September 4, 2024 • 72 mins
Eric is back for the 13th season of Listen To This and he has a great season all lined up for you and to kick it off Eric starts with just words. Lots of song start without music and just words and this epidose will highlight these things perfectly.
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Episode Transcript
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Speaker 1 (00:00):
Welcome to Season thirteen of Listen to This. This is
the podcast that is bringing you stories behind the artists,
behind the songs, and hopefully we are introducing you to
old songs that have influenced all the music that you
hear today. The goal is I want you to hear
an artist that you might not normally listen to in
search out their music on whatever streaming service you subscribe
to in maybe even just go get it on vinyl
(00:23):
or cassette or CD, anything that's physical media. We invite
you to subscribe, comment, and please recommend this podcast to
a friend. It's very important. Every episode has a theme,
and to start off season thirteen, our first theme is
songs that start with vocals.
Speaker 2 (00:40):
Never in the history of the United States a monster
of such size and power.
Speaker 3 (00:45):
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 1 (00:53):
Here's your hosts, Eric Leckey. Every episode of Listen to This,
your favorite music podcast, starts with my vocals and the
songs that I will play for you today will be
just like this podcast, except they are super successful and
make money off of their voice, and I make approximately
fourteen dollars and eighty five cents per episode. But if
(01:16):
the irs is listening, I have never ever ever received
any money for this podcast, and if I did, I
would totally report it to you. Anyhow, aside from some
maybe light strings as ambiance or maybe a background hum
of a guitar about to start, these songs essentially start
with vocals, whether on their own, for many many seconds
before the music kicks in, or maybe even just that
(01:38):
half a second before the music kicks in. That will
be the theme of the day to get us started
on season thirteen, So glad you made it, So let's
get it started with the boys from Beastie. She'll wake
(02:12):
up inter.
Speaker 4 (02:12):
School man, you don't want to go.
Speaker 5 (02:19):
There?
Speaker 6 (02:19):
Can mom believe? But you still say no?
Speaker 7 (02:26):
You best do classes that no homework.
Speaker 4 (02:33):
I take your British class like it's.
Speaker 6 (02:35):
Some kind of turn.
Speaker 5 (02:39):
You gotta fight for.
Speaker 4 (02:42):
You're right, toy.
Speaker 6 (02:51):
If mom's go, you're smoking man. He says, no way.
Speaker 8 (02:58):
That you look goods two pass a day such.
Speaker 5 (03:19):
You gotta fight by you all right.
Speaker 1 (03:27):
In the liner notes to the Beastie Boys Anthology, Adam
Mca explains that the song began as a goof of
dumb rock songs. They cut the vocals purely as a
joke and then went on tour well. Producer Rick Rubin
added the loud drums and guitar track and continued with
the joke. The BCS even made a video where they
(03:49):
played along with the drunken party boy image of the
song had created. Soon though, the Beasties were superstars thanks
to their new fan base of frat boys that they
actually set out to parody. According to MCA, they played
this in their new roles until they realized that they
had become their own joke. That was, of course, you
gotta fight for your right to party. Beastie Boy producer
(04:13):
Rick Rubin had to do a lot with this song
and its overall construction. He injected a rock sound into it.
Rubin was the first one to really mash up a
major rap act with a rock superstar when he teamed
run DMC with Aerosmith for the updated version of Walk
This Way earlier in nineteen eighty six. Rubin is credited
(04:34):
as a co writer on Fight for Your Right along
with the three Beastie Boys. Considering the group disowned its song,
it's not surprising that it wasn't taken seriously in the
rap community. Any outrage over appropriation was tempered by the
fact that the Beasties were signed to def Jam Records,
the label co owned by Rick Rubin and Russell Simmons
(04:54):
that was also home to ll COOLJ in a number
of up and coming rap acts. When the Beast Boys
we sued the label over unpaid royalties, Simmons took credit
for their success in the black community. Quote, they had talent,
but they came across as the worst sort of blackface band.
He told Spin magazine in nineteen eighty nine, quote, it
was like they were making fun of black people. A
(05:15):
lot of people thought they were racists, that they were
putting down black culture. I taught them how to walk
and how to talk. I'm the one that convinced the
black community they were for real. Well, that didn't sit
well with them in the group left def Jam and
signed with Capitol Records in nineteen eighty nine. Without Simmons
or Rick Rubin behind them, They're good standing in the
hip hop community was uncertain, but their first album from
(05:36):
Capitol Records was called Paul's Boutique, and it set them
on a course to the rock and Roll Hall of Fame,
where they eventually wound up. The album didn't sell nearly
as well as the other album, Licensed to Ill, but
it got them away from the gimmicky fight for your
right to party and established them as true hip hop
trend setters.
Speaker 9 (05:53):
A man's been.
Speaker 2 (05:54):
Gone four nine on a year.
Speaker 1 (05:59):
US you home yesterday, but he ain't here. Her man's
been gone for nigh on a year.
Speaker 2 (06:09):
He was jew home yesterday, but he ain't here.
Speaker 6 (06:21):
Now down your studio.
Speaker 1 (06:30):
Crime is a well known sound.
Speaker 10 (06:36):
Your suit is very well known around your.
Speaker 5 (06:40):
Town, your town.
Speaker 10 (06:45):
It's very ramous of the little girl's cry hap be
heard all around the world.
Speaker 6 (07:34):
We have a lberty appreciate. Don't need to be so sad?
He's on delay? Where are you passard things?
Speaker 5 (07:44):
A pass of time? Well?
Speaker 2 (07:46):
Baby ers ways, baby from bass?
Speaker 1 (07:53):
That was the band that who with a quick one
while he's away? So who had ten minutes left to
fill on that LP kit? Lambert, whose manager suggested to
Pete Townsend that he writes something linear, perhaps a ten
minute long song. Well Towns had responded by saying that
rock songs are two minutes and fifty seconds by tradition.
He shouted Lambert then told Townsend that he should write
(08:16):
a ten minute story combined of two minute and fifty
second songs and just make it ten minutes. The song
was a mini opera, paving the way for the other
mini opera, Ryell, and eventually full length rock operas Tommy
and Quadrafinia. This was really their first attempt at it.
The plot of the story is strange and I guess uncomfortable.
(08:37):
A girl is sad that her boyfriend is away. Her
friends suggests she take a substitute lover, so to speak,
Ivore the engine driver. When the boyfriend returns, she confesses
her infidelity and is forgiven. Who performed this on the
Rolling Stones Rock and Roll Circus, which was going to
be a TV special. It never aired on television, but
(08:58):
it was released on VHS and nineteen ninety six and
on DVD in two thousand and four. The Who's performance
of this was included in The Kids Are Alright nineteen
seventy nine film about the Who. According to the legend,
rock and Roll Circus didn't air because the Rolling Stones
felt that they were really showed up by the Who.
Jethro told taj Mahal merry and faithful John Lennon, Eric Clapton,
(09:20):
Mitch Mitchell also appeared on The Rock and Roll Circus
When You're Talking.
Speaker 4 (09:24):
To yoursel.
Speaker 11 (09:28):
No kind of boy as hell.
Speaker 12 (09:41):
No.
Speaker 13 (10:09):
Nobody ever told the babe and how it was gone.
Speaker 6 (10:20):
One of you, babe, And it happen the way it happened.
Speaker 1 (10:54):
That song was a strange and it was by Guns
n' Roses. And this is one of guns and longest
running songs, as well as one of the longest and
most expensive videos ever made. The video is the third
and final part of the unofficial trilogy of videos known
as Don't Cry, November Rain, and then Estranged. Though Axel
(11:16):
Rose has only the writing credit for this song and
the album CD booklet, he offered this telling dedication quote
Slash thanks for the killer guitar melodies. The music video
was part of a trilogy, along with ones for November
Rain and Don't Cry, and they were inspired by the
short story Without You. This is the best known of
the collection of horror tales the Language of Fear, which
(11:36):
was penned by author and friend of the band Del James.
And if you watch the video, the beautiful big house
that's used in the video is actually Axel Rose's house
in Malibu, California. He's lived there since nineteen ninety one.
Speaker 6 (11:51):
Carry onway what.
Speaker 2 (11:55):
They belaying you are done?
Speaker 4 (12:00):
Only we had to raist.
Speaker 1 (12:03):
Don't you cry no more?
Speaker 14 (12:32):
Once I rose above the noise and confusion, just to
get against behind this illusion, I was sorry. Never higher father,
my igne, I still doesn't find man. No, my my
(12:53):
configure still was a man. Man my few voices when
a free made.
Speaker 1 (13:19):
That was carry On Wayward Son by the band Kansas.
It was written by Kansas guitarist Carrie Livgren. According to Livgren,
the song was not written to express anything specifically religious,
though it certainly expresses a spiritual searching and other ideas.
Livgren became an evangelical Christian in nineteen eighty and has
said that his songwriting to that point was all about
(13:42):
searching well. Regarding the song, he explained, quote, I felt
a profound urge to carry on and continue the search.
I saw myself as the wayward Sun, it alienated from
the ultimate reality, and yet striving to know it or
know him. The positive note at the end, surely Heaven
waits for you You seemed strange and premature, but felt
(14:02):
that it implied it was included in the lyrics to
be somewhat prophetic for him. This is the group's first
major hit, and like their next one, Dust in the Wind,
it was a last minute addition to the album. Carrie
Livgren wrote this song just two days before they started
recording Left Overture, the album that they were working on.
