April 2, 2025 • 72 mins
Join host Eric Leckey for a special episode of Listen to This, where we dive into the unforgettable tunes from The Simpsons! From Bart’s iconic "Do the Bartman" to Homer’s heartwarming "Rockin’ Around the Christmas Tree," this episode features the best musical moments from Springfield’s favorite family. Get ready for quirky, catchy, and downright hilarious songs from one of TV’s most beloved shows. Whether you’re a die-hard fan or just love a good tune, Listen to This will bring the fun of The Simpsons right to your ears! 🎤🎶
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Episode Transcript
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Speaker 1 (00:00):
Welcome to listen to this. This is the podcast dedicated
to bringing you stories behind the artists, behind the songs,
and hopefully introducing you to old songs that have influenced
all that music that we hear today.
Speaker 2 (00:13):
The goal is.
Speaker 1 (00:14):
I want you to hear an artist that you might
not normally listen to and search out their music and
whatever streaming service you subscribe to, and of course buy
it on physical media like vinyl or cassette or CD.
We invite you to subscribe, comment, and of course please
please please spread the word and recommend this podcast to
a friend. Every episode has a theme, and today's theme
(00:38):
is the sims never in the history of the United
States a monster of such size and power.
Speaker 3 (00:48):
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 (00:56):
Here's your hosts, Eric Letty.
Speaker 1 (00:59):
The Simpsons are a really important show for me. I
started watching it when it was just a short cartoon
on The Tracy Ullman Show, and I've watched every episode
since its debut in nineteen eighty nine, never missing a week.
And I'm not kidding either. In the early to mid
two thousands. I was even almost on a game show.
(01:20):
I was the alternate called Beat the Geeks, where you
had to beat someone in trivia who was an expert
on the subject. I was going to be the Simpson's expert.
While I did stop watching the show very recently, it's
gotten a little too woke for my kind of liking
the past year a year and a half. But I
still think that I know every episode by heart just
(01:41):
about and I have really fond memories of the show
and decides quoting the show NonStop as I do. I
think perhaps my favorite part of the show other than that,
is the musical guests, or at least when they play
music in an episode, which is what we will focus
on for today. Now, I can't use a big chunks
of songs that have appeared on the show, because well,
(02:02):
I've played them in recent seasons. Heck, just a few
episodes ago, I even played you a Simpsons song. This
this season, I've already done it. But I have found
plenty of songs that I have not played for you before,
and of course I've sprinkled in some songs from members
of the Simpsons family as well.
Speaker 2 (02:19):
So let's get it started.
Speaker 5 (02:26):
It may be an a Logi channel, but the Simpsons
are on TV.
Speaker 6 (02:31):
Our driveway snowed in?
Speaker 5 (02:33):
Oh man, that's right, I fail your driveways with itchin snow.
Speaker 7 (02:42):
What are you gonna do about it?
Speaker 4 (02:43):
Nothing? That's what.
Speaker 5 (02:47):
Stop, mister Wow, get.
Speaker 8 (02:50):
Out you logy season. All right, I'm going I had
heard just to lie down for a while. Yeah, Hello,
I'm mister Plow. Are you tired of having your hands
cut off by snowblowers? Any inevitable heart attacks it come
with shoveling snow? Then call Klondyke five three two two
(03:11):
six call out and receive a free T shirt.
Speaker 7 (03:14):
He could still surprise you.
Speaker 4 (03:16):
But I'm a real tight one.
Speaker 1 (03:17):
Can I afflid this remarkable system?
Speaker 7 (03:19):
Absolutely?
Speaker 5 (03:20):
My prices are so low You'll think I've suffered brain damage.
Speaker 4 (03:24):
You artfully bundan licensed by the city, aren't you?
Speaker 1 (03:27):
Mister Plow?
Speaker 9 (03:27):
Shut up?
Speaker 10 (03:28):
Boys?
Speaker 5 (03:29):
Ah so remember call mister Plow.
Speaker 11 (03:33):
That's my name.
Speaker 5 (03:33):
That name again, is mister Plow. Well, John Q Driveway
has our number. No, we play the waiting game. Not
a waiting game sucks. Let's play hungry hungry hippos.
Speaker 1 (03:52):
That was the mister Plow jingle and it was sung
by Homer Simpson as mister Plow, which is what he
made for an advertisement for about his snow snow plowing
business in the episode of the same name, and the
song is a parody of the Roto Rooter jingle.
Speaker 12 (04:21):
I'm gonna find my baby, gonna hold it tight, gonna
grab some afternoon you lie. My motto has always been
when it's right, it's.
Speaker 13 (04:31):
Right, while waiting until the middle of a cold dark bed.
Speaker 4 (04:35):
Wait, everything's in the middle, clear and the light.
Speaker 12 (04:38):
Up it, and we know the night.
Speaker 14 (04:43):
Is always gonna be here anyway.
Speaker 15 (04:47):
Thinking of he's bringing up a half the time, looking
forward to you a little after noon daylight.
Speaker 6 (04:53):
Rub and sticks and saus together and make as box.
Speaker 12 (04:55):
In line on the bottom venue.
Speaker 6 (04:57):
Who's getting so excited?
Speaker 12 (04:59):
Stuff?
Speaker 14 (05:00):
Rockets in flight.
Speaker 1 (05:04):
That was the Starland Vocal band with after noon Delight,
and it's a double Entendra song named after the late
afternoon appetizer menu at the restaurant Clydes of Georgetown in Washington, DC,
where they have the gold record from the song hanging
in the bar. At least that's the official explanation. The
(05:24):
other meaning is, of course, daytime sex. The inspirational menu
heading read after Noon delights, but we all know what
the song really means. Starland Vocal Band delivered four part
harmonies with the married couple Bill and Taffy Danoff and
another couple Margo Chapman and John Carol, the baby.
Speaker 2 (05:45):
Of the bunch. He was just nineteen when the song
was released.
Speaker 1 (05:48):
Well, Taffy spiced up the stage banter when they performed
this song, explaining that the title came from the menu,
but adding some version of Then Bill came home and
we had our own afternoon de light, something to that effect.
This was, of course, the only hit for Sterland Vocal Band,
but it won the Grammy for Best New Artist in
nineteen seventy six, beating out the band Boston. Despite only
(06:12):
having this one hit, the Starland Vocal Band was giving
their own summer replacement TV series on CBS called The
Starland Vocal Band Hour in nineteen seventy seven. An unknown
comic named David Letterman appeared on the show and had
co hosting duties.
Speaker 16 (06:28):
Starland Vocal Band.
Speaker 15 (06:31):
Fuck, nothing you could say, cheery away from my god,
nothing you could do because I'm stuck like glue.
Speaker 6 (06:50):
My God, I'm thinking to my God, it's not.
Speaker 12 (07:00):
Stick together.
Speaker 15 (07:02):
I'm telling you from the start, I can't be done
about my God. Nothing you could do but make me
to my God, My God, nothing you could buy to
make me out in my.
Speaker 12 (07:25):
Again.
Speaker 6 (07:26):
God work a woman to leave thankful and of God
the best that I won't begin to save it.
Speaker 12 (07:36):
My God. It's a matter of like opinion.
Speaker 4 (07:41):
I think he's taught my will.
Speaker 9 (07:44):
It is his, the dream of the word.
Speaker 6 (07:47):
As a matter of day is said, He's loved you.
Speaker 12 (07:53):
As a matter of fact.
Speaker 1 (07:54):
That was Mary Wells with the song my Guy. That's
from the Simpsons episode The Two Missus Nahassepima Pedalons from
nineteen ninety seven. Mary Wells had a pretty big smash
hit with the song my Guy. It was her last
solo recording for Motown Records, the first female star for
(08:14):
the record label. She also became the first to dare
to leave when twentieth Century Fox wooed her away with
a two hundred thousand dollars evans and potential movie roles.
She officially left in nineteen sixty five. Well Motown mogul
Barry Gordy allegedly coerced radio stations into keeping Well's new
(08:35):
records off the airwaves, but she still scored a hit
with Ain't That the Truth? And Use Your Head and
another song. Nevertheless, and her relationship contract with twentieth Century
Fox did dissolve the following year, but she bounced from
label to label and eventually retired briefly from music in
nineteen seventy four to raise her family. Mary Wells fellow
(08:57):
Motown star Smokey Robinson and produced this song. Robinson helped
Very Gordy form Motown Records after they realized how little
they were paid by the labels that distributed their songs.
In addition to fronting the legendary group The Miracles, Robinson
also wrote and produced many of the label's early numbers,
(09:17):
including other Merriwell's hits like the Only One Who Really
Loves You, You Beat Me to the Punch, and Two Lovers.
In nineteen sixty five, Smokey Robinson wrote a song very
similar to My Guy from the Male's Perspective that was
a huge hit for The Temptations.
Speaker 2 (09:33):
It was called My Girl, God.
Speaker 12 (09:39):
Of Brady Brother.
Speaker 17 (09:41):
He bugs me every day, Miss Mon and my mother
did my last cum take away.
Speaker 16 (09:49):
My Daddy as n.
Speaker 4 (09:52):
Y belongs.
Speaker 12 (09:59):
In the same.
Speaker 2 (10:09):
That was the song Moanin' Lisa.
Speaker 1 (10:12):
Blues and Lisa Simpson performed this song in the first
season Simpsons episode Moaning Lisa, where she befriends the grizzled
blues man named Bleeding Gums Murphy. Lisa, who in the
show is an eight year old saxophone prodigy, writes the
song and plays it to treat her case of the blues,
which the rest of the family can't seem to understand.
(10:35):
Among her numerous complaints is her braddy brother, her uncouth dad,
and at the end of the episode, Bleeding Gums performs
it in a jazz club. Full version of the song
was included on the first Simpson's musical album, The Simpsons
Sing the Blues. This version features some very real musicians,
Joe Walsh on guitar, John Sebastian of The Love and
(10:57):
Spoonful and harmonica, and the horn section from Tawer Power.
Speaker 18 (11:12):
Were a little while from now, if I'm not feeling
any less, so I promised myself to treat myself blizard.
Speaker 9 (11:21):
And near by top, climbing to the top.
Speaker 14 (11:25):
And throw myself off in an effort to be.
Speaker 18 (11:30):
Clear to everyone, it's like when you're sadered, have standing
in the lurch.
Speaker 9 (11:36):
I had a judge where people say, my God.
Speaker 14 (11:40):
That's stuff.
Speaker 12 (11:41):
She stood him up.
Speaker 18 (11:42):
No point to nurse hrim me to be as well
known as I did on my Heart alone again virtually,
to think that only yesterday I was cheerful right and
again looking forward to wound the role I was about
(12:06):
to play.
Speaker 14 (12:07):
But as if to knock me down, reality came.
Speaker 9 (12:11):
Around and without so much as of me a touch
the means.
Speaker 6 (12:16):
A littleis leaving to down.
Speaker 9 (12:21):
Talk about God in.
Speaker 14 (12:22):
His mercy with readers exist, Why did he in.
Speaker 12 (12:30):
My r of me?
Speaker 6 (12:32):
I truly am in alone again?
Speaker 1 (12:37):
Actually that was Gilbert O'Sullivan with Alone Again Naturally, and
it's one of the most depressing songs ever written. It
really is alone Again Naturally tells kind of the rather
sad tale of a lonely, suicidal man being left at
the altar and then telling the listener about the death
of his parents. The song connected with listeners on various levels.
(13:01):
The down trodden could commiserate with the singer, and the
lucky ones who were not in this position were reminded
of their good fortune. This was the Irish born singer
Gilbert O'Sullivan's only American number one, but it did sell
two million copies and spent six weeks at the Summit
in America, and earned him three Grammy Award nominations for
(13:22):
Best Male Pop Vocal Performance, Song of the Year and
even Record of the Year. It was the second best
selling single of the year in America behind Don Maclean's
American Pie. Gilbert O'Sullivan had denied that the song is
autobiographical or about the death of his father. When he
was eleven, O'Sullivan said, quote, everyone wants to know if
(13:44):
it's an autobiographical song based on my father's early death. Well,
the fact of the matter is I didn't even really
know my father very well, and plus he wasn't a
good father anyways. He didn't treat my mother very well.
So maybe I'm writing from a depressed point of view,
but it wasn't an autobiographical song.
Speaker 2 (14:38):
Spending all my.
Speaker 19 (14:40):
Nights with my mother, You're going out on the time,
doing anything just to get you out of my month.
When the morning comes from rapp back where we started again,
I'm trying to forget that she.
Speaker 4 (14:59):
Was just to waste.
Speaker 10 (15:17):
Hello.
Speaker 11 (15:17):
I'd like the Department of Missing Babies please hold.
Speaker 1 (15:32):
Bungee jumping a staple of soft rock radio. Baby come Back,
by the artist Player exemplifies what would later be known
as yacht rock, mellow, sophisticated, and often maligned music. It's
a perfect example of quote I made a terrible mistake
and now I want you back type of a song.
Baby come Back was rooted though in real heartbreak. It
(15:54):
was written by Player founder Peter Beckett and J. C. Crowley.
Beckett from Liverpool, England, home of the Beatles, but moved
to la to join a band called Sky Band, which
broke up after just one album. By the time he
formed Player with Crowley, his wife had left him and
returned to England. Crowley was also going through a breakup,
(16:17):
so channeled their feelings into the song, and Beckett decided
to sing Lean on the track. Baby come Back did
earn Player a record deal. After Peter Beckett and J. C. Crowley,
who were both singer guitars, wrote the song, they added
bass player Ron Moss and pitched it to producers. The
production team of Lambert and Potter heard this potential hit,
(16:39):
and they heard its potential overall right away and actually
took it to RSO Records, who signed the band on
the spot, adding drummer John Friesen to the lineup. They
recorded their debut album before they ever even played live together.
