September 25, 2024 • 68 mins
In this episode of *Listen to This*, host Eric Leckey explores the fascinating world of albums with numbers in their titles. From classics like *Ten* by Pearl Jam and *1984* by Van Halen to *52nd Street* by Billy Joel and *2Pacalypse Now* by Tupac, Leckey plays back some of the most memorable tracks from these numerically themed records. Along the way, he shares intriguing stories behind the albums, the significance of the numbers, and the cultural impact they've made. Tune in for a fun and insightful musical countdown, as Leckey spins the hits and hidden gems from albums that are all about the numbers.
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Episode Transcript
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Speaker 1 (00:00):
Welcome to listen to this season thirteen. This is the
podcast that is dedicated to bringing you stories behind the artists,
behind the songs, and hopefully we are introducing you to
old songs that have influenced all that music that we
hear today. The goal is I want you to hear
an artist that you might not normally listen to, and
search out their music on whatever streaming service you subscribe to,
(00:21):
and maybe just buy it on physical media so that
you actually own it. We invite you to subscribe, comment,
and please please recommend this podcast to your favorite people
in the world, friends, loved ones, bosses, subordinates, strangers on
the street. It all works. Every episode has a theme,
and today's theme is albums with numbers in the title.
Speaker 2 (00:44):
Never in the history of the United States a monster
of such size and power.
Speaker 3 (00:49):
Welcome to listen to this a podcast that brings you
the stories behind the songs and artists with a theme
to tie it all together.
Speaker 4 (00:57):
Here's your hosts, Eric Lecky.
Speaker 1 (01:01):
We here at listen to This have brought you a
few categories on numbers. I always had fun with those
episodes and we've done a few of them, so I
wanted to figure out a way to continue the theme
of numbers. So today we are exploring albums that have
numbers and some selected songs off of those albums.
Speaker 4 (01:20):
As I usually do with this category, I.
Speaker 1 (01:21):
Wanted to give you some fun math and number facts
to start out today's episode. For instance, the number one
thousand is the only number with an A in it.
Between one and one thousand. The addition of numbers on
opposite sides of dice will always equal seven in a jiffy.
Speaker 4 (01:41):
That phrase that we've all heard, I'll get that done
in a jiffy.
Speaker 1 (01:44):
It's actually a real measurement of time. It is exactly
one one hundredth of a second. The word hundred comes
from the Old Norse term hundrath, which actually means one
hundred and twenty, not one hundred. And this might sound
like it's not correct, but I checked it.
Speaker 4 (02:03):
It is.
Speaker 1 (02:04):
In a room of twenty three people, there is a
fifty percent chance that two people have the same birthday.
I have no idea how that works out, but I've
looked at so many different sources that I'll say the
same thing. Four is the only number in the English
language that is spelt with the same number of letters
as the number itself, and every odd number has an
(02:25):
e in it. And you know how hard it is
for Americans to figure out the conversion from celsius to fahrenheit. Well,
if the temperature is negative forty degrees celsius, it will
weirdly be negative forty fahrenheit two. Not sure how that works,
but it does. But if it was truly negative forty
where are you listening to this podcast?
Speaker 5 (02:45):
Act?
Speaker 1 (02:45):
Please please move to a warmer climate. Anyways, let's get
it started with our first artist.
Speaker 6 (03:01):
Everybody is looking posting.
Speaker 2 (03:06):
Something you feel out the.
Speaker 6 (03:11):
Do you think a lot?
Speaker 2 (03:13):
How much you've got ahead?
Speaker 7 (03:16):
Two things?
Speaker 8 (03:17):
Get out?
Speaker 2 (03:18):
Oh my god, man, it's not it's just sun.
Speaker 6 (03:36):
You feel to get.
Speaker 9 (03:39):
Where you're not going around face and a crowd?
Speaker 2 (03:55):
Some shine in something you guess him? Wait do you
come back to.
Speaker 6 (04:24):
You?
Speaker 1 (04:36):
That was van Halen with the song When It's Love.
When It's Love is a group collaboration on writing, with
brothers Eddie and Alex van Halen having composed the music
first and Sammy Hagar writing lyrics afterwards. The song is
van Halen's third biggest hit, by the way, after Jump
and Why Can't This Be Love, one.
Speaker 4 (04:57):
Of the more powerful ballads that they have.
Speaker 1 (04:59):
VAH one put it at number twenty four on their
list of the twenty five greatest power ballads. The album
ou ate one two is a common little text pun
phonetically working out to oh you ate one two. It's
been bopping around in the cultures for years. It's on
the wall of the set in the TV series Taxi,
It's the license plate on the ferrari in Cheech and
(05:22):
Chong's Next Movie.
Speaker 4 (05:23):
And other such monkey shines.
Speaker 1 (05:26):
Sammy Hagar was uncomfortable in front of the camera for
music videos and never wanted his performances to appear phony.
Speaker 10 (05:33):
Quote.
Speaker 1 (05:34):
The more you saw yourself on video, the more you
realized when you were faking it.
Speaker 4 (05:37):
And it looked really stupid. Video killed the radio star,
so to speak.
Speaker 1 (05:43):
His solution was to crank up the music and really
belt out the songs instead of lip syncing. Because of this,
he blew out his voice while filming the Derek Wolski
directed performance clip for this song and couldn't even perform
at the concert the next day.
Speaker 10 (06:00):
I was born a travel man.
Speaker 2 (06:02):
That song I lever be moving around from Tampatown.
Speaker 6 (06:07):
It's like mixed soul free. My father loves a.
Speaker 11 (06:12):
Truckers for years of twenty three years an today, and
I was born this chuck and stuff.
Speaker 2 (06:19):
For me, I'm like tra man, travel.
Speaker 6 (06:28):
Man, cho man.
Speaker 2 (06:35):
That's why I have shown.
Speaker 12 (06:43):
That's what I am.
Speaker 10 (06:48):
You got letting man, That's what I am. Oh Mama,
it's a road.
Speaker 7 (06:52):
Don't you see me?
Speaker 10 (06:54):
Watch something? And twice six songs you see me now
all you women, I Love the Stand.
Speaker 2 (07:07):
And then.
Speaker 1 (07:30):
From the album twenty that was Leonard Skynyrd with Traveling Man.
On April twenty ninth, nineteen ninety seven, the Southern rock
band released their ninth album, but they named it after
another significant number. Twenty is a tribute to the six
band members and crew members who died in a plane
crash two decades earlier. The song traveling Man is also
(07:51):
about band members traveling on the road. For this album,
the band brought in two Southern rock veterans, Ricky Medlock,
who had been a drummer for the band briefly before
forming the band Blackfoot, and Huey Thomason of the band
The Outlaws. The track travelin Man is the first studio
recording of the song from the original band's nineteen seventy
(08:13):
six live album one More from the Road. Making use
of modern technology, the band was able to use original
singer Ronnie van Zant's vocal tracks on parts of the
song in order to create a duet between Johnny and Ronnie.
The album cover is a fictional drawing of Monument Valley
on the Navajo Reservation.
Speaker 2 (08:51):
Meets you.
Speaker 6 (09:00):
Right both this BOMs now.
Speaker 13 (09:05):
The bombing is gross.
Speaker 14 (09:20):
You have entered the twin lights are beyond the sports range.
Speaker 15 (09:26):
Things alone to use the key lop the door.
Speaker 6 (09:32):
See what a made my coming storm?
Speaker 16 (09:36):
So expot your dreams creation answer this.
Speaker 6 (09:41):
World of imagination.
Speaker 1 (09:57):
That was Rush with the song twilight Zone. If you've
already listened to this album, you've likely figured out from
the title track, The twilight Zone that twenty one to
twelve the album title refers to a year in the future.
It's just part of the whole concept album about a
futuristic dystopian society.
Speaker 4 (10:15):
Kind of a thing. But you may not have known
as that.
Speaker 1 (10:18):
Ain Rand might have been its inspiration for the song
the twilight Zone. Rush drummer and lyricist Neil Perr is
a big fan of the twilight Zone TV series and
based this song on two separate episodes of the show.
The first is Will the Real Martian Please Stand Up?
This was from season two late in the season, like
around episode twenty eight or so. It aired in May
(10:40):
of nineteen sixty one. It's set in a diner and
Barney Phillips is the easy going counterman, and at the
end it's revealed that he has three eyes. The second
is episode thirty from season five, Stop Over in a
Quiet Town, one of my favorite episodes in the series,
from April of nineteen sixty four. It's about a couple
who get really drunk at a party and wake up
in an empty house and an empty town with no
(11:02):
other residents, and everything is fake or seems to be
like a stage prop. And then at the very end
they look up and see a giant child. It turns
out there just now a child's playtoy. Sirwing's closing narration
is among the series funniest. The moral of what you've
just seen is clear. If you drink, don't drive, and
if your wife is at a couple she shouldn't drive either.
(11:24):
You both might just wind up in the whale of
headache and a deserted village in the Twilight Zone. Perk
changed the giant girl to a giant boy.
Speaker 5 (11:33):
In the lyrics any Lane, there is a Bob showing
photographs of every head.
Speaker 17 (11:39):
He's at the plaget to know, and all the people
come and go, stop.
Speaker 12 (11:47):
And sail.
Speaker 5 (11:51):
On the corners, a bank of a motoric, the little
children having emind Isla and the banking then wears a
man in.
Speaker 2 (12:04):
The morning rain, very strange any Lane, this.
Speaker 7 (12:10):
Is Invi.
Speaker 6 (12:12):
And in by.
Speaker 13 (12:18):
He needs the suburban sun, I said, I.
Speaker 5 (12:23):
Mean while back in any Lane there is a vine
and with an hour.
Speaker 17 (12:28):
Glass, and then his bark is a portrait of the Queen.
He likes to keep his fire engine clean. It's a
clean machine.
Speaker 18 (12:59):
Any lay by bye, he bye, jabies.
Speaker 15 (13:12):
And song by bhind the shelter in the middle of.
Speaker 17 (13:18):
The round about ready bobbies from the train, though she
dis is.
Speaker 19 (13:25):
It's in a play jes anyway Teddy and the Bob
shaves and on the customer.
Speaker 1 (13:37):
I am running out of songs I haven't played for
you before on three artists, the Beach Boys, Bob Dylan
and the Beatles. But oddly enough I had yet to
play the song Penny Lane, and it worked out pretty
well for this episode. You see All twenty seven songs
on the two thousand released album Number One were number
(13:59):
one HiT's in the US or the UK, though some
made it as a B side of a hit single.
You may have noticed the exclusion of two extremely popular
Fab four songs on this album, though Please Please Meet
in Strawberry Fields Forever Well. That's because both of those
classics only made it as high as number two. Released
in the US on the thirteenth of February nineteen sixty
(14:21):
seven and on the UK on the seventeenth of February,
this song reached number one in the US for one
week in March of sixty seven, while a different version
was included on the album Anthology two in nineteen ninety six.
This version was first included on the US release of
The Magical Mystery Tour. In nineteen sixty seven. Paul McCartney
(14:41):
was sitting at a bus shelter waiting for John Lennon
to meet him on Penny Lane, a street near their
houses in Liverpool, England. While sitting there, Paul jotted down
the things that he observed and that he saw, including
a barber shop with pictures of its clients and a
nurse selling poppies for Remembrance Day, which is November eleventh,
(15:01):
that marks the day World War One officially ended. He
later turned these images into the song We Now Know,
which celebrates this time in his life. Penny Lane evolved
to accommodate the many tourists who visit, offering Beatles themed
dining and memorabilia. The barber shopped mentioned in the song
is still there, but most of the other places that
show up in the lyrics are long gone. The shelter
(15:24):
in the middle of the roundabout where the nurse sells
the poppies later became a restaurant named, of course, Sergeant
Pepper's Bistro, which of course has since closed as well.