At that point, the band was just polishing the songs
(14:23):
they had, not bringing in any new songs. Quote. I've
got one more song that you might want to hear,
he told the band, and he played carry on. They
knew it was a hit and made it actually the
lead track of the album and recorded it right there
on the spot. The a cappella vocals at the beginning
of the song gave it a very distinctive intro. This
worked well on rock radio stations, where dis jockey's rarely
(14:44):
talked over the music.
Speaker 15 (14:46):
I never seemed to finish ama food. I always get
a doggy bag from the weight, So I just keep
what still.
Speaker 4 (14:59):
On you.
Speaker 1 (15:02):
And I take it home, save it for lad.
Speaker 13 (15:08):
But then I deal with fungal rid back, curial formation,
my gross enzymes, moredluxidation.
Speaker 16 (15:15):
I don't care.
Speaker 1 (15:17):
I've got a secret.
Speaker 13 (15:18):
Drick got my seat. I never bottle with Baggy's glass,
Josh tupperwor containers, plastics, clean wrap, really and a brainer.
Speaker 15 (15:26):
I just like to keep all my flavor sealed in tight.
Speaker 1 (15:30):
With aluminum foil.
Speaker 8 (15:34):
Never settle for less.
Speaker 15 (15:36):
That kind of wrap is just the best to keep
your sandwich nice and fresh, to.
Speaker 1 (15:42):
Get it in your cool You know, when you're ready,
let me be olt you.
Speaker 15 (15:52):
A refreshing herbal team love me.
Speaker 1 (15:58):
Oh, by the way, Yeah, crack the cold.
Speaker 13 (16:04):
A saget out the shadow cannovations and the illuminating.
Speaker 15 (16:15):
That they finally prime for world domination. And so you've
got black and copters come across the border, pompitmasters for
the new world Order.
Speaker 1 (16:27):
Be aware.
Speaker 13 (16:30):
There's always someone nestching you and still the government wondadmin thing.
Speaker 1 (16:34):
That was foil by the greatest artists in human history,
weird al Yankovic. It was a twisted take on Lord's Royals.
It's an ode to aluminum foil and all its convenient uses,
from keeping leftovers fresh to keeping us safe from shadowy
governments bent on world domination. Comedian Patton Oswald appears in
the video as a frustrated informercial director, along with actors
(16:56):
Tom Lennon and Ben Garant.
Speaker 12 (17:00):
B She's mother, She's ma where she is the little
(17:24):
girl and the real Blue g She's the queen of
all the team. She's the bore bad.
Speaker 1 (17:35):
Because she is the born man.
Speaker 4 (17:38):
Saying She's mom.
Speaker 1 (17:48):
She That was b Bapa Lua by Gene Vincent and
(18:17):
his Blue Caps. And this is one of those songs
has a great story behind it that is probably not true.
No way to really tell for sure, but the story is.
Vincent and his record company circulated the story that he
wrote the song during a six month stay in Portsmouth
Naval Hospitable, where he was recovering from a motorcycle accident.
He played his guitar and came up with a tune
(18:38):
inspired by the newspaper cartoon strip called Little Lulu. The
story is disputed by Dicky Herrel, who is the drummer
with the Blue Caps. Harold said, actually the song was
written for a guy from Portsmouth named Donald Graves. According
to Harold, Vincent and his first manager, Bill Sheriff, TeX's
Davis Great Name bought the song from Graves for twenty
(18:58):
five bucks. That Harold, well, it happened a lot in
those days. Guys would sure take the money. Another story
has Vincent and Gray's writing a song together, with Gray's
writing interest being bought out for the said twenty five dollars. Anyways,
it was recorded in Nashville on May fourth, nineteen fifty six,
and it was released as the B side to Vincent's
first single, the provocative number called Woman Love. Radio stations
(19:22):
in the United States wanted nothing to do with the
song Woman Love, and the BBC actually wound up banning it,
so Capitol Records had to flip over the sides and
put b Boppolua on as the new A side. For
some reason, the scandalous Woman Love was deemed inoffensive when
relegated to a B side. For some reason, Vincent was
signed by Capitol Records, who were desperately searching for someone
(19:46):
like Elvis Presley. Vincent, who was born thirty four days
after Elvis, had the rebel image and the swagger that
they were looking for, and their investment paid off when Beboppolua,
which was his debut single, sewed over two hundred thousand
copies in the first month it was released, and the
song helped Vincent gain a large cult following, but his
(20:06):
rebel emms, though was justified he became dependent on painkillers,
speed and alcohol. Vincent, who had just three more Top
forty hits, was injured in the car crash that killed
his good friend and fellow rocker Eddie Cochran in nineteen sixty.
Songwriter Sharon at Sheeley She's the one who wrote the
song Poor Little Fool for Ricky Nelson, was also in
(20:26):
the crash, but she survived well. Geene Vincent actually eventually
died of an ulcer in nineteen seventy one at age
thirty six.
Speaker 4 (20:35):
I'll see food bye.
Speaker 17 (20:39):
No one ever kify surely the die time and time again.
Speaker 12 (20:48):
The chest fall of love has passed.
Speaker 17 (20:50):
Me behind, and aline of love is hard live with
ba I just can't see it's a fan, So.
Speaker 4 (21:02):
Then my mind by must live my life alone.
Speaker 17 (21:08):
And though it's love, be easy, way guess savoys noon,
I's say goodbye.
Speaker 1 (21:17):
That was the song Goodbye to Love by the Carpenters.
In the nineteen forty movie Rhythm on the River, Bing
Crosby played a songwriter trying to come up with a
song called Goodbye to Love. Although the song's title was
mentioned several times in the movie, no such song ever
existed well Richard Carpenter happened to see this movie on
(21:38):
late night television and decided that it was a great
title and he would be the one that would write
this song for his sister Karen to sing. The fuzzy
guitar solo was played by Tony Paluso. It was his
first contribution to a Carpenter's record, and he subsequently just
joined the duo's recording and touring as the lead guitarist.
Paluso also provided the voice of the DJ on the
(22:01):
Carpenter's hit version of Calling Occupants. Tony Paluso was a
very talented guy, Richard Carpenter said in an interview in
twenty twenty two. Pretty recently, he played with Mark Lindsay
when he opened up for some shows for us, and
I saw him do a couple of solos. So when
I wrote the song and pictured the arrangement, I imagined
it with the oxymorn of a melodic, fuzzy guitar solo
(22:21):
and asked Tony. It was actually Karen Carpenter who called
Peluso in the first place. She told him she and
Richard were working on a song called Goodbye to Love
and wanted him to play on it. He showed up
and said, I don't read music, Richard Carpenter said in
the interview, So I sang and played the melody for
him and said, when you get to hear, just take
it away and do a solo, and he did. Ninety
(22:42):
nine percent of that solo was done in the first take.
Following the death of Karen Carpenter nineteen eighty three, Polluso
moved on to record producing, working with recording artists like
Smokey Robinson and The Temptations, Michael Jackson and even Boys
to men.
Speaker 18 (22:56):
Oo Dio, There's a base songa the same Heaven, the confirst.
Speaker 6 (23:07):
Will make cabin they saw bo.
Speaker 4 (23:13):
There's a base.
Speaker 19 (23:32):
Then the night fall down, I whipple you as you
cool around, and the lie with the elder streets on
the street inside.
Speaker 5 (23:49):
When you walk into.
Speaker 6 (23:51):
The wood you will be class.
Speaker 20 (23:54):
Now start to.
Speaker 1 (23:56):
Then the Fan with the Stars. A great song to
(24:29):
sing along to. Ooh, Heaven is a Place on Earth
by Belinda car Lyle. It's a pretty effervescent song. It's
about finding them well, heaven on Earth, but in the
form of true love. It was written by the San
Francisco songwriter Ellen Shipley and Rick Knowles, who by the way,
they wrote Stevie Nix's I can't wait, but I guess
I can forgive them for their sins. The initial idea
(24:52):
came to Shipley at a Brooklyn gas station where he
spotted a greeting card that said heaven on Earth. When
she and Knowles started working on a song for Blinda Carlile,
Shipley wrote that phrase on the blackboard as an idea.
Noles wrote the words, is U to make it? Heaven
is a place on Earth. The big backing vocals on
the chorus were sung by Michelle Phillips of The Mamas
(25:16):
and Papas. This is the first single from Carlile's second
solo album. After her group The Go Gos, a great Band,
split in nineteen eighty five, she remained signed to their
label IRS and issued her self titled debut a year
later in nineteen eighty six. The Go Gos had some
squabbles that led to their breakup, but Carlile remained close
(25:37):
to her bandmate Charlotte Caffey, who worked on the first
two solo albums as a songwriter and a guitarist. The
Gogos other guitarist, Jane Wielden, had modest success early on
with her solo career, but Carlile had this instant hit
with her first single, mad About You, and became a superstar.