Baby Come Back, released as the first single, was a
huge hit, going to number one in January nineteen seventy
(17:00):
eight and staying there for many weeks. Player is almost
exclusively known for this song, but their follow up single
This Time I'm in It for Love did make a
respectable showing, going as high as number ten in American
did pretty well across the Pond as well. The group
had a few more minor hits before finally breaking up
in nineteen eighty two. After the demise of Player, Beckett
(17:23):
joined Australia's Little River Band, who included Baby Got Back
on a live album. Beckett also wrote Twist of Fate
for Olivia Newton John and after all this Time for
Kenny Rogers. Player bassist Ron Moss became a very popular
star on the CBS soap opera The Bold and the Beautiful,
playing the character Ridge Forrester from nineteen eighty seven all
(17:47):
the way to twenty twelve. Crowley left Player after their
second album and went on to write songs recorded by
Smokey Robinson and Johnny Cash and The Little River Band,
as well as many others.
Speaker 12 (18:17):
I want to know who the drugs.
Speaker 20 (18:19):
One of the ball made me sick, one of the
wall made me cross my collar.
Speaker 4 (18:24):
I made me feel free feet thinking.
Speaker 12 (18:28):
I want to make time. One of the moment in
the head, one of the more man amount too time.
Speaker 4 (18:35):
I made my eyes too red.
Speaker 12 (18:39):
One of them all made me nervous. Wasn't then what
to do? One thing makes me feel like I feel
when I'm with.
Speaker 4 (18:47):
You, when I don't know with you.
Speaker 21 (18:58):
I want to know who the drugs.
Speaker 4 (19:01):
Spill one the dom.
Speaker 12 (19:15):
Yellow one do but then makes me.
Speaker 1 (19:34):
That was Huey Lewis with I Want a New Drug, also,
by the way, a song that was parodied by weird
Al Yankovic. For those of you keeping track, I always
like to point that out the drug that Lewis sings
about in this song What's a Woman. They don't have
the side effects most drugs do dry mouth, red eyes,
making your face break out, et cetera, but still deadly. Nonetheless,
(19:58):
Huey Lewis offered this expl nation in a Rolling Stone
interview quote. The whole meaning of I Want a New
Drug is that drugs aren't a part of life. They're
just superficial. They're nothing about life. Life is love, Love
is the answer. Lewis wrote this song with his guitarist
Chris Hayes. They were the primary songwriters in the band,
along with multi instrumentalist Johnny Cola. This is one of
(20:21):
five hit songs from the Sports album, a great album
and an eighties landmark that sold well over seven million
copies in America. It was one of just five number
one albums in nineteen eighty four, claiming a week in
a year dominated by Thriller Born in the USA, Purple Rain,
and the Footloose soundtrack.
Speaker 2 (20:41):
None of the five.
Speaker 1 (20:43):
Hits were huge, but they were each released about three
months apart, starting with the Heart of Rock and Roll
in late nineteen eighty three and ending with Walking on
a Thin Line one of my favorites from him late
in eighty four. It kept Huey Lewis and The News
on the charts and on the air for well over
a year with a single album. I Want a New
(21:04):
Drug was the second single, and it peaked at number six.
In March of eighty four, when the Sports album singles
ran out, the band released their biggest hit of their career,
The Power of Love, a number one smash hit nineteen
eighty five from the movie Back to the Future. The
movie Back to the Future went into production with I
Won a New Drug as a temporary placeholder track until
(21:26):
a more suitable song was written, which turned out to
be the Power of Love.
Speaker 2 (21:30):
I mean the right amount, I mean not enough. Here
watch this video.
Speaker 11 (21:38):
The Mighty Amazon River. The Nadiums had a word for it.
Then we got rid of the natives. And no one
remembers that word, but hearers of words. Everyone remembers my
Yuie Lewis and the news I Want a.
Speaker 12 (21:52):
New Drug time.
Speaker 21 (22:21):
When I was seventeen, it was a very good year.
It was a very good year for small town girls.
Speaker 22 (22:41):
And soft summer nights. We hide from the line on
the Village Green.
Speaker 1 (23:00):
When I was seventeen, that was mister Frank Sinatra with
the song it was a very good year. And this
song was parodied on the Simpsons episode Duffless and nineteen
(23:20):
ninety three. As Homer poured his beloved duff beer down
the drain, he sang different lyrics to the song. He said,
when I was seventeen, I drank a very good beer.
I drank a very good beer I purchased with my
fake ID. My name was Brian McGee. I stayed up
listening to Queen when I was seventeen. This was written
(23:42):
by Irvin Drake. I mean not the Simpsons version, but
the original Sinatra version in nineteen sixty one four the
Kingston Trio who did record it on their album Going
Place As in a folk kind of a style with
a whistling interlude. Frank Sinatra's sixty five version had much
more lush instrumentation and more dramatic vocals, and that's the
(24:04):
version that became a hit, winning Grammy's in nineteen sixty
six for Best Male Vocal Performance and Best Instrumental Arrangement.
The phrase it was a very good year is often
applied to wine, as the vintage's different quality. Here, Sinatra
sings about the years he remembers fondly in his romantic
life and the girls that were a part of it.
(24:27):
As he's now older, he looks back fondly on those memories,
bringing up the wine analogy. As the memories have aged
well with time. Former US President Bill Clinton has said
that this is his all time favorite song.
Speaker 12 (25:00):
You like it, don't it feel?
Speaker 23 (25:03):
On that seven burdantry? Not that the way likeness. Don't
it feel like that? But net it be aye baby?
Speaker 6 (25:14):
We know in the child region there's a lot cod out.
Speaker 12 (25:21):
That's the same.
Speaker 4 (25:25):
Yeah, yeah, away.
Speaker 12 (25:28):
Is the hoard is fat every days he one B card.
Speaker 6 (25:34):
You take it up, then you take it to the hig.
Speaker 12 (25:38):
No way is the highest fine?
Speaker 23 (25:46):
Well yeah, the chase is couple whatever around the cans stamping.
Speaker 12 (25:55):
There's no flame if you good vant.
Speaker 1 (26:14):
It was Tom Petty and the Heartbreakers with the song Waiting,
and the song appeared on the nineteen ninety seven Simpsons
episode called The Cartridge Family, and anyone who knows the
pangs of anticipation can relate to the premise of this song,
The waiting is the hardest part. Tom Petty has explained,
quote that was a song that took a really long
(26:35):
time to write. Roger mcgwinn swears he told me the
line about the waiting being the hardest part. But I
think I got the idea from something Janis Joplin said
on television. Well, I had the chorus very quickly, but
I had a very difficult time piecing together the rest
of the song. It's about waiting for your dreams and
not knowing if they will ever come.
Speaker 11 (26:54):
True.
Speaker 2 (26:54):
I've always felt it was an optimistic song.
Speaker 1 (26:57):
This was released as the lead single from Tom Petty
and the Heartbreaker's fourth album, Hard Promises. At the time,
Tom Petty was so popular his record label wanted to
charge a dollar more for this LP than the standard
eight dollars and ninety eight cents, but they backed down
after he considered naming the album eight dollars and ninety
(27:17):
eight cents to screw at the record company.
Speaker 17 (27:36):
He was a famous drop a man from a Chicago way.
He had a boogie down and no one else could playing.
Speaker 12 (27:42):
He was a top man at his craft.
Speaker 17 (27:44):
But then his number came up.
Speaker 9 (27:46):
Penny was gone with the draft.
Speaker 12 (27:47):
He's in the army.
Speaker 6 (27:48):
Now I'm blowing Revee.
Speaker 17 (27:50):
He's the boogie boogie bugle bar a company. They made
him blow up bar his uncle Sam. It really brought
him down because he couldn't jam.
Speaker 6 (27:59):
The Captainine understand.
Speaker 17 (28:01):
Because the next day the cap went out and drafted
a band, and now the company jumps when he plays Reveling.
Here's the boogie woogie Bogle b Company b A to
the bar Hey boogie Rizzo.
Speaker 6 (28:16):
He can't blow and all of this so bassic guitar.
Speaker 12 (28:19):
Is playing with them.
Speaker 20 (28:21):
He makes a company jump when he plays reveling.
Speaker 6 (28:24):
Here's the Boogie Boogie.
Speaker 1 (28:27):
That was The Andrews Sisters with Boogie Woogie Bugle Boy.
It was written by Don Ray and Hugh Prince. It's
a what they would call a jump blues number, and
it's about a trumpeter from Chicago who's drafted into the
army during World War Two and shakes up the Revelie
is the Boogie Woogie Bugle Boy of Company B. It
was originally intended for Lou Costello to perform in the
(28:50):
nineteen forty one Abbott and Costello comedy Buck Privates, but
was reworked for the Andrews Sisters, who is the one
who introduced it in the film. The trio also released
the tune as a single that same year, and it
peaked at number six on the charts. It was nominated
for the Academy Award for Best Original Song, but lost
to the Last Time I Saw Paris from.
Speaker 2 (29:12):
The movie Lady Be Good.
Speaker 1 (29:15):
Ray and Prince also wrote three hits, Rumboogie, Beat Me Daddy,
eight to the Bar for the andrew Sisters in nineteen
forty three, Stars and Strip's Magazine and Billboard magazine both
claimed that the song was based on a soldier named
Clarence Zilman of Muskegon, Michigan. Private Zilman was a trumpeter
(29:35):
and Tommy Tucker's orchestra who found himself blowing the morning
wake up call for a company of sleepy soldiers who
didn't appreciate the jolt from their slumber. To ease their grumpiness,
Zilman shirked regulation and added some swing to the revellie
that had them boogeying out of bed. Zilman, however, didn't
enlist in the Army until nineteen forty two, a year
(29:57):
after the song debuted, so that urban legend is not true.
Speaker 2 (30:02):
Yet.
Speaker 1 (30:02):
Another claimant to the Boogie Woogie bugle Boy identity was
a guy named Harry L.
Speaker 2 (30:08):
Gish Junior.
Speaker 1 (30:08):
He was a trumpeter who played the Ray Prince songs
as a studio member of Will Bradley's All Star Orchestra,
and he became a well known bugler in the Army
Air Corps, and in the eighties and nineties donned his
uniform to perform at services for veterans funerals. The Andrews
Sisters also recorded new versions for Capitol Records in nineteen
(30:30):
fifty six, and then again and for Dot Records in
nineteen sixty two, because every time you re record this
song you could resell it and get new royalties.
Speaker 6 (30:48):
He's a bogie woogie bugle by comedy.
Speaker 9 (30:52):
Check out their well aged faith no score.
Speaker 4 (30:55):
He must be on his first heart. I wouldn't kick
him out a bit for dying. Hey handsome, pull up
a donut and sit out.
Speaker 9 (31:04):
Hey ladies.
Speaker 4 (31:05):
I used to be in movies.
Speaker 5 (31:09):
You don't know speet stick it out from under the
huse and the Wizard of Eyes.
Speaker 12 (31:12):
You're looking at him?
Speaker 9 (31:28):
You know today the toys a night, ninety vides a day,
Try to run, try to hide, rang off dude to the.
Speaker 12 (31:38):
Other side, ring off duode.
Speaker 9 (31:40):
To the other side, ring off dude to the other side.
Speaker 2 (31:44):
Ye were chased out.
Speaker 9 (31:50):
Pleasures here, doug our treasures.
Speaker 17 (31:54):
Now we can't stay on and recall time we cry
rang off stoode to the other.
Speaker 1 (32:02):
Sound That was Jim Morrison and the Doors with break
(32:26):
on through in this urgent song. Jim Morrison looks to
shake things up. It's a common theme in his songwriting.
In nineteen sixty six, he said, quote, I like the
ideas about breaking away or overthrowing the established order. I'm
interested in anything about revolt, disorder, chaos, especially activity that
(32:48):
seems to have no real meaning.
Speaker 11 (32:50):
Well.
Speaker 1 (32:51):
This was the first song on The Doors first album
and also their first single. It got some airplay on
LA radio stations after their friends and fans kept requesting it.
The original line in the chorus was she gets high,
but their producer Paul Rothchild thought that would limit the
song's airplay potential and convince the group to leave it out. Instead,
(33:15):
high was edded out, making it sound like she gets
ugh in the song, but the high line can actually
still be heard in the live performances of this song.
You could also hear the song as intended in the
nineteen ninety nine reissue of the album, which was overseen
by their original engineer, Bruce Botnik. He also replaced Jim
(33:36):
Morrison's f bombs on the song the end. These edits
went over about as well as the digital revisions to
Star Wars.
Speaker 2 (33:46):
No one liked them.
Speaker 1 (33:47):
Jim Morrison got some of the lyrics from John Ricci's
nineteen sixty three book City of Night. In that book,
Ricci writes about the other side and reference to Hollywood
there's a passage where he writes place to place, week
to week, night tonight, which Morrison appropriated in the lyrics
made the scene week to.
Speaker 2 (34:07):
Week, day to day, hour to hour.
Speaker 1 (34:09):
In nineteen sixty seven, Jim Morrison did an interview with
Hit Parader magazine where he said that he wrote this
song while crossing the canals in Venice.
Speaker 2 (34:18):
Quote.
Speaker 1 (34:18):
I was walking over a bridge, he said, I guess
it's one girl, A girl I knew at the time,
and I was trying to get to her, and I said, look.
Speaker 2 (34:26):
I just crossed on over to the other side.
Speaker 12 (34:32):
Your teacher.
Speaker 24 (34:33):
The subject of schoolgirl to see she wants so bad,
knows what she wants.
Speaker 14 (34:44):
To be in sas DEAs long this girls, she's so closely.
Speaker 12 (34:56):
This girl is his job.
Speaker 1 (35:48):
That was the band the Police with the song Don't
stand so close to Me. The song is about a
teacher who lusts after one of his students. It's pretty inappropriate.
Sting was a teacher, by the way before joining the police,
and was no doubt the subject of young girls fantasies,
but he insists that the lyric is not based on
(36:08):
personal experience. I don't know if I believe him putting
the speculation to rest. He explained on the DVD for
his two thousand and one All This Time album that
he completely made up the story. The line just like
the old man in the book by Nabokov refers to
the novel Lolita by Vladimir Nabokov, which is about an
(36:30):
older man who pursues an underage girl. Sting based this
song on the book. Sting mispronounces the author's name. The
bo should be more stressed in the wording. Also in
the novel Lolita, Humbard is not quite an old man.