The street sign at the corner of Mossley Hill is
the most popular photo op It says Penny Lane. There
is no guitar on the song Penny Lane. John Lennon
played piano and George Harrison played the conga drums. There
(15:47):
are some obscene references in this song that were intentioner
intentional finger Pie and keeps his fire engine clean were
sexual slang of the sixties.
Speaker 6 (16:08):
I damned me there, let's see I'm reading it with
a pa.
Speaker 2 (16:25):
My street liver room was none of the rooms.
Speaker 7 (16:27):
I got my mom and my televisons.
Speaker 11 (16:28):
Going afore, but I got a sixteen days bury, none
of my moder.
Speaker 6 (16:33):
Why all by the time I couldn't control my sad all.
Speaker 2 (16:43):
By the time, I'm reling my side.
Speaker 6 (16:50):
All time to marry?
Speaker 20 (16:54):
What say?
Speaker 6 (16:59):
I am many.
Speaker 2 (17:20):
Drama.
Speaker 1 (17:33):
That was the band Pearl Jam with their song once
off their album ten. You know, before they were big stars,
Eddie Veteran Company were just some young dudes with a
strange affinity for basketball player Mooky Blaylock. In fact, they
even named the band after him, originally until Mookie's lawyers
kindly asked them to cease and desist. Unwilling to give
(17:55):
up the concept, they named their first album after his
Jersey Night number ten. This was one of the songs,
by the way, that earned Eddie Vedder the job of
Pearl Jam frontman. His acquaintance Jack Irons sent him a
three song instrumental demo recorded by jeff ahmet Stone Gossard
and Mike McCready, who were looking for a lead singer
(18:17):
for their new band. In one day, Vedder wrote lyrics
for the three songs and added his vocals using a
four track recorder The result was what Vedder called the
Mama Son mini Opera, with the first song being Alive,
telling the story of a boy who learns his dad
as actually his stepfather and once the boy goes crazy
(18:38):
and kills people. The third part of the trilogy is Footsteps,
where the boy ends up on death row and blames
his mother for his problems. When the band heard the demo,
they quickly offered Eddie the job, and a few weeks
later he joined them in Seattle to record much of
what would become the ten album, including the.
Speaker 14 (18:53):
Song I wastrel from this fucking mean it goes a straight.
Speaker 12 (19:22):
Oh man, I woke up there this morning, this morning day.
Speaker 17 (19:31):
Sc aper flemore noting everywhere.
Speaker 14 (19:39):
Judge month from that distruction.
Speaker 2 (19:41):
You know, I didn't even care.
Speaker 18 (19:46):
Said that to those severbody out of times.
Speaker 8 (19:54):
I was so you might have gone a body like
It's ninety nine.
Speaker 17 (19:59):
Did not.
Speaker 2 (20:07):
Fast band that.
Speaker 6 (20:21):
Fun. So I got a dim tonight.
Speaker 8 (20:35):
Two thousand.
Speaker 1 (20:39):
Time nineteen ninety nine is the fifth studio album by Prince,
released on October twenty seventh of nineteen eighty two. It
became his first album to be recorded with his band
The Revolution. Written in nineteen eighty two, during the height
of the Cold War. This party jam pretty much has
a much deeper meaningless Prince addresses fears of a nuclear armageddon.
(21:02):
Under the Reagan administration, the United States was stockpiling nuclear
weapons and taking a hawkish stance against the Soviet Union,
which he referred to as the Evil Empire. Well, that
scared a lot of people, and Prince voices their concerns.
Everybody's got a bomb. We could all die any day,
he says.
Speaker 4 (21:20):
In the song.
Speaker 1 (21:21):
He's far more optimistic, though, responding by making the point
that we should enjoy whatever time we have left on
earth while we still can't even if it all ends
at the stroke of midnight and the year two thousand.
But before I'll let that happen, I'll dance my life
away in this purple skied world. Life is just a party,
and parties weren't meant to last. Prince doesn't sing on
(21:41):
this track until the third line. The first lead vocal
is by backup singer Lisa Coleman. I was dreaming when
I wrote this. Forgive me if it goes astray. Next
up is guitarist Des Dickerson, who sings but when I
woke up this morning could have sworn it was Judgment Day. Well,
then Prince finally comes in and takes the next part
and says, the sky was all purple, there were people
(22:04):
running everywhere, and then all three voices come in on
the next line, trying to run from the destruction.
Speaker 4 (22:10):
You know, I didn't even care.
Speaker 1 (22:13):
Originally, Prince and Vision the whole song is a three
part harmony with Coleman, Dickerson and himself, and they sang
it all together, but Prince later decided to split up
the tracks, letting each voice solo on a lion. This
is something Stevie Wonder did on You Are the Sunshine
of My Life, by the way.
Speaker 4 (22:30):
As well.
Speaker 1 (22:31):
The second verse follows the same pattern, dividing the vocals
amongst the three singers.
Speaker 7 (23:14):
Shines in that desert night.
Speaker 1 (23:29):
Side that was Public Image Limited with their song USLS
one from the album nine. On December twenty first of
nineteen eighty eight, John Lyndon, better known as Johnny Rotten,
(23:50):
and his wife Nora were due to catch pan Am
American World Airways third scheduled transatlantic trip from London. He
throws airport to New York's JFK International Airport because the
delays caused by Nora's overpacking. They arrived at the airport
a little too late to catch the plane. While the
(24:10):
flight that Linden and his wife missed was the doomed
pan Am Flight one three, which was destroyed by a
bomb while flying over Lockerbe in Scotland, killing all two
hundred and forty three passengers and sixteen crew members on board.
When they learned of what happened, the couple looked at
each other and almost collapse. This w type near instrumental
(24:32):
was written by Linden as a message to the Lockerbe bomber,
who would have blown him up if not for their
last minute change of plans.
Speaker 2 (24:56):
J come day, I'll sleep on the back coming to
bad way, up to bad.
Speaker 18 (25:12):
Squash steak within your eyes, snapper.
Speaker 13 (25:23):
And then you said, and some the change with the
bels A stay.
Speaker 2 (25:29):
All of your dreams are street walk in some cattle bad.
It's all the auby shipping falls a stream.
Speaker 8 (25:45):
A wow.
Speaker 21 (25:48):
Some other cho.
Speaker 2 (25:51):
You need your stupy O. The billy of faces man
(26:19):
sensors love the fans a same, oh ya, Jesus.
Speaker 1 (26:30):
I put two Van Halen songs on today's episode, well
because they had two albums with numbers in the title.
That was the song Love Walks In from the album
fifty one to fifty. It's also weird that I played
two van Halen songs in this episode and both of
them are slow ballads. It's even more unique that I
played two songs from van Halen on this episode and
(26:50):
both of them were by Sammy Hagar as lead singer.
I will make up for it next time I play
van Halen and play something really rockin' from them. This
is the name of Eddie van Halen's home recording studio,
by the way, fifty one to fifty, where the album
of the same name and every van Halen record since
then has been recorded. The studio got its name after
(27:11):
van Halen engineer and friend Don Landy heard it come
across on the police scanner. It's the California penal code
for involuntary confinement of a person for psychiatric evaluation. This
song Love Walks In is not what you likely think
it's about. The song deals with extra terrestrials, which can
(27:32):
be interpreted as a metaphor for new love or as
van Halen reaching out to new fans. Fifty one to
fifty was the first album Van Halen, released with lead
singer Sammy Hagar, and Hager drew the lyrics from some
of his out of body experiences. Hagar said quote, I'm
a firm believer, have seen, have felt, and have been
contacted on three or four different occasions. I've received information
(27:55):
that has been valuable in my life from those people,
and they have used me. I'm gonna sound like a
pleat nut here, but they used me in an experimental fashion.
The easiest way to put it is they downloaded my
brain information. Actually, Sammy, I believe that was just the
drugs that did that. But anyways, Love Walks in as
the third single from fifty one to fifty following why
Can't This Be Love and the song Dreams. These songs
(28:18):
were softer than a David Lee Roth led Van Halen,
but very effective, earning the band a broader, more adult audience.
Speaker 22 (28:37):
Well, you went up town in your amazone, put your
fine pomp gammon, you coas you had the dumb hair
and yell in your hand and the spoon up.
Speaker 7 (28:51):
When you wake up in the morning with your.
Speaker 22 (28:53):
Head on fine and your hays to your bloody a sea,
you can't want to cry, And you called it doll
Cam pitching to me.
Speaker 10 (29:03):
Because you had to be a big shiny You.
Speaker 2 (29:07):
Had to open up in your mouth.
Speaker 4 (29:10):
You had to be a big shiny.
Speaker 2 (29:13):
Oh, your friends were so knocked out.
Speaker 22 (29:16):
You had to have the last word last night to
know what everything is about.
Speaker 6 (29:23):
You had to have a white.
Speaker 2 (29:25):
Hot spot night.
Speaker 7 (29:26):
You had to be a big shine last night.
Speaker 22 (29:34):
That they were all empressed with your houst and rest
and the people at your new Adi Leans and the
story of the latest success. You kept so entertained. But
(29:55):
now you just don't remember all the things you said
and did not show that you want to know if
you want hit, Honey, you shot put on a shoe.
Speaker 1 (30:07):
That was Billy Joel from his album fifty second Street
and the song is Big Shot. Billy Joel wrote the
song about Bianca Jagger, who is a socialite married to
Mick Jagger, but it was written from mixed perspective. Mick
and Bianca were on the outs and divorced shortly before
the album was released, and Billy was thinking about how
Mick would sing the song to Bianca when he recorded it.
(30:30):
Phil Ramone produced fifty second Street. The theme of the
album is Nighttime in Manhattan.
Speaker 14 (30:43):
I let it fall, mah louse, it used who came?
Speaker 23 (30:53):
It was dark and I was over until you kissed
my lips and miss stay my hands thus jump, But
my nays were far too Stand in your arms with
(31:15):
that fall into your feet. But there's a sign to
you that I never never knew. All the things you say,
they will never you never June. In the games you play,
you would always been No's weird. But I said.
Speaker 2 (31:37):
To the red was it bare.
Speaker 9 (31:42):
End?
Speaker 6 (31:43):
Wad a fall? When I cry?
Speaker 14 (31:45):
Because I heard is screaming not your name.
Speaker 9 (31:50):
Name?
Speaker 1 (31:52):
That was Adele with set Fire to the Rain. This
is from the album twenty one. I could have also
chosen songs from the previous album from her, which is
titled nineteen. You see, she just names the albums after
the age she is at when recording the album. Fire
and rain are elemental opposites that don't mix, and this song,
(32:12):
Adele sings about a torrid love affair that is ultimately
doomed by setting fire to the rain. She's finally ready
to move on even though it's not going to burn.
Adele was trying to light a cigarette when she came
up with the title. She learned that you can't set
Fire in the Rain, but got a great song idea
from it. Many of the songs on the album twenty one,
including set Fire to the Rain, are about heartbreaking ending
(32:34):
of her first real relationship. She said in an interview
to plug the album's release quote, it broke my heart
when I wrote this record, So the fact that people
are taking it to heart for themselves is the best
way to recover, because I'm still not fully recovered. It's
going to take me ten years to recover, I think
from the way I feel about my last relationship. It
was the biggest deal in my entire life to date.