When Heaven Is a Place on Earth became a pretty
(25:57):
global smash, topping the chart inveral countries, including the UK,
US and even in Mary Old Ireland. It was Carlyle's
own UK or US chart topper, without the Go Goes
backing her. This opens with the chorus which sets up
the song, and Ellen Shipley, the songwriter, explained, quote, the
chorus is what came first when we had the title
(26:19):
Heaven is a place on Earth. We went into a
studio and we started jamming on chords and singing against
it in our process, and we got the chorus and
everything was built around that. So it was like a
story of why you think Heaven is a place on
earth because love comes first. In the lyrics, baby do
you know what that's worth? Heaven is a place on Earth?
They say in Heaven love comes first, but will make
(26:40):
Heaven a place on Earth. So the whole idea is
that love should come first. Another little interesting tidbit, The
video was directed by American actress Diane Keatonly.
Speaker 9 (27:01):
People, Helena Rigby picks up the rice in the church where.
Speaker 20 (27:09):
A wedding has been.
Speaker 1 (27:12):
It's in a dream.
Speaker 9 (27:14):
Waits at the window, wearing the face.
Speaker 15 (27:17):
That she keeps in her job by the door.
Speaker 4 (27:21):
Who is it for? All the lonely people? Where do
they all come from? All the lonely people? Where do
they all be? Love?
Speaker 16 (27:36):
Father Mackenzie writing the words of a sermon that no
one will hear, no one comes near. Look at him
working dunning his socks in the night when there's nobody there.
What does he care?
Speaker 4 (27:54):
All the lonely people?
Speaker 1 (27:57):
Where do they all come from? Paul McCartney wrote most
of this song. He got the name Eleanor from the
actress Eleanor Braun, who appeared in the nineteen sixty five
(28:19):
Beatles film Help. The term Rigby came to him when
he was in Bristol, England and spotted a store Rigby
and Evans Limited Wine and Spirit Shippers. So he just
liked the name Eleanor Rigby because it sounded natural and
matched the rhythm that he wrote. McCartney explained at the
time that his songs came mostly from his imagination. Regarding
(28:41):
this song, he said, quote, it just came when I
started doing the melody, I developed the lyric. It all
came from the first line. I wonder if the girls
are called eleanor Rigby nowadays, did anyone ever name their
child that. McCartney wasn't sure that the song was going
the way he wanted it to go until about the
time he came up with the lime picks up the
(29:01):
rice in a church where a wedding has been. That's
when it came up with the story of this lonely woman,
he said the lyrics, wearing the face that she keeps
in a jar by the door, as a reference to
the cold cream that she wears in an effort to
look younger. The song tells a story of two lonely people. First,
we meet a church going woman named eleanor Rigby, who
(29:22):
is seen cleaning up rice after a wedding. The second
verse introduces the pastor, Father Mackenzie, whose sermons no one
will hear. This could indicate that nobody is coming into
his church or that his sermons aren't getting through to
the congregation on a spiritual level. In the third verse,
Eleanor dies in the church and Father Mackenzie buries her.
(29:43):
Father Mackenzie was originally father McCartney. Paul decided, though he
didn't want to freak his dad out and pick a
name out of a phone book instead to use in
the song. After eleanor Rigby is buried, we learned that
no one was saved, indicating that her soul did not
to heaven as promised by the church. This could be
seen as a swipe at Christianity, I guess, and the
(30:06):
concept of being saved by Jesus. The song was released
in August of nineteen sixty six, just weeks after the
furor over John Lennon's remarks that Christianity will go, it
will vanish and shrink. I needn't argue about that. I'm right,
and I will be proved right. We are more popular
than Jesus now that famous quote from Lenin. For the
most part, the song eluded controversy, possibly because the lilting
(30:29):
string section made it a little easier to handle. A
string section was scored by Beatles producer George Martin, consisting
of four violins, two violas, and two cellos. They were
used during the recording. Paul may have been inspired by
the classic composer Vivaldi because the sound is very similar.
The Beatles didn't play any of the instruments on this track.
(30:49):
All the music came from string players who were hired
session musicians.
Speaker 7 (31:20):
You fight from God, the journey downs, you tied them
knots and the major friends.
Speaker 1 (31:27):
You left the scene with dollar trees.
Speaker 6 (31:31):
One hand on the ground, one hand hands your past, mercy,
you try to rest.
Speaker 5 (31:46):
You gave your body, You.
Speaker 15 (31:48):
Gave your best, starting the green bars, living in the sky.
Speaker 6 (31:54):
You don't want to know, You just walks.
Speaker 1 (32:34):
That was The Cars with Hello Again. Although it's a
light synthesizer driven pop track, the lyrics to the song
are quite profound, examining a person who never seems happy
despite his efforts to find something better, he always returns
to where he came from. Cars front man Ric Ocasek
wrote this song, the fourth hit from the Car's Heartbeat
(32:56):
City album. Hello Again came with a video directed by
Don Monroe Andy Warhol, who also appeared in the clip
as a bartender. It was some of Warhol's last work
because he died in nineteen eighty seven. The video starts
with a fake TV show called rock Talk, where a
host is discussing gratuitous sex and violence that has become
(33:17):
in music videos with a group of kids. As they
get into the discussion, a car crashes through the set
and the song starts Well comes next as a strangely
PG send up of videos with sexual imagery with an
appearances by Gina Gershaan Warhol did make an uncensored vision
of the video, but MTV actually just played the clean one.
Speaker 5 (33:36):
O ooh, some terms.
Speaker 4 (33:43):
Gets SOMs get so.
Speaker 6 (33:52):
Just.
Speaker 5 (33:56):
I can never no, do.
Speaker 4 (34:01):
I think it's you?
Speaker 6 (34:10):
What I think that's on?
Speaker 4 (34:11):
I will shoot down.
Speaker 6 (34:15):
For the long. I can't put you first. I've stopped up.
Think I'm gon t down.
Speaker 4 (34:35):
It would be.
Speaker 5 (34:41):
I've sudden messed upper.
Speaker 6 (34:46):
Man in the stream. I'm on honest on a chip.
Speaker 1 (35:01):
That was led Zeppelin Live from nineteen seventy with I
Can't Quit You Baby. Many musician types consider this one
of led Zeppelin's technically strongest performances, but Jimmy Page admits
that it's far from perfect. He told Guitar Player magazine
in nineteen seventy seven, there are mistakes in it, but
(35:22):
it doesn't make any difference. I always try to leave
the mistakes in. I can't help it. The timing bits
on the A and B parts are right, though it
might sound wrong. The timing just sounds off altogether. There
are may be even some wrong notes in there, but
you gotta be reasonably honest about it. This is based
on a blues song by Willie Dixon that he wrote
for the artist Otis Rush, a great artist, who recorded
(35:44):
it in nineteen fifty six. Many of led Zeppelin songs
where Let's Just to be kind say influenced by old
blues or folk songs. Some guitar parts are very similar
to the guitar solo in Heartbreaker as well. Rolling Stones
recorded this for their twenty sixteen blues covers album Blue
and Lonesome. Their version features Eric Clapton on the guitar solo.
Speaker 21 (36:08):
In every dream Home my heartache and every step I
take takes me further from Heaven?
Speaker 11 (36:25):
Is there I have?
Speaker 1 (36:29):
I'd like to think so.
Speaker 21 (36:36):
Standards of living.
Speaker 22 (36:41):
Their rising daily, But oh, most sweet home, It's only
a essay, ye from bell push to four sets.
Speaker 23 (36:59):
In smart Tongue part Man, the cartage just pretty, the
main house, subpalace, tant house perfection.
Speaker 19 (37:16):
But what goes on?
Speaker 11 (37:19):
What to do there?
Speaker 12 (37:21):
That?
Speaker 20 (37:22):
To pray there?
Speaker 1 (37:26):
That was the song in Every dream Home is a
Heartache by Roxy Music In this song, Roxy Music front
man Brian Ferry sings to his plastic fantastic lover and
inflatable doll with it will float nicely in his new pool,
part of his stately home that he just acquired. Typical
of fairy songwriting, it has a cinematic feel, with a
lyric that lays out series of imageries to kind of
(37:48):
form a strange story, and there is no chorus. In
this song. First we hear about the home with fairy
using real estate jargon like a Bungalow ranch style, and
then we hear about the doll, his disposable darling that
will be his companion. But in this dream home there
is also heartache. We are not sure why, and we
(38:09):
know better than to ask this guy any questions. According
to Ferry, this song was inspired by the British artist
Richard Hamilton's collage called just what it Is that makes
Today's Home So Different and So Appealing? Created in nineteen
fifty six, The magazine montage is considered by art historians
to be one of the earliest works of pop art.
(38:30):
Hamilton later taught fairy fine art at Newcastle University in
the nineteen sixties with Hamilton going so far as to
call Fairy one of his greatest creations. The first three
minutes of this song find Fairy telling his story over
a musical texture created with a VCS three synthesizer, faresa oregon,
and a little touch of saxophone. After the line but
(38:53):
you blew My Mind, the song becomes more of a
rave up, with drums, bass, and guitar entering the picture
and a whirl of phase shifted glory. The music slowly
fades out at the four minute mark and then returns
after a long bout of silence. It's one of the
lengthiest false endings in rock. This song concludes side one
(39:13):
of Roxy Music's sophomore album, For Your Pleasure, and twenty
twenty Rolling Stone ranked this album as number three hundred
and fifty one of their five hundred Greatest albums of
all Time, stating quote, this album's deeply weird centerpiece is
in every dream Home is a Heartache, and Fairy sings
a seductive ballad to an inflatable doll. I Blew up
(39:35):
your Body, but You Blew My Mind and one of
the creepiest love songs of all time.
