hang out drinking this wine andjust kind of talking about how
they don't have a date.
I mean, it's just crazy.
I always thought it was reallyabout this woman, you know?
(17:30):
Yeah, but it's not.
If you read the words and youthink of it as wine that's in
the place of a woman, it makesall the sense in the world.
It really does.
Now, I hope I don't get to thatpoint ever in my life because it
seems sad.
SPEAKER_01 (17:47):
A little bit, yeah.
SPEAKER_03 (17:49):
Yeah, yeah, a little bit.
Now, this is one of the songsthat I grew up with, listening
to on the eight-track player,you know, at my parents' house,
a lot of Neil Diamond that wasplayed, but that's how I got to
know the song.
You know, I know the song verywell.
Another thing that I know verywell is that June of 1970 saw
(18:10):
The Grateful Dead release thealbum Working Man's Dead, and
then the follow-up, AmericanBeauty, in November of 1970.
And they're very similar.
You could probably take everysong and interchange them on
each album, and people wouldn'tknow because they're very, very
similar.
Kind of like bookends.
Probably their two most popularstudio albums.
(18:33):
And American Beauty opens upwith uh the Phil Lesh song Box
of Rain, which he wrote as atribute to his dying father.
Um Friend of the Devil follows,it's Jerry Garcia on vocals,
Sugar Magnolia, what a greatsong, Bob Weir song.
Sugar Magnolia, BlossomsBlooming, Heads All Empty, and I
(18:57):
Don't Care.
Saw My Baby Down by the River,knew she had to come up soon for
air.
It's one of the most playedGrateful Dead songs while they
were a band.
I love it.
And it's one of those songs thatkind of got better as the years
went on from when theyoriginally recorded it.
Like it just got better andbetter.
(19:18):
And it's got the sunshinedaydream ending.
So sometimes they would singsunshine daydream and this whole
part at the end of the song.
Other times they would then waita couple of songs, or they might
do sugar magnolia in thebeginning and then end the show
with it, or sometimes they go aweek before they would play the
(19:38):
sunshine daydream.
They always had some sort ofthought.
There was a lot of thoughtprocess in it, but it's a great
song.
Operator, which was sung by PigPen, Candyman, another Jerry
song.
Side two was Jerry.
They have a member named PigPen.
Yes, Pig Pen, yes.
Ron, he was the keyboard player.
Did he not bathe or something?
(19:58):
Um, yeah, he was kind of like apig pen.
He definitely was different.
SPEAKER_01 (20:02):
He was everybody knows the character from
Peanuts, right?
Yeah, he was like a cloud ofdust around it.
SPEAKER_03 (20:07):
He was more of like a biker kind of guy.
Okay.
Um he really didn't playkeyboards on this album.
He did like in um like some ofthe demos and when they started,
but it just didn't go with thefeel.
I think that they let him playuh maybe harmonica or something
like that, just somethingdifferent, and didn't have him
(20:28):
play the way that he played.
Because if this isn't that 60spsychedelica, you know, it is
more Americana music.
So that organ just wasn't gonnawork.
Yeah.
And he didn't play uh piano atall, so that wasn't something
that he could do.
So Jerry's Ripple, this is a top250 uh song, you know, favorite
(20:51):
song of mine, Ripple.
I absolutely love it.
There is a road, no simplehighway, between the dawn and
the dark of night, and if yougo, no one may follow.
That path is for your stepsalone.
This song is number 334 on the2024 edition of Rolling Stone's
(21:17):
500 greatest songs of all time.
I definitely think, you know,for me, it's my in my top 250.
Rolling Stone has it at 334.
Next up, Broke Down Palace.
That's one of my chosen funeralsongs.
Till the Morning Comes, Addictsof My Life, and finishes up with
Trucking.
And that's got to be probablyone of the most well-known
(21:40):
songs.
People seem to know either CaseyJones or Trucking or the big
ones.
Sometimes the lights all shiningon me.
Other times I can barely see.
Lately, it occurs to me what along, strange trip it's been.
SPEAKER_01 (21:56):
I've got I've got a story for you.
Really?
So you know the song I Hate theGrateful Dead that I wrote and
with my bandmates and theviolets.
Yes.
Yeah.
So it has this kind of uh hippiebreakdown in the middle where
we're I'm going back and forthwith Ernie the bass player, and
we're pretending to bedeadheads, but we don't really
know anything about the GratefulDead, and we don't we just kind
(22:19):
of are imitating like surfervoices or something and just
saying a bunch of nonsense.
So when we would play it live,we would try to do that, but it
it kind of got old, and wesometimes we would try to improv
and it wouldn't work.
So we got to the point where wewould just do a little snippet
of a Grateful Dead song, andthose two songs that you
mentioned that they're mostpopular, those were the two that
(22:40):
we would put in there.
Really?
We either put, yeah, CaseyJones, uh is that the name of
the song?
SPEAKER_03 (22:47):
Yeah, Casey Jones.
SPEAKER_01 (22:48):
Yeah, or trucking.
SPEAKER_03 (22:49):
Really?
So Casey Jones was on WorkingMan's Dead.
Again, you can take those songsfrom each album and you can
interchange them.
You would never know.
So that is cool.
I didn't know that.
So someone that wrote a songcalled I Hate the Grateful Dead
would play parts of snippets ofthe Grateful Dead.
SPEAKER_01 (23:08):
Yeah, it segueed really well in the in the song.
People would go go crazy, andthen we would go into the you
know the final like crescendo ofthe song.