(32:55):
He made me totally hungry. He was older, He was
successful in his own right, whereas my boyfriends before were
my age and not really doing much. He got me
interested in film and literature, food and wine, traveling, politics
and history. Those are things that I would never ever
interested in before. It's gonna take me a long time
to get over this one. This was Adel's third chart
topper in the Hot one hundred. The songs ascent to
(33:17):
number one coincided with twenty one's seventeenth week on the
top of the album chart, as Rolling in the Deep
and Someone Like You also rained simultaneously with one of
the set periods at the Summit twenty one became the
first LP by a single artist to have led the
Billboard two hundred concurrently with three Hot one hundred number ones.
(33:39):
Feat was only previously achieved by the multi artist Saturday
Night Fever soundtrack in nineteen seventy eight, but when this
went to number one, A Dell became the first British
artist to have three chart toppers from one album on
the Hot one hundred at the same time since George
Michael did it in the late eighties.
Speaker 20 (33:57):
Standing try to remad the songs to tell me which
way I should go to find the answer all the
time I know, Lent your Love and Leady.
Speaker 2 (34:20):
Letty, let it go, Let it Blossom, Lead.
Speaker 24 (34:33):
In the sun the Sun, Love is Love, coups to
check out my mind, hoping to get a friend, Kan conto,
(35:00):
is nothing left to.
Speaker 12 (35:04):
Chill, Loneless lole.
Speaker 1 (35:32):
Let That was the song Let It Grow by Eric Clapton,
and of course the album is for sixty one Ocean Boulevard.
In nineteen seventy, Eric Clapton released a song with his
group Derek and the Dominoes called Keep On Growing, where
he sang about finding fertile ground for love and his
(35:55):
gentle solo track let It Grow, he stays with the
garden theme as a metaphor for love, singing plant your
love and let it Grow. Clapton played the doughbro on
this track. Doughbro is a type of acoustic guitar with
a raised bridge and resonator cone, which produces kind of
a moaning sound. Yvonne Ellman sang backup before joining Clapton's
(36:16):
band in nineteen seventy four. She played Mary Magdalene and
Jesus Christ Superstar. She also had her own disco hit
in nineteen seventy eight with If I Can't Have You
for sixty one. Ocean Boulevard is the address of the
house in Miami where Clapton and his band lived while they.
Speaker 4 (36:32):
Were working on this album.
Speaker 10 (36:54):
Because the spot of your rise.
Speaker 7 (37:03):
Spoty your Lies, call him mind if sounds day and
(37:38):
the dog.
Speaker 2 (37:42):
Heard her voice.
Speaker 7 (37:45):
Starts into the trees, Into the tree.
Speaker 1 (38:08):
That was the Band that Cure with a song a
Forest from the album seventeen Seconds. Robert Smith wrote the
majority of the album's lyrics, and one night after a
show with Susie and the Banshees at a Newcastle hotel
in nineteen seventy nine.
Speaker 4 (38:23):
After finding himself on the.
Speaker 1 (38:25):
Losing end of a brawl with a trio of businessmen
in the hotel elevator, Smith was rescued by his bandmates.
Despite being pretty banged up, his emotional wounds were worse
than his physical ones, and he poured his feelings out
into the songs that formed the album. Seventeen seconds after
returning home from the Susie and the Banshee's tour, Smith
(38:45):
composed most of the music for the album and his
parents' basement in Crawley, England, using a Fender jazz Master
guitar and his sister's Hammond organ, which had a built
in drum machine.
Speaker 4 (38:57):
The song tells a vague story.
Speaker 1 (38:59):
Of the person suit of a girl in a forest,
which ends in loss. Many fans and critics regard this
song in particular as a good example of the Cure's
unique sound. Frontman Robert Smith described it as a childhood
dream or a nightmare that came true with adolescence. The
song is behind a famous incident at the nineteen eighty
(39:19):
one Worcester Festival in Belgium.
Speaker 4 (39:21):
The Cure were on before Robert Palmer.
Speaker 1 (39:25):
And we're just finishing their set. Robert Palmer apparently was
getting a little pushy, trying to have his road crew
hurry the cure off stage. Robert Smith responded by sassily
informing the crowd that they couldn't play anymore, and then,
of course, they played an extra long nine minute version
of the song. A Forest bass player Simon Gallup put
(39:46):
a stamp on the performance by shouting, f Robert Palmer
to a cheering crowd, your turno.
Speaker 13 (40:03):
I can bind the ride into the tack on you
get your turn up. I can mind the ride into
the duck. I don't want to go to the moon.
I don't want to the most attack.
Speaker 7 (40:21):
No shot.
Speaker 9 (40:31):
Me.
Speaker 13 (40:34):
I'm contacting the background and your dead.
Speaker 7 (40:37):
But uncle, your turn up.
Speaker 6 (40:42):
I don't do that.
Speaker 21 (40:45):
Go them.
Speaker 9 (40:47):
I don't want to know. I don't want to know that.
The best I do that.
Speaker 7 (40:55):
God Hello.
Speaker 1 (41:32):
A live album from the very weird and very talented
Frank Zappa called Philly seventy six. Of course, it was
recorded in October of nineteen seventy six at the Spectrum
in Philadelphia, Pennsylvania. I chose the song from the album
Dirty Love, Dirty Love was written, of course, by Frank Zappa,
(41:52):
and it appears on the Overnight Sensation album, originally as
the third track, right after the even better known I'm
the Lime. It also appears in live versions of Philly
seventy six, but it isn't on the posthumous nineteen ninety
seven collection Have I Offended Someone, which is a collection
of his more offensive material. Dirty Love comes from a
(42:13):
period when Zappa was fascinated with body humor. That streak
starts on the album Overnight Sensation with this song plus
Camillo Brillo, Zombie Wolf and Dina mo hum and carries
through a clip of a couple of songs per album
until Shake.
Speaker 4 (42:31):
Your Booty album.
Speaker 1 (42:33):
Although charts and Zappa famously did not get along, Overnight
Sensation did mark a point, which is music became a
little bit more accessible. It was his first album to
go gold and rose to number thirty two on the
Billboard Album charts.
Speaker 4 (42:47):
The live band.
Speaker 1 (42:48):
Featured on the recording included Bianca Odin on vocals and keyboards,
who only toured with Zappa's band for a few weeks
in the fall of nineteen seventy six. Critics regard Philly
seventy six is a unique entry in zappa discography, largely
due to Lady Bianca.
Speaker 4 (43:05):
Michael Shell once.
Speaker 1 (43:07):
Wrote quote, It's hard to overstate just how significant her
presence is in mitigating the most troublesome effects of Zappa's lyrics.
Simply having a woman singing the lead on a title
track like Dirty Love dramatically softens its impression compared to
Zappin's own snide and rather sinister sounding delivery on other albums.
Speaker 10 (43:38):
That's it to me, baby, this is something you must see.
Speaker 21 (43:45):
I want to be with you.
Speaker 6 (43:47):
Go if you want to be with me, buddy, you
gotta go.
Speaker 2 (43:55):
It's all right, buddy, you got now? Oh yes, you've
got to stay all night?
Speaker 22 (44:14):
He ain't that I'm questioning you to take part and
then kind of quiz.
Speaker 7 (44:22):
It's just that I haven't got no want and asking
me what time it is too.
Speaker 2 (44:28):
If you gotta go, it's all right.
Speaker 7 (44:35):
But if you gotta go.
Speaker 10 (44:38):
Now obvious you gotta stay all night.
Speaker 19 (44:51):
I am chanced to poor mombaby trying to connect, but
I suddenly don't want.
Speaker 13 (45:00):
Are you thinking that I haven't got in and respict?
Speaker 7 (45:04):
So if you got the go, is all right?
Speaker 2 (45:12):
You gotta go?
Speaker 7 (45:16):
Bob is you Got to Stay All NIGHTE.
Speaker 1 (45:20):
That was Bob Dylan with if You Gotta Go Go
Now from a Bootleg Series Number one through three. Bootleg
Series one to three is a box set by Bob
Dylan issued on Columbia Records. It's the first installment of
Dylan's bootleg series, and there's been a lot of them,
comprising material spanning the first three decades of his career
(45:41):
from sixty one to eighty nine. Dylan has been the
subject to bootleg recordings throughout his career. In fact, he
was the first bootlegged artist of the rock era. The
album The Great White Wonder consisted of pirated recordings drawn
from various sources his nineteen eighty five set Biograph, rather
(46:01):
than just being another very large compilation presented eighteen never
officially released tracks of fifty three total, Acknowledging this long
standing appetite for pirated Dylan recordings, with the approach of
Dylan's thirty year mark in the record industry, Columbia Records
initiated the proper release of material that had circulated regularly
(46:22):
on Dylan bootleg starting with this box set in nineteen
ninety one. To satisfy demand for Dylan's unissued material. If
you Gotta Go Go Now, sometimes subtitled or else you
Gotta Stay All Night as a song written by Bob
Dylan back in nineteen sixty four. The first released version
was a single in the US by the UK group
(46:44):
The Liverpool five and July of nineteen sixty five, but
this did not even chart in the US, despite receiving
a lot of airplay, particularly in the Pacific Northwest. Another
British band, Manfred Mann, then issued the song in as
a single in September of sixty five and had a
number two hit. Fairport Convention also had a chart hit
(47:04):
with a French version in nineteen sixty nine. Dylan began
the recording for if You Gotta Go Go Now on
January thirteenth of nineteen sixty five, during the first session
for the Bringing It All Back Home album. One of
two acoustic takes were completed and neither was used. He
recorded the song again on January fifteenth, producing four takes
(47:25):
with the full band. Take number four was the one
that was released on the bootleg series one through three,
rare and unreleased box set Fun Is In.
Speaker 18 (47:34):
It's No Sin, It's That's time again to shit hit
the Road on the run again Summers.
Speaker 13 (47:44):
One a song It's one.
Speaker 9 (47:45):
For All fund.
Speaker 7 (47:59):
Again, lifting the hood docket round the way to the.
Speaker 22 (48:07):
Tad, just get, contain your fad in the shade, gave
a shade in the senor ships, ray your.
Speaker 2 (48:14):
Face seas the National Space.
Speaker 8 (48:18):
God gotta go to.
Speaker 2 (48:22):
Godta go through God Again, It's okay. Tom has a
phone by.
Speaker 7 (48:34):
So maybe you're less with the special one.
Speaker 2 (48:37):
Dinner Bad, It's all done, bat.
Speaker 14 (48:41):
Whistle faces a pay to one.
Speaker 2 (48:45):
Last God, God Good, God Again, Go Rod.
Speaker 1 (49:09):
That was The Beach Boys with the song It's Okay
from the album fifteen Big Ones. Fifteen Big Ones is
the twentieth studio album by American rock band The Beach
Boys was released on the fifth of July nineteen seventy six.
It includes a mix of original songs and reditions of
classic rock and roll songs in R and B standards.
(49:31):
It's an okay album, just like the song I Played You.
Following their previous album Holland from nineteen seventy three, which
is a pretty good album, the band had focused on
touring and attracting a bigger concert audience, especially after the
unexpected success of their greatest hits compilation Endless summer of
nineteen seventy four.
Speaker 4 (49:49):
They attempted to record a.
Speaker 1 (49:51):
New album at Caribou Ranch Studio in late seventy four,
but it was soon abandoned, partly due to Brian Wilson
being unable or unwilling to participate. At the end of
nineteen seventy five, his bandmates and manager Stephen Love prevailed
upon him to produce the group's next release, hoping that
a new album bearing his production label would credit a
(50:11):
little bit more lucrative. Despite mixed reviews, fifteen Big Ones
was the Beach Boys best selling album of new material
since nineteen sixty five. It's not a great record by
any means, but I love playing the Beach Boys, so
there you go. The song It's Okay, as an upbeat
song about celebrating summer fun. It was issued as a
single off the seventy six record. Brian commented of the
(50:32):
song in an interview in nineteen ninety five that was
written inside Brother Studios in Santa Monica. At the end
where Dennis Sing's find a Ride. We put the two
of his voices on there together, over dubbed them and
it sounded fantastic. He praised Love's lyrics and said the
song doesn't bring back real pleasant memories because of the
overall headspace that I was in at the time.