Speaker 10 (39:51):
Monday Monday, So Good to Me.
Speaker 1 (40:00):
Monday morning.
Speaker 4 (40:02):
It was all I hope it would be.
Speaker 9 (40:08):
On monly morning, Monday morning.
Speaker 16 (40:13):
Couldn't guarantee.
Speaker 2 (40:17):
Then, Mon name man will still be here with me.
Speaker 4 (40:26):
Mon Name birthday.
Speaker 9 (40:30):
I can't trust that day, mon Name Monday. Sometimes it
just carries out that way.
Speaker 6 (40:43):
Oh Moly morning, you gave me no more?
Speaker 16 (40:48):
Oh what was to be?
Speaker 4 (40:52):
Oh my name Monday?
Speaker 5 (40:54):
How could you lead and not take me.
Speaker 2 (41:02):
Very the day? Every other day? The day.
Speaker 1 (41:17):
Time Monday. While awaiting the release of their big hit
song California Dream and band member of The Mamas and
Papa's Denny Daughtree was prodding songwriter John Phillips to come
up with some new material. Phillips said that he would
come back in the morning with quote a song with
(41:37):
universal appeal. Pretty egotistical of him to think that, but
so so it goes. He ignored the sarcastic comments from
the group members. Phillips came up with Monday Monday, about
that lousy feeling that comes at the end of the
weekend and the beginning of another work week. This is
the first Hot one hundred chart topper with a day
in the week in the title, and the only one
(41:58):
with Monday. Manic Monday by the Bengals and Rainy Days
and Mondays by the Carpenters only topped out at number two.
That took a little bit of research for me to find.
Danny Dordry, who sang lead on this song for the
Mama Z and Papas, thought very little of Monday Monday
when they recorded it. Quote, nobody likes Mondays, so I
thought I was just singing a song about the working man.
He said, nothing about it really stood out to me.
(42:21):
It was a dumb effing song about a stupid day
of the week. As you can imagine, he was taken
by surprise when the song became a pretty big, huge hit.
Doudre wasn't alone in this thought. Mama Cass and Michelle
Phillips didn't even like this song, and John Phillips claimed
he had no idea what the song even meant, even
though he wrote it. Monday Monday was the group's third single.
(42:41):
Go Where You Want To Go was issued first and
went nowhere really, but their next release was California Dreaming,
which was just a phenomenon. When the song was having
its run, radio stations started playing Monday Monday off the album,
and so by the time it was released as a single.
It was already widely anticipated and quickly rose to number one.
Speaker 16 (43:00):
He's a real no woman sitting in his now land
making all is nowheremans for nobody.
Speaker 15 (43:15):
He doesn't have a point of view, knows not where
he's going to.
Speaker 4 (43:24):
Isn't bit like you and me? No woman, Pase.
Speaker 16 (43:33):
Listen, you don't know Jones, Listen, no whelman the world.
Speaker 6 (43:43):
Is that your command?
Speaker 1 (44:03):
Apologies for playing you another Beatles song, but I just
thought this one fit too perfectly to not use it.
That was Nowhere Man by the Beatles. John Lennon came
up with this after struggling to write a song for
the album. Said Lennon, I thought of myself sitting there
doing nothing and getting nowhere, and that's when the song
came to me. This was used in the animated Beatles
movie Yellow Submarine. They sing it to Jeremy Hillary Boob PhD,
(44:27):
who describes himself as an eminent physicist, poly got classicist,
prize winning botanist, and hard biting satirist, talented pianist and
a good dentist too. The Beatles decide to take him somewhere,
and he eventually helps them defeat the Blue meanies. And
if none of that made sense, you weren't doing acid
in the sixties. I can tell. This starts with the
(44:49):
three part harmony sung by Lennon, Harrison and McCartney. Of course,
Ringo was left out because he couldn't really sing. This
is probably the first Beatles song that has nothing to
do with love. Typical of many John Lennon compositions are
the falling melodies, which can be heard in nowhere ma'am.
Folk music often has falling melodies, indicating melancholy and baroque music.
(45:11):
If falling melody means sadness. There's a very audible feedback
thirty eight seconds into the song after the word missing,
and that's never been quite explained if that was a
mistake or there on purpose. In two thousand and three,
John Lennon's original handwritten lyrics to the song were auctioned
at Christie's of New York for four hundred and fifty
five thousand dollars.
Speaker 10 (45:31):
You should have been.
Speaker 2 (45:32):
Done, no.
Speaker 7 (45:37):
Magippie lets should have been done.
Speaker 5 (45:42):
Half the all we see.
Speaker 7 (45:48):
What must have been a dreams of song.
Speaker 5 (45:58):
Who say.
Speaker 6 (46:06):
Whoa whoa? Oh say.
Speaker 2 (46:15):
No want to let down?
Speaker 12 (46:23):
You go.
Speaker 2 (46:29):
Give me better?
Speaker 5 (46:30):
On the line.
Speaker 7 (46:33):
I'm not William b being be bad, it's bad.
Speaker 16 (46:52):
Say.
Speaker 1 (46:54):
This was the first single from Journey lead singer Steve
Perry's first solo album. The song is about his real
life girlfriend at the time, Sherry Swafford, who also appeared
in the video. Of course, the song is called Oh Sherry.
Perry co wrote this with Nashville songwriter Randy Goodrum, pretty
legendary songwriter, and he told the story quote, I'd gotten
(47:14):
to know him and Sherry, not really well, but I
had a general idea of what they were like as people.
I sensed a certain amount of drama in their relationship.
To put it mildly, I like to find a premise
and go with that rather than a hook. And as
long as I know what the point of the song is,
or the mission of the song is, then the lyrics
just usually fall into place for me. So I focused
it on that. It was me saying here's a relationship
(47:37):
and the way I perceive it between two people. When
this song took off, some fans wondered if he would
even return to Journey, or if the band would simply
break up. Perry wasn't the first to explore a side
project guitarist Neil Shan released albums with John Hammer or
Jon Hammer, depending on what country you're from and what
you're pronouncing it like in nineteen eighty one and eighty two,
and drummer Steve Smith made a jazz album in nineteen
(47:59):
eighty one. Perry wasn't even the group's first front man.
He joined three albums in In their original form, Journey
was more of a jazzy progressive rock outfit, featuring virtuoso
talents of their seasoned pros, including Santana veterans Sean and
Greg Rawley. Perry felt like he constantly had to prove
himself within the group, but he was pretty committed. He
(48:21):
made this clear and an extra segment for the video
on the last Street Talk single Foolish Heart, where he
shares some laughs with his Journey bandmates and says let's
go cut a track. The group released this album, Raised
on Radio in nineteen eighty six, but that tour was
their last with Perry. They fractured after that. When they
reformed for the nineteen ninety six album Trial by Fire,
(48:44):
Perry couldn't go on the road due to a bad
hip condition. He was replaced by a sound alike named
Steve Agari. He never returned to the band. Perry released
a second studio album nineteen ninety four, but didn't make
another until twenty eighteen, when he returned with the album Traces.
It's fin One week you looked.
Speaker 6 (49:02):
At me, got get into the side and said I'm angry.
Speaker 19 (49:05):
Five days to laugh to me.
Speaker 6 (49:06):
It's saying get back together, come back and see me.
Three days a living room, I really remember saw my father.
Speaker 5 (49:12):
Couldn't tell you yesterday.
Speaker 2 (49:14):
You've forgiven me, but I'll still eat to day till last.
Speaker 6 (49:16):
Sam'm sorry cold and I want want to look wink.
Speaker 1 (49:19):
I mean you stop thinking.
Speaker 6 (49:20):
You'll think you're looking that achoman.
Speaker 1 (49:22):
I summon fish to the dish all though.
Speaker 14 (49:23):
Well like a shallow she said, like the sushi cuz
it's never touch to Brian Man a lot like with
Sabie Win of us rhymes speak like leam rhymes because
I'm all about value.
Speaker 1 (49:30):
Bertie Campers come to man gates. If you try to
match which if you try to hold me bout a
bus through, You're gonna make a break and take a
pick up like a sinking naked check out like Aanilla.
It's the finest of the flavors. You can see the
showcaus and you'll know the Verdigo was gonna go because
it's so dangerous at sun a waiver?
Speaker 11 (49:43):
Can I help it if I think it funny when
you're bad trying hard to smile or what feel bad?
Speaker 12 (49:47):
I'm the kind of guy laughs.
Speaker 19 (49:48):
In the funeral.
Speaker 6 (49:49):
Can't understand what I mean?
Speaker 1 (49:50):
When you soon well, I have a tell it to
you to win my mind. I'm Aslee have a history
of taking up my shirt.
Speaker 6 (49:55):
It's been one week you look at me threw You're
up in the air.
Speaker 1 (50:00):
That was one week by Bare Naked Ladies, remember them.