SPEAKER_03 (23:15):
Didn't I tell me if I'm wrong, but I think when I
saw you at the Virginia HighlandPorch Fest, didn't you do Friend
of the Devil?
SPEAKER_01 (23:23):
Yeah, yeah, exactly.
So that's my bandmate Tim in theConcord Grapes.
He loves the Grateful Dead.
A lot of Tim's songs that we doare a little bit more 70s um
Americana, like you're saying.
And so he we we do uh I think wedo a couple of different
Grateful Dead songs.
(23:44):
I Know You Rider, I think we didtwo in the last um recent show.
Yeah.
SPEAKER_03 (23:49):
That is a great song.
SPEAKER_01 (23:51):
That is a great song, which is an ancient song.
That's a song, you know, that'slike dates back to the 1800s or
something.
SPEAKER_03 (23:59):
Yeah, and I think if you go back uh when the Grateful
Dead first started playing that,everybody was playing it.
Allman brothers were playing it,every San Francisco band was
playing, everybody was playingthat.
That was one of those, you know,traditional songs, I guess you
would kind of call it.
Um, everybody seemed to playthat, you know.
Oh, I've heard that.
It's not their song.
They're doing a cover.
(24:19):
Oh, I want to do that too, youknow.
A lot of people did that.
So in 2020, Rolling Stone namedAmerican Beauty, number 215, on
the 500 greatest albums of alltime.
While we were talking about TheGrateful Dead, I don't want to
pass, but former singer DonnaJean Godchow died of cancer
(24:40):
November 2nd, 2025.
She was in the band from 1972 to1979 with her husband, Keith,
who was the keyboard player.
He replaced Pig Pen.
And she was a backup singer forPercy Sledge on the song When a
Man Loves a Woman, and for ElvisPresley on Suspicious Minds,
(25:01):
both songs went to number one.
And that's how she was able totalk her way into The Grateful
Dead.
Let's move up to 1980.
So Boy by You Two came out onOctober 20th.
It's the debut album, an albumthat you can listen from
beginning to end, and still youcan do that.
(25:21):
And a lot of times we've talkedabout this, Jimmy, like how I
felt about something.
I go back and I kind of listento it now.
And do I have those samefeelings or has it changed?
I listen to it from front to endagain.
Like it is just this perfectalbum.
And like many bands, it's justsuch a different sound for them
from the early days to what theybecame and what most people know
(25:44):
U2 for.
As a young teenage boy, I couldreally relate to the words and
the music that you know thatmade up the album.
And side one had I will follow.
You know, that's probably themost well-known U2 song, I would
think.
If you walk away, walk away.
I walk away, walk away, I willfollow.
(26:05):
A live version was played a tonon MTV in the first couple of
years, but it was even when itwas like new, MTV was new, like
that live version was kind ofgrainy.
It was kind of funny.
Like you were like, what's upwith this?
SPEAKER_01 (26:20):
Was it from the Under a Blood Red Sky?
No, it was before.
SPEAKER_03 (26:23):
It was it was before that.
They did actually Under a BloodRed Sky, they re-released that
live version, but they had thisother one that they would show
from like a club or something,and it just looked kind of
grainy, you know?
Yeah.
And I remember they had thecover, the album cover, not the
American album cover, but the UKalbum cover behind them, which
(26:44):
was the boy, and that was upbehind them.
And I remember that from thevideo.
SPEAKER_01 (26:48):
What what was the American album cover?
SPEAKER_03 (26:51):
The American was their pictures, the four of
them, it was dark on a whitealbum cover, but they kind of
stretched it out a little bit.
So it was almost kind of likesilhouettes.
SPEAKER_02 (27:05):
Hmm.
SPEAKER_03 (27:06):
And what they did is they just kind of stretched it
to do something different.
So two totally different.
My brother actually got the theUK version.
So we had it with the actual boythat was the same boy that was
on war.
He was just younger on Boy.
I feel like that's the one I'vealways seen.
So yeah, check it out.
It's definitely different.
(27:26):
It's kind of like I said, thefull pictures of the four of
them, but like stretchsilhouette type.
SPEAKER_01 (27:32):
Who was the boy?
Was that like a friend of theband?
SPEAKER_03 (27:35):
It was, yeah, it was.
I I forget who, but yeah, heended up actually being on uh uh
another album that came out.
Um, I I don't remember whichone, like in 2015 or something
like that.
Yeah.
SPEAKER_01 (27:49):
His his photo or his voice?
SPEAKER_03 (27:51):
His photo.
Oh yeah.
So I I'd have to look it up.
I don't remember off the top ofmy head.
SPEAKER_01 (27:56):
You know, I heard I Will Follow the other day, and
it was the studio version fromBoy.
And the bass line is differentthan what Adam Clayton played
even shortly after that on Undera Blood Red Sky and that what he
plays to this day.
If you listen to the bass lineon both of those, it's it's a
completely different bass line.
SPEAKER_03 (28:16):
I will have to listen to it.
SPEAKER_01 (28:17):
Yeah, he plays a lot simpler on the boy version.
SPEAKER_03 (28:20):
Well, he was much younger and probably didn't
know.
You know, it's their debut.
He probably didn't know as much.
Maybe is my thought.
Twilight, uncut dub going intothe song, into the heart,
finishes up with out of control.
So out of control is one of myfavorite songs of all time.
(28:40):
Song starts off with Mondaymorning, 18 years dawning.
I said, How long?
Say how long.
And I remember like I wasn't 18years old.