Speaker 8 (51:00):
H You've got to trust Joy is like go regret
(51:27):
you got too bad on yourself.
Speaker 2 (51:29):
Gost that's your best bed want me?
Speaker 17 (51:35):
I look at as the cut, I get the novel
the shoe and we'll pick to her.
Speaker 7 (51:40):
But I canna get for said, and so what's amazonians?
Speaker 21 (51:43):
Because said don't mean to think?
Speaker 2 (51:45):
Is what stop.
Speaker 10 (51:45):
Rebringing you mouning?
Speaker 13 (51:48):
But that's the time about So you need to get
on my chest.
Speaker 7 (51:52):
The matter what may come, the shots cream will all red.
Speaker 2 (51:57):
I'm all mixed up.
Speaker 21 (51:59):
You don't know what to do, you don't know what,
but you know this, We don't just.
Speaker 7 (52:16):
Get up on your mask.
Speaker 1 (52:19):
From the album three eleven by the band three eleven
that was all mixed up. Looking back, their music wasn't great,
but it does remind me of being fifteen years old,
so I guess I'm nostalgic for it. Most of the
songs by three eleven were written by Nick Hexham and
Essay Martinez. For reference, one was the Blonde Singer and
(52:40):
the other was the Bald rapper. The duo first started
working on the song during the three eleven tour supporting
their album Grassroots. After the tour, Martinez wrote the lyrics
about feeling confused and being unfaithful, and Hexham took the
song's title from an early Elvis Presley interview in which
Elvis claimed he was all mixed up over his new
who Found Fame. It later became one of the band's
(53:02):
signature singles. To describe the songs in a positive light,
that I were to play say if they were riff,
heavy and radio ready. Songs are underscored by a tight
drum sound, often with a piccolo snare. Scratching of turntables
and the crunch of heavy guitars is how I would
describe them.
Speaker 11 (53:41):
Bottle, I Love Again, Shine, Where the Bother?
Speaker 2 (53:54):
One Time? Follow Women Believe.
Speaker 7 (54:03):
That was done?
Speaker 6 (54:06):
Mamas on the Ball, That.
Speaker 2 (54:11):
Where the Love Bow? When they're running a snow last
the game, A bound on the Bay seven ways, No
(54:31):
matter what's gonna window now they all run any don't
ever say never.
Speaker 6 (54:39):
Say wanna women leave?
Speaker 2 (54:44):
I love this, The Big Bone of Sin, Where the
Big Bow?
Speaker 10 (54:53):
Where they're looking bother?
Speaker 2 (54:55):
Wall of Time.
Speaker 4 (55:01):
From the album four That was Toto with Make Believe.
Speaker 1 (55:06):
Toto was pretty much backed against the wall. When album
number four arrived, they revived their career by slowlying things
down and whipping up a few hits, including the overplayed
song Africa and in the Spirit of Dumbing Things Now,
and they titled the album Toto four and put four
rings on the cover just to be sure everyone understood.
(55:27):
Make Believe was the second single off of Toto four,
which also produced hit singles Rosanna, which was the first
single off the album, and a song I played for
you before, and Waiting for your Love. I Won't hold
you Back, and of course the song Africa. Bobby Kimball
sings lead vocals on this one, but Toto's main songwriter,
David Pach wrote the tune in the song, Kimball's asking
(55:49):
a lover to pretend they're in love again. There's some
indication that the story is autobiographical and not just a
work of poetic fancy, with very specific details in the
lines always remember the day we met in the foreign rain.
You were content, and we went our separate ways. The
idea is not far outside the realm of possibility. As
(56:09):
Page wrote Rosanna about his own first.
Speaker 15 (56:12):
Love there's a tone in North terri.
Speaker 25 (56:36):
With dream comfort, memory to spare, and in my mind
still need a place to go.
Speaker 16 (56:51):
All much changes with the blue, blue windows, slee pun stuff,
hellen edbirds flying, the chrssska flun Shadow's song Pleaseless Helpless.
(57:29):
Helpless Helpless.
Speaker 1 (57:35):
Twelve is the tenth album by artist Patty Smith that
was the song Helpless, an album of cover songs that
inspired Patty Smith. I Chose for You, a song she
covered of Neil Young's called Helpless.
Speaker 4 (57:49):
Helpless first appeared.
Speaker 1 (57:50):
On the nineteen seventy Crosbie, Stills, Nash and Young album
Deja Vu, and was later released by Young on his
nineteen seventy seven album Decade, which was a compilation. His
song is about the town of Amemone in Ontario in
nineteen forty nine. Neil's parents moved him there when he
was just four years old. Young describes it as a
(58:12):
nice little town, a sleepy little place. Life was real,
basic and simple in that town.
Speaker 4 (58:17):
Walk to school, walk back.
Speaker 1 (58:18):
Everyone knew who you were, and everyone knew everybody. I
guess you could say everybody knows that is nowhere hmmm,
more so than any other song. Helpless touches on Young's
earliest childhood memories. Neil Young came down with polio by
age six, prompting his parents to spend a year in Florida,
hoping the warmer weather would speed his cure. Ten years
(58:43):
after this came his parents' divorce, for which Neil stayed
with his mother while his father took his brother Bob
and later remarried. So typical for Neil Young, the memories
represented here are bittersweet.
Speaker 7 (59:19):
It doesn't matter what I say.
Speaker 6 (59:25):
Long, I say fat.
Speaker 10 (59:31):
Makes you feel of comforting though that's been food. I
said nothing so far.
Speaker 7 (59:49):
Not keep it up.
Speaker 21 (59:52):
With tending.
Speaker 6 (59:54):
And it don't matter w.
Speaker 10 (01:00:00):
I've done. Mccality tenning no Live.
Speaker 1 (01:00:25):
Game from the album four That was the song Hook
by Blues Traveler. This is the follow up to Blues
Traveler's first hit, run Around. The band formed in high
school in nineteen eighty six and released their first album
in nineteen ninety four. Was their fourth album, released in
September of ninety four. By the time Hook hit the charts,
(01:00:47):
the album had been out for almost a year. The
song is sort of satire. A hook is the part
of the song that people like, the part that makes
you remember this song. Normally it's the chorus, but not always.
Lead singer John Popper, who wrote the song, is saying,
no matter what you put in a song, if it
has a hook, people like. You can say whatever you
(01:01:07):
want and people will like the song and buy into it. Quote,
it doesn't matter what I say, just as long as
I sing with inflection. He knows that a hit song
needs to have a catchy hook, whether or not it
takes any talent or emotion. The hook brings you back
is the hook of the song, so he can say
whatever he wants in this part and get away with it.
(01:01:28):
So he says, the message is that you don't need deep,
meaningful lyrics to make people like your music. You just
need a good hook and to be charismatic or at
least that helps. On a deeper level, this can relate
to superficial society in general, which is demonstrated in the video,
which shows a beauty pageant, contestants and politicians singing the song.
(01:01:50):
They all show that there's no substance and it's all
just a dog and pony show, but most people don't notice,
and most people don't care. The song's entire line is
directly based on a piece of classical music. Pasha Bells
cannon in d is pretty well recognized melody in the
music world and can be considered an oral hook. Giving
(01:02:12):
the title another amusing twist.
Speaker 8 (01:02:55):
Is Yeah.
Speaker 1 (01:03:20):
That was the band White Zombie from their album Astro
Creep two thousand and The song was More Human Than
a Human. It was the first official single from the album.
The title and lyrics referenced the novel Do Android's Dream
of Electric Sheep by Philip K. Dick, adapted into the
film Blade Runner. The title was the slogan of the
(01:03:43):
Tyrrell Corporation, manufacturers of the humaniform biological androids, or replicants
as they are called, and they are the focal point
of the story in the movie and the book. The replicant,
designed to be perfect and disposable was Soldier ruder Hower
and finds him to be denied a reprieve from the
(01:04:04):
programmed four year lifespan. The song features a repeated slide
guitar figure, a technique typically associated with blues music, not
heavy metal music. More Human Than a Human quickly became
the band's highest charting and most recognizable single entirely in
their whole career. Basically, it's time to eighty six this episode,
(01:04:26):
and so I will play for you our final song
by Sir Paul McCartney from his McCartney Number one album.
The song is called Every Night. Paul McCartney wrote this
song during a holiday in Greece. It spotlights the severe
depression he was suffering after the breakup of the Beatles
and is a declaration of his love for Linda. McCartney
(01:04:48):
recalled how the split of the Beatles effective him, quote,
you gotta imagine having your three best mates in the
world subtly be against you, and yeah, I must admit
I hit the bottle, I hit the substances and it
was a very different period for me. The album is
called McCartney one and he also has albums McCartney two
and McCartney three. McCartney recorded it in secretly, mostly using
(01:05:10):
basic home recording equipment at his house at Saint John's
Wood mixing, and some recording took place at professional London studios.
In its loosely arranged performances, McCartney eschewed the polish that
the Beatles past records had in favor of this low
fi style. Apart from occasional contributions by his wife, Linda McCartney.
(01:05:32):
Linda was not the greatest artist, so her contributions were
best kept to a minimum. McCartney performed the entire album
alone by overdubbing on a four track tape playing all
the instruments. Conflicts over the release of McCartney's album further
estranged him from his bandmates, as he refused to delay
the album's release to allow for Apple's previously scheduled titles,
(01:05:53):
notably the Beatles final album Let It Be to Be released.
A press release in the form of a self interview
supplied with a UK promotional copies of McCartney led to
the Beatles' final breakup. McCartney received mostly negative reviews for
McCartney One, while McCartney himself was vilified for seemingly ending
(01:06:14):
the Beatles. The recording was widely criticized for being underproduced
and for its unfinished songs, although the ballad Maybe I'm
Amazed was consistently singled out for praise and was played
for many years on the radio. As the years have passed, though,
and the bitterness has worn away, people have been able
to receive the album in a more positive light, and
it is now considered a pretty good album.
Speaker 4 (01:06:35):
So that is where we will leave you today. Thank
you again for listening.
Speaker 1 (01:06:38):
We will come back at you next week with another
great episode filled with a wonderful theme. But for now,
after you recommend this podcast to a friend, I want
you to just turn this song up and enjoy. This
is a fantastic song. See you next week.
Speaker 12 (01:07:02):
Every night, I just want to go out, get.
Speaker 7 (01:07:05):
Out of my head.
Speaker 18 (01:07:10):
Every day.
Speaker 10 (01:07:10):
I don't want to.
Speaker 7 (01:07:11):
Get up, get out of my every night.
Speaker 10 (01:07:18):
I want to lay out.
Speaker 6 (01:07:22):
Every day. I want to do.
Speaker 10 (01:07:27):
What tonight. I just want to stay here and be
with you.
Speaker 9 (01:07:35):
And be with you.
Speaker 7 (01:08:08):
Every day.
Speaker 10 (01:08:09):
I lean on a lamp post.
Speaker 12 (01:08:11):
I'm wasting my time.
Speaker 7 (01:08:16):
Every night. I lay on a pillow, resting my mind.
Speaker 10 (01:08:23):
Every morning brings you.
Speaker 7 (01:08:28):
Every night.
Speaker 2 (01:08:29):
That day is to.
Speaker 7 (01:08:33):
One tonight.
Speaker 6 (01:08:34):
I just want to.
Speaker 22 (01:08:35):
Stay and be with you.