He's I guess, more like in his forties. The police
recorded this in Holland and over period a few months.
(36:53):
The song started as a Hammond organ based kind of
a soul track, and then evolved through its various complex
arrangements until it was eventually reduced to its simplest elements,
which sounded the best. From a great episode of The Simpsons.
(38:08):
That was a Chuck MANGIONI believe it or not, with
feels so good. Can't believe I'd play a Chuck Mangioni song,
but that was kind of funny. You might not know
the title of the song, but you'll recognize it. When
you hear it in America, Feels So Good is one
of the more popular instrumental songs of all time, and
certainly the biggest hit on flugelhorn that I think we
(38:30):
would ever have in the United States. Chuck Mangioni first
recorded this with his brother Gap in a band called
The Jazz Brothers, which formed in nineteen sixty. He signed
with Mercury Records as a solo artist and released his
first album in nineteen seventy, charting for the first time
with Hill Where the Lord Hides. In nineteen seventy one,
(38:52):
he started growing a following in jazz circles and scored
a surprise mainstream hit with Feels So Good, which later
on reach number four and also hit number one on
the Adult Contemporary charts.
Speaker 11 (39:05):
Well.
Speaker 1 (39:05):
This was in the last days of disco by the
time this song started charting, and his smooth jazz number
provided welcome relief from the typical dance music that saturated
the airwaves. This song actually sold over two million copies
on the Feel So Good album. This track runs nine
minutes and forty two seconds. Mangioni recorded it along with
(39:28):
five more instrumentals for the album, none of which seemed
to have hit potential. An executive at his label suggested
cutting down the title track to make it more radio friendly,
so a three and a half minute edit was made
and released as a single, which became a hit. The
radio edit retained two key elements from the song, Maggioni's flugelhorn,
(39:48):
of course, and the guitar solo by Grant Geisman. This
earned a Grammy nomination for Record of the Year, losing
to Billy Joels.
Speaker 4 (39:56):
Just the way you are, Josh Cheer, what this happened about?
Do something?
Speaker 7 (40:06):
Don't you worry?
Speaker 25 (40:06):
Done?
Speaker 9 (40:09):
My friend stop, please hurry.
Speaker 5 (40:14):
Sure, we could tear this house down, my friends stop,
let me finish. We could tear it down, but we'd
be tearing down a part of ourselves. You could close
down mows or the quick e mart and nobody would care.
Speaker 7 (40:38):
But the hard and so off. Springfields in armies on dairy,
wear the.
Speaker 6 (40:53):
Sauce on your staff, wear the cheese in your cake.
Speaker 17 (40:57):
We put the spring springs fea we relace on the night,
count the point after touchdown.
Speaker 6 (41:04):
Yes we but the spring is springfield.
Speaker 17 (41:08):
Wear that little extra spice that makes existence extra nice,
A giddy, little thrill, little reasonable price.
Speaker 5 (41:16):
Our only major quarrels with your total lack of moral
first can be costumes, ay to bad.
Speaker 12 (41:22):
Listen to entertain you, Dad.
Speaker 1 (41:27):
Another one where I almost wish I just would have
played for you the entire song. I love that one
from The Simpsons that is called We Put the Spring
in Springfield, and it's actually an Emmy winning song performed
during the season eight episode Bart. After dark, Homer and
Bart witness the townspeople destroying the Mason Derrier, but Homer
(41:49):
starts singing how Springfield needs the House of ill Repute.
Soon everyone joins in with the song. Well, Marge arrives
soon after to help them destroy the house with the buller,
but she didn't hear the song, so she doesn't understand
that everyone now has second thoughts. Marge tries to start
her own song, but accidentally destroys part of the house.
Speaker 2 (43:15):
Well, we played you an.
Speaker 1 (43:17):
Instrumental from Chuck Mangioni a few songs ago, and that
was another instrumental. It was written by Edgar Winter and
the song is called Frankenstein and it's probably the most
famous instrumental rock song. It got its title because of
the arduous editing that went into the song. It became
a monster when it was pieced together in the studio,
(43:39):
said Winter. When we were editing this in the studio,
back in those days, when you edited something, you physically
had to cut the tape and splice it back together.
So it was all over the control room, draped over
the backs of chairs and the couch. We were making
fun of it, try to figure out how to put
it all back together, saying here's the main body, here's
the leg bone connected to the thigh bone, and chuck ruff.
(44:00):
My drummer said, wow, man, it's like a Frankenstein. And
as soon as I heard that, I went, wow, that's it.
The monster is born Frankenstein. The character first appeared in
Mary Shelley's eighteen eighteen novel where Victor Frankenstein is the
mad scientist who.
Speaker 2 (44:16):
Puts the creature together.
Speaker 1 (44:18):
His creation is Frankenstein's Monster, which is it would be
a more appropriate person to call it, but also a
more cumbersome title for the song. And today when people
see the monster, they just call him Frankenstein. This is
the first hit song, by the way, to use a
synthesizer as a lead instrument. The who incorporated since and
(44:39):
too won't get fooled again, but here it's the star
of the show on Frankenstein. Edgar Winter, By the way,
he's pretty talented. He's a multi instrumentalist and keyboard wizard
who was keen to experiment with synthesizers, which were in
their early stages of development. In nineteen seventy one, the
ARP twenty six hundred was released, and unlike their previous model,
(45:02):
the ARP twenty five hundred, the keyboard was not built
into the console. It was connected by a cable. Well
Winter figured out a way to extend the cable so
he could play the instrument while wearing the keyboard around
his neck, which means he could walk around stage with it.
Winter developed Frankenstein as a showcase for the instrument, which
(45:22):
became a pretty jaw dropping part of his live shows.
It seemed too experimental to be a hit, but they
thought it might get some airplay on freeform FM radio
stations that were willing to push the boundaries.
Speaker 5 (45:36):
Why do you need new bands? Everyone knows rockettane perfection
in nineteen seventy four, it's a scientific fact.
Speaker 21 (45:47):
Quadrophonic sound, a waterbed and now Strobeline gentlemen say hello to.
Speaker 4 (45:53):
The second base mobile waiting. Wanta got to come and
(46:20):
give it to your bathmab want I got to go
and give it.
Speaker 12 (46:23):
To your cat.
Speaker 4 (46:24):
Bob, what I got to come and give it to
your dog to you're doing that? It doesn't know you
do a little lot time?
Speaker 12 (46:30):
What I come?
Speaker 4 (46:30):
You gotta get it, but it isn't you what the
cuts you gotta get it for?
Speaker 12 (46:34):
They do what I got?
Speaker 4 (46:35):
You gotta get it, but it didn't. You're feeling with
you does not continue? Oh yeah, I don't wanna.
Speaker 6 (46:41):
Be a light up, go bag and slie up in
a blinktop.
Speaker 4 (46:45):
Tell me the girl did the eleven n light up?
I don't remember body. I want to give it eleven
cats up.
Speaker 12 (46:51):
Give it away, give it awake, give it away, now.
Speaker 26 (46:53):
Give it a way, give away, give it a way,
now give it the way you're away.
Speaker 4 (46:57):
Give it away?
Speaker 26 (46:58):
Now what tie.
Speaker 4 (47:03):
Just dip your moth to receive.
Speaker 26 (47:05):
Your list on a material epis love misty love me
say yes no bound, imn't know how, no doubt big
up the scout just smock gets down with the fun
of time.
Speaker 4 (47:21):
Right now by father bowing.
Speaker 26 (47:23):
In the buckets, by fine list the umfice by can
you don't get goods.
Speaker 12 (47:31):
Get to see. I'm gonna go this.
Speaker 9 (47:32):
Give it away, Go away, give it away.
Speaker 26 (47:39):
You told our agent this place holds thirty thousand people.
Speaker 27 (47:41):
It does.
Speaker 2 (47:42):
We had thirty thousand here last night.
Speaker 4 (47:44):
Now play. The audience is getting restless. We work jolly Welling,
We walk Jilli Welling.
Speaker 16 (47:51):
Hey, Red Hot Chili Peppers.
Speaker 28 (47:53):
Would you guys like to appear on the Crusty the
Clown Special?
Speaker 4 (47:56):
Sure you can get us out of this gig.
Speaker 9 (47:57):
You'll problem?
Speaker 6 (47:59):
Hey mout look on over there?
Speaker 4 (48:00):
What what am I looking at? I don't say nothing.
I'm gonna stop looking so.
Speaker 10 (48:06):
Now boys, Uh, the network has a problem with some
of your lyrics.
Speaker 4 (48:10):
Would you mind changing him for the show?
Speaker 2 (48:12):
Forgets you?
Speaker 12 (48:12):
Clown?
Speaker 11 (48:13):
Hey?
Speaker 2 (48:13):
Our lyrics like our children?
Speaker 27 (48:14):
Man?
Speaker 4 (48:15):
No way? Well okay, but here what you say?
Speaker 10 (48:18):
What I got you gotta get and put it in you?
How about just what I'd like is I'd like to
hug and kiss you.
Speaker 4 (48:24):
Wow, that's much better.
Speaker 2 (48:27):
Everyone can enjoy that.
Speaker 10 (48:30):
Give it a Way, Give it Away, Give it a Way,
dancing around in their underwear that is so degraded.
Speaker 1 (48:41):
That was the Red Hot Chili Peppers with Give it Away.
The band explained that this song which sounds like it
has no meeting, is actually about the theory that the
more you give, the more you receive, So why not
give it all away? Lead singer Anthony Keatis drew inspiration
from the song from the German singer Nina Hagen when
he came across one of her jackets that.
Speaker 2 (49:03):
He liked well.
Speaker 1 (49:04):
She insisted that he take it, explaining that giving stuff
away creates good energy, and Ketas and Hagen had a
brief affair, by the way, in nineteen eighty three. Give
It Away was the first single from the Red Hot
Chili Pepper's fifth album, Blood Sugar, Sex Magic. It was
their first song to crack the Hot one hundred, placing
at number seventy three. It was also a number one
(49:27):
hit on Modern rock charts. The song contains all of
the band's trademark energy, but is more refined than their
previous tunes. Well, you could chalk this up to producer
Rick Rubin, who, instead of trying to change their sound,
just simply made it better. Rubin had worked with a
Beastie Boy, Slayer, Run DMC, and many many others, so
(49:47):
he was pretty accustomed to artists with distinct musical palettes.
And I counted by the way Anthony Ketas sings give
it Away sixty eight times in this song. That's a
lot of giving. The obvious hit from the album is
the ballad under the Bridge, but give It Away was
more appropriate as the first single because it's a more
(50:07):
typical version of their sound. Under the Bridge was the
next single, and man it was a monster, going to
number two in the US and sticking around on playlists
for months and months and months. Weird Out Yankovic perioded
this song. His version is called bed rock Anthem. And
as about the cartoon the Flintstones, you know, I always
like to point out when weird Al has covered a song.
Speaker 9 (50:30):
Homer, a man who called himself you ma hoo, just
invited into a secret.
Speaker 6 (50:34):
Wink wink at the you know what certainly are popular.
Speaker 4 (50:38):
Now that you're a stonecutter.
Speaker 5 (50:39):
Oh yeah, Beer bust, beer, blast, keggers, steinhoist aa meetings,
beer night. It's wonderful March. I've never felt so accepted
in all my life. These people look deep within my
soul and assigned me a number based on the order
in which I joined.
Speaker 4 (51:04):
Who controls keep that drig system down?
Speaker 27 (51:08):
We do?
Speaker 9 (51:10):
We?
Speaker 4 (51:12):
Who is let this offb baps.
Speaker 28 (51:14):
Oh, keep some Martians on.
Speaker 29 (51:15):
Dirams holds back drigrd Oka, shoved their sight rigged every
(51:36):
up your knife.
Speaker 1 (51:37):
We another classic Simpson song that all good loyal Simpsons
fans know. That was the Stonecutter's song, also known as
We Do. And it's yet another Emmy nominated song. This
one's from the twelfth episode of season six, is called
(52:00):
Homer the Great, another one of my all time favorite episodes.
The music was composed by Alf Klausen and the lyrics
by head writer the Simpsons John Swartzwelder. The song was
initially not even included in the original script of the episode,
but was suggested for inclusion by Simpson's creator Matt Greening.
It was written by the writers in the writer's room,
(52:22):
who just started throwing as many things that annoyed them
as they possibly could. Apparently also Steve Gutenberg for some reason.
Speaker 4 (52:48):
I remember.
Speaker 12 (52:52):
Greening down as.
Speaker 9 (52:54):
Cold as a.
Speaker 24 (52:57):
Shadows of a man.
Speaker 12 (53:00):
Through window, crying in the night, the night, casy.
Speaker 4 (53:05):
Tomorrow, just another day. Happy people pass my way looking
in their eyes.
Speaker 12 (53:17):
I see you, Amy.
Speaker 28 (53:20):
I never realized how happy you made me.
Speaker 15 (53:24):
A man.
Speaker 12 (53:26):
When you came and you game. Will I take it
to send you a man, Will you kissed me and
stop me from shaking?
Speaker 4 (53:40):
And the legion today Man that.
Speaker 1 (53:45):
Was Barry Manilo with the song Mandy. And when The
Simpsons parodied this in the episode in which Homer feels
torn between his attractive new coworker, her name is Mindy,
and he gets confused with the lyrics and he gets
torn between Mindy and his own wife. They were in
a hotel room together and a turkey slips behind the
bed once again. I know you'd have to watch the
episode to understand, but trust me, it's funny. And then
(54:07):
later when Homer brings Marge back to the same room,
he sings to her, Ohmargie, you came and you found
me a turkey, to the same tune as Mandy.
Speaker 2 (54:17):
The urban legend.
Speaker 1 (54:18):
The song Mandy is actually about Barry Manilo's dog. It's
nothing but that an urban legend because songwriter and the
original performer of the song, Scott English, says he was
woken by a phone call from a reporter once Barry
Manilo had covered the song Mandy, and the reporter wanted
to know who Mandy in.
Speaker 2 (54:37):
The song was. He said, quote, I would have said
anything to get rid of this stupid reporter.