I'm like, someday I'm gonna be18 and I'm gonna sing that song,
and it's gonna mean everythingin the world.
And then I got a little past 18,and I'm like, oh yeah, like I'm
(29:04):
21 and I'm singing this, and allright.
SPEAKER_01 (29:08):
It's like partying like it's 1999 back when it was
the 80s.
It sounded like the future, andnow it sounds like the past.
SPEAKER_03 (29:14):
Right.
And now I'm 58 and I'm singingthis song that's you know from
45 years ago.
Well, yeah, 45 years because Iwas 13 when it came out, and I
had five years before I made itto 18.
And it's just kind of crazy.
But I I love that song out ofcontrol.
I really too really do.
Um, side two stories for boys,The Ocean, A Day Without Me,
(29:37):
Another Time, Another Place, TheElectric Co, Shadows and Tall
Trees.
Great album to listen to frombeginning to end, especially if
you want to hear a differentsound of YouTube.
SPEAKER_01 (29:47):
Right, yeah.
And I mean a different soundthan any band had had up to that
point.
They they really came out of thegate very original.
SPEAKER_03 (29:55):
Oh, yeah, without a doubt.
And speaking of original, tick,tick, tick, it's minutes.
With Jimmy.
SPEAKER_02 (30:01):
It's time for a minute with Jimmy, Minute with
Jimmy, Minute with Jimmy.
It's time for a minute withJimmy, Minute with Jimmy, Minute
with Jimmy.
SPEAKER_01 (30:09):
Alright, I wanted to talk about the Ramones album End
of the Century.
I know we've talked a little bitabout it, but uh we had Monty A.
Melnick on last show, and we wetalked about the song all the
way that mentions Monty's makingme crazy.
And I just went back to thisalbum and I looked at all the
songs.
It there are so many great songson End of the Century.
(30:30):
The production is a little, formy taste, a little overproduced,
the Phil Specter thing that hedid with it.
But do you remember Rock andRoll Radio that we referenced in
the intro and outro of lastepisode?
Return of Jackie and Judy.
That's a callback to uh Judy isa punk from the first album.
Let's go, baby.
I love you.
(30:50):
We talked about that.
Um, this ain't Havana.
That's a callback to HavanaAffair from the first album.
And of course, Rock and RollHigh School and uh high risk
insurance, but a lot of greatsongs on that album.
SPEAKER_03 (31:07):
I agree with you, Jimmy.
I think that it's a good album,definitely overproduced.
Phil Spectre sound was notsomething that the Ramones
needed.
I do like um Do you rememberRock and Roll Radio?
It's very nostalgic at the time.
You know, for me, I remember the70s ending.
(31:28):
I don't remember the 60s, I wastoo young, but I remember the
70s ending, and they're flashingback to, you know, all these
old, you know, musicians, and itjust was super cool.
So I kind of looked past some ofthe overproduction because I
thought the the words were supercool.
That took me back to things thatwere important to me at the
(31:50):
time.
And especially, you know, whatwas it?
It's the end of the 70s, it'sthe end of the century.
SPEAKER_01 (31:56):
That's the way people felt.
It was kind of like what'swhat's next?
Right.
And there really was a verydefined difference between the
70s and the 80s.
It didn't happen right at 1980.
I would say it more around 81,82 when it started feeling like
what we remember as the 80s.
Correct.
I agree with you on that.
Definitely.
But you know, that album cameout 45 years ago in 1980.
(32:17):
And uh, I think if somebodycould go back, I would love, I
would just kill to go back andget the raw tracks from those
sessions and remix it myself tomake it sound like the other
Ramones records and take thePhil Spectre reverb and all the
stuff off of it.
SPEAKER_03 (32:34):
The Ramones that we all love.
Yeah.
That was a great minute withJimmy.
Thanks.
I'll always like going back tothat.
And it's also time for the endof episode 104 of Music in My
Shoes.
I'd like to thank Jimmy Guthrie,show producer and owner of
Arcade160 Studios, located herein Atlanta, Georgia, and Vic
(32:54):
Thrill for the podcast music.
This is Jim Boge, and I hope youlearned something new or
remembered something old.
We'll meet again on our nextepisode.
Until then, live life and keepthe music playing.
Hey everybody, this is Jim Boge, and you're
listening to Music in My Shoes.
That was Vic Thrill kicking offepisode 104.
As always, I'm thrilled to behere with you.
Let's learn something new orremember something old.
So, Jimmy, the other night I gotto see Paul McCartney at State
Farm Arena here in Atlanta.
(00:55):
And it was November 2nd, Sundaynight.
What a great way to end aweekend.
And it was so good.
And, you know, Paul's up in his80s now.
I was a little concerned.
But one of the things that hedid, I think he realizes, you
know, his voice is going alittle bit.
(01:16):
Is that they lowered the volumeon the voice a little bit, they
jacked up the music just alittle bit.
But they also had the band singcertain parts of the song with
him to help him where he didn'thave to strain.
And I think that that's howolder musicians they really need
to do things like that.
They can't sing the way theyonce did.
(01:37):
And Paul, for so many years, wasable to, but time is catching
up, you know?
It was fantastic.
It was worth it.
What a great time.
You know, every time I I seehim, I just can't believe that I
am watching Paul McCartney.
You know, the Beatles are myfavorite band.
SPEAKER_01 (01:57):
It is that feeling, doesn't it?
SPEAKER_03 (01:58):
It's just like that's the guy.
It is.
It it truly, truly is.