Speaker 17 (01:08:41):
And be with you.
Speaker 3 (01:08:44):
Thank you for listening. To listen to this, please recommend
to a friend and don't forget to rate, review, and subscribe.
For our podcast and online content, please visit this is
Funner dot com.
Speaker 6 (01:08:56):
This is Funner
Welcome to listen to this season thirteen. This is the
podcast that is dedicated to bringing you stories behind the artists,
behind the songs, and hopefully we are introducing you to
old songs that have influenced all that music that we
hear today. The goal is I want you to hear
an artist that you might not normally listen to, and
search out their music on whatever streaming service you subscribe to,
(00:21):
and maybe just buy it on physical media so that
you actually own it. We invite you to subscribe, comment,
and please please recommend this podcast to your favorite people
in the world, friends, loved ones, bosses, subordinates, strangers on
the street. It all works. Every episode has a theme,
and today's theme is albums with numbers in the title.
Speaker 2 (00:44):
Never in the history of the United States a monster
of such size and power.
Speaker 3 (00:49):
Welcome to listen to this a podcast that brings you
the stories behind the songs and artists with a theme
to tie it all together.
Speaker 4 (00:57):
Here's your hosts, Eric Lecky.
Speaker 1 (01:01):
We here at listen to This have brought you a
few categories on numbers. I always had fun with those
episodes and we've done a few of them, so I
wanted to figure out a way to continue the theme
of numbers. So today we are exploring albums that have
numbers and some selected songs off of those albums.
Speaker 4 (01:20):
As I usually do with this category, I.
Speaker 1 (01:21):
Wanted to give you some fun math and number facts
to start out today's episode. For instance, the number one
thousand is the only number with an A in it.
Between one and one thousand. The addition of numbers on
opposite sides of dice will always equal seven in a jiffy.
Speaker 4 (01:41):
That phrase that we've all heard, I'll get that done
in a jiffy.
Speaker 1 (01:44):
It's actually a real measurement of time. It is exactly
one one hundredth of a second. The word hundred comes
from the Old Norse term hundrath, which actually means one
hundred and twenty, not one hundred. And this might sound
like it's not correct, but I checked it.
Speaker 4 (02:03):
It is.
Speaker 1 (02:04):
In a room of twenty three people, there is a
fifty percent chance that two people have the same birthday.
I have no idea how that works out, but I've
looked at so many different sources that I'll say the
same thing. Four is the only number in the English
language that is spelt with the same number of letters
as the number itself, and every odd number has an
(02:25):
e in it. And you know how hard it is
for Americans to figure out the conversion from celsius to fahrenheit. Well,
if the temperature is negative forty degrees celsius, it will
weirdly be negative forty fahrenheit two. Not sure how that works,
but it does. But if it was truly negative forty
where are you listening to this podcast?
Speaker 5 (02:45):
Act?
Speaker 1 (02:45):
Please please move to a warmer climate. Anyways, let's get
it started with our first artist.
Speaker 6 (03:01):
Everybody is looking posting.
Speaker 2 (03:06):
Something you feel out the.
Speaker 6 (03:11):
Do you think a lot?
Speaker 2 (03:13):
How much you've got ahead?
Speaker 7 (03:16):
Two things?
Speaker 8 (03:17):
Get out?
Speaker 2 (03:18):
Oh my god, man, it's not it's just sun.
Speaker 6 (03:36):
You feel to get.
Speaker 9 (03:39):
Where you're not going around face and a crowd?
Speaker 2 (03:55):
Some shine in something you guess him? Wait do you
come back to.
Speaker 6 (04:24):
You?
Speaker 1 (04:36):
That was van Halen with the song When It's Love.
When It's Love is a group collaboration on writing, with
brothers Eddie and Alex van Halen having composed the music
first and Sammy Hagar writing lyrics afterwards. The song is
van Halen's third biggest hit, by the way, after Jump
and Why Can't This Be Love, one.
Speaker 4 (04:57):
Of the more powerful ballads that they have.
Speaker 1 (04:59):
VAH one put it at number twenty four on their
list of the twenty five greatest power ballads. The album
ou ate one two is a common little text pun
phonetically working out to oh you ate one two. It's
been bopping around in the cultures for years. It's on
the wall of the set in the TV series Taxi,
It's the license plate on the ferrari in Cheech and
(05:22):
Chong's Next Movie.
Speaker 4 (05:23):
And other such monkey shines.
Speaker 1 (05:26):
Sammy Hagar was uncomfortable in front of the camera for
music videos and never wanted his performances to appear phony.
Speaker 10 (05:33):
Quote.
Speaker 1 (05:34):
The more you saw yourself on video, the more you
realized when you were faking it.
Speaker 4 (05:37):
And it looked really stupid. Video killed the radio star,
so to speak.
Speaker 1 (05:43):
His solution was to crank up the music and really
belt out the songs instead of lip syncing. Because of this,
he blew out his voice while filming the Derek Wolski
directed performance clip for this song and couldn't even perform
at the concert the next day.
Speaker 10 (06:00):
I was born a travel man.
Speaker 2 (06:02):
That song I lever be moving around from Tampatown.
Speaker 6 (06:07):
It's like mixed soul free. My father loves a.
Speaker 11 (06:12):
Truckers for years of twenty three years an today, and
I was born this chuck and stuff.
Speaker 2 (06:19):
For me, I'm like tra man, travel.
Speaker 6 (06:28):
Man, cho man.
Speaker 2 (06:35):
That's why I have shown.
Speaker 12 (06:43):
That's what I am.
Speaker 10 (06:48):
You got letting man, That's what I am. Oh Mama,
it's a road.
Speaker 7 (06:52):
Don't you see me?
Speaker 10 (06:54):
Watch something? And twice six songs you see me now
all you women, I Love the Stand.
Speaker 2 (07:07):
And then.
Speaker 1 (07:30):
From the album twenty that was Leonard Skynyrd with Traveling Man.
On April twenty ninth, nineteen ninety seven, the Southern rock
band released their ninth album, but they named it after
another significant number. Twenty is a tribute to the six
band members and crew members who died in a plane
crash two decades earlier. The song traveling Man is also
(07:51):
about band members traveling on the road. For this album,
the band brought in two Southern rock veterans, Ricky Medlock,
who had been a drummer for the band briefly before
forming the band Blackfoot, and Huey Thomason of the band
The Outlaws. The track travelin Man is the first studio
recording of the song from the original band's nineteen seventy
(08:13):
six live album one More from the Road. Making use
of modern technology, the band was able to use original
singer Ronnie van Zant's vocal tracks on parts of the
song in order to create a duet between Johnny and Ronnie.
The album cover is a fictional drawing of Monument Valley
on the Navajo Reservation.
Speaker 2 (08:51):
Meets you.
Speaker 6 (09:00):
Right both this BOMs now.
Speaker 13 (09:05):
The bombing is gross.
Speaker 14 (09:20):
You have entered the twin lights are beyond the sports range.
Speaker 15 (09:26):
Things alone to use the key lop the door.
Speaker 6 (09:32):
See what a made my coming storm?
Speaker 16 (09:36):
So expot your dreams creation answer this.
Speaker 6 (09:41):
World of imagination.
Speaker 1 (09:57):
That was Rush with the song twilight Zone. If you've
already listened to this album, you've likely figured out from
the title track, The twilight Zone that twenty one to
twelve the album title refers to a year in the future.
It's just part of the whole concept album about a
futuristic dystopian society.
Speaker 4 (10:15):
Kind of a thing. But you may not have known
as that.
Speaker 1 (10:18):
Ain Rand might have been its inspiration for the song
the twilight Zone. Rush drummer and lyricist Neil Perr is
a big fan of the twilight Zone TV series and
based this song on two separate episodes of the show.
The first is Will the Real Martian Please Stand Up?
This was from season two late in the season, like
around episode twenty eight or so. It aired in May
(10:40):
of nineteen sixty one. It's set in a diner and
Barney Phillips is the easy going counterman, and at the
end it's revealed that he has three eyes. The second
is episode thirty from season five, Stop Over in a
Quiet Town, one of my favorite episodes in the series,
from April of nineteen sixty four. It's about a couple
who get really drunk at a party and wake up
in an empty house and an empty town with no
(11:02):
other residents, and everything is fake or seems to be
like a stage prop. And then at the very end
they look up and see a giant child. It turns
out there just now a child's playtoy. Sirwing's closing narration
is among the series funniest. The moral of what you've
just seen is clear. If you drink, don't drive, and
if your wife is at a couple she shouldn't drive either.
(11:24):
You both might just wind up in the whale of
headache and a deserted village in the Twilight Zone. Perk
changed the giant girl to a giant boy.
Speaker 5 (11:33):
In the lyrics any Lane, there is a Bob showing
photographs of every head.
Speaker 17 (11:39):
He's at the plaget to know, and all the people
come and go, stop.
Speaker 12 (11:47):
And sail.
Speaker 5 (11:51):
On the corners, a bank of a motoric, the little
children having emind Isla and the banking then wears a
man in.
Speaker 2 (12:04):
The morning rain, very strange any Lane, this.
Speaker 7 (12:10):
Is Invi.
Speaker 6 (12:12):
And in by.
Speaker 13 (12:18):
He needs the suburban sun, I said, I.
Speaker 5 (12:23):
Mean while back in any Lane there is a vine
and with an hour.
Speaker 17 (12:28):
Glass, and then his bark is a portrait of the Queen.
He likes to keep his fire engine clean. It's a
clean machine.
Speaker 18 (12:59):
Any lay by bye, he bye, jabies.
Speaker 15 (13:12):
And song by bhind the shelter in the middle of.
Speaker 17 (13:18):
The round about ready bobbies from the train, though she
dis is.
Speaker 19 (13:25):
It's in a play jes anyway Teddy and the Bob
shaves and on the customer.
Speaker 1 (13:37):
I am running out of songs I haven't played for
you before on three artists, the Beach Boys, Bob Dylan
and the Beatles. But oddly enough I had yet to
play the song Penny Lane, and it worked out pretty
well for this episode. You see All twenty seven songs
on the two thousand released album Number One were number
(13:59):
one HiT's in the US or the UK, though some
made it as a B side of a hit single.
You may have noticed the exclusion of two extremely popular
Fab four songs on this album, though Please Please Meet
in Strawberry Fields Forever Well. That's because both of those
classics only made it as high as number two. Released
in the US on the thirteenth of February nineteen sixty
(14:21):
seven and on the UK on the seventeenth of February,
this song reached number one in the US for one
week in March of sixty seven, while a different version
was included on the album Anthology two in nineteen ninety six.
This version was first included on the US release of
The Magical Mystery Tour. In nineteen sixty seven. Paul McCartney
(14:41):
was sitting at a bus shelter waiting for John Lennon
to meet him on Penny Lane, a street near their
houses in Liverpool, England. While sitting there, Paul jotted down
the things that he observed and that he saw, including
a barber shop with pictures of its clients and a
nurse selling poppies for Remembrance Day, which is November eleventh,
(15:01):
that marks the day World War One officially ended. He
later turned these images into the song We Now Know,
which celebrates this time in his life. Penny Lane evolved
to accommodate the many tourists who visit, offering Beatles themed
dining and memorabilia. The barber shopped mentioned in the song
is still there, but most of the other places that
show up in the lyrics are long gone. The shelter
(15:24):
in the middle of the roundabout where the nurse sells
the poppies later became a restaurant named, of course, Sergeant
Pepper's Bistro, which of course has since closed as well.
The street sign at the corner of Mossley Hill is
the most popular photo op It says Penny Lane. There
is no guitar on the song Penny Lane. John Lennon
played piano and George Harrison played the conga drums. There
(15:47):
are some obscene references in this song that were intentioner
intentional finger Pie and keeps his fire engine clean were
sexual slang of the sixties.