The band has said that this song is about a
big fight in a relationship. The lyrics are essentially meaningless
as most of their songs, but wildly entertaining, showing off
their clever wordplay in a rapid fire interplay between their
lead singers Ed Robertson and Steven Page. Robertson is the
one who wrote this song. Fittingly, it spent one week
(50:23):
at number one in the US. Quote maybe I should
have called it fifty eight weeks, the frontman joked in
an interview. This was the first big hit for the
Bare Naked Ladies. They formed in nineteen eighty eight and
developed a pretty large cult following, especially in their native
Canada and among college students. They made some inroads in
America with their nineteen ninety six single The Old Apartment
(50:45):
and did just barely crack the Hot one hundred, landing
at number eighty eight. In nineteen ninety seven. A live
version of their song Brian Wilson was issued later that year.
In nineteen ninety eight, when one Week was released as
the first single from their albums Stunt, they pushed it
pretty hard, promoting the song by playing a series of
radio station concerts throughout the country. Most acts wouldn't do
(51:07):
well playing to a handful of contest winners and Poughkeepsie
answering dumb questions from a disc jockey, and then doing
it the next day in Scranton, but Bare Naked Ladies
stayed remarkably gracious throughout the process. Humor and improvisation were
always a pretty big part of their repertoire, and it
came in handy during this promotional cycle. Radio stations rewarded
them by spinning the single and talking up the band.
(51:30):
The reason why many of the lyrics are just a
podge podge of cultural references is that the song was
written as a free style singer. Guitarist Ed Robertson explained quote,
I wrote the chorus structure of the song, but I
couldn't figure out the verses at all. I got together
with Steven Page a bunch of times and said, I
have this idea for a song. We couldn't figure out
where to go with it. And finally Steve said to me,
at some point, let's just freestyle and shout out gibberish.
(51:53):
And it's what we do on stage every night. Why
don't we just do it for the record.
Speaker 2 (51:57):
I Oh, I'm baby for you.
Speaker 12 (52:06):
I wish nothing bad the best for you both.
Speaker 5 (52:14):
I'm not the vision of me.
Speaker 3 (52:17):
She preferred it like me.
Speaker 6 (52:19):
Would she goes down on you him love her.
Speaker 18 (52:23):
She speaking of money and she have your baby.
Speaker 6 (52:28):
I'm sure she'd make a really accent mother. She's to
be pap for.
Speaker 2 (52:35):
The people to pay for your top.
Speaker 6 (52:38):
Why no? And every time she then tell me, do
tell your dice, till your dice. But after that, knife
and love it.
Speaker 2 (52:51):
Now to the money.
Speaker 6 (52:55):
I'm the last year, twenty year.
Speaker 1 (53:11):
I played you two Canadian acts in a row. That
was a Linus Morris set with You oughta Know. Song's
an angry message from a scorndex girlfriend directed at her
former lover. Morisett has said it is about a specific person,
but that person has not contacted her and probably doesn't
even know it's about him. Morset claims she will never
say who it is about, just like Carly Simon has
(53:32):
done with the song You're So Vain. The song was
rumored though to be about the actor Dave Kooyier, whom
Morisset dated for a time. Kuya says it was about
nineteen ninety two, when Alanas would have been seventeen or
eighteen years old, and he would have been this will
Creep You out thirty two or thirty three, hence the
line and older version of me. Kuya played Joey on
the TV show Full House and is known for his
(53:54):
Bullwinkle impression, which is a weird thing to be known for.
Koya claimed the song is about their former relationship. The
actor comedian said that he first heard the track when
he was driving and said, Wow, this girl's very angry,
and then I said, oh, man, I think that's alanis
Quoier revealed I listened to the song over and over again,
and I said, I think I have really hurt this person.
(54:15):
I tried to contact her and I finally got a
hold of her. At the same time the press was
calling and saying do you want to comment on this song?
I called her and said, what do you want me
to say? And she said, you can say whatever you want.
We saw each other and hung out for an entire
day and it was kind of beautiful. It was one
of those things where we were like, eh, we're good
and we can move on. This song blasted over the
airways and late summer of nineteen ninety five, creating quite
(54:38):
a buzz for Morris set. That whole album, Jagged Little Pill,
was a huge hit at the time. Because of this
cold vocal open, DJs had to be quick and creative
when talking it up. No dead air, just keep the
music moving, as DJs are taught to do, a problem
compounded by her six syllables talking over the end of
a song was also a verboten. The out is a
(55:00):
cold vocal outro. Many listeners ended up in record stores
looking for the song, only to find it it wasn't
for sale, A common gambit in mid nineties music marketing,
to increase album sales. The only way to own the
song was to buy the Jagged Little Pill album, which
ended up selling over sixteen million copies. Of the times
when albums were going to fifteen dollars a pop.
Speaker 24 (55:22):
I'm sitting them the wait.
Speaker 19 (55:26):
Damba, we say.
Speaker 24 (55:36):
Everybody's going somewhere reading this as fast as second right.
I guess they got a lot to do before they
convest to shoot the evers.
Speaker 19 (55:58):
Justify very good, believe.
Speaker 6 (56:04):
You canna let me slide.
Speaker 19 (56:09):
Up down high.
Speaker 4 (56:11):
Will but.
Speaker 19 (56:16):
Good see.
Speaker 1 (56:22):
Running at six minutes and five seconds, this song covers
a lot of emotional ground, much of it dealing with
Jackson Brown's personal life. The song is your bright Baby Blues.
Early in the song, he's trying to outrun his demons,
but no matter where he goes there he is quote
from the song, no matter how fast I run, I
can never seem to get away from me. Later, he
(56:43):
addresses a person who might be there to help, baby,
you can free me all in the power of your
sweet tenderness. This could be Phyllis Major, mother to his
son and his first wife appears she did have bright
baby blue eyes. Major fell into a depression and died
by suicide in nineteen seventy six. Is Brown was working
on the Pretender album. This song was written and likely
(57:05):
recorded before her death. Your Bright Baby Blues wasn't released
as a single, but became one of Jackson Brown's most
popular songs, played it most of his concerts. It's part
of his fourth album, The Pretender, which has a pretty
timeless quality thanks to high production value and songs that
explore the human condition. Brown brought in John Landau, known
for his work with Bruce Springsteen, to produce the album.
(57:29):
Brown feels that this song is best understood within the
context of the album as a whole, where it's the
second track quote, the whole album is a cycle because
more happens on the second side. It's obvious that there's
a continuity. That's only because the first side is preparatory,
like having Your Bright Baby Blues where it is and
then sleep Dark and Silent. Gait wouldn't mean as much
(57:49):
if you didn't have it there right after it. The
things discussed on the first side really come to a
head on the second side, so it appears a second
side is more connected when the two.
Speaker 12 (58:00):
To be.
Speaker 4 (58:04):
No, then you.
Speaker 2 (58:10):
Dies, don't you?
Speaker 4 (58:12):
And somebody in love.
Speaker 25 (58:14):
Don't to me somebody in love and to have somebody love.
Speaker 16 (58:22):
You find somebody a love.
Speaker 4 (58:27):
Love.
Speaker 12 (58:35):
God is gone as he loved.
Speaker 25 (58:41):
Dad said, Yeah, your man, he's somethl of bread. Don't
do want somebody love? Don't to me somebody in love?
And do love somebody a love, dude, somebody.
Speaker 17 (59:04):
Your eyes say, your eyes made look like.
Speaker 5 (59:12):
Your head?
Speaker 4 (59:13):
Baby?
Speaker 6 (59:14):
Heyde, don't know. Worry somebody.
Speaker 25 (59:23):
Somebody somebody loved.
Speaker 1 (59:30):
Somebody that was somebody to love by Jefferson Airplane. The
song was written by Grace Slick's brother in law, Oil Slick. No,
I'm just kidding. I thought that was a pretty funny
joke to throw in here. Darby Slick in nineteen sixty
five is the real name. They were a San Francisco
(59:52):
band called The Great Society, which also included Jerry Slick,
who was Grace's husband and Darby's brother. Jerry played drums
and Darby played guitar. The Great Society released the song
as a single in late nineteen sixty five, with another
Darby Slick composition, Free Advice, as the B side. The
single went nowhere. When Darby started exploring Indian music in
(01:00:12):
nineteen sixty six, The group broke up and Grace joined
Jefferson Airplane, which was already established. When she arrived at
her new group, she came bearing hits. They recorded a
new version of Somebody to Love and also did White Rabbit,
which she wrote as a member of the Great Society.
San Francisco in the mid nineteen sixties was the epicenter
(01:00:33):
of free love, but Darby Slick saw a downside to
this ethos, and it could lead to jealousy and disconnect.
The song champions loyalty and monogamy, as the lead singer
implores us to find that one true love that will
nurture us and get us through tough times. Jefferson Airplane's
first hit song, Somebody Love, was also the first big
hit to come out of the US West Coast counterculture scene.
(01:00:56):
Over the next few years, musicians flocked to San Francisco
Bay to part of the scene.
Speaker 4 (01:01:03):
Okay, mm hmmm, Hey journey, mm hmmmm, just.
Speaker 11 (01:01:13):
You know why.
Speaker 26 (01:01:19):
Why you and I?
Speaker 4 (01:01:24):
We'll buy and buy.
Speaker 11 (01:01:30):
No true love way.
Speaker 26 (01:01:36):
Some times will sigh, sometimes will cry, and we know.
Speaker 4 (01:01:49):
Why just you and I?
Speaker 12 (01:01:53):
No true love.