And, you know, he opened up withhelp.
Um, coming up was after that.
You know, those are songs thatwe've talked on, you know, the
the show that just this year wewe talked in depth on both of
those.
He had a horn section.
So with coming up, where youhave the horns, you had the
(02:21):
horns.
And, you know, he played somedifferent songs with the horns,
and it just sounded really,really good.
Got to get you into my life,drive my car, uh let me roll it
from uh Wings, um, GettingBetter, Let Him In, which was a
1976 hit for Wings, and it namedrops The Everly Brothers, where
(02:46):
it talks about Phil and Don.
Oh, oh yeah.
And it's mostly about familymembers, but then some famous
people.
But I remember the first timethat I heard it back in 1976, I
was like, I wonder if they'retalking about the Everly
Brothers.
SPEAKER_01 (03:02):
Like that's you picked up on it then.
SPEAKER_03 (03:03):
Yeah, I listened to the Everly Brothers a lot when I
was a kid.
I was really into them because alot of musicians would always
say, you know, give them creditfor you know being influential
on them.
So I just kind of wanted tolisten to them.
So I did, you know, immediately.
He did this song called MyValentine, which he wrote for
his wife, and it's a really goodsong.
(03:26):
And he sounds great because oneof the things, as you get older,
if you write a song now and youwrite it in a voice you can
sing, you can sing it reallywell now.
You understand what I'm saying,right?
Yeah.
Uh maybe I'm amazed.
I've just seen a face, you know,acoustic guitar, and it's one of
(03:49):
my favorite Beatles songs.
And just to see this song beingplayed off a rubber sole, I it's
like being a kid.
It really, truly is.
Like I'm just singing, you know,and people around me have their
phones out and they're videoing,and I'm trying to be like super
quiet because I don't want to beon there.
I don't want to ruin theirvideo, you know.
(04:11):
They want Paul, not Jim, youknow.
Uh Love Me Do.
He did Dance Tonight, which is areally good uh Paul McCartney
solo song, and on that he playsthe mandolin.
And then the drummer, and Ithink the drummer's name is Abe,
if I'm not mistaken.
Okay.
He's in the background and he isdoing uh like the Macarena
(04:33):
dance, and he's doing, youremember that floss dance that
everybody used to do?
Yep.
And he you're just like laughingbecause you know, Paul's
serious, he's got the mandolin,you know, everybody's gonna
dance tonight, and here's thisguy in the background.
It's just cool, it's just a lotof fun.
Uh, Blackbird, that got a lot ofapplause, you know, just him and
(04:54):
the solo uh acoustic.
They did now and then, and wetalked about now and then in two
years ago, November of 2023,when the song came out.
And I didn't like the song whenit first came out.
And then after a while, I kindof revisited and you know, the
blow kind of softened, and Ifelt like it was better than
(05:14):
what I was giving it initially.
But what I really liked aboutit, it was this real archival
video and photo footage of theBeatles throughout it on the
screens.
And, you know, I wasn't watchingthe band at all.
I was watching all the video andthe photos, and it really kind
(05:37):
of took you back to the Beatlesand kind of, I guess, you know,
how he felt when they decided toto release this song two years
ago.
And, you know, it just, I don'tknow, I appreciated the song a
little bit more.
I don't think I listened to itthat much.
It was really just watchingeverything and just like, man, I
wish I could have been part ofthat whole thing back in the
(06:00):
day.
You know, I'm not even namingall the songs, I've haven't even
uh listed all of them, but hestill did like Lady Madonna,
Jet, you know, the Great Wingssong.
Being for the benefit of Mr.
Kite, which is a John song,which is kind of cool that he,
you know, he's singing this Johnsong.
And the thing that really mademe think while I'm watching it,
(06:22):
and I've seen him play itbefore, is the Beatles stopped
touring so that they could makemusic that you couldn't tour
with.
But the way that technology haschanged through all of time you
can play being for the benefitof Mr.
Kite, which is off of Sgt.
Pepper's, you can play that in ashow now.
(06:43):
Like you can probably playalmost any song in concert,
whereas back in the day you justcouldn't do it.
You know, it wasn't possible todo it.
Uh he followed that up withsomething, a George song, you
know, started playing it onukulele.
Really good.
And then Band on the Run, Let ItBe, Live and Let Die, Hey Jude.
(07:09):
All right.
So 29 songs have been played,and now next is the encore.
Like it's just so incrediblethat that much could happen.
And he comes out, he does I'vegot a feeling, and you know,
with the new technology, again,technology's everything.
He's able to sing that song withJohn and from the get back
(07:32):
movie, Let It Be, which itoriginally was titled.
They take the parts where Johnsang and they put it up there,
you know, when they're on therooftop and you know, in in uh
England, in London, England,back in in January of '69, and
they have it, and they're doinga duet, and it's just like, this
is so cool.
You know, like you're being ableto witness something that you
(07:56):
didn't think that you possiblycould.
SPEAKER_01 (07:57):
Imagine how cool it is for Paul.
SPEAKER_03 (07:59):
Yeah, you know, he at times was looking up at John,
like he was looking at the videoscreen, just soaking it in.
Yeah.
And this is a guy that is ontour, and you know, he's been
playing these shows, but you canstill see it means everything to
him.
Uh, Sergeant Pepper's LonelyHearts Club band, Helter
(08:20):
Skelter, Golden Slumbers, carrythat weight, and it ends with
the end.
And 35 songs, two hours, 40minutes, well spent money.