Speaker 6 (16:08):
I damned me there, let's see I'm reading it with
a pa.
Speaker 2 (16:25):
My street liver room was none of the rooms.
Speaker 7 (16:27):
I got my mom and my televisons.
Speaker 11 (16:28):
Going afore, but I got a sixteen days bury, none
of my moder.
Speaker 6 (16:33):
Why all by the time I couldn't control my sad all.
Speaker 2 (16:43):
By the time, I'm reling my side.
Speaker 6 (16:50):
All time to marry?
Speaker 20 (16:54):
What say?
Speaker 6 (16:59):
I am many.
Speaker 2 (17:20):
Drama.
Speaker 1 (17:33):
That was the band Pearl Jam with their song once
off their album ten. You know, before they were big stars,
Eddie Veteran Company were just some young dudes with a
strange affinity for basketball player Mooky Blaylock. In fact, they
even named the band after him, originally until Mookie's lawyers
kindly asked them to cease and desist. Unwilling to give
(17:55):
up the concept, they named their first album after his
Jersey Night number ten. This was one of the songs,
by the way, that earned Eddie Vedder the job of
Pearl Jam frontman. His acquaintance Jack Irons sent him a
three song instrumental demo recorded by jeff ahmet Stone Gossard
and Mike McCready, who were looking for a lead singer
(18:17):
for their new band. In one day, Vedder wrote lyrics
for the three songs and added his vocals using a
four track recorder The result was what Vedder called the
Mama Son mini Opera, with the first song being Alive,
telling the story of a boy who learns his dad
as actually his stepfather and once the boy goes crazy
(18:38):
and kills people. The third part of the trilogy is Footsteps,
where the boy ends up on death row and blames
his mother for his problems. When the band heard the demo,
they quickly offered Eddie the job, and a few weeks
later he joined them in Seattle to record much of
what would become the ten album, including the.
Speaker 14 (18:53):
Song I wastrel from this fucking mean it goes a straight.
Speaker 12 (19:22):
Oh man, I woke up there this morning, this morning day.
Speaker 17 (19:31):
Sc aper flemore noting everywhere.
Speaker 14 (19:39):
Judge month from that distruction.
Speaker 2 (19:41):
You know, I didn't even care.
Speaker 18 (19:46):
Said that to those severbody out of times.
Speaker 8 (19:54):
I was so you might have gone a body like
It's ninety nine.
Speaker 17 (19:59):
Did not.
Speaker 2 (20:07):
Fast band that.
Speaker 6 (20:21):
Fun. So I got a dim tonight.
Speaker 8 (20:35):
Two thousand.
Speaker 1 (20:39):
Time nineteen ninety nine is the fifth studio album by Prince,
released on October twenty seventh of nineteen eighty two. It
became his first album to be recorded with his band
The Revolution. Written in nineteen eighty two, during the height
of the Cold War. This party jam pretty much has
a much deeper meaningless Prince addresses fears of a nuclear armageddon.
(21:02):
Under the Reagan administration, the United States was stockpiling nuclear
weapons and taking a hawkish stance against the Soviet Union,
which he referred to as the Evil Empire. Well, that
scared a lot of people, and Prince voices their concerns.
Everybody's got a bomb. We could all die any day,
he says.
Speaker 4 (21:20):
In the song.
Speaker 1 (21:21):
He's far more optimistic, though, responding by making the point
that we should enjoy whatever time we have left on
earth while we still can't even if it all ends
at the stroke of midnight and the year two thousand.
But before I'll let that happen, I'll dance my life
away in this purple skied world. Life is just a party,
and parties weren't meant to last. Prince doesn't sing on
(21:41):
this track until the third line. The first lead vocal
is by backup singer Lisa Coleman. I was dreaming when
I wrote this. Forgive me if it goes astray. Next
up is guitarist Des Dickerson, who sings but when I
woke up this morning could have sworn it was Judgment Day. Well,
then Prince finally comes in and takes the next part
and says, the sky was all purple, there were people
(22:04):
running everywhere, and then all three voices come in on
the next line, trying to run from the destruction.
Speaker 4 (22:10):
You know, I didn't even care.
Speaker 1 (22:13):
Originally, Prince and Vision the whole song is a three
part harmony with Coleman, Dickerson and himself, and they sang
it all together, but Prince later decided to split up
the tracks, letting each voice solo on a lion. This
is something Stevie Wonder did on You Are the Sunshine
of My Life, by the way.
Speaker 4 (22:30):
As well.
Speaker 1 (22:31):
The second verse follows the same pattern, dividing the vocals
amongst the three singers.
Speaker 7 (23:14):
Shines in that desert night.
Speaker 1 (23:29):
Side that was Public Image Limited with their song USLS
one from the album nine. On December twenty first of
nineteen eighty eight, John Lyndon, better known as Johnny Rotten,
(23:50):
and his wife Nora were due to catch pan Am
American World Airways third scheduled transatlantic trip from London. He
throws airport to New York's JFK International Airport because the
delays caused by Nora's overpacking. They arrived at the airport
a little too late to catch the plane. While the
(24:10):
flight that Linden and his wife missed was the doomed
pan Am Flight one three, which was destroyed by a
bomb while flying over Lockerbe in Scotland, killing all two
hundred and forty three passengers and sixteen crew members on board.
When they learned of what happened, the couple looked at
each other and almost collapse. This w type near instrumental
(24:32):
was written by Linden as a message to the Lockerbe bomber,
who would have blown him up if not for their
last minute change of plans.
Speaker 2 (24:56):
J come day, I'll sleep on the back coming to
bad way, up to bad.
Speaker 18 (25:12):
Squash steak within your eyes, snapper.
Speaker 13 (25:23):
And then you said, and some the change with the
bels A stay.
Speaker 2 (25:29):
All of your dreams are street walk in some cattle bad.
It's all the auby shipping falls a stream.
Speaker 8 (25:45):
A wow.
Speaker 21 (25:48):
Some other cho.
Speaker 2 (25:51):
You need your stupy O. The billy of faces man
(26:19):
sensors love the fans a same, oh ya, Jesus.
Speaker 1 (26:30):
I put two Van Halen songs on today's episode, well
because they had two albums with numbers in the title.
That was the song Love Walks In from the album
fifty one to fifty. It's also weird that I played
two van Halen songs in this episode and both of
them are slow ballads. It's even more unique that I
played two songs from van Halen on this episode and
(26:50):
both of them were by Sammy Hagar as lead singer.
I will make up for it next time I play
van Halen and play something really rockin' from them. This
is the name of Eddie van Halen's home recording studio,
by the way, fifty one to fifty, where the album
of the same name and every van Halen record since
then has been recorded. The studio got its name after
(27:11):
van Halen engineer and friend Don Landy heard it come
across on the police scanner. It's the California penal code
for involuntary confinement of a person for psychiatric evaluation. This
song Love Walks In is not what you likely think
it's about. The song deals with extra terrestrials, which can
(27:32):
be interpreted as a metaphor for new love or as
van Halen reaching out to new fans. Fifty one to
fifty was the first album Van Halen, released with lead
singer Sammy Hagar, and Hager drew the lyrics from some
of his out of body experiences. Hagar said quote, I'm
a firm believer, have seen, have felt, and have been
contacted on three or four different occasions. I've received information
(27:55):
that has been valuable in my life from those people,
and they have used me. I'm gonna sound like a
pleat nut here, but they used me in an experimental fashion.
The easiest way to put it is they downloaded my
brain information. Actually, Sammy, I believe that was just the
drugs that did that. But anyways, Love Walks in as
the third single from fifty one to fifty following why
Can't This Be Love and the song Dreams. These songs
(28:18):
were softer than a David Lee Roth led Van Halen,
but very effective, earning the band a broader, more adult audience.
Speaker 22 (28:37):
Well, you went up town in your amazone, put your
fine pomp gammon, you coas you had the dumb hair
and yell in your hand and the spoon up.
Speaker 7 (28:51):
When you wake up in the morning with your.
Speaker 22 (28:53):
Head on fine and your hays to your bloody a sea,
you can't want to cry, And you called it doll
Cam pitching to me.
Speaker 10 (29:03):
Because you had to be a big shiny You.
Speaker 2 (29:07):
Had to open up in your mouth.
Speaker 4 (29:10):
You had to be a big shiny.
Speaker 2 (29:13):
Oh, your friends were so knocked out.
Speaker 22 (29:16):
You had to have the last word last night to
know what everything is about.
Speaker 6 (29:23):
You had to have a white.
Speaker 2 (29:25):
Hot spot night.
Speaker 7 (29:26):
You had to be a big shine last night.
Speaker 22 (29:34):
That they were all empressed with your houst and rest
and the people at your new Adi Leans and the
story of the latest success. You kept so entertained. But
(29:55):
now you just don't remember all the things you said
and did not show that you want to know if
you want hit, Honey, you shot put on a shoe.
Speaker 1 (30:07):
That was Billy Joel from his album fifty second Street
and the song is Big Shot. Billy Joel wrote the
song about Bianca Jagger, who is a socialite married to
Mick Jagger, but it was written from mixed perspective. Mick
and Bianca were on the outs and divorced shortly before
the album was released, and Billy was thinking about how
Mick would sing the song to Bianca when he recorded it.
(30:30):
Phil Ramone produced fifty second Street. The theme of the
album is Nighttime in Manhattan.
Speaker 14 (30:43):
I let it fall, mah louse, it used who came?
Speaker 23 (30:53):
It was dark and I was over until you kissed
my lips and miss stay my hands thus jump, But
my nays were far too Stand in your arms with
(31:15):
that fall into your feet. But there's a sign to
you that I never never knew. All the things you say,
they will never you never June. In the games you play,
you would always been No's weird. But I said.
Speaker 2 (31:37):
To the red was it bare.
Speaker 9 (31:42):
End?
Speaker 6 (31:43):
Wad a fall? When I cry?
Speaker 14 (31:45):
Because I heard is screaming not your name.
Speaker 9 (31:50):
Name?
Speaker 1 (31:52):
That was Adele with set Fire to the Rain. This
is from the album twenty one. I could have also
chosen songs from the previous album from her, which is
titled nineteen. You see, she just names the albums after
the age she is at when recording the album. Fire
and rain are elemental opposites that don't mix, and this song,
(32:12):
Adele sings about a torrid love affair that is ultimately
doomed by setting fire to the rain. She's finally ready
to move on even though it's not going to burn.
Adele was trying to light a cigarette when she came
up with the title. She learned that you can't set
Fire in the Rain, but got a great song idea
from it. Many of the songs on the album twenty one,
including set Fire to the Rain, are about heartbreaking ending
(32:34):
of her first real relationship. She said in an interview
to plug the album's release quote, it broke my heart
when I wrote this record, So the fact that people
are taking it to heart for themselves is the best
way to recover, because I'm still not fully recovered. It's
going to take me ten years to recover, I think
from the way I feel about my last relationship. It
was the biggest deal in my entire life to date.
(32:55):
He made me totally hungry. He was older, He was
successful in his own right, whereas my boyfriends before were
my age and not really doing much. He got me
interested in film and literature, food and wine, traveling, politics
and history. Those are things that I would never ever
interested in before. It's gonna take me a long time
to get over this one. This was Adel's third chart
topper in the Hot one hundred. The songs ascent to
(33:17):
number one coincided with twenty one's seventeenth week on the
top of the album chart, as Rolling in the Deep
and Someone Like You also rained simultaneously with one of
the set periods at the Summit twenty one became the
first LP by a single artist to have led the
Billboard two hundred concurrently with three Hot one hundred number ones.