Speaker 4 (01:01:58):
True the day uh true go bring joys to show.
Speaker 16 (01:02:15):
With those who.
Speaker 12 (01:02:18):
Kay.
Speaker 26 (01:02:21):
Sometimes will you side, sometimes you cry.
Speaker 4 (01:02:33):
And we know just you lie.
Speaker 1 (01:02:39):
Note that was one of my favorite artists, Buddy Holly
with True Love Ways. It was co written by Buddy
and Norman Petty and recorded in October of nineteen fifty eight.
Petty was Buddy Holly's first producer and actually owned the
studio in Clovis, New Mexico, where all of Buddy's first
(01:03:01):
recordings were made. Lubbock, where he's from, did not even
have a recording studio at the time. This song and
It Doesn't Matter Anymore, were Buddy's first recordings to use
the orchestral string arrangements, which accentuated his vocal mannerisms. The
strings were arranged by Dick Jacobs. The song's haunting melody
was inspired by one of Betty's Buddy's favorite Black gospel hymns,
(01:03:25):
All Be Alright, which was recorded by the Angelic Gospel Singers.
This song was likely inspired by his wife, Maria Elena.
This wasn't released though, until after Holly's death in nineteen
fifty nine. After he died in a plane crash, the
album The Buddy Holly Story was released, which contained many
of his early hits. This album came out a few
(01:03:45):
months later and included many of his lesser known or
never released songs.
Speaker 6 (01:03:50):
The records do you have about seventy five?
Speaker 27 (01:03:53):
I wouldn't be the least a bit surprised if you
didn't have this one in your collection, or maybe you
were about to add it. It's one of the fastest
records in the country called Come Softly to Me. Ladies
and gentlemen, here the Fleetwood Come.
Speaker 4 (01:04:06):
Dom Doom Don Don Doom, Doom dom dum dom do
do do come sound come don come sucky, Come Sucky,
(01:04:33):
come son dom, don come soundly die, come.
Speaker 5 (01:04:41):
To me, stay.
Speaker 4 (01:04:45):
My session forever. Don't I want I want you to know.
Speaker 15 (01:04:57):
I love I love you so.
Speaker 5 (01:05:00):
Please?
Speaker 1 (01:05:28):
That was the Fleetwoods would Come Softly to Me. Originally
called Come Softly, The title of the song was changed
because Dolphin Records owner Bob Reistor feared that AM radio
DJs would think it would be too suggestive. He was
being extra cautious, of course. Dolphin Records was formed by
the Seattle DJ for the sole purpose of distributing the
Fleetwoods records. The song started when Fleetwood member Gary Troxel
(01:05:53):
and Gretchen Christopher were waiting for a lift home from
their high school by her mother. Troxel started humming dumbed
doom dum doooh, and Gretchen noticed that this is the
same chord progression that she used in a song they
had just finished writing called Come Softly. She asked him
to slow the tempo up and sang her song a
top of Troxels humming. They took it to Gretchen's singing partner,
(01:06:15):
Barbara Ellis, who liked it. In the trio formed Two
Girls and a Guy. Two Girls and a Guy performed
this live twice, at a senior class assembly and at
a post football game dance. Classmates wanted copies of the
song so that they could learn it. It took six months, though,
for the trio to record it. Ultimately, they sang it
in an a cappella form and instrumentation was just over dubbed.
(01:06:35):
There were no drums in the recording. The only percussion
was that of Troxyl shaking his car keys in his
closed hands.
Speaker 16 (01:06:42):
Can you tell me where my country lies?
Speaker 3 (01:06:47):
Said the Uni fun to his true love.
Speaker 6 (01:06:50):
Sighes it lies with.
Speaker 4 (01:06:54):
Me, cried the Queen of Maybe for her machan and die.
Speaker 6 (01:07:00):
He traded in his prize.
Speaker 4 (01:07:07):
Paper late, cried a voice in the crowd.
Speaker 15 (01:07:15):
Old man dies and lot he left a sign, Old father.
Speaker 4 (01:07:21):
The tennison. It seems he's drown silly, ill by the pound.
Speaker 22 (01:07:35):
Citizens of open Glory, Time goes by.
Speaker 9 (01:07:40):
It's the time of your life.
Speaker 11 (01:07:44):
Easy enough, sit you down, chewing through y'all?
Speaker 1 (01:07:51):
Where we dreaming?
Speaker 8 (01:07:53):
They hit without a sound, diegesting.
Speaker 1 (01:08:08):
Dancing with the Moonlit Night is a song by the
progressive rock band Genesis. It was released on their nineteen
seventy three album Selling England by the Pound. Going back
to the traditional Scottish and English folk music, Peter Gabriel
and Genesis crafted a perfect intro for their landmark album,
Selling England by the Pound. For their live shows, Peter
(01:08:29):
Gabriel walked on stage with a lance and a helmet
and a cape painted in Union Jack colors and started
dancing with the Moonlit Night on his own. A beautiful
melody akin to what was sung by the minstrels of
old is how he pitched it. Such a clear focus
on the vocals helped the listener really hear the lyrics
and to feel the message just a bit better. The
(01:08:50):
song was developed from several brief piano pieces composed by
frontman Peter Gabriel, which later combined with some of Steve
Hackett's guitar figures to make up the song. Gabriel contributed
English themed lyrics to Dancing with the Moonlit Night because
most of the music press thought Genesis were putting too
much effort into appealing to American audiences. And with that,
(01:09:12):
we have to end for the day, but not before
I play you one last song from the very underrated
nineties band Bush, and the song is called Swallowed. The
song is written in response to the success of Bush's
multimillion selling debut album sixteen Stone after years and years
of failure. Gavin Rosdale said, when you first climb the ladder,
(01:09:32):
if you're lucky enough, and I was lucky enough to
have that insane success with it, it's a bit overwhelming
in some ways. I didn't go to school where you
learn how to prepare yourself for that kind of success.
I was English. I failed for many years, and I'm
not I didn't even know being successful was an option.
It was just more of an observation of what others
could become. Rosdale has added that Swallowed was a bit
(01:09:53):
like his version of the song help although he was
quick to say that he was not as good as
the Beatles. Of course, well, we hope you enjoyed the
season premiere of Listen to this season thirteen. Of course,
we wouldn't be here without y'all, and so please please
please share this with people you know, recommend it. People
are always wanting to try out new podcasts and say, hey,
I got this really cool music history podcast you should
(01:10:15):
listen to by this super ultra handsome guy who's also
six foot four and built like a brick truck. You'd
be lying, of course, but there you go. Anyways, turn
this song up loud and we'll see it next week.
Speaker 15 (01:10:27):
Woom song, feed me.
Speaker 20 (01:10:35):
Loaded low then for changing us slim.
Speaker 23 (01:10:44):
Some oil away.
Speaker 5 (01:10:50):
Squaw swallowed.
Speaker 2 (01:11:03):
Slow, I wear away water, loud, I wear avery water very.
Speaker 20 (01:11:20):
Just wanted to be myself, he said, you would love
to try some.
Speaker 1 (01:11:32):
He said, you would love dice.
Speaker 20 (01:11:37):
Every woman word of a fish hook. You're the wavy,
Y're the wavy Hollway.
Speaker 2 (01:11:48):
Swallowed, followed Heavybody, My love swallow.
Speaker 5 (01:12:04):
Shop.
Speaker 3 (01:12:11):
Thank you for listening 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
Speaker 1 (01:12:22):
Com, This is Funner,
Welcome to Season thirteen of Listen to This. This is
the podcast that is bringing you stories behind the artists,
behind the songs, and hopefully we are introducing you to
old songs that have influenced all the music that you
hear today. The goal is I want you to hear
an artist that you might not normally listen to in
search out their music on whatever streaming service you subscribe
to in maybe even just go get it on vinyl
(00:23):
or cassette or CD, anything that's physical media. We invite
you to subscribe, comment, and please recommend this podcast to
a friend. It's very important. Every episode has a theme,
and to start off season thirteen, our first theme is
songs that start with vocals.
Speaker 2 (00:40):
Never in the history of the United States a monster
of such size and power.
Speaker 3 (00:45):
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 1 (00:53):
Here's your hosts, Eric Leckey. Every episode of Listen to This,
your favorite music podcast, starts with my vocals and the
songs that I will play for you today will be
just like this podcast, except they are super successful and
make money off of their voice, and I make approximately
fourteen dollars and eighty five cents per episode. But if
(01:16):
the irs is listening, I have never ever ever received
any money for this podcast, and if I did, I
would totally report it to you. Anyhow, aside from some
maybe light strings as ambiance or maybe a background hum
of a guitar about to start, these songs essentially start
with vocals, whether on their own, for many many seconds
before the music kicks in, or maybe even just that
(01:38):
half a second before the music kicks in. That will
be the theme of the day to get us started
on season thirteen, So glad you made it, So let's
get it started with the boys from Beastie. She'll wake
(02:12):
up inter.
Speaker 4 (02:12):
School man, you don't want to go.
Speaker 5 (02:19):
There?
Speaker 6 (02:19):
Can mom believe? But you still say no?
Speaker 7 (02:26):
You best do classes that no homework.
Speaker 4 (02:33):
I take your British class like it's.
Speaker 6 (02:35):
Some kind of turn.