And I can't help but thinking,will I see him again?
You know, he's you know, early80s, and you know, comes a point
(08:42):
where you stop touring.
And I hope it's not, but Iwatched that show and I enjoyed
it like it was.
I'm wearing my Paul McCartney2025 tour t-shirt.
And um it was it was a lot offun, you know.
I've seen him before, I knowyou've seen him before.
Um, like you said, it's likewatching the man, like this guy
(09:07):
is responsible for so much ofwhat's happened after, and today
people still want to play withhim, and they still want to be
part of him.
And it just it's really cool.
It really, really is.
(09:41):
They would have differentprograms, whether it was an
interview with the band, or theywould highlight that band's
music, or or you know, justdifferent things.
I can't even think of all thestuff.
But one of them was the doors.
And, you know, I had heard thedoors probably light my fire,
maybe a couple of pop songs thatthey had.
(10:02):
But in April of 1980, I reallylearned a lot more about them.
In October 1980, the Doorsreleased a greatest hits album,
and that kind of like explodedthe doors for people my age that
didn't know about them.
You know, the doors kind of hadfaded out once Jim Morrison died
(10:23):
in 1971.
The other members tried to keepthe band together, they did two
albums.
You know, I don't like to saythis often, but it sucked.
And, you know, kind of tarnishedmaybe the image of the band a
little bit.
But then when Apocalypse Nowcame out, and you have it
(10:44):
opening up with the end, and allof a sudden now people like, oh
man, yeah, I remember the doors,and this greatest hits comes out
in 1980, or like I talked aboutin April of 80 on the radio
hearing a bunch about them, itstarts to pique interest.
But for someone like me, thatinterest is all new songs, you
(11:04):
know.
I don't know a lot of these.
And, you know, this album, it'syou know, it starts off with
Hello, I love you, light myfire, people are strange.
And, you know, I am 13, I'mabout to be 14, and it's like
people are strange when you're astranger.
And it's like, man, those wordsare really cool.
Like, I want to sing that andand you know, let people hear
(11:27):
that I know the song and Love MeTwo Times, Riders on the Storm.
And then the second side wasBreak on Through, Roadhouse
Blues, Not to Touch the Earth.
You know, not to touch the earthis a part of a like a bigger
song, uh, like kind of like asuite that that Jim Morrison had
wrote, and kind of like poetryreally put to music.
(11:50):
And I'm like, oh man, I wish Icould do that.
Like that is cool that he's ableto do that.
Uh Touch Me, and then you know,LA Woman.
And with LA Woman, short timeafter is when I learned that
when he sings Mr.
Mojo Ryzen, if you take theletters and switch them around,
it spells Jim Morrison.
(12:10):
Almost.
Oh, yeah.
But you know, it's like whenyou're a kid, it spells it, you
know.
You know, when you're a kid,it's like this is it, you know?
And it just was a really cooltime to be discovering new music
to me and to my friends becausewe didn't know it at all.
(12:34):
And just it took us into, youknow, getting different albums
by the doors.
And at first, where you thinkthe first album is this really
good album, but then once youlisten to it and you can hear
some of the the technology atthe time wasn't the best.
So it's it sounds very early60-ish, some of the songs, not
(12:56):
Light My Fire, but some of thesongs on it too.
But then you're like, Oh, let meget LA Woman or Morrison Hotel,
and you're like, Oh my lord,with you know, LA Woman with
that song and Riders on theStorm, and it's just like
insane, all of this musicalknowledge that's just hitting
(13:16):
you.
And at the same time, ACDC Backin Black is the big album that's
out at the time, and you'relistening to this other stuff,
and it was just really cool.
It's a really cool time for me,and um, you know, I haven't
forgotten it.
I've always uh remembered it.
I love the doors, and uh that'sa little bit, I guess, through
(13:40):
the whole uh through this year,that's how uh I got into the
doors.
And after that, um I read thebook uh No One Here Gets Out
Alive, the paperback book.
I think it was Danny Sugarmanthat wrote that book.
And you got to see some, youknow, um read, not see, but read
some, you know, backstoriesabout the doors and you know,
(14:01):
hanging out with Janice Joplinor Jimi Hendricks or recording
this and how this happened.
And it just seemed like it wasall new, but it wasn't.
Jim Morrison had been dead nineyears, you know.
But it was a cool time of mylife, and I really enjoyed that.
So I just thought that I wouldshare that.
It was great that you sharedthat.
(14:22):
Well, thank you.
You know what else I'm gonnashare?
I'm gonna share some more musicin my shoes.
The Rolling Stones Get Off of MyCloud peaked at number one on
Billboard Hot 100, November 6,1965.
I live on the corner on the 99thfloor of my block, and I sit at
(14:42):
home looking out the window,imagining the world has stopped.
This song is kind of an answerto all of the popularity and the
chaos that happened to theRolling Stones once satisfaction
came out, and that they couldn'tgo anywhere without being
(15:03):
recognized.
And it's one of my favoritesongs.
I actually have the original 45.
It was my aunt's, and I have itat my house, and I just think
that this original 45 iseverything, like it's so cool
because it's it's from when thetime that it was released, and
it's a great song.
(15:24):
Um and if you remember, it'shey, hey, you you get off my
cloud, don't hang around, boy,choose a crowd on my cloud.
And that's what the RollingStones felt at the time.