Speaker 1 (54:42):
So I spat out the first thing that came to mind,
that it was about a dog like Lassie, and I
sent him away and I hung up the phone. I
never thought it would turn out to be what everyone
believes the song is about.
Speaker 5 (54:54):
Oh, Mandy, you came and you gave without playing, but
I sent you ben gayo, Andy, you kissed me and
stop me from something?
Speaker 16 (55:08):
And I, Dad, why are you singing?
Speaker 23 (55:11):
Tell a lie?
Speaker 11 (55:12):
Tell a lie?
Speaker 5 (55:13):
Because I have a small role in the Broadway musical.
It's not much, but it's a start.
Speaker 4 (55:17):
Oh, who.
Speaker 16 (55:21):
Are you hiding something from me?
Speaker 17 (55:23):
Like what?
Speaker 16 (55:23):
Judging from your song, you're infatuated with a woman named.
Speaker 4 (55:26):
Mandy or a man named Mandy.
Speaker 16 (55:28):
Lisa, look out behind you, Dad, I'm not gonna fall for.
Speaker 4 (55:31):
That, No, Lisa, I swear to you.
Speaker 16 (55:32):
I'm one hundred percent completely serious.
Speaker 28 (55:35):
You've got to turn around right down before it's too late.
Speaker 16 (55:37):
Huh say to be such.
Speaker 9 (56:06):
A see things now.
Speaker 28 (56:09):
Love me, lad See, I got no friends of the me.
Speaker 9 (56:24):
They can't be see with me, real shot down, feelish me.
Speaker 12 (56:35):
No more.
Speaker 9 (56:36):
He's a nice guy, No, mister, no, it's a nice guy.
Speaker 12 (56:45):
Issy.
Speaker 9 (56:46):
He's sick He's a see.
Speaker 1 (56:52):
Alice Cooper with no more mister nice guy and this
appears on the two thy and eleven episode of The
Simpsons titled Love Is a Any Strangled Thing. Cooper wrote
this song about the reaction of friends and family towards
his over the top stage persona. The maniac that he
plays on stage goes over well with his audiences, but
(57:14):
the folks and his mother's church group were unsure how
to handle it and were uncomfortable talking about it. The
song was the shock rockers declaration that the gloves are
off and he's no longer going to apologize for his
wild stage antics, and there are many worse things he
could be doing with his life. This is a pretty
upbeat pop rock anthem, and it bose an irresistible sing
(57:37):
along chorus that really helped its chart fortunes. Cooper co
wrote this song with Michael Bruce, who was a member
of the original Alice Cooper group. Bruce played the guitar, keyboards,
and contributed vocals as a band member. He also was
the group's chief songwriter and wrote or co wrote many
of their most recognized songs, including Schools Out under My Wheels,
(57:59):
I'm eighteen Ballada, Dwight Fry, Be My Lover, Desperado, Billion
Dollar Babies, and a few others. This is the third
single from Billion Dollar Babies album. It was the sixth
studio album by Alice Cooper, both the name of the
singer and the name of the band at the time.
This is the band's most commercially successful album and a
pretty great album. It topped the charts in both the
(58:21):
United States and the UK, and also made the top
ten in Australia and Canada. Save Save Me.
Speaker 12 (58:47):
Say It.
Speaker 4 (58:51):
That's the way it should be.
Speaker 1 (58:56):
Say save Me.
Speaker 12 (59:02):
Say it Together, Judy. I had a dream. I had
an awesome dream, the ball in the ball.
Speaker 20 (59:21):
Playing games in the doll and what they played was
a Mascewie from behind the wall of down.
Speaker 4 (59:36):
A boss was crying.
Speaker 1 (59:43):
Great song there from Lionel Richie, say you say Mean?
This was used on the two thousand and seven episode
of The Simpsons, He Loves to Fly and He Doze.
Lionel Richie was tasked by director Tyler Hackford to write
the title theme to the nineteen eighty five movie White Knights. Richie, however,
(01:00:04):
couldn't come up with a song of that title, so
instead he wrote say You Say Me. It's a soft
R and B like ballad with an upbeat dance bridge
about the pain of loneliness and the power of friendship.
The film follows a Russian ballet dancer played by Michael
Barishnikoff's ill fated defection from the Soviet Union and his
(01:00:26):
unlikely friendship with the tap dancer who defected from America
played by Gregory Hines. Motown refused to let Atlantic Records
include this on the movie's soundtrack album because they didn't
want Richie's first release since his nineteen eighty three Can't
Slow Me Down to be from a different label. While
(01:00:47):
Richie included the song on his next album, Dancing on
the Ceiling, he was going to call it say You
Say Me, but too much time passed between the single
going number one and nineteen eighty five and the album's
release in nineteen eighty six, so he changed the name
to something Else.
Speaker 2 (01:01:01):
Well.
Speaker 1 (01:01:02):
The single popped again and reached the Hot one hundred
and the R and B charts again, and of course
was played in this episode of The Simpsons, which you
will hear this clip here.
Speaker 5 (01:01:11):
Can you think Say You Say Me?
Speaker 7 (01:01:13):
But make it about beer?
Speaker 9 (01:01:14):
Sure?
Speaker 13 (01:01:15):
I guess Hey, you bear me, bear me for always.
That's the way it should be. Hey, you bear me,
bear us together naturally.
Speaker 4 (01:01:30):
No make every word.
Speaker 1 (01:01:32):
Beer beer beer beer beer beer.
Speaker 4 (01:01:38):
Beer beer beer beer.
Speaker 5 (01:01:40):
Wait, I forgot the words.
Speaker 11 (01:01:41):
Ah.
Speaker 12 (01:02:25):
We started living in an old house.
Speaker 4 (01:02:28):
My money burden.
Speaker 12 (01:02:30):
We would check in it. Now.
Speaker 4 (01:02:31):
It was a baby boy, so we bought.
Speaker 12 (01:02:34):
Him a toy. It was a baby and it was
not in any one. We named him baby. He had
a too.
Speaker 4 (01:02:42):
He started crying. It sounded like an earthquake.
Speaker 12 (01:02:46):
It didn't last.
Speaker 4 (01:02:47):
Long because I stopped. I kind of ragged down and
stuck some middle penac.
Speaker 12 (01:02:54):
Now we're a pea and we're all right.
Speaker 9 (01:02:57):
Now we got money in a middle way.
Speaker 1 (01:03:11):
That was The White Stripes with Hardest Button to button
and the song plays in the Simpsons episode Jazzy and
the Pussycats, which aired in September of two thousand and six.
Jack and Meg from The White Stripes make an appearance.
When Bart plays the song on his own drum kit,
he's transported into a world much like the music video,
(01:03:31):
where he travels along to the beat. It gets ugly
when he and Meg collide on the drum kits. He
apologizes sorry. White stripes, no hard feelings, but they don't
accept they kick. Let's kick his ass, Meg says, before
giving pursuit. The song is about a young boy who
is rejected or ignored by his family because he did
(01:03:51):
something bad to his baby brother. The lyrics can be
seen as a statement on the inequality of attention and
families that have more given to one child then another,
or about the how a child is psychologically semi abused
by his parents. Jack White is quoted as saying about
the song quote, there's a button at the top of
(01:04:12):
my navy pea coat that I always like to wear,
and I always struggle with it. It is the hardest
button to button, and I thought this was a great
metaphor for the odd man out and the family. It
also comes from sayings of my father, like my uncle
Harold had a ten button vest, but he can only
fasten eight, which mens he just didn't finish the job.
Speaker 28 (01:05:11):
Get excited, I get knocked out.
Speaker 5 (01:05:20):
I get knocked down A good Yeah, Now we're gonna
knock meat out.
Speaker 9 (01:05:23):
Whoa party house?
Speaker 4 (01:05:27):
Hey, where's my keg?
Speaker 9 (01:05:30):
Mom's not gonna like that.
Speaker 6 (01:05:32):
Who's mom?
Speaker 16 (01:05:33):
Uh?
Speaker 4 (01:05:33):
That's what we call the gay guy.
Speaker 6 (01:05:35):
Who lives with us. Hey, you doing anything tomorrow night?
Speaker 17 (01:05:38):
Robert Pinsky's reading at Cafe Koska Robert Pinsky, the former
poet Lauria.
Speaker 2 (01:05:44):
It's gonna be great. The three of us can split
a scone non dairy, duh.
Speaker 4 (01:05:49):
I take a whiskey drink. I take your chocolate grap
and when I have to be I use the kitchen take.
Speaker 14 (01:05:54):
I think the song reminds me I'm a urinating guy.
Speaker 20 (01:05:58):
I've seen him or.
Speaker 1 (01:06:02):
Never thought I would play a chumba wumba song on.
Listen to this but here we are. Homer Simpson sings
this tune, but of course alters a few of the lyrics,
like he tends to do in the episode Little Girl
of the Big Ten. In England a tub thumper, which
is the name of this song. As a politician, the
(01:06:22):
equivalent in the US of tub thumping would be going
on the stump or campaigning. To piss has a different
meaning in the UK than in the US. Pissing the
night away would translate to drinking the night away. To
be pissed in England is to be drunk. To be
pissed in the US is to be very angry. This
is the only top forty hit for Chumba Wumba Thank God.
(01:06:45):
But the group is a collective dedicated to the destruction
of the United Kingdom. So I now all of a
sudden support them.
Speaker 25 (01:07:03):
My reflection tell me the stef connect shot to myself
hot your love ut se out the face and.
Speaker 12 (01:07:15):
Your dreams of words to say, oh bro.
Speaker 4 (01:07:23):
Bo and really know no need o brow your PSI f.
Speaker 28 (01:07:33):
Wanna go bar ride.
Speaker 12 (01:07:42):
Shack's an She's already eat out that shack. It's a.
Speaker 25 (01:07:57):
I think this is loveliness, and loveliness cleanliness and clearliness
is galy nous.
Speaker 4 (01:08:02):
And guy is empty, just like.
Speaker 1 (01:08:11):
I love that song from The Smashing Pumpkins that was zero.
The band played a portion of this song when they
made their cameo on The Simpsons, and I'll play that
clip for you in a second. The song relates to
Billy Corgan's condition of apathy. The lyrics intoxicated with the madness,
I'm in love with my sadness demonstrates how he does
(01:08:31):
not have the feelings or emotions that he desires and
is in love with something that he can't have. A
theme of this song is Heaven's unresponsiveness to prayers at
least according to him, it says, save your prayers for
when you're really going to need them. And of course,
if I mention this song and this band on The Simpsons,
(01:08:52):
I have to play this clip, which always, always always
makes me laugh.
Speaker 19 (01:08:56):
Hey, Cannonball, I like your statement when life takes a
cheap shot of you stand your ground.
Speaker 2 (01:09:01):
Billy Corgan smashing pumpkins.
Speaker 5 (01:09:02):
Homie Simpson smiling politely. You know my kids think you're
the greatest, and thanks to your gloomy music, they finally
stop dreaming of a future I can possibly provide.
Speaker 2 (01:09:13):
I love that.
Speaker 1 (01:09:13):
I laugh every time. Billy Corgan smashing pumpkins, Homer Simpsons,
smiling politely. Don't our Simpson's episode has come to an end,
and this is our final song. I was gonna play
you my favorite Simpson's song. My sisters and I actually
sing these lyrics to each other and we can use
them in conversation.
Speaker 2 (01:09:33):
Believe it or not.
Speaker 1 (01:09:35):
The song is called see My Vest. It's a song
that was featured in the episode two dozen and one Greyhounds.
It is performed by mister Burns and describes his plan
to turn the puppies that he stole as a Greyhound tuxedo.
It also notes what he does with the rest of
the animals that he steals, turning them into a variety
(01:09:56):
of clothes. The music was written by Alf Clausen and
the lyrics by Mike Scully. The song is a parody
of be our Guest from Disney's Beauty and the Beast.
See my vest, see my vest made from real gorilla chest.
Speaker 2 (01:10:09):
Feel the sweater. There's no better than authentic Irish setter.
I just love it.
Speaker 9 (01:10:14):
So.
Speaker 1 (01:10:15):
I know this is an unusual song to end our
episode with, but damn it, I still say turn it up. Anyways,
Thank you for listening to this episode on The Simpsons,
and join us next week for our season finale.
Speaker 2 (01:10:28):
See you next week. Are you sure you want to
go through with this?
Speaker 11 (01:10:31):
Sorry?
Speaker 2 (01:10:31):
You do have a very full wardrobe as it is, Yes,
but not completely fool? Who you see? Some men hunt
for sport, others hunt for food.
Speaker 28 (01:10:45):
Thely thing nine hunting fool.
Speaker 27 (01:10:51):
Isn't outfit yet looks good. My vest, see my vest
need from real gorilla chest.
Speaker 2 (01:11:06):
Fuly sweated.
Speaker 27 (01:11:07):
There's no better than authentic Irish setter.
Speaker 12 (01:11:10):
See this hat?
Speaker 4 (01:11:11):
Itard was my cat my evening wear vampa.
Speaker 27 (01:11:13):
But these white slippers are albino African endangered rhino, pristly
bear underwear.
Speaker 4 (01:11:20):
Turtles necks.
Speaker 27 (01:11:21):
I've got my shift, breath of poodle on my noodle
lichell rest.
Speaker 4 (01:11:26):
Try my red rubin suit. It comes one bristol to see.
Speaker 12 (01:11:30):
My vest, See my vest, see my vest.
Speaker 27 (01:11:37):
Like my loafers former golfers.
Speaker 4 (01:11:43):
It was that skin my saulfers. But a greyhamper tuxedo
would be best. So let's prepare these dogs.
Speaker 25 (01:11:50):
You go for imagine, come see my vest, see my
vest gold?
Speaker 4 (01:11:56):
Please won't you.
Speaker 12 (01:11:57):
See my.
Speaker 4 (01:12:03):
I really like the best, and.
Speaker 11 (01:12:04):
I got it.
Speaker 16 (01:12:05):
Yeah, he's gonna make a tuxedo out of our puppies.
Speaker 12 (01:12:08):
No na, na, nonna, no no no Ahi.
Speaker 9 (01:12:12):
Sorry, you gotta admit it's catchy.