Speaker 5 (02:39):
You gotta fight for.
Speaker 4 (02:42):
You're right, toy.
Speaker 6 (02:51):
If mom's go, you're smoking man. He says, no way.
Speaker 8 (02:58):
That you look goods two pass a day such.
Speaker 5 (03:19):
You gotta fight by you all right.
Speaker 1 (03:27):
In the liner notes to the Beastie Boys Anthology, Adam
Mca explains that the song began as a goof of
dumb rock songs. They cut the vocals purely as a
joke and then went on tour well. Producer Rick Rubin
added the loud drums and guitar track and continued with
the joke. The BCS even made a video where they
(03:49):
played along with the drunken party boy image of the
song had created. Soon though, the Beasties were superstars thanks
to their new fan base of frat boys that they
actually set out to parody. According to MCA, they played
this in their new roles until they realized that they
had become their own joke. That was, of course, you
gotta fight for your right to party. Beastie Boy producer
(04:13):
Rick Rubin had to do a lot with this song
and its overall construction. He injected a rock sound into it.
Rubin was the first one to really mash up a
major rap act with a rock superstar when he teamed
run DMC with Aerosmith for the updated version of Walk
This Way earlier in nineteen eighty six. Rubin is credited
(04:34):
as a co writer on Fight for Your Right along
with the three Beastie Boys. Considering the group disowned its song,
it's not surprising that it wasn't taken seriously in the
rap community. Any outrage over appropriation was tempered by the
fact that the Beasties were signed to def Jam Records,
the label co owned by Rick Rubin and Russell Simmons
(04:54):
that was also home to ll COOLJ in a number
of up and coming rap acts. When the Beast Boys
we sued the label over unpaid royalties, Simmons took credit
for their success in the black community. Quote, they had talent,
but they came across as the worst sort of blackface band.
He told Spin magazine in nineteen eighty nine, quote, it
was like they were making fun of black people. A
(05:15):
lot of people thought they were racists, that they were
putting down black culture. I taught them how to walk
and how to talk. I'm the one that convinced the
black community they were for real. Well, that didn't sit
well with them in the group left def Jam and
signed with Capitol Records in nineteen eighty nine. Without Simmons
or Rick Rubin behind them, They're good standing in the
hip hop community was uncertain, but their first album from
(05:36):
Capitol Records was called Paul's Boutique, and it set them
on a course to the rock and Roll Hall of Fame,
where they eventually wound up. The album didn't sell nearly
as well as the other album, Licensed to Ill, but
it got them away from the gimmicky fight for your
right to party and established them as true hip hop
trend setters.
Speaker 9 (05:53):
A man's been.
Speaker 2 (05:54):
Gone four nine on a year.
Speaker 1 (05:59):
US you home yesterday, but he ain't here. Her man's
been gone for nigh on a year.
Speaker 2 (06:09):
He was jew home yesterday, but he ain't here.
Speaker 6 (06:21):
Now down your studio.
Speaker 1 (06:30):
Crime is a well known sound.
Speaker 10 (06:36):
Your suit is very well known around your.
Speaker 5 (06:40):
Town, your town.
Speaker 10 (06:45):
It's very ramous of the little girl's cry hap be
heard all around the world.
Speaker 6 (07:34):
We have a lberty appreciate. Don't need to be so sad?
He's on delay? Where are you passard things?
Speaker 5 (07:44):
A pass of time? Well?
Speaker 2 (07:46):
Baby ers ways, baby from bass?
Speaker 1 (07:53):
That was the band that who with a quick one
while he's away? So who had ten minutes left to
fill on that LP kit? Lambert, whose manager suggested to
Pete Townsend that he writes something linear, perhaps a ten
minute long song. Well Towns had responded by saying that
rock songs are two minutes and fifty seconds by tradition.
He shouted Lambert then told Townsend that he should write
(08:16):
a ten minute story combined of two minute and fifty
second songs and just make it ten minutes. The song
was a mini opera, paving the way for the other
mini opera, Ryell, and eventually full length rock operas Tommy
and Quadrafinia. This was really their first attempt at it.
The plot of the story is strange and I guess uncomfortable.
(08:37):
A girl is sad that her boyfriend is away. Her
friends suggests she take a substitute lover, so to speak,
Ivore the engine driver. When the boyfriend returns, she confesses
her infidelity and is forgiven. Who performed this on the
Rolling Stones Rock and Roll Circus, which was going to
be a TV special. It never aired on television, but
(08:58):
it was released on VHS and nineteen ninety six and
on DVD in two thousand and four. The Who's performance
of this was included in The Kids Are Alright nineteen
seventy nine film about the Who. According to the legend,
rock and Roll Circus didn't air because the Rolling Stones
felt that they were really showed up by the Who.
Jethro told taj Mahal merry and faithful John Lennon, Eric Clapton,
(09:20):
Mitch Mitchell also appeared on The Rock and Roll Circus
When You're Talking.
Speaker 4 (09:24):
To yoursel.
Speaker 11 (09:28):
No kind of boy as hell.
Speaker 12 (09:41):
No.
Speaker 13 (10:09):
Nobody ever told the babe and how it was gone.
Speaker 6 (10:20):
One of you, babe, And it happen the way it happened.
Speaker 1 (10:54):
That song was a strange and it was by Guns
n' Roses. And this is one of guns and longest
running songs, as well as one of the longest and
most expensive videos ever made. The video is the third
and final part of the unofficial trilogy of videos known
as Don't Cry, November Rain, and then Estranged. Though Axel
(11:16):
Rose has only the writing credit for this song and
the album CD booklet, he offered this telling dedication quote
Slash thanks for the killer guitar melodies. The music video
was part of a trilogy, along with ones for November
Rain and Don't Cry, and they were inspired by the
short story Without You. This is the best known of
the collection of horror tales the Language of Fear, which
(11:36):
was penned by author and friend of the band Del James.
And if you watch the video, the beautiful big house
that's used in the video is actually Axel Rose's house
in Malibu, California. He's lived there since nineteen ninety one.
Speaker 6 (11:51):
Carry onway what.
Speaker 2 (11:55):
They belaying you are done?
Speaker 4 (12:00):
Only we had to raist.
Speaker 1 (12:03):
Don't you cry no more?
Speaker 14 (12:32):
Once I rose above the noise and confusion, just to
get against behind this illusion, I was sorry. Never higher father,
my igne, I still doesn't find man. No, my my
(12:53):
configure still was a man. Man my few voices when
a free made.
Speaker 1 (13:19):
That was carry On Wayward Son by the band Kansas.
It was written by Kansas guitarist Carrie Livgren. According to Livgren,
the song was not written to express anything specifically religious,
though it certainly expresses a spiritual searching and other ideas.
Livgren became an evangelical Christian in nineteen eighty and has
said that his songwriting to that point was all about
(13:42):
searching well. Regarding the song, he explained, quote, I felt
a profound urge to carry on and continue the search.
I saw myself as the wayward Sun, it alienated from
the ultimate reality, and yet striving to know it or
know him. The positive note at the end, surely Heaven
waits for you You seemed strange and premature, but felt
(14:02):
that it implied it was included in the lyrics to
be somewhat prophetic for him. This is the group's first
major hit, and like their next one, Dust in the Wind,
it was a last minute addition to the album. Carrie
Livgren wrote this song just two days before they started
recording Left Overture, the album that they were working on.
At that point, the band was just polishing the songs
(14:23):
they had, not bringing in any new songs. Quote. I've
got one more song that you might want to hear,
he told the band, and he played carry on. They
knew it was a hit and made it actually the
lead track of the album and recorded it right there
on the spot. The a cappella vocals at the beginning
of the song gave it a very distinctive intro. This
worked well on rock radio stations, where dis jockey's rarely
(14:44):
talked over the music.
Speaker 15 (14:46):
I never seemed to finish ama food. I always get
a doggy bag from the weight, So I just keep
what still.
Speaker 4 (14:59):
On you.
Speaker 1 (15:02):
And I take it home, save it for lad.
Speaker 13 (15:08):
But then I deal with fungal rid back, curial formation,
my gross enzymes, moredluxidation.
Speaker 16 (15:15):
I don't care.
Speaker 1 (15:17):
I've got a secret.
Speaker 13 (15:18):
Drick got my seat. I never bottle with Baggy's glass,
Josh tupperwor containers, plastics, clean wrap, really and a brainer.
Speaker 15 (15:26):
I just like to keep all my flavor sealed in tight.
Speaker 1 (15:30):
With aluminum foil.
Speaker 8 (15:34):
Never settle for less.
Speaker 15 (15:36):
That kind of wrap is just the best to keep
your sandwich nice and fresh, to.
Speaker 1 (15:42):
Get it in your cool You know, when you're ready,
let me be olt you.
Speaker 15 (15:52):
A refreshing herbal team love me.
Speaker 1 (15:58):
Oh, by the way, Yeah, crack the cold.
Speaker 13 (16:04):
A saget out the shadow cannovations and the illuminating.
Speaker 15 (16:15):
That they finally prime for world domination. And so you've
got black and copters come across the border, pompitmasters for
the new world Order.
Speaker 1 (16:27):
Be aware.
Speaker 13 (16:30):
There's always someone nestching you and still the government wondadmin thing.