(33:39):
Feat was only previously achieved by the multi artist Saturday
Night Fever soundtrack in nineteen seventy eight, but when this
went to number one, A Dell became the first British
artist to have three chart toppers from one album on
the Hot one hundred at the same time since George
Michael did it in the late eighties.
Speaker 20 (33:57):
Standing try to remad the songs to tell me which
way I should go to find the answer all the
time I know, Lent your Love and Leady.
Speaker 2 (34:20):
Letty, let it go, Let it Blossom, Lead.
Speaker 24 (34:33):
In the sun the Sun, Love is Love, coups to
check out my mind, hoping to get a friend, Kan conto,
(35:00):
is nothing left to.
Speaker 12 (35:04):
Chill, Loneless lole.
Speaker 1 (35:32):
Let That was the song Let It Grow by Eric Clapton,
and of course the album is for sixty one Ocean Boulevard.
In nineteen seventy, Eric Clapton released a song with his
group Derek and the Dominoes called Keep On Growing, where
he sang about finding fertile ground for love and his
(35:55):
gentle solo track let It Grow, he stays with the
garden theme as a metaphor for love, singing plant your
love and let it Grow. Clapton played the doughbro on
this track. Doughbro is a type of acoustic guitar with
a raised bridge and resonator cone, which produces kind of
a moaning sound. Yvonne Ellman sang backup before joining Clapton's
(36:16):
band in nineteen seventy four. She played Mary Magdalene and
Jesus Christ Superstar. She also had her own disco hit
in nineteen seventy eight with If I Can't Have You
for sixty one. Ocean Boulevard is the address of the
house in Miami where Clapton and his band lived while they.
Speaker 4 (36:32):
Were working on this album.
Speaker 10 (36:54):
Because the spot of your rise.
Speaker 7 (37:03):
Spoty your Lies, call him mind if sounds day and
(37:38):
the dog.
Speaker 2 (37:42):
Heard her voice.
Speaker 7 (37:45):
Starts into the trees, Into the tree.
Speaker 1 (38:08):
That was the Band that Cure with a song a
Forest from the album seventeen Seconds. Robert Smith wrote the
majority of the album's lyrics, and one night after a
show with Susie and the Banshees at a Newcastle hotel
in nineteen seventy nine.
Speaker 4 (38:23):
After finding himself on the.
Speaker 1 (38:25):
Losing end of a brawl with a trio of businessmen
in the hotel elevator, Smith was rescued by his bandmates.
Despite being pretty banged up, his emotional wounds were worse
than his physical ones, and he poured his feelings out
into the songs that formed the album. Seventeen seconds after
returning home from the Susie and the Banshee's tour, Smith
(38:45):
composed most of the music for the album and his
parents' basement in Crawley, England, using a Fender jazz Master
guitar and his sister's Hammond organ, which had a built
in drum machine.
Speaker 4 (38:57):
The song tells a vague story.
Speaker 1 (38:59):
Of the person suit of a girl in a forest,
which ends in loss. Many fans and critics regard this
song in particular as a good example of the Cure's
unique sound. Frontman Robert Smith described it as a childhood
dream or a nightmare that came true with adolescence. The
song is behind a famous incident at the nineteen eighty
(39:19):
one Worcester Festival in Belgium.
Speaker 4 (39:21):
The Cure were on before Robert Palmer.
Speaker 1 (39:25):
And we're just finishing their set. Robert Palmer apparently was
getting a little pushy, trying to have his road crew
hurry the cure off stage. Robert Smith responded by sassily
informing the crowd that they couldn't play anymore, and then,
of course, they played an extra long nine minute version
of the song. A Forest bass player Simon Gallup put
(39:46):
a stamp on the performance by shouting, f Robert Palmer
to a cheering crowd, your turno.
Speaker 13 (40:03):
I can bind the ride into the tack on you
get your turn up. I can mind the ride into
the duck. I don't want to go to the moon.
I don't want to the most attack.
Speaker 7 (40:21):
No shot.
Speaker 9 (40:31):
Me.
Speaker 13 (40:34):
I'm contacting the background and your dead.
Speaker 7 (40:37):
But uncle, your turn up.
Speaker 6 (40:42):
I don't do that.
Speaker 21 (40:45):
Go them.
Speaker 9 (40:47):
I don't want to know. I don't want to know that.
The best I do that.
Speaker 7 (40:55):
God Hello.
Speaker 1 (41:32):
A live album from the very weird and very talented
Frank Zappa called Philly seventy six. Of course, it was
recorded in October of nineteen seventy six at the Spectrum
in Philadelphia, Pennsylvania. I chose the song from the album
Dirty Love, Dirty Love was written, of course, by Frank Zappa,
(41:52):
and it appears on the Overnight Sensation album, originally as
the third track, right after the even better known I'm
the Lime. It also appears in live versions of Philly
seventy six, but it isn't on the posthumous nineteen ninety
seven collection Have I Offended Someone, which is a collection
of his more offensive material. Dirty Love comes from a
(42:13):
period when Zappa was fascinated with body humor. That streak
starts on the album Overnight Sensation with this song plus
Camillo Brillo, Zombie Wolf and Dina mo hum and carries
through a clip of a couple of songs per album
until Shake.
Speaker 4 (42:31):
Your Booty album.
Speaker 1 (42:33):
Although charts and Zappa famously did not get along, Overnight
Sensation did mark a point, which is music became a
little bit more accessible. It was his first album to
go gold and rose to number thirty two on the
Billboard Album charts.
Speaker 4 (42:47):
The live band.
Speaker 1 (42:48):
Featured on the recording included Bianca Odin on vocals and keyboards,
who only toured with Zappa's band for a few weeks
in the fall of nineteen seventy six. Critics regard Philly
seventy six is a unique entry in zappa discography, largely
due to Lady Bianca.
Speaker 4 (43:05):
Michael Shell once.
Speaker 1 (43:07):
Wrote quote, It's hard to overstate just how significant her
presence is in mitigating the most troublesome effects of Zappa's lyrics.
Simply having a woman singing the lead on a title
track like Dirty Love dramatically softens its impression compared to
Zappin's own snide and rather sinister sounding delivery on other albums.
Speaker 10 (43:38):
That's it to me, baby, this is something you must see.
Speaker 21 (43:45):
I want to be with you.
Speaker 6 (43:47):
Go if you want to be with me, buddy, you
gotta go.
Speaker 2 (43:55):
It's all right, buddy, you got now? Oh yes, you've
got to stay all night?
Speaker 22 (44:14):
He ain't that I'm questioning you to take part and
then kind of quiz.
Speaker 7 (44:22):
It's just that I haven't got no want and asking
me what time it is too.
Speaker 2 (44:28):
If you gotta go, it's all right.
Speaker 7 (44:35):
But if you gotta go.
Speaker 10 (44:38):
Now obvious you gotta stay all night.
Speaker 19 (44:51):
I am chanced to poor mombaby trying to connect, but
I suddenly don't want.
Speaker 13 (45:00):
Are you thinking that I haven't got in and respict?
Speaker 7 (45:04):
So if you got the go, is all right?
Speaker 2 (45:12):
You gotta go?
Speaker 7 (45:16):
Bob is you Got to Stay All NIGHTE.
Speaker 1 (45:20):
That was Bob Dylan with if You Gotta Go Go
Now from a Bootleg Series Number one through three. Bootleg
Series one to three is a box set by Bob
Dylan issued on Columbia Records. It's the first installment of
Dylan's bootleg series, and there's been a lot of them,
comprising material spanning the first three decades of his career
(45:41):
from sixty one to eighty nine. Dylan has been the
subject to bootleg recordings throughout his career. In fact, he
was the first bootlegged artist of the rock era. The
album The Great White Wonder consisted of pirated recordings drawn
from various sources his nineteen eighty five set Biograph, rather
(46:01):
than just being another very large compilation presented eighteen never
officially released tracks of fifty three total, Acknowledging this long
standing appetite for pirated Dylan recordings, with the approach of
Dylan's thirty year mark in the record industry, Columbia Records
initiated the proper release of material that had circulated regularly
(46:22):
on Dylan bootleg starting with this box set in nineteen
ninety one. To satisfy demand for Dylan's unissued material. If
you Gotta Go Go Now, sometimes subtitled or else you
Gotta Stay All Night as a song written by Bob
Dylan back in nineteen sixty four. The first released version
was a single in the US by the UK group
(46:44):
The Liverpool five and July of nineteen sixty five, but
this did not even chart in the US, despite receiving
a lot of airplay, particularly in the Pacific Northwest. Another
British band, Manfred Mann, then issued the song in as
a single in September of sixty five and had a
number two hit. Fairport Convention also had a chart hit
(47:04):
with a French version in nineteen sixty nine. Dylan began
the recording for if You Gotta Go Go Now on
January thirteenth of nineteen sixty five, during the first session
for the Bringing It All Back Home album. One of
two acoustic takes were completed and neither was used. He
recorded the song again on January fifteenth, producing four takes
(47:25):
with the full band. Take number four was the one
that was released on the bootleg series one through three,
rare and unreleased box set Fun Is In.
Speaker 18 (47:34):
It's No Sin, It's That's time again to shit hit
the Road on the run again Summers.
Speaker 13 (47:44):
One a song It's one.
Speaker 9 (47:45):
For All fund.
Speaker 7 (47:59):
Again, lifting the hood docket round the way to the.
Speaker 22 (48:07):
Tad, just get, contain your fad in the shade, gave
a shade in the senor ships, ray your.
Speaker 2 (48:14):
Face seas the National Space.
Speaker 8 (48:18):
God gotta go to.
Speaker 2 (48:22):
Godta go through God Again, It's okay. Tom has a
phone by.
Speaker 7 (48:34):
So maybe you're less with the special one.
Speaker 2 (48:37):
Dinner Bad, It's all done, bat.
Speaker 14 (48:41):
Whistle faces a pay to one.
Speaker 2 (48:45):
Last God, God Good, God Again, Go Rod.
Speaker 1 (49:09):
That was The Beach Boys with the song It's Okay
from the album fifteen Big Ones. Fifteen Big Ones is
the twentieth studio album by American rock band The Beach
Boys was released on the fifth of July nineteen seventy six.
It includes a mix of original songs and reditions of
classic rock and roll songs in R and B standards.
(49:31):
It's an okay album, just like the song I Played You.
Following their previous album Holland from nineteen seventy three, which
is a pretty good album, the band had focused on
touring and attracting a bigger concert audience, especially after the
unexpected success of their greatest hits compilation Endless summer of
nineteen seventy four.
Speaker 4 (49:49):
They attempted to record a.
Speaker 1 (49:51):
New album at Caribou Ranch Studio in late seventy four,
but it was soon abandoned, partly due to Brian Wilson
being unable or unwilling to participate. At the end of
nineteen seventy five, his bandmates and manager Stephen Love prevailed
upon him to produce the group's next release, hoping that
a new album bearing his production label would credit a
(50:11):
little bit more lucrative. Despite mixed reviews, fifteen Big Ones
was the Beach Boys best selling album of new material
since nineteen sixty five. It's not a great record by
any means, but I love playing the Beach Boys, so
there you go. The song It's Okay, as an upbeat
song about celebrating summer fun. It was issued as a
single off the seventy six record. Brian commented of the
(50:32):
song in an interview in nineteen ninety five that was
written inside Brother Studios in Santa Monica. At the end
where Dennis Sing's find a Ride. We put the two
of his voices on there together, over dubbed them and
it sounded fantastic. He praised Love's lyrics and said the
song doesn't bring back real pleasant memories because of the
overall headspace that I was in at the time.