Speaker 12 (01:12:15):
Thank you for listening.
Speaker 3 (01:12:16):
To listen to this, please recommend to a friend, and
don't forget to rate, review, and subscribe. For more podcasts
and online content, please visit this isfunner dot com.
Speaker 17 (01:12:27):
This is Funner
Welcome to listen to this. This is the podcast dedicated
to bringing you stories behind the artists, behind the songs,
and hopefully introducing you to old songs that have influenced
all that music that we hear today.
Speaker 2 (00:13):
The goal is.
Speaker 1 (00:14):
I want you to hear an artist that you might
not normally listen to and search out their music and
whatever streaming service you subscribe to, and of course buy
it on physical media like vinyl or cassette or CD.
We invite you to subscribe, comment, and of course please
please please spread the word and recommend this podcast to
a friend. Every episode has a theme, and today's theme
(00:38):
is the sims never in the history of the United
States a monster of such size and power.
Speaker 3 (00:48):
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 (00:56):
Here's your hosts, Eric Letty.
Speaker 1 (00:59):
The Simpsons are a really important show for me. I
started watching it when it was just a short cartoon
on The Tracy Ullman Show, and I've watched every episode
since its debut in nineteen eighty nine, never missing a week.
And I'm not kidding either. In the early to mid
two thousands. I was even almost on a game show.
(01:20):
I was the alternate called Beat the Geeks, where you
had to beat someone in trivia who was an expert
on the subject. I was going to be the Simpson's expert.
While I did stop watching the show very recently, it's
gotten a little too woke for my kind of liking
the past year a year and a half. But I
still think that I know every episode by heart just
(01:41):
about and I have really fond memories of the show
and decides quoting the show NonStop as I do. I
think perhaps my favorite part of the show other than that,
is the musical guests, or at least when they play
music in an episode, which is what we will focus
on for today. Now, I can't use a big chunks
of songs that have appeared on the show, because well,
(02:02):
I've played them in recent seasons. Heck, just a few
episodes ago, I even played you a Simpsons song. This
this season, I've already done it. But I have found
plenty of songs that I have not played for you before,
and of course I've sprinkled in some songs from members
of the Simpsons family as well.
Speaker 2 (02:19):
So let's get it started.
Speaker 5 (02:26):
It may be an a Logi channel, but the Simpsons
are on TV.
Speaker 6 (02:31):
Our driveway snowed in?
Speaker 5 (02:33):
Oh man, that's right, I fail your driveways with itchin snow.
Speaker 7 (02:42):
What are you gonna do about it?
Speaker 4 (02:43):
Nothing? That's what.
Speaker 5 (02:47):
Stop, mister Wow, get.
Speaker 8 (02:50):
Out you logy season. All right, I'm going I had
heard just to lie down for a while. Yeah, Hello,
I'm mister Plow. Are you tired of having your hands
cut off by snowblowers? Any inevitable heart attacks it come
with shoveling snow? Then call Klondyke five three two two
(03:11):
six call out and receive a free T shirt.
Speaker 7 (03:14):
He could still surprise you.
Speaker 4 (03:16):
But I'm a real tight one.
Speaker 1 (03:17):
Can I afflid this remarkable system?
Speaker 7 (03:19):
Absolutely?
Speaker 5 (03:20):
My prices are so low You'll think I've suffered brain damage.
Speaker 4 (03:24):
You artfully bundan licensed by the city, aren't you?
Speaker 1 (03:27):
Mister Plow?
Speaker 9 (03:27):
Shut up?
Speaker 10 (03:28):
Boys?
Speaker 5 (03:29):
Ah so remember call mister Plow.
Speaker 11 (03:33):
That's my name.
Speaker 5 (03:33):
That name again, is mister Plow. Well, John Q Driveway
has our number. No, we play the waiting game. Not
a waiting game sucks. Let's play hungry hungry hippos.
Speaker 1 (03:52):
That was the mister Plow jingle and it was sung
by Homer Simpson as mister Plow, which is what he
made for an advertisement for about his snow snow plowing
business in the episode of the same name, and the
song is a parody of the Roto Rooter jingle.
Speaker 12 (04:21):
I'm gonna find my baby, gonna hold it tight, gonna
grab some afternoon you lie. My motto has always been
when it's right, it's.
Speaker 13 (04:31):
Right, while waiting until the middle of a cold dark bed.
Speaker 4 (04:35):
Wait, everything's in the middle, clear and the light.
Speaker 12 (04:38):
Up it, and we know the night.
Speaker 14 (04:43):
Is always gonna be here anyway.
Speaker 15 (04:47):
Thinking of he's bringing up a half the time, looking
forward to you a little after noon daylight.
Speaker 6 (04:53):
Rub and sticks and saus together and make as box.
Speaker 12 (04:55):
In line on the bottom venue.
Speaker 6 (04:57):
Who's getting so excited?
Speaker 12 (04:59):
Stuff?
Speaker 14 (05:00):
Rockets in flight.
Speaker 1 (05:04):
That was the Starland Vocal band with after noon Delight,
and it's a double Entendra song named after the late
afternoon appetizer menu at the restaurant Clydes of Georgetown in Washington, DC,
where they have the gold record from the song hanging
in the bar. At least that's the official explanation. The
(05:24):
other meaning is, of course, daytime sex. The inspirational menu
heading read after Noon delights, but we all know what
the song really means. Starland Vocal Band delivered four part
harmonies with the married couple Bill and Taffy Danoff and
another couple Margo Chapman and John Carol, the baby.
Speaker 2 (05:45):
Of the bunch. He was just nineteen when the song
was released.
Speaker 1 (05:48):
Well, Taffy spiced up the stage banter when they performed
this song, explaining that the title came from the menu,
but adding some version of Then Bill came home and
we had our own afternoon de light, something to that effect.
This was, of course, the only hit for Sterland Vocal Band,
but it won the Grammy for Best New Artist in
nineteen seventy six, beating out the band Boston. Despite only
(06:12):
having this one hit, the Starland Vocal Band was giving
their own summer replacement TV series on CBS called The
Starland Vocal Band Hour in nineteen seventy seven. An unknown
comic named David Letterman appeared on the show and had
co hosting duties.
Speaker 16 (06:28):
Starland Vocal Band.
Speaker 15 (06:31):
Fuck, nothing you could say, cheery away from my god,
nothing you could do because I'm stuck like glue.
Speaker 6 (06:50):
My God, I'm thinking to my God, it's not.
Speaker 12 (07:00):
Stick together.
Speaker 15 (07:02):
I'm telling you from the start, I can't be done
about my God. Nothing you could do but make me
to my God, My God, nothing you could buy to
make me out in my.
Speaker 12 (07:25):
Again.
Speaker 6 (07:26):
God work a woman to leave thankful and of God
the best that I won't begin to save it.
Speaker 12 (07:36):
My God. It's a matter of like opinion.
Speaker 4 (07:41):
I think he's taught my will.
Speaker 9 (07:44):
It is his, the dream of the word.
Speaker 6 (07:47):
As a matter of day is said, He's loved you.
Speaker 12 (07:53):
As a matter of fact.
Speaker 1 (07:54):
That was Mary Wells with the song my Guy. That's
from the Simpsons episode The Two Missus Nahassepima Pedalons from
nineteen ninety seven. Mary Wells had a pretty big smash
hit with the song my Guy. It was her last
solo recording for Motown Records, the first female star for
(08:14):
the record label. She also became the first to dare
to leave when twentieth Century Fox wooed her away with
a two hundred thousand dollars evans and potential movie roles.
She officially left in nineteen sixty five. Well Motown mogul
Barry Gordy allegedly coerced radio stations into keeping Well's new
(08:35):
records off the airwaves, but she still scored a hit
with Ain't That the Truth? And Use Your Head and
another song. Nevertheless, and her relationship contract with twentieth Century
Fox did dissolve the following year, but she bounced from
label to label and eventually retired briefly from music in
nineteen seventy four to raise her family. Mary Wells fellow
(08:57):
Motown star Smokey Robinson and produced this song. Robinson helped
Very Gordy form Motown Records after they realized how little
they were paid by the labels that distributed their songs.
In addition to fronting the legendary group The Miracles, Robinson
also wrote and produced many of the label's early numbers,
(09:17):
including other Merriwell's hits like the Only One Who Really
Loves You, You Beat Me to the Punch, and Two Lovers.
In nineteen sixty five, Smokey Robinson wrote a song very
similar to My Guy from the Male's Perspective that was
a huge hit for The Temptations.
Speaker 2 (09:33):
It was called My Girl, God.
Speaker 12 (09:39):
Of Brady Brother.
Speaker 17 (09:41):
He bugs me every day, Miss Mon and my mother
did my last cum take away.
Speaker 16 (09:49):
My Daddy as n.
Speaker 4 (09:52):
Y belongs.
Speaker 12 (09:59):
In the same.
Speaker 2 (10:09):
That was the song Moanin' Lisa.
Speaker 1 (10:12):
Blues and Lisa Simpson performed this song in the first
season Simpsons episode Moaning Lisa, where she befriends the grizzled
blues man named Bleeding Gums Murphy. Lisa, who in the
show is an eight year old saxophone prodigy, writes the
song and plays it to treat her case of the blues,
which the rest of the family can't seem to understand.
(10:35):
Among her numerous complaints is her braddy brother, her uncouth dad,
and at the end of the episode, Bleeding Gums performs
it in a jazz club. Full version of the song
was included on the first Simpson's musical album, The Simpsons
Sing the Blues. This version features some very real musicians,
Joe Walsh on guitar, John Sebastian of The Love and
(10:57):
Spoonful and harmonica, and the horn section from Tawer Power.
Speaker 18 (11:12):
Were a little while from now, if I'm not feeling
any less, so I promised myself to treat myself blizard.
Speaker 9 (11:21):
And near by top, climbing to the top.
Speaker 14 (11:25):
And throw myself off in an effort to be.
Speaker 18 (11:30):
Clear to everyone, it's like when you're sadered, have standing
in the lurch.
Speaker 9 (11:36):
I had a judge where people say, my God.
Speaker 14 (11:40):
That's stuff.
Speaker 12 (11:41):
She stood him up.
Speaker 18 (11:42):
No point to nurse hrim me to be as well
known as I did on my Heart alone again virtually,
to think that only yesterday I was cheerful right and
again looking forward to wound the role I was about
(12:06):
to play.
Speaker 14 (12:07):
But as if to knock me down, reality came.
Speaker 9 (12:11):
Around and without so much as of me a touch
the means.
Speaker 6 (12:16):
A littleis leaving to down.
Speaker 9 (12:21):
Talk about God in.
Speaker 14 (12:22):
His mercy with readers exist, Why did he in.
Speaker 12 (12:30):
My r of me?
Speaker 6 (12:32):
I truly am in alone again?
Speaker 1 (12:37):
Actually that was Gilbert O'Sullivan with Alone Again Naturally, and
it's one of the most depressing songs ever written. It
really is alone Again Naturally tells kind of the rather
sad tale of a lonely, suicidal man being left at
the altar and then telling the listener about the death
of his parents. The song connected with listeners on various levels.
(13:01):
The down trodden could commiserate with the singer, and the
lucky ones who were not in this position were reminded
of their good fortune. This was the Irish born singer
Gilbert O'Sullivan's only American number one, but it did sell
two million copies and spent six weeks at the Summit
in America, and earned him three Grammy Award nominations for
(13:22):
Best Male Pop Vocal Performance, Song of the Year and
even Record of the Year. It was the second best
selling single of the year in America behind Don Maclean's
American Pie. Gilbert O'Sullivan had denied that the song is
autobiographical or about the death of his father. When he
was eleven, O'Sullivan said, quote, everyone wants to know if
(13:44):
it's an autobiographical song based on my father's early death. Well,
the fact of the matter is I didn't even really
know my father very well, and plus he wasn't a
good father anyways. He didn't treat my mother very well.
So maybe I'm writing from a depressed point of view,
but it wasn't an autobiographical song.
Speaker 2 (14:38):
Spending all my.
Speaker 19 (14:40):
Nights with my mother, You're going out on the time,
doing anything just to get you out of my month.
When the morning comes from rapp back where we started again,
I'm trying to forget that she.
Speaker 4 (14:59):
Was just to waste.
Speaker 10 (15:17):
Hello.
Speaker 11 (15:17):
I'd like the Department of Missing Babies please hold.
Speaker 1 (15:32):
Bungee jumping a staple of soft rock radio. Baby come Back,
by the artist Player exemplifies what would later be known
as yacht rock, mellow, sophisticated, and often maligned music. It's
a perfect example of quote I made a terrible mistake
and now I want you back type of a song.
Baby come Back was rooted though in real heartbreak. It
(15:54):
was written by Player founder Peter Beckett and J. C. Crowley.
Beckett from Liverpool, England, home of the Beatles, but moved
to la to join a band called Sky Band, which
broke up after just one album. By the time he
formed Player with Crowley, his wife had left him and
returned to England. Crowley was also going through a breakup,
(16:17):
so channeled their feelings into the song, and Beckett decided
to sing Lean on the track. Baby come Back did
earn Player a record deal. After Peter Beckett and J. C. Crowley,
who were both singer guitars, wrote the song, they added
bass player Ron Moss and pitched it to producers. The
production team of Lambert and Potter heard this potential hit,
(16:39):
and they heard its potential overall right away and actually
took it to RSO Records, who signed the band on
the spot, adding drummer John Friesen to the lineup. They
recorded their debut album before they ever even played live together.
Baby Come Back, released as the first single, was a
huge hit, going to number one in January nineteen seventy
(17:00):
eight and staying there for many weeks. Player is almost
exclusively known for this song, but their follow up single
This Time I'm in It for Love did make a
respectable showing, going as high as number ten in American
did pretty well across the Pond as well. The group
had a few more minor hits before finally breaking up
in nineteen eighty two. After the demise of Player, Beckett
(17:23):
joined Australia's Little River Band, who included Baby Got Back
on a live album. Beckett also wrote Twist of Fate
for Olivia Newton John and after all this Time for
Kenny Rogers. Player bassist Ron Moss became a very popular
star on the CBS soap opera The Bold and the Beautiful,
playing the character Ridge Forrester from nineteen eighty seven all
(17:47):
the way to twenty twelve. Crowley left Player after their
second album and went on to write songs recorded by
Smokey Robinson and Johnny Cash and The Little River Band,
as well as many others.