And I think that you know, asmuch as you want to be famous,
(15:45):
you know, fame can definitelylead to some loneliness from the
standpoint of everyone's comingat you and it's overwhelming, so
now you gotta kind of pull back,and now you don't want anybody
near you, and it's right, it'skind of like everyone has an
ulterior motive, right?
SPEAKER_01 (16:00):
They want they want your fame, they want, you know,
what you're what you've got.
Yes.
SPEAKER_03 (16:04):
I feel that way with you sometimes that um that you
want my fame.
Only a little.
Well, I'm glad that you uh atleast admit it.
Makes me feel better.
I mean, I have shoes too.
Oh, that was good.
(16:25):
I like that, Jimmy.
Thank you.
Oh man.
No, I have no fame whatsoever.
So any fame that you're tryingis very, very little, Jimmy.
Hey, so Neil Diamond, CracklandRose, he peaked at number one on
Billboard Hot 100, October 10th,1970.
Crackland Rose, you're astarbought woman, but you make
(16:46):
me sing like a guitar hummin.
So do you know the story behindthis?
No.
Okay, I'm gonna tell you.
Crackland Rose was a or maybe itwas Crackland Rosey, I think it
was Crackland Rose, was a wine.
And there was this town thatthere were more men than women.
(17:09):
And so if you couldn't get adate because the men had already
asked out all the women, peoplewould go buy this wine, and
that's why you're a star barwoman, and those guys would just
hang out drinking this wine andjust kind of talking about how
they don't have a date.
I mean, it's just crazy.
I always thought it was reallyabout this woman, you know?
(17:30):
Yeah, but it's not.
If you read the words and youthink of it as wine that's in
the place of a woman, it makesall the sense in the world.
It really does.
Now, I hope I don't get to thatpoint ever in my life because it
seems sad.
SPEAKER_01 (17:47):
A little bit, yeah.
SPEAKER_03 (17:49):
Yeah, yeah, a little bit.
Now, this is one of the songsthat I grew up with, listening
to on the eight-track player,you know, at my parents' house,
a lot of Neil Diamond that wasplayed, but that's how I got to
know the song.
You know, I know the song verywell.
Another thing that I know verywell is that June of 1970 saw
(18:10):
The Grateful Dead release thealbum Working Man's Dead, and
then the follow-up, AmericanBeauty, in November of 1970.
And they're very similar.
You could probably take everysong and interchange them on
each album, and people wouldn'tknow because they're very, very
similar.
Kind of like bookends.
Probably their two most popularstudio albums.
(18:33):
And American Beauty opens upwith uh the Phil Lesh song Box
of Rain, which he wrote as atribute to his dying father.
Um Friend of the Devil follows,it's Jerry Garcia on vocals,
Sugar Magnolia, what a greatsong, Bob Weir song.
Sugar Magnolia, BlossomsBlooming, Heads All Empty, and I
(18:57):
Don't Care.
Saw My Baby Down by the River,knew she had to come up soon for
air.
It's one of the most playedGrateful Dead songs while they
were a band.
I love it.
And it's one of those songs thatkind of got better as the years
went on from when theyoriginally recorded it.
Like it just got better andbetter.
(19:18):
And it's got the sunshinedaydream ending.
So sometimes they would singsunshine daydream and this whole
part at the end of the song.
Other times they would then waita couple of songs, or they might
do sugar magnolia in thebeginning and then end the show
with it, or sometimes they go aweek before they would play the
(19:38):
sunshine daydream.
They always had some sort ofthought.
There was a lot of thoughtprocess in it, but it's a great
song.
Operator, which was sung by PigPen, Candyman, another Jerry
song.
Side two was Jerry.
They have a member named PigPen.
Yes, Pig Pen, yes.
Ron, he was the keyboard player.
Did he not bathe or something?
(19:58):
Um, yeah, he was kind of like apig pen.
He definitely was different.
SPEAKER_01 (20:02):
He was everybody knows the character from
Peanuts, right?
Yeah, he was like a cloud ofdust around it.
SPEAKER_03 (20:07):
He was more of like a biker kind of guy.
Okay.
Um he really didn't playkeyboards on this album.
He did like in um like some ofthe demos and when they started,
but it just didn't go with thefeel.
I think that they let him playuh maybe harmonica or something
like that, just somethingdifferent, and didn't have him
(20:28):
play the way that he played.
Because if this isn't that 60spsychedelica, you know, it is
more Americana music.
So that organ just wasn't gonnawork.
Yeah.
And he didn't play uh piano atall, so that wasn't something
that he could do.
So Jerry's Ripple, this is a top250 uh song, you know, favorite
(20:51):
song of mine, Ripple.
I absolutely love it.
There is a road, no simplehighway, between the dawn and
the dark of night, and if yougo, no one may follow.
That path is for your stepsalone.
This song is number 334 on the2024 edition of Rolling Stone's
(21:17):
500 greatest songs of all time.
I definitely think, you know,for me, it's my in my top 250.
Rolling Stone has it at 334.
Next up, Broke Down Palace.
That's one of my chosen funeralsongs.
Till the Morning Comes, Addictsof My Life, and finishes up with
Trucking.
And that's got to be probablyone of the most well-known
(21:40):
songs.
People seem to know either CaseyJones or Trucking or the big
ones.
Sometimes the lights all shiningon me.
Other times I can barely see.
Lately, it occurs to me what along, strange trip it's been.
SPEAKER_01 (21:56):
I've got I've got a story for you.
Really?
So you know the song I Hate theGrateful Dead that I wrote and
with my bandmates and theviolets.
Yes.
Yeah.