Speaker 8 (51:00):
H You've got to trust Joy is like go regret
(51:27):
you got too bad on yourself.
Speaker 2 (51:29):
Gost that's your best bed want me?
Speaker 17 (51:35):
I look at as the cut, I get the novel
the shoe and we'll pick to her.
Speaker 7 (51:40):
But I canna get for said, and so what's amazonians?
Speaker 21 (51:43):
Because said don't mean to think?
Speaker 2 (51:45):
Is what stop.
Speaker 10 (51:45):
Rebringing you mouning?
Speaker 13 (51:48):
But that's the time about So you need to get
on my chest.
Speaker 7 (51:52):
The matter what may come, the shots cream will all red.
Speaker 2 (51:57):
I'm all mixed up.
Speaker 21 (51:59):
You don't know what to do, you don't know what,
but you know this, We don't just.
Speaker 7 (52:16):
Get up on your mask.
Speaker 1 (52:19):
From the album three eleven by the band three eleven
that was all mixed up. Looking back, their music wasn't great,
but it does remind me of being fifteen years old,
so I guess I'm nostalgic for it. Most of the
songs by three eleven were written by Nick Hexham and
Essay Martinez. For reference, one was the Blonde Singer and
(52:40):
the other was the Bald rapper. The duo first started
working on the song during the three eleven tour supporting
their album Grassroots. After the tour, Martinez wrote the lyrics
about feeling confused and being unfaithful, and Hexham took the
song's title from an early Elvis Presley interview in which
Elvis claimed he was all mixed up over his new
who Found Fame. It later became one of the band's
(53:02):
signature singles. To describe the songs in a positive light,
that I were to play say if they were riff,
heavy and radio ready. Songs are underscored by a tight
drum sound, often with a piccolo snare. Scratching of turntables
and the crunch of heavy guitars is how I would
describe them.
Speaker 11 (53:41):
Bottle, I Love Again, Shine, Where the Bother?
Speaker 2 (53:54):
One Time? Follow Women Believe.
Speaker 7 (54:03):
That was done?
Speaker 6 (54:06):
Mamas on the Ball, That.
Speaker 2 (54:11):
Where the Love Bow? When they're running a snow last
the game, A bound on the Bay seven ways, No
(54:31):
matter what's gonna window now they all run any don't
ever say never.
Speaker 6 (54:39):
Say wanna women leave?
Speaker 2 (54:44):
I love this, The Big Bone of Sin, Where the
Big Bow?
Speaker 10 (54:53):
Where they're looking bother?
Speaker 2 (54:55):
Wall of Time.
Speaker 4 (55:01):
From the album four That was Toto with Make Believe.
Speaker 1 (55:06):
Toto was pretty much backed against the wall. When album
number four arrived, they revived their career by slowlying things
down and whipping up a few hits, including the overplayed
song Africa and in the Spirit of Dumbing Things Now,
and they titled the album Toto four and put four
rings on the cover just to be sure everyone understood.
(55:27):
Make Believe was the second single off of Toto four,
which also produced hit singles Rosanna, which was the first
single off the album, and a song I played for
you before, and Waiting for your Love. I Won't hold
you Back, and of course the song Africa. Bobby Kimball
sings lead vocals on this one, but Toto's main songwriter,
David Pach wrote the tune in the song, Kimball's asking
(55:49):
a lover to pretend they're in love again. There's some
indication that the story is autobiographical and not just a
work of poetic fancy, with very specific details in the
lines always remember the day we met in the foreign rain.
You were content, and we went our separate ways. The
idea is not far outside the realm of possibility. As
(56:09):
Page wrote Rosanna about his own first.
Speaker 15 (56:12):
Love there's a tone in North terri.
Speaker 25 (56:36):
With dream comfort, memory to spare, and in my mind
still need a place to go.
Speaker 16 (56:51):
All much changes with the blue, blue windows, slee pun stuff,
hellen edbirds flying, the chrssska flun Shadow's song Pleaseless Helpless.
(57:29):
Helpless Helpless.
Speaker 1 (57:35):
Twelve is the tenth album by artist Patty Smith that
was the song Helpless, an album of cover songs that
inspired Patty Smith. I Chose for You, a song she
covered of Neil Young's called Helpless.
Speaker 4 (57:49):
Helpless first appeared.
Speaker 1 (57:50):
On the nineteen seventy Crosbie, Stills, Nash and Young album
Deja Vu, and was later released by Young on his
nineteen seventy seven album Decade, which was a compilation. His
song is about the town of Amemone in Ontario in
nineteen forty nine. Neil's parents moved him there when he
was just four years old. Young describes it as a
(58:12):
nice little town, a sleepy little place. Life was real,
basic and simple in that town.
Speaker 4 (58:17):
Walk to school, walk back.
Speaker 1 (58:18):
Everyone knew who you were, and everyone knew everybody. I
guess you could say everybody knows that is nowhere hmmm,
more so than any other song. Helpless touches on Young's
earliest childhood memories. Neil Young came down with polio by
age six, prompting his parents to spend a year in Florida,
hoping the warmer weather would speed his cure. Ten years
(58:43):
after this came his parents' divorce, for which Neil stayed
with his mother while his father took his brother Bob
and later remarried. So typical for Neil Young, the memories
represented here are bittersweet.
Speaker 7 (59:19):
It doesn't matter what I say.
Speaker 6 (59:25):
Long, I say fat.
Speaker 10 (59:31):
Makes you feel of comforting though that's been food. I
said nothing so far.
Speaker 7 (59:49):
Not keep it up.
Speaker 21 (59:52):
With tending.
Speaker 6 (59:54):
And it don't matter w.
Speaker 10 (01:00:00):
I've done. Mccality tenning no Live.
Speaker 1 (01:00:25):
Game from the album four That was the song Hook
by Blues Traveler. This is the follow up to Blues
Traveler's first hit, run Around. The band formed in high
school in nineteen eighty six and released their first album
in nineteen ninety four. Was their fourth album, released in
September of ninety four. By the time Hook hit the charts,
(01:00:47):
the album had been out for almost a year. The
song is sort of satire. A hook is the part
of the song that people like, the part that makes
you remember this song. Normally it's the chorus, but not always.
Lead singer John Popper, who wrote the song, is saying,
no matter what you put in a song, if it
has a hook, people like. You can say whatever you
(01:01:07):
want and people will like the song and buy into it. Quote,
it doesn't matter what I say, just as long as
I sing with inflection. He knows that a hit song
needs to have a catchy hook, whether or not it
takes any talent or emotion. The hook brings you back
is the hook of the song, so he can say
whatever he wants in this part and get away with it.
(01:01:28):
So he says, the message is that you don't need deep,
meaningful lyrics to make people like your music. You just
need a good hook and to be charismatic or at
least that helps. On a deeper level, this can relate
to superficial society in general, which is demonstrated in the video,
which shows a beauty pageant, contestants and politicians singing the song.
(01:01:50):
They all show that there's no substance and it's all
just a dog and pony show, but most people don't notice,
and most people don't care. The song's entire line is
directly based on a piece of classical music. Pasha Bells
cannon in d is pretty well recognized melody in the
music world and can be considered an oral hook. Giving
(01:02:12):
the title another amusing twist.
Speaker 8 (01:02:55):
Is Yeah.
Speaker 1 (01:03:20):
That was the band White Zombie from their album Astro
Creep two thousand and The song was More Human Than
a Human. It was the first official single from the album.
The title and lyrics referenced the novel Do Android's Dream
of Electric Sheep by Philip K. Dick, adapted into the
film Blade Runner. The title was the slogan of the
(01:03:43):
Tyrrell Corporation, manufacturers of the humaniform biological androids, or replicants
as they are called, and they are the focal point
of the story in the movie and the book. The replicant,
designed to be perfect and disposable was Soldier ruder Hower
and finds him to be denied a reprieve from the
(01:04:04):
programmed four year lifespan. The song features a repeated slide
guitar figure, a technique typically associated with blues music, not
heavy metal music. More Human Than a Human quickly became
the band's highest charting and most recognizable single entirely in
their whole career. Basically, it's time to eighty six this episode,
(01:04:26):
and so I will play for you our final song
by Sir Paul McCartney from his McCartney Number one album.
The song is called Every Night. Paul McCartney wrote this
song during a holiday in Greece. It spotlights the severe
depression he was suffering after the breakup of the Beatles
and is a declaration of his love for Linda. McCartney
(01:04:48):
recalled how the split of the Beatles effective him, quote,
you gotta imagine having your three best mates in the
world subtly be against you, and yeah, I must admit
I hit the bottle, I hit the substances and it
was a very different period for me. The album is
called McCartney one and he also has albums McCartney two
and McCartney three. McCartney recorded it in secretly, mostly using
(01:05:10):
basic home recording equipment at his house at Saint John's
Wood mixing, and some recording took place at professional London studios.
In its loosely arranged performances, McCartney eschewed the polish that
the Beatles past records had in favor of this low
fi style. Apart from occasional contributions by his wife, Linda McCartney.
(01:05:32):
Linda was not the greatest artist, so her contributions were
best kept to a minimum. McCartney performed the entire album
alone by overdubbing on a four track tape playing all
the instruments. Conflicts over the release of McCartney's album further
estranged him from his bandmates, as he refused to delay
the album's release to allow for Apple's previously scheduled titles,
(01:05:53):
notably the Beatles final album Let It Be to Be released.
A press release in the form of a self interview
supplied with a UK promotional copies of McCartney led to
the Beatles' final breakup. McCartney received mostly negative reviews for
McCartney One, while McCartney himself was vilified for seemingly ending
(01:06:14):
the Beatles. The recording was widely criticized for being underproduced
and for its unfinished songs, although the ballad Maybe I'm
Amazed was consistently singled out for praise and was played
for many years on the radio. As the years have passed, though,
and the bitterness has worn away, people have been able
to receive the album in a more positive light, and
it is now considered a pretty good album.
Speaker 4 (01:06:35):
So that is where we will leave you today. Thank
you again for listening.
Speaker 1 (01:06:38):
We will come back at you next week with another
great episode filled with a wonderful theme. But for now,
after you recommend this podcast to a friend, I want
you to just turn this song up and enjoy. This
is a fantastic song. See you next week.
Speaker 12 (01:07:02):
Every night, I just want to go out, get.
Speaker 7 (01:07:05):
Out of my head.
Speaker 18 (01:07:10):
Every day.
Speaker 10 (01:07:10):
I don't want to.
Speaker 7 (01:07:11):
Get up, get out of my every night.
Speaker 10 (01:07:18):
I want to lay out.
Speaker 6 (01:07:22):
Every day. I want to do.
Speaker 10 (01:07:27):
What tonight. I just want to stay here and be
with you.
Speaker 9 (01:07:35):
And be with you.
Speaker 7 (01:08:08):
Every day.
Speaker 10 (01:08:09):
I lean on a lamp post.
Speaker 12 (01:08:11):
I'm wasting my time.
Speaker 7 (01:08:16):
Every night. I lay on a pillow, resting my mind.
Speaker 10 (01:08:23):
Every morning brings you.
Speaker 7 (01:08:28):
Every night.
Speaker 2 (01:08:29):
That day is to.
Speaker 7 (01:08:33):
One tonight.
Speaker 6 (01:08:34):
I just want to.
Speaker 22 (01:08:35):
Stay and be with you.
Speaker 17 (01:08:41):
And be with you.
Speaker 3 (01:08:44):
Thank you for listening. To listen to this, please recommend
to a friend and don't forget to rate, review, and subscribe.
For our podcast and online content, please visit this is
Funner dot com.
Speaker 6 (01:08:56):
This is Funner
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