Speaker 12 (18:17):
I want to know who the drugs.
Speaker 20 (18:19):
One of the ball made me sick, one of the
wall made me cross my collar.
Speaker 4 (18:24):
I made me feel free feet thinking.
Speaker 12 (18:28):
I want to make time. One of the moment in
the head, one of the more man amount too time.
Speaker 4 (18:35):
I made my eyes too red.
Speaker 12 (18:39):
One of them all made me nervous. Wasn't then what
to do? One thing makes me feel like I feel
when I'm with.
Speaker 4 (18:47):
You, when I don't know with you.
Speaker 21 (18:58):
I want to know who the drugs.
Speaker 4 (19:01):
Spill one the dom.
Speaker 12 (19:15):
Yellow one do but then makes me.
Speaker 1 (19:34):
That was Huey Lewis with I Want a New Drug, also,
by the way, a song that was parodied by weird
Al Yankovic. For those of you keeping track, I always
like to point that out the drug that Lewis sings
about in this song What's a Woman. They don't have
the side effects most drugs do dry mouth, red eyes,
making your face break out, et cetera, but still deadly. Nonetheless,
(19:58):
Huey Lewis offered this expl nation in a Rolling Stone
interview quote. The whole meaning of I Want a New
Drug is that drugs aren't a part of life. They're
just superficial. They're nothing about life. Life is love, Love
is the answer. Lewis wrote this song with his guitarist
Chris Hayes. They were the primary songwriters in the band,
along with multi instrumentalist Johnny Cola. This is one of
(20:21):
five hit songs from the Sports album, a great album
and an eighties landmark that sold well over seven million
copies in America. It was one of just five number
one albums in nineteen eighty four, claiming a week in
a year dominated by Thriller Born in the USA, Purple Rain,
and the Footloose soundtrack.
Speaker 2 (20:41):
None of the five.
Speaker 1 (20:43):
Hits were huge, but they were each released about three
months apart, starting with the Heart of Rock and Roll
in late nineteen eighty three and ending with Walking on
a Thin Line one of my favorites from him late
in eighty four. It kept Huey Lewis and The News
on the charts and on the air for well over
a year with a single album. I Want a New
(21:04):
Drug was the second single, and it peaked at number six.
In March of eighty four, when the Sports album singles
ran out, the band released their biggest hit of their career,
The Power of Love, a number one smash hit nineteen
eighty five from the movie Back to the Future. The
movie Back to the Future went into production with I
Won a New Drug as a temporary placeholder track until
(21:26):
a more suitable song was written, which turned out to
be the Power of Love.
Speaker 2 (21:30):
I mean the right amount, I mean not enough. Here
watch this video.
Speaker 11 (21:38):
The Mighty Amazon River. The Nadiums had a word for it.
Then we got rid of the natives. And no one
remembers that word, but hearers of words. Everyone remembers my
Yuie Lewis and the news I Want a.
Speaker 12 (21:52):
New Drug time.
Speaker 21 (22:21):
When I was seventeen, it was a very good year.
It was a very good year for small town girls.
Speaker 22 (22:41):
And soft summer nights. We hide from the line on
the Village Green.
Speaker 1 (23:00):
When I was seventeen, that was mister Frank Sinatra with
the song it was a very good year. And this
song was parodied on the Simpsons episode Duffless and nineteen
(23:20):
ninety three. As Homer poured his beloved duff beer down
the drain, he sang different lyrics to the song. He said,
when I was seventeen, I drank a very good beer.
I drank a very good beer I purchased with my
fake ID. My name was Brian McGee. I stayed up
listening to Queen when I was seventeen. This was written
(23:42):
by Irvin Drake. I mean not the Simpsons version, but
the original Sinatra version in nineteen sixty one four the
Kingston Trio who did record it on their album Going
Place As in a folk kind of a style with
a whistling interlude. Frank Sinatra's sixty five version had much
more lush instrumentation and more dramatic vocals, and that's the
(24:04):
version that became a hit, winning Grammy's in nineteen sixty
six for Best Male Vocal Performance and Best Instrumental Arrangement.
The phrase it was a very good year is often
applied to wine, as the vintage's different quality. Here, Sinatra
sings about the years he remembers fondly in his romantic
life and the girls that were a part of it.
(24:27):
As he's now older, he looks back fondly on those memories,
bringing up the wine analogy. As the memories have aged
well with time. Former US President Bill Clinton has said
that this is his all time favorite song.
Speaker 12 (25:00):
You like it, don't it feel?
Speaker 23 (25:03):
On that seven burdantry? Not that the way likeness. Don't
it feel like that? But net it be aye baby?
Speaker 6 (25:14):
We know in the child region there's a lot cod out.
Speaker 12 (25:21):
That's the same.
Speaker 4 (25:25):
Yeah, yeah, away.
Speaker 12 (25:28):
Is the hoard is fat every days he one B card.
Speaker 6 (25:34):
You take it up, then you take it to the hig.
Speaker 12 (25:38):
No way is the highest fine?
Speaker 23 (25:46):
Well yeah, the chase is couple whatever around the cans stamping.
Speaker 12 (25:55):
There's no flame if you good vant.
Speaker 1 (26:14):
It was Tom Petty and the Heartbreakers with the song Waiting,
and the song appeared on the nineteen ninety seven Simpsons
episode called The Cartridge Family, and anyone who knows the
pangs of anticipation can relate to the premise of this song,
The waiting is the hardest part. Tom Petty has explained,
quote that was a song that took a really long
(26:35):
time to write. Roger mcgwinn swears he told me the
line about the waiting being the hardest part. But I
think I got the idea from something Janis Joplin said
on television. Well, I had the chorus very quickly, but
I had a very difficult time piecing together the rest
of the song. It's about waiting for your dreams and
not knowing if they will ever come.
Speaker 11 (26:54):
True.
Speaker 2 (26:54):
I've always felt it was an optimistic song.
Speaker 1 (26:57):
This was released as the lead single from Tom Petty
and the Heartbreaker's fourth album, Hard Promises. At the time,
Tom Petty was so popular his record label wanted to
charge a dollar more for this LP than the standard
eight dollars and ninety eight cents, but they backed down
after he considered naming the album eight dollars and ninety
(27:17):
eight cents to screw at the record company.
Speaker 17 (27:36):
He was a famous drop a man from a Chicago way.
He had a boogie down and no one else could playing.
Speaker 12 (27:42):
He was a top man at his craft.
Speaker 17 (27:44):
But then his number came up.
Speaker 9 (27:46):
Penny was gone with the draft.
Speaker 12 (27:47):
He's in the army.
Speaker 6 (27:48):
Now I'm blowing Revee.
Speaker 17 (27:50):
He's the boogie boogie bugle bar a company. They made
him blow up bar his uncle Sam. It really brought
him down because he couldn't jam.
Speaker 6 (27:59):
The Captainine understand.
Speaker 17 (28:01):
Because the next day the cap went out and drafted
a band, and now the company jumps when he plays Reveling.
Here's the boogie woogie Bogle b Company b A to
the bar Hey boogie Rizzo.
Speaker 6 (28:16):
He can't blow and all of this so bassic guitar.
Speaker 12 (28:19):
Is playing with them.
Speaker 20 (28:21):
He makes a company jump when he plays reveling.
Speaker 6 (28:24):
Here's the Boogie Boogie.
Speaker 1 (28:27):
That was The Andrews Sisters with Boogie Woogie Bugle Boy.
It was written by Don Ray and Hugh Prince. It's
a what they would call a jump blues number, and
it's about a trumpeter from Chicago who's drafted into the
army during World War Two and shakes up the Revelie
is the Boogie Woogie Bugle Boy of Company B. It
was originally intended for Lou Costello to perform in the
(28:50):
nineteen forty one Abbott and Costello comedy Buck Privates, but
was reworked for the Andrews Sisters, who is the one
who introduced it in the film. The trio also released
the tune as a single that same year, and it
peaked at number six on the charts. It was nominated
for the Academy Award for Best Original Song, but lost
to the Last Time I Saw Paris from.
Speaker 2 (29:12):
The movie Lady Be Good.
Speaker 1 (29:15):
Ray and Prince also wrote three hits, Rumboogie, Beat Me Daddy,
eight to the Bar for the andrew Sisters in nineteen
forty three, Stars and Strip's Magazine and Billboard magazine both
claimed that the song was based on a soldier named
Clarence Zilman of Muskegon, Michigan. Private Zilman was a trumpeter
(29:35):
and Tommy Tucker's orchestra who found himself blowing the morning
wake up call for a company of sleepy soldiers who
didn't appreciate the jolt from their slumber. To ease their grumpiness,
Zilman shirked regulation and added some swing to the revellie
that had them boogeying out of bed. Zilman, however, didn't
enlist in the Army until nineteen forty two, a year
(29:57):
after the song debuted, so that urban legend is not true.
Speaker 2 (30:02):
Yet.
Speaker 1 (30:02):
Another claimant to the Boogie Woogie bugle Boy identity was
a guy named Harry L.
Speaker 2 (30:08):
Gish Junior.
Speaker 1 (30:08):
He was a trumpeter who played the Ray Prince songs
as a studio member of Will Bradley's All Star Orchestra,
and he became a well known bugler in the Army
Air Corps, and in the eighties and nineties donned his
uniform to perform at services for veterans funerals. The Andrews
Sisters also recorded new versions for Capitol Records in nineteen
(30:30):
fifty six, and then again and for Dot Records in
nineteen sixty two, because every time you re record this
song you could resell it and get new royalties.
Speaker 6 (30:48):
He's a bogie woogie bugle by comedy.
Speaker 9 (30:52):
Check out their well aged faith no score.
Speaker 4 (30:55):
He must be on his first heart. I wouldn't kick
him out a bit for dying. Hey handsome, pull up
a donut and sit out.
Speaker 9 (31:04):
Hey ladies.
Speaker 4 (31:05):
I used to be in movies.
Speaker 5 (31:09):
You don't know speet stick it out from under the
huse and the Wizard of Eyes.
Speaker 12 (31:12):
You're looking at him?
Speaker 9 (31:28):
You know today the toys a night, ninety vides a day,
Try to run, try to hide, rang off dude to the.
Speaker 12 (31:38):
Other side, ring off duode.
Speaker 9 (31:40):
To the other side, ring off dude to the other side.
Speaker 2 (31:44):
Ye were chased out.
Speaker 9 (31:50):
Pleasures here, doug our treasures.
Speaker 17 (31:54):
Now we can't stay on and recall time we cry
rang off stoode to the other.
Speaker 1 (32:02):
Sound That was Jim Morrison and the Doors with break
(32:26):
on through in this urgent song. Jim Morrison looks to
shake things up. It's a common theme in his songwriting.
In nineteen sixty six, he said, quote, I like the
ideas about breaking away or overthrowing the established order. I'm
interested in anything about revolt, disorder, chaos, especially activity that
(32:48):
seems to have no real meaning.
Speaker 11 (32:50):
Well.
Speaker 1 (32:51):
This was the first song on The Doors first album
and also their first single. It got some airplay on
LA radio stations after their friends and fans kept requesting it.
The original line in the chorus was she gets high,
but their producer Paul Rothchild thought that would limit the
song's airplay potential and convince the group to leave it out. Instead,
(33:15):
high was edded out, making it sound like she gets
ugh in the song, but the high line can actually
still be heard in the live performances of this song.
You could also hear the song as intended in the
nineteen ninety nine reissue of the album, which was overseen
by their original engineer, Bruce Botnik. He also replaced Jim
(33:36):
Morrison's f bombs on the song the end. These edits
went over about as well as the digital revisions to
Star Wars.
Speaker 2 (33:46):
No one liked them.
Speaker 1 (33:47):
Jim Morrison got some of the lyrics from John Ricci's
nineteen sixty three book City of Night. In that book,
Ricci writes about the other side and reference to Hollywood
there's a passage where he writes place to place, week
to week, night tonight, which Morrison appropriated in the lyrics
made the scene week to.
Speaker 2 (34:07):
Week, day to day, hour to hour.
Speaker 1 (34:09):
In nineteen sixty seven, Jim Morrison did an interview with
Hit Parader magazine where he said that he wrote this
song while crossing the canals in Venice.
Speaker 2 (34:18):
Quote.
Speaker 1 (34:18):
I was walking over a bridge, he said, I guess
it's one girl, A girl I knew at the time,
and I was trying to get to her, and I said, look.
Speaker 2 (34:26):
I just crossed on over to the other side.
Speaker 12 (34:32):
Your teacher.
Speaker 24 (34:33):
The subject of schoolgirl to see she wants so bad,
knows what she wants.
Speaker 14 (34:44):
To be in sas DEAs long this girls, she's so closely.
Speaker 12 (34:56):
This girl is his job.
Speaker 1 (35:48):
That was the band the Police with the song Don't
stand so close to Me. The song is about a
teacher who lusts after one of his students. It's pretty inappropriate.
Sting was a teacher, by the way before joining the police,
and was no doubt the subject of young girls fantasies,
but he insists that the lyric is not based on
(36:08):
personal experience. I don't know if I believe him putting
the speculation to rest. He explained on the DVD for
his two thousand and one All This Time album that
he completely made up the story. The line just like
the old man in the book by Nabokov refers to
the novel Lolita by Vladimir Nabokov, which is about an
(36:30):
older man who pursues an underage girl. Sting based this
song on the book. Sting mispronounces the author's name. The
bo should be more stressed in the wording. Also in
the novel Lolita, Humbard is not quite an old man.
He's I guess, more like in his forties. The police
recorded this in Holland and over period a few months.
(36:53):
The song started as a Hammond organ based kind of
a soul track, and then evolved through its various complex
arrangements until it was eventually reduced to its simplest elements,
which sounded the best. From a great episode of The Simpsons.