So it has this kind of uh hippiebreakdown in the middle where
we're I'm going back and forthwith Ernie the bass player, and
we're pretending to bedeadheads, but we don't really
know anything about the GratefulDead, and we don't we just kind
(22:19):
of are imitating like surfervoices or something and just
saying a bunch of nonsense.
So when we would play it live,we would try to do that, but it
it kind of got old, and wesometimes we would try to improv
and it wouldn't work.
So we got to the point where wewould just do a little snippet
of a Grateful Dead song, andthose two songs that you
mentioned that they're mostpopular, those were the two that
(22:40):
we would put in there.
Really?
We either put, yeah, CaseyJones, uh is that the name of
the song?
SPEAKER_03 (22:47):
Yeah, Casey Jones.
SPEAKER_01 (22:48):
Yeah, or trucking.
SPEAKER_03 (22:49):
Really?
So Casey Jones was on WorkingMan's Dead.
Again, you can take those songsfrom each album and you can
interchange them.
You would never know.
So that is cool.
I didn't know that.
So someone that wrote a songcalled I Hate the Grateful Dead
would play parts of snippets ofthe Grateful Dead.
SPEAKER_01 (23:08):
Yeah, it segueed really well in the in the song.
People would go go crazy, andthen we would go into the you
know the final like crescendo ofthe song.
SPEAKER_03 (23:15):
Didn't I tell me if I'm wrong, but I think when I
saw you at the Virginia HighlandPorch Fest, didn't you do Friend
of the Devil?
SPEAKER_01 (23:23):
Yeah, yeah, exactly.
So that's my bandmate Tim in theConcord Grapes.
He loves the Grateful Dead.
A lot of Tim's songs that we doare a little bit more 70s um
Americana, like you're saying.
And so he we we do uh I think wedo a couple of different
Grateful Dead songs.
(23:44):
I Know You Rider, I think we didtwo in the last um recent show.
Yeah.
SPEAKER_03 (23:49):
That is a great song.
SPEAKER_01 (23:51):
That is a great song, which is an ancient song.
That's a song, you know, that'slike dates back to the 1800s or
something.
SPEAKER_03 (23:59):
Yeah, and I think if you go back uh when the Grateful
Dead first started playing that,everybody was playing it.
Allman brothers were playing it,every San Francisco band was
playing, everybody was playingthat.
That was one of those, you know,traditional songs, I guess you
would kind of call it.
Um, everybody seemed to playthat, you know.
Oh, I've heard that.
It's not their song.
They're doing a cover.
(24:19):
Oh, I want to do that too, youknow.
A lot of people did that.
So in 2020, Rolling Stone namedAmerican Beauty, number 215, on
the 500 greatest albums of alltime.
While we were talking about TheGrateful Dead, I don't want to
pass, but former singer DonnaJean Godchow died of cancer
(24:40):
November 2nd, 2025.
She was in the band from 1972 to1979 with her husband, Keith,
who was the keyboard player.
He replaced Pig Pen.
And she was a backup singer forPercy Sledge on the song When a
Man Loves a Woman, and for ElvisPresley on Suspicious Minds,
(25:01):
both songs went to number one.
And that's how she was able totalk her way into The Grateful
Dead.
Let's move up to 1980.
So Boy by You Two came out onOctober 20th.
It's the debut album, an albumthat you can listen from
beginning to end, and still youcan do that.
(25:21):
And a lot of times we've talkedabout this, Jimmy, like how I
felt about something.
I go back and I kind of listento it now.
And do I have those samefeelings or has it changed?
I listen to it from front to endagain.
Like it is just this perfectalbum.
And like many bands, it's justsuch a different sound for them
from the early days to what theybecame and what most people know
(25:44):
U2 for.
As a young teenage boy, I couldreally relate to the words and
the music that you know thatmade up the album.
And side one had I will follow.
You know, that's probably themost well-known U2 song, I would
think.
If you walk away, walk away.
I walk away, walk away, I willfollow.
(26:05):
A live version was played a tonon MTV in the first couple of
years, but it was even when itwas like new, MTV was new, like
that live version was kind ofgrainy.
It was kind of funny.
Like you were like, what's upwith this?
SPEAKER_01 (26:20):
Was it from the Under a Blood Red Sky?
No, it was before.
SPEAKER_03 (26:23):
It was it was before that.
They did actually Under a BloodRed Sky, they re-released that
live version, but they had thisother one that they would show
from like a club or something,and it just looked kind of
grainy, you know?
Yeah.
And I remember they had thecover, the album cover, not the
American album cover, but the UKalbum cover behind them, which
(26:44):
was the boy, and that was upbehind them.
And I remember that from thevideo.
SPEAKER_01 (26:48):
What what was the American album cover?
SPEAKER_03 (26:51):
The American was their pictures, the four of
them, it was dark on a whitealbum cover, but they kind of
stretched it out a little bit.
So it was almost kind of likesilhouettes.
SPEAKER_02 (27:05):
Hmm.
SPEAKER_03 (27:06):
And what they did is they just kind of stretched it
to do something different.
So two totally different.
My brother actually got the theUK version.
So we had it with the actual boythat was the same boy that was
on war.
He was just younger on Boy.
I feel like that's the one I'vealways seen.
So yeah, check it out.
It's definitely different.
(27:26):
It's kind of like I said, thefull pictures of the four of
them, but like stretchsilhouette type.
SPEAKER_01 (27:32):
Who was the boy?
Was that like a friend of theband?
SPEAKER_03 (27:35):
It was, yeah, it was.