(38:08):
That was a Chuck MANGIONI believe it or not, with
feels so good. Can't believe I'd play a Chuck Mangioni song,
but that was kind of funny. You might not know
the title of the song, but you'll recognize it. When
you hear it in America, Feels So Good is one
of the more popular instrumental songs of all time, and
certainly the biggest hit on flugelhorn that I think we
(38:30):
would ever have in the United States. Chuck Mangioni first
recorded this with his brother Gap in a band called
The Jazz Brothers, which formed in nineteen sixty. He signed
with Mercury Records as a solo artist and released his
first album in nineteen seventy, charting for the first time
with Hill Where the Lord Hides. In nineteen seventy one,
(38:52):
he started growing a following in jazz circles and scored
a surprise mainstream hit with Feels So Good, which later
on reach number four and also hit number one on
the Adult Contemporary charts.
Speaker 11 (39:05):
Well.
Speaker 1 (39:05):
This was in the last days of disco by the
time this song started charting, and his smooth jazz number
provided welcome relief from the typical dance music that saturated
the airwaves. This song actually sold over two million copies
on the Feel So Good album. This track runs nine
minutes and forty two seconds. Mangioni recorded it along with
(39:28):
five more instrumentals for the album, none of which seemed
to have hit potential. An executive at his label suggested
cutting down the title track to make it more radio friendly,
so a three and a half minute edit was made
and released as a single, which became a hit. The
radio edit retained two key elements from the song, Maggioni's flugelhorn,
(39:48):
of course, and the guitar solo by Grant Geisman. This
earned a Grammy nomination for Record of the Year, losing
to Billy Joels.
Speaker 4 (39:56):
Just the way you are, Josh Cheer, what this happened about?
Do something?
Speaker 7 (40:06):
Don't you worry?
Speaker 25 (40:06):
Done?
Speaker 9 (40:09):
My friend stop, please hurry.
Speaker 5 (40:14):
Sure, we could tear this house down, my friends stop,
let me finish. We could tear it down, but we'd
be tearing down a part of ourselves. You could close
down mows or the quick e mart and nobody would care.
Speaker 7 (40:38):
But the hard and so off. Springfields in armies on dairy,
wear the.
Speaker 6 (40:53):
Sauce on your staff, wear the cheese in your cake.
Speaker 17 (40:57):
We put the spring springs fea we relace on the night,
count the point after touchdown.
Speaker 6 (41:04):
Yes we but the spring is springfield.
Speaker 17 (41:08):
Wear that little extra spice that makes existence extra nice,
A giddy, little thrill, little reasonable price.
Speaker 5 (41:16):
Our only major quarrels with your total lack of moral
first can be costumes, ay to bad.
Speaker 12 (41:22):
Listen to entertain you, Dad.
Speaker 1 (41:27):
Another one where I almost wish I just would have
played for you the entire song. I love that one
from The Simpsons that is called We Put the Spring
in Springfield, and it's actually an Emmy winning song performed
during the season eight episode Bart. After dark, Homer and
Bart witness the townspeople destroying the Mason Derrier, but Homer
(41:49):
starts singing how Springfield needs the House of ill Repute.
Soon everyone joins in with the song. Well, Marge arrives
soon after to help them destroy the house with the buller,
but she didn't hear the song, so she doesn't understand
that everyone now has second thoughts. Marge tries to start
her own song, but accidentally destroys part of the house.
Speaker 2 (43:15):
Well, we played you an.
Speaker 1 (43:17):
Instrumental from Chuck Mangioni a few songs ago, and that
was another instrumental. It was written by Edgar Winter and
the song is called Frankenstein and it's probably the most
famous instrumental rock song. It got its title because of
the arduous editing that went into the song. It became
a monster when it was pieced together in the studio,
(43:39):
said Winter. When we were editing this in the studio,
back in those days, when you edited something, you physically
had to cut the tape and splice it back together.
So it was all over the control room, draped over
the backs of chairs and the couch. We were making
fun of it, try to figure out how to put
it all back together, saying here's the main body, here's
the leg bone connected to the thigh bone, and chuck ruff.
(44:00):
My drummer said, wow, man, it's like a Frankenstein. And
as soon as I heard that, I went, wow, that's it.
The monster is born Frankenstein. The character first appeared in
Mary Shelley's eighteen eighteen novel where Victor Frankenstein is the
mad scientist who.
Speaker 2 (44:16):
Puts the creature together.
Speaker 1 (44:18):
His creation is Frankenstein's Monster, which is it would be
a more appropriate person to call it, but also a
more cumbersome title for the song. And today when people
see the monster, they just call him Frankenstein. This is
the first hit song, by the way, to use a
synthesizer as a lead instrument. The who incorporated since and
(44:39):
too won't get fooled again, but here it's the star
of the show on Frankenstein. Edgar Winter, By the way,
he's pretty talented. He's a multi instrumentalist and keyboard wizard
who was keen to experiment with synthesizers, which were in
their early stages of development. In nineteen seventy one, the
ARP twenty six hundred was released, and unlike their previous model,
(45:02):
the ARP twenty five hundred, the keyboard was not built
into the console. It was connected by a cable. Well
Winter figured out a way to extend the cable so
he could play the instrument while wearing the keyboard around
his neck, which means he could walk around stage with it.
Winter developed Frankenstein as a showcase for the instrument, which
(45:22):
became a pretty jaw dropping part of his live shows.
It seemed too experimental to be a hit, but they
thought it might get some airplay on freeform FM radio
stations that were willing to push the boundaries.
Speaker 5 (45:36):
Why do you need new bands? Everyone knows rockettane perfection
in nineteen seventy four, it's a scientific fact.
Speaker 21 (45:47):
Quadrophonic sound, a waterbed and now Strobeline gentlemen say hello to.
Speaker 4 (45:53):
The second base mobile waiting. Wanta got to come and
(46:20):
give it to your bathmab want I got to go
and give it.
Speaker 12 (46:23):
To your cat.
Speaker 4 (46:24):
Bob, what I got to come and give it to
your dog to you're doing that? It doesn't know you
do a little lot time?
Speaker 12 (46:30):
What I come?
Speaker 4 (46:30):
You gotta get it, but it isn't you what the
cuts you gotta get it for?
Speaker 12 (46:34):
They do what I got?
Speaker 4 (46:35):
You gotta get it, but it didn't. You're feeling with
you does not continue? Oh yeah, I don't wanna.
Speaker 6 (46:41):
Be a light up, go bag and slie up in
a blinktop.
Speaker 4 (46:45):
Tell me the girl did the eleven n light up?
I don't remember body. I want to give it eleven
cats up.
Speaker 12 (46:51):
Give it away, give it awake, give it away, now.
Speaker 26 (46:53):
Give it a way, give away, give it a way,
now give it the way you're away.
Speaker 4 (46:57):
Give it away?
Speaker 26 (46:58):
Now what tie.
Speaker 4 (47:03):
Just dip your moth to receive.
Speaker 26 (47:05):
Your list on a material epis love misty love me
say yes no bound, imn't know how, no doubt big
up the scout just smock gets down with the fun
of time.
Speaker 4 (47:21):
Right now by father bowing.
Speaker 26 (47:23):
In the buckets, by fine list the umfice by can
you don't get goods.
Speaker 12 (47:31):
Get to see. I'm gonna go this.
Speaker 9 (47:32):
Give it away, Go away, give it away.
Speaker 26 (47:39):
You told our agent this place holds thirty thousand people.
Speaker 27 (47:41):
It does.
Speaker 2 (47:42):
We had thirty thousand here last night.
Speaker 4 (47:44):
Now play. The audience is getting restless. We work jolly Welling,
We walk Jilli Welling.
Speaker 16 (47:51):
Hey, Red Hot Chili Peppers.
Speaker 28 (47:53):
Would you guys like to appear on the Crusty the
Clown Special?
Speaker 4 (47:56):
Sure you can get us out of this gig.
Speaker 9 (47:57):
You'll problem?
Speaker 6 (47:59):
Hey mout look on over there?
Speaker 4 (48:00):
What what am I looking at? I don't say nothing.
I'm gonna stop looking so.
Speaker 10 (48:06):
Now boys, Uh, the network has a problem with some
of your lyrics.
Speaker 4 (48:10):
Would you mind changing him for the show?
Speaker 2 (48:12):
Forgets you?
Speaker 12 (48:12):
Clown?
Speaker 11 (48:13):
Hey?
Speaker 2 (48:13):
Our lyrics like our children?
Speaker 27 (48:14):
Man?
Speaker 4 (48:15):
No way? Well okay, but here what you say?
Speaker 10 (48:18):
What I got you gotta get and put it in you?
How about just what I'd like is I'd like to
hug and kiss you.
Speaker 4 (48:24):
Wow, that's much better.
Speaker 2 (48:27):
Everyone can enjoy that.
Speaker 10 (48:30):
Give it a Way, Give it Away, Give it a Way,
dancing around in their underwear that is so degraded.
Speaker 1 (48:41):
That was the Red Hot Chili Peppers with Give it Away.
The band explained that this song which sounds like it
has no meeting, is actually about the theory that the
more you give, the more you receive, So why not
give it all away? Lead singer Anthony Keatis drew inspiration
from the song from the German singer Nina Hagen when
he came across one of her jackets that.
Speaker 2 (49:03):
He liked well.
Speaker 1 (49:04):
She insisted that he take it, explaining that giving stuff
away creates good energy, and Ketas and Hagen had a
brief affair, by the way, in nineteen eighty three. Give
It Away was the first single from the Red Hot
Chili Pepper's fifth album, Blood Sugar, Sex Magic. It was
their first song to crack the Hot one hundred, placing
at number seventy three. It was also a number one
(49:27):
hit on Modern rock charts. The song contains all of
the band's trademark energy, but is more refined than their
previous tunes. Well, you could chalk this up to producer
Rick Rubin, who, instead of trying to change their sound,
just simply made it better. Rubin had worked with a
Beastie Boy, Slayer, Run DMC, and many many others, so
(49:47):
he was pretty accustomed to artists with distinct musical palettes.
And I counted by the way Anthony Ketas sings give
it Away sixty eight times in this song. That's a
lot of giving. The obvious hit from the album is
the ballad under the Bridge, but give It Away was
more appropriate as the first single because it's a more
(50:07):
typical version of their sound. Under the Bridge was the
next single, and man it was a monster, going to
number two in the US and sticking around on playlists
for months and months and months. Weird Out Yankovic perioded
this song. His version is called bed rock Anthem. And
as about the cartoon the Flintstones, you know, I always
like to point out when weird Al has covered a song.
Speaker 9 (50:30):
Homer, a man who called himself you ma hoo, just
invited into a secret.
Speaker 6 (50:34):
Wink wink at the you know what certainly are popular.
Speaker 4 (50:38):
Now that you're a stonecutter.
Speaker 5 (50:39):
Oh yeah, Beer bust, beer, blast, keggers, steinhoist aa meetings,
beer night. It's wonderful March. I've never felt so accepted
in all my life. These people look deep within my
soul and assigned me a number based on the order
in which I joined.
Speaker 4 (51:04):
Who controls keep that drig system down?
Speaker 27 (51:08):
We do?
Speaker 9 (51:10):
We?
Speaker 4 (51:12):
Who is let this offb baps.
Speaker 28 (51:14):
Oh, keep some Martians on.
Speaker 29 (51:15):
Dirams holds back drigrd Oka, shoved their sight rigged every
(51:36):
up your knife.
Speaker 1 (51:37):
We another classic Simpson song that all good loyal Simpsons
fans know. That was the Stonecutter's song, also known as
We Do. And it's yet another Emmy nominated song. This
one's from the twelfth episode of season six, is called
(52:00):
Homer the Great, another one of my all time favorite episodes.
The music was composed by Alf Klausen and the lyrics
by head writer the Simpsons John Swartzwelder. The song was
initially not even included in the original script of the episode,
but was suggested for inclusion by Simpson's creator Matt Greening.
It was written by the writers in the writer's room,
(52:22):
who just started throwing as many things that annoyed them
as they possibly could. Apparently also Steve Gutenberg for some reason.
Speaker 4 (52:48):
I remember.
Speaker 12 (52:52):
Greening down as.
Speaker 9 (52:54):
Cold as a.
Speaker 24 (52:57):
Shadows of a man.
Speaker 12 (53:00):
Through window, crying in the night, the night, casy.
Speaker 4 (53:05):
Tomorrow, just another day. Happy people pass my way looking
in their eyes.
Speaker 12 (53:17):
I see you, Amy.
Speaker 28 (53:20):
I never realized how happy you made me.
Speaker 15 (53:24):
A man.
Speaker 12 (53:26):
When you came and you game. Will I take it
to send you a man, Will you kissed me and
stop me from shaking?
Speaker 4 (53:40):
And the legion today Man that.
Speaker 1 (53:45):
Was Barry Manilo with the song Mandy. And when The
Simpsons parodied this in the episode in which Homer feels
torn between his attractive new coworker, her name is Mindy,
and he gets confused with the lyrics and he gets
torn between Mindy and his own wife. They were in
a hotel room together and a turkey slips behind the
bed once again. I know you'd have to watch the
episode to understand, but trust me, it's funny. And then
(54:07):
later when Homer brings Marge back to the same room,
he sings to her, Ohmargie, you came and you found
me a turkey, to the same tune as Mandy.
Speaker 2 (54:17):
The urban legend.
Speaker 1 (54:18):
The song Mandy is actually about Barry Manilo's dog. It's
nothing but that an urban legend because songwriter and the
original performer of the song, Scott English, says he was
woken by a phone call from a reporter once Barry
Manilo had covered the song Mandy, and the reporter wanted
to know who Mandy in.
Speaker 2 (54:37):
The song was. He said, quote, I would have said
anything to get rid of this stupid reporter.
Speaker 1 (54:42):
So I spat out the first thing that came to mind,
that it was about a dog like Lassie, and I
sent him away and I hung up the phone. I
never thought it would turn out to be what everyone
believes the song is about.
Speaker 5 (54:54):
Oh, Mandy, you came and you gave without playing, but
I sent you ben gayo, Andy, you kissed me and
stop me from something?
Speaker 16 (55:08):
And I, Dad, why are you singing?
Speaker 23 (55:11):
Tell a lie?
Speaker 11 (55:12):
Tell a lie?
Speaker 5 (55:13):
Because I have a small role in the Broadway musical.
It's not much, but it's a start.
Speaker 4 (55:17):
Oh, who.
Speaker 16 (55:21):
Are you hiding something from me?
Speaker 17 (55:23):
Like what?
Speaker 16 (55:23):
Judging from your song, you're infatuated with a woman named.
Speaker 4 (55:26):
Mandy or a man named Mandy.
Speaker 16 (55:28):
Lisa, look out behind you, Dad, I'm not gonna fall for.
Speaker 4 (55:31):
That, No, Lisa, I swear to you.
Speaker 16 (55:32):
I'm one hundred percent completely serious.
Speaker 28 (55:35):
You've got to turn around right down before it's too late.
Speaker 16 (55:37):
Huh say to be such.
Speaker 9 (56:06):
A see things now.
Speaker 28 (56:09):
Love me, lad See, I got no friends of the me.
Speaker 9 (56:24):
They can't be see with me, real shot down, feelish me.
Speaker 12 (56:35):
No more.
Speaker 9 (56:36):
He's a nice guy, No, mister, no, it's a nice guy.
Speaker 12 (56:45):
Issy.
Speaker 9 (56:46):
He's sick He's a see.
Speaker 1 (56:52):
Alice Cooper with no more mister nice guy and this
appears on the two thy and eleven episode of The
Simpsons titled Love Is a Any Strangled Thing. Cooper wrote
this song about the reaction of friends and family towards
his over the top stage persona. The maniac that he
plays on stage goes over well with his audiences, but
(57:14):
the folks and his mother's church group were unsure how
to handle it and were uncomfortable talking about it. The
song was the shock rockers declaration that the gloves are
off and he's no longer going to apologize for his
wild stage antics, and there are many worse things he
could be doing with his life. This is a pretty
upbeat pop rock anthem, and it bose an irresistible sing
(57:37):
along chorus that really helped its chart fortunes. Cooper co
wrote this song with Michael Bruce, who was a member
of the original Alice Cooper group. Bruce played the guitar, keyboards,
and contributed vocals as a band member. He also was
the group's chief songwriter and wrote or co wrote many
of their most recognized songs, including Schools Out under My Wheels,
(57:59):
I'm eighteen Ballada, Dwight Fry, Be My Lover, Desperado, Billion
Dollar Babies, and a few others. This is the third
single from Billion Dollar Babies album. It was the sixth
studio album by Alice Cooper, both the name of the
singer and the name of the band at the time.
This is the band's most commercially successful album and a
pretty great album. It topped the charts in both the
(58:21):
United States and the UK, and also made the top
ten in Australia and Canada. Save Save Me.
Speaker 12 (58:47):
Say It.
Speaker 4 (58:51):
That's the way it should be.
Speaker 1 (58:56):
Say save Me.
Speaker 12 (59:02):
Say it Together, Judy. I had a dream. I had
an awesome dream, the ball in the ball.
Speaker 20 (59:21):
Playing games in the doll and what they played was
a Mascewie from behind the wall of down.
Speaker 4 (59:36):
A boss was crying.
Speaker 1 (59:43):
Great song there from Lionel Richie, say you say Mean?
This was used on the two thousand and seven episode
of The Simpsons, He Loves to Fly and He Doze.
Lionel Richie was tasked by director Tyler Hackford to write
the title theme to the nineteen eighty five movie White Knights. Richie, however,
(01:00:04):
couldn't come up with a song of that title, so
instead he wrote say You Say Me. It's a soft
R and B like ballad with an upbeat dance bridge
about the pain of loneliness and the power of friendship.
The film follows a Russian ballet dancer played by Michael
Barishnikoff's ill fated defection from the Soviet Union and his
(01:00:26):
unlikely friendship with the tap dancer who defected from America
played by Gregory Hines. Motown refused to let Atlantic Records
include this on the movie's soundtrack album because they didn't
want Richie's first release since his nineteen eighty three Can't
Slow Me Down to be from a different label. While
(01:00:47):
Richie included the song on his next album, Dancing on
the Ceiling, he was going to call it say You
Say Me, but too much time passed between the single
going number one and nineteen eighty five and the album's
release in nineteen eighty six, so he changed the name
to something Else.
Speaker 2 (01:01:01):
Well.
Speaker 1 (01:01:02):
The single popped again and reached the Hot one hundred
and the R and B charts again, and of course
was played in this episode of The Simpsons, which you
will hear this clip here.
Speaker 5 (01:01:11):
Can you think Say You Say Me?
Speaker 7 (01:01:13):
But make it about beer?
Speaker 9 (01:01:14):
Sure?
Speaker 13 (01:01:15):
I guess Hey, you bear me, bear me for always.
That's the way it should be. Hey, you bear me,
bear us together naturally.
Speaker 4 (01:01:30):
No make every word.
Speaker 1 (01:01:32):
Beer beer beer beer beer beer.
Speaker 4 (01:01:38):
Beer beer beer beer.
Speaker 5 (01:01:40):
Wait, I forgot the words.
Speaker 11 (01:01:41):
Ah.
Speaker 12 (01:02:25):
We started living in an old house.
Speaker 4 (01:02:28):
My money burden.
Speaker 12 (01:02:30):
We would check in it. Now.
Speaker 4 (01:02:31):
It was a baby boy, so we bought.
Speaker 12 (01:02:34):
Him a toy. It was a baby and it was
not in any one. We named him baby. He had
a too.
Speaker 4 (01:02:42):
He started crying. It sounded like an earthquake.
Speaker 12 (01:02:46):
It didn't last.
Speaker 4 (01:02:47):
Long because I stopped. I kind of ragged down and
stuck some middle penac.
Speaker 12 (01:02:54):
Now we're a pea and we're all right.
Speaker 9 (01:02:57):
Now we got money in a middle way.
Speaker 1 (01:03:11):
That was The White Stripes with Hardest Button to button
and the song plays in the Simpsons episode Jazzy and
the Pussycats, which aired in September of two thousand and six.
Jack and Meg from The White Stripes make an appearance.
When Bart plays the song on his own drum kit,
he's transported into a world much like the music video,
(01:03:31):
where he travels along to the beat. It gets ugly
when he and Meg collide on the drum kits. He
apologizes sorry. White stripes, no hard feelings, but they don't
accept they kick. Let's kick his ass, Meg says, before
giving pursuit. The song is about a young boy who
is rejected or ignored by his family because he did
(01:03:51):
something bad to his baby brother. The lyrics can be
seen as a statement on the inequality of attention and
families that have more given to one child then another,
or about the how a child is psychologically semi abused
by his parents. Jack White is quoted as saying about
the song quote, there's a button at the top of
(01:04:12):
my navy pea coat that I always like to wear,
and I always struggle with it. It is the hardest
button to button, and I thought this was a great
metaphor for the odd man out and the family. It
also comes from sayings of my father, like my uncle
Harold had a ten button vest, but he can only
fasten eight, which mens he just didn't finish the job.
Speaker 28 (01:05:11):
Get excited, I get knocked out.
Speaker 5 (01:05:20):
I get knocked down A good Yeah, Now we're gonna
knock meat out.
Speaker 9 (01:05:23):
Whoa party house?
Speaker 4 (01:05:27):
Hey, where's my keg?
Speaker 9 (01:05:30):
Mom's not gonna like that.
Speaker 6 (01:05:32):
Who's mom?
Speaker 16 (01:05:33):
Uh?
Speaker 4 (01:05:33):
That's what we call the gay guy.
Speaker 6 (01:05:35):
Who lives with us. Hey, you doing anything tomorrow night?
Speaker 17 (01:05:38):
Robert Pinsky's reading at Cafe Koska Robert Pinsky, the former
poet Lauria.
Speaker 2 (01:05:44):
It's gonna be great. The three of us can split
a scone non dairy, duh.
Speaker 4 (01:05:49):
I take a whiskey drink. I take your chocolate grap
and when I have to be I use the kitchen take.
Speaker 14 (01:05:54):
I think the song reminds me I'm a urinating guy.
Speaker 20 (01:05:58):
I've seen him or.
Speaker 1 (01:06:02):
Never thought I would play a chumba wumba song on.
Listen to this but here we are. Homer Simpson sings
this tune, but of course alters a few of the lyrics,
like he tends to do in the episode Little Girl
of the Big Ten. In England a tub thumper, which
is the name of this song. As a politician, the
(01:06:22):
equivalent in the US of tub thumping would be going
on the stump or campaigning. To piss has a different
meaning in the UK than in the US. Pissing the
night away would translate to drinking the night away. To
be pissed in England is to be drunk. To be
pissed in the US is to be very angry. This
is the only top forty hit for Chumba Wumba Thank God.
(01:06:45):
But the group is a collective dedicated to the destruction
of the United Kingdom. So I now all of a
sudden support them.
Speaker 25 (01:07:03):
My reflection tell me the stef connect shot to myself
hot your love ut se out the face and.
Speaker 12 (01:07:15):
Your dreams of words to say, oh bro.
Speaker 4 (01:07:23):
Bo and really know no need o brow your PSI f.
Speaker 28 (01:07:33):
Wanna go bar ride.
Speaker 12 (01:07:42):
Shack's an She's already eat out that shack. It's a.
Speaker 25 (01:07:57):
I think this is loveliness, and loveliness cleanliness and clearliness
is galy nous.
Speaker 4 (01:08:02):
And guy is empty, just like.
Speaker 1 (01:08:11):
I love that song from The Smashing Pumpkins that was zero.
The band played a portion of this song when they
made their cameo on The Simpsons, and I'll play that
clip for you in a second. The song relates to
Billy Corgan's condition of apathy. The lyrics intoxicated with the madness,
I'm in love with my sadness demonstrates how he does
(01:08:31):
not have the feelings or emotions that he desires and
is in love with something that he can't have. A
theme of this song is Heaven's unresponsiveness to prayers at
least according to him, it says, save your prayers for
when you're really going to need them. And of course,
if I mention this song and this band on The Simpsons,
(01:08:52):
I have to play this clip, which always, always always
makes me laugh.
Speaker 19 (01:08:56):
Hey, Cannonball, I like your statement when life takes a
cheap shot of you stand your ground.
Speaker 2 (01:09:01):
Billy Corgan smashing pumpkins.
Speaker 5 (01:09:02):
Homie Simpson smiling politely. You know my kids think you're
the greatest, and thanks to your gloomy music, they finally
stop dreaming of a future I can possibly provide.
Speaker 2 (01:09:13):
I love that.
Speaker 1 (01:09:13):
I laugh every time. Billy Corgan smashing pumpkins, Homer Simpsons,
smiling politely. Don't our Simpson's episode has come to an end,
and this is our final song. I was gonna play
you my favorite Simpson's song. My sisters and I actually
sing these lyrics to each other and we can use
them in conversation.
Speaker 2 (01:09:33):
Believe it or not.
Speaker 1 (01:09:35):
The song is called see My Vest. It's a song
that was featured in the episode two dozen and one Greyhounds.
It is performed by mister Burns and describes his plan
to turn the puppies that he stole as a Greyhound tuxedo.
It also notes what he does with the rest of
the animals that he steals, turning them into a variety
(01:09:56):
of clothes. The music was written by Alf Clausen and
the lyrics by Mike Scully. The song is a parody
of be our Guest from Disney's Beauty and the Beast.
See my vest, see my vest made from real gorilla chest.
Speaker 2 (01:10:09):
Feel the sweater. There's no better than authentic Irish setter.
I just love it.
Speaker 9 (01:10:14):
So.
Speaker 1 (01:10:15):
I know this is an unusual song to end our
episode with, but damn it, I still say turn it up. Anyways,
Thank you for listening to this episode on The Simpsons,
and join us next week for our season finale.
Speaker 2 (01:10:28):
See you next week. Are you sure you want to
go through with this?
Speaker 11 (01:10:31):
Sorry?
Speaker 2 (01:10:31):
You do have a very full wardrobe as it is, Yes,
but not completely fool? Who you see? Some men hunt
for sport, others hunt for food.
Speaker 28 (01:10:45):
Thely thing nine hunting fool.
Speaker 27 (01:10:51):
Isn't outfit yet looks good. My vest, see my vest
need from real gorilla chest.
Speaker 2 (01:11:06):
Fuly sweated.
Speaker 27 (01:11:07):
There's no better than authentic Irish setter.
Speaker 12 (01:11:10):
See this hat?
Speaker 4 (01:11:11):
Itard was my cat my evening wear vampa.
Speaker 27 (01:11:13):
But these white slippers are albino African endangered rhino, pristly
bear underwear.
Speaker 4 (01:11:20):
Turtles necks.
Speaker 27 (01:11:21):
I've got my shift, breath of poodle on my noodle
lichell rest.
Speaker 4 (01:11:26):
Try my red rubin suit. It comes one bristol to see.
Speaker 12 (01:11:30):
My vest, See my vest, see my vest.
Speaker 27 (01:11:37):
Like my loafers former golfers.
Speaker 4 (01:11:43):
It was that skin my saulfers. But a greyhamper tuxedo
would be best. So let's prepare these dogs.
Speaker 25 (01:11:50):
You go for imagine, come see my vest, see my
vest gold?
Speaker 4 (01:11:56):
Please won't you.
Speaker 12 (01:11:57):
See my.
Speaker 4 (01:12:03):
I really like the best, and.
Speaker 11 (01:12:04):
I got it.
Speaker 16 (01:12:05):
Yeah, he's gonna make a tuxedo out of our puppies.
Speaker 12 (01:12:08):
No na, na, nonna, no no no Ahi.
Speaker 9 (01:12:12):
Sorry, you gotta admit it's catchy.
Speaker 12 (01:12:15):
Thank you for listening.
Speaker 3 (01:12:16):
To listen to this, please recommend to a friend, and
don't forget to rate, review, and subscribe. For more podcasts
and online content, please visit this isfunner dot com.
Speaker 17 (01:12:27):
This is Funner
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