I I forget who, but yeah, heended up actually being on uh uh
another album that came out.
Um, I I don't remember whichone, like in 2015 or something
like that.
Yeah.
SPEAKER_01 (27:49):
His his photo or his voice?
SPEAKER_03 (27:51):
His photo.
Oh yeah.
So I I'd have to look it up.
I don't remember off the top ofmy head.
SPEAKER_01 (27:56):
You know, I heard I Will Follow the other day, and
it was the studio version fromBoy.
And the bass line is differentthan what Adam Clayton played
even shortly after that on Undera Blood Red Sky and that what he
plays to this day.
If you listen to the bass lineon both of those, it's it's a
completely different bass line.
SPEAKER_03 (28:16):
I will have to listen to it.
SPEAKER_01 (28:17):
Yeah, he plays a lot simpler on the boy version.
SPEAKER_03 (28:20):
Well, he was much younger and probably didn't
know.
You know, it's their debut.
He probably didn't know as much.
Maybe is my thought.
Twilight, uncut dub going intothe song, into the heart,
finishes up with out of control.
So out of control is one of myfavorite songs of all time.
(28:40):
Song starts off with Mondaymorning, 18 years dawning.
I said, How long?
Say how long.
And I remember like I wasn't 18years old.
I'm like, someday I'm gonna be18 and I'm gonna sing that song,
and it's gonna mean everythingin the world.
And then I got a little past 18,and I'm like, oh yeah, like I'm
(29:04):
21 and I'm singing this, and allright.
SPEAKER_01 (29:08):
It's like partying like it's 1999 back when it was
the 80s.
It sounded like the future, andnow it sounds like the past.
SPEAKER_03 (29:14):
Right.
And now I'm 58 and I'm singingthis song that's you know from
45 years ago.
Well, yeah, 45 years because Iwas 13 when it came out, and I
had five years before I made itto 18.
And it's just kind of crazy.
But I I love that song out ofcontrol.
I really too really do.
Um, side two stories for boys,The Ocean, A Day Without Me,
(29:37):
Another Time, Another Place, TheElectric Co, Shadows and Tall
Trees.
Great album to listen to frombeginning to end, especially if
you want to hear a differentsound of YouTube.
SPEAKER_01 (29:47):
Right, yeah.
And I mean a different soundthan any band had had up to that
point.
They they really came out of thegate very original.
SPEAKER_03 (29:55):
Oh, yeah, without a doubt.
And speaking of original, tick,tick, tick, it's minutes.
With Jimmy.
SPEAKER_02 (30:01):
It's time for a minute with Jimmy, Minute with
Jimmy, Minute with Jimmy.
It's time for a minute withJimmy, Minute with Jimmy, Minute
with Jimmy.
SPEAKER_01 (30:09):
Alright, I wanted to talk about the Ramones album End
of the Century.
I know we've talked a little bitabout it, but uh we had Monty A.
Melnick on last show, and we wetalked about the song all the
way that mentions Monty's makingme crazy.
And I just went back to thisalbum and I looked at all the
songs.
It there are so many great songson End of the Century.
(30:30):
The production is a little, formy taste, a little overproduced,
the Phil Specter thing that hedid with it.
But do you remember Rock andRoll Radio that we referenced in
the intro and outro of lastepisode?
Return of Jackie and Judy.
That's a callback to uh Judy isa punk from the first album.
Let's go, baby.
I love you.
(30:50):
We talked about that.
Um, this ain't Havana.
That's a callback to HavanaAffair from the first album.
And of course, Rock and RollHigh School and uh high risk
insurance, but a lot of greatsongs on that album.
SPEAKER_03 (31:07):
I agree with you, Jimmy.
I think that it's a good album,definitely overproduced.
Phil Spectre sound was notsomething that the Ramones
needed.
I do like um Do you rememberRock and Roll Radio?
It's very nostalgic at the time.
You know, for me, I remember the70s ending.
(31:28):
I don't remember the 60s, I wastoo young, but I remember the
70s ending, and they're flashingback to, you know, all these
old, you know, musicians, and itjust was super cool.
So I kind of looked past some ofthe overproduction because I
thought the the words were supercool.
That took me back to things thatwere important to me at the
(31:50):
time.
And especially, you know, whatwas it?
It's the end of the 70s, it'sthe end of the century.
SPEAKER_01 (31:56):
That's the way people felt.
It was kind of like what'swhat's next?
Right.
And there really was a verydefined difference between the
70s and the 80s.
It didn't happen right at 1980.
I would say it more around 81,82 when it started feeling like
what we remember as the 80s.
Correct.
I agree with you on that.
Definitely.
But you know, that album cameout 45 years ago in 1980.
(32:17):
And uh, I think if somebodycould go back, I would love, I
would just kill to go back andget the raw tracks from those
sessions and remix it myself tomake it sound like the other
Ramones records and take thePhil Spectre reverb and all the
stuff off of it.
SPEAKER_03 (32:34):
The Ramones that we all love.
Yeah.
That was a great minute withJimmy.
Thanks.
I'll always like going back tothat.
And it's also time for the endof episode 104 of Music in My
Shoes.
I'd like to thank Jimmy Guthrie,show producer and owner of
Arcade160 Studios, located herein Atlanta, Georgia, and Vic
(32:54):
Thrill for the podcast music.
This is Jim Boge, and I hope youlearned something new or
remembered something old.
We'll meet again on our nextepisode.
Until then, live life and keepthe music playing.
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