Speaker 1 (16:34):
That was foil by the greatest artists in human history,
weird al Yankovic. It was a twisted take on Lord's Royals.
It's an ode to aluminum foil and all its convenient uses,
from keeping leftovers fresh to keeping us safe from shadowy
governments bent on world domination. Comedian Patton Oswald appears in
the video as a frustrated informercial director, along with actors
(16:56):
Tom Lennon and Ben Garant.
Speaker 12 (17:00):
B She's mother, She's ma where she is the little
(17:24):
girl and the real Blue g She's the queen of
all the team. She's the bore bad.
Speaker 1 (17:35):
Because she is the born man.
Speaker 4 (17:38):
Saying She's mom.
Speaker 1 (17:48):
She That was b Bapa Lua by Gene Vincent and
(18:17):
his Blue Caps. And this is one of those songs
has a great story behind it that is probably not true.
No way to really tell for sure, but the story is.
Vincent and his record company circulated the story that he
wrote the song during a six month stay in Portsmouth
Naval Hospitable, where he was recovering from a motorcycle accident.
He played his guitar and came up with a tune
(18:38):
inspired by the newspaper cartoon strip called Little Lulu. The
story is disputed by Dicky Herrel, who is the drummer
with the Blue Caps. Harold said, actually the song was
written for a guy from Portsmouth named Donald Graves. According
to Harold, Vincent and his first manager, Bill Sheriff, TeX's
Davis Great Name bought the song from Graves for twenty
(18:58):
five bucks. That Harold, well, it happened a lot in
those days. Guys would sure take the money. Another story
has Vincent and Gray's writing a song together, with Gray's
writing interest being bought out for the said twenty five dollars. Anyways,
it was recorded in Nashville on May fourth, nineteen fifty six,
and it was released as the B side to Vincent's
first single, the provocative number called Woman Love. Radio stations
(19:22):
in the United States wanted nothing to do with the
song Woman Love, and the BBC actually wound up banning it,
so Capitol Records had to flip over the sides and
put b Boppolua on as the new A side. For
some reason, the scandalous Woman Love was deemed inoffensive when
relegated to a B side. For some reason, Vincent was
signed by Capitol Records, who were desperately searching for someone
(19:46):
like Elvis Presley. Vincent, who was born thirty four days
after Elvis, had the rebel image and the swagger that
they were looking for, and their investment paid off when Beboppolua,
which was his debut single, sewed over two hundred thousand
copies in the first month it was released, and the
song helped Vincent gain a large cult following, but his
(20:06):
rebel emms, though was justified he became dependent on painkillers,
speed and alcohol. Vincent, who had just three more Top
forty hits, was injured in the car crash that killed
his good friend and fellow rocker Eddie Cochran in nineteen sixty.
Songwriter Sharon at Sheeley She's the one who wrote the
song Poor Little Fool for Ricky Nelson, was also in
(20:26):
the crash, but she survived well. Geene Vincent actually eventually
died of an ulcer in nineteen seventy one at age
thirty six.
Speaker 4 (20:35):
I'll see food bye.
Speaker 17 (20:39):
No one ever kify surely the die time and time again.
Speaker 12 (20:48):
The chest fall of love has passed.
Speaker 17 (20:50):
Me behind, and aline of love is hard live with
ba I just can't see it's a fan, So.
Speaker 4 (21:02):
Then my mind by must live my life alone.
Speaker 17 (21:08):
And though it's love, be easy, way guess savoys noon,
I's say goodbye.
Speaker 1 (21:17):
That was the song Goodbye to Love by the Carpenters.
In the nineteen forty movie Rhythm on the River, Bing
Crosby played a songwriter trying to come up with a
song called Goodbye to Love. Although the song's title was
mentioned several times in the movie, no such song ever
existed well Richard Carpenter happened to see this movie on
(21:38):
late night television and decided that it was a great
title and he would be the one that would write
this song for his sister Karen to sing. The fuzzy
guitar solo was played by Tony Paluso. It was his
first contribution to a Carpenter's record, and he subsequently just
joined the duo's recording and touring as the lead guitarist.
Paluso also provided the voice of the DJ on the
(22:01):
Carpenter's hit version of Calling Occupants. Tony Paluso was a
very talented guy, Richard Carpenter said in an interview in
twenty twenty two. Pretty recently, he played with Mark Lindsay
when he opened up for some shows for us, and
I saw him do a couple of solos. So when
I wrote the song and pictured the arrangement, I imagined
it with the oxymorn of a melodic, fuzzy guitar solo
(22:21):
and asked Tony. It was actually Karen Carpenter who called
Peluso in the first place. She told him she and
Richard were working on a song called Goodbye to Love
and wanted him to play on it. He showed up
and said, I don't read music, Richard Carpenter said in
the interview, So I sang and played the melody for
him and said, when you get to hear, just take
it away and do a solo, and he did. Ninety
(22:42):
nine percent of that solo was done in the first take.
Following the death of Karen Carpenter nineteen eighty three, Polluso
moved on to record producing, working with recording artists like
Smokey Robinson and The Temptations, Michael Jackson and even Boys
to men.
Speaker 18 (22:56):
Oo Dio, There's a base songa the same Heaven, the confirst.
Speaker 6 (23:07):
Will make cabin they saw bo.
Speaker 4 (23:13):
There's a base.
Speaker 19 (23:32):
Then the night fall down, I whipple you as you
cool around, and the lie with the elder streets on
the street inside.
Speaker 5 (23:49):
When you walk into.
Speaker 6 (23:51):
The wood you will be class.
Speaker 20 (23:54):
Now start to.
Speaker 1 (23:56):
Then the Fan with the Stars. A great song to
(24:29):
sing along to. Ooh, Heaven is a Place on Earth
by Belinda car Lyle. It's a pretty effervescent song. It's
about finding them well, heaven on Earth, but in the
form of true love. It was written by the San
Francisco songwriter Ellen Shipley and Rick Knowles, who by the way,
they wrote Stevie Nix's I can't wait, but I guess
I can forgive them for their sins. The initial idea
(24:52):
came to Shipley at a Brooklyn gas station where he
spotted a greeting card that said heaven on Earth. When
she and Knowles started working on a song for Blinda Carlile,
Shipley wrote that phrase on the blackboard as an idea.
Noles wrote the words, is U to make it? Heaven
is a place on Earth. The big backing vocals on
the chorus were sung by Michelle Phillips of The Mamas
(25:16):
and Papas. This is the first single from Carlile's second
solo album. After her group The Go Gos, a great Band,
split in nineteen eighty five, she remained signed to their
label IRS and issued her self titled debut a year
later in nineteen eighty six. The Go Gos had some
squabbles that led to their breakup, but Carlile remained close
(25:37):
to her bandmate Charlotte Caffey, who worked on the first
two solo albums as a songwriter and a guitarist. The
Gogos other guitarist, Jane Wielden, had modest success early on
with her solo career, but Carlile had this instant hit
with her first single, mad About You, and became a superstar.
When Heaven Is a Place on Earth became a pretty
(25:57):
global smash, topping the chart inveral countries, including the UK,
US and even in Mary Old Ireland. It was Carlyle's
own UK or US chart topper, without the Go Goes
backing her. This opens with the chorus which sets up
the song, and Ellen Shipley, the songwriter, explained, quote, the
chorus is what came first when we had the title
(26:19):
Heaven is a place on Earth. We went into a
studio and we started jamming on chords and singing against
it in our process, and we got the chorus and
everything was built around that. So it was like a
story of why you think Heaven is a place on
earth because love comes first. In the lyrics, baby do
you know what that's worth? Heaven is a place on Earth?
They say in Heaven love comes first, but will make
(26:40):
Heaven a place on Earth. So the whole idea is
that love should come first. Another little interesting tidbit, The
video was directed by American actress Diane Keatonly.
Speaker 9 (27:01):
People, Helena Rigby picks up the rice in the church where.
Speaker 20 (27:09):
A wedding has been.
Speaker 1 (27:12):
It's in a dream.
Speaker 9 (27:14):
Waits at the window, wearing the face.
Speaker 15 (27:17):
That she keeps in her job by the door.
Speaker 4 (27:21):
Who is it for? All the lonely people? Where do
they all come from? All the lonely people? Where do
they all be? Love?
Speaker 16 (27:36):
Father Mackenzie writing the words of a sermon that no
one will hear, no one comes near. Look at him
working dunning his socks in the night when there's nobody there.
What does he care?
Speaker 4 (27:54):
All the lonely people?
Speaker 1 (27:57):
Where do they all come from? Paul McCartney wrote most
of this song. He got the name Eleanor from the
actress Eleanor Braun, who appeared in the nineteen sixty five
(28:19):
Beatles film Help. The term Rigby came to him when
he was in Bristol, England and spotted a store Rigby
and Evans Limited Wine and Spirit Shippers. So he just
liked the name Eleanor Rigby because it sounded natural and
matched the rhythm that he wrote. McCartney explained at the
time that his songs came mostly from his imagination. Regarding
(28:41):
this song, he said, quote, it just came when I
started doing the melody, I developed the lyric. It all
came from the first line. I wonder if the girls
are called eleanor Rigby nowadays, did anyone ever name their
child that. McCartney wasn't sure that the song was going
the way he wanted it to go until about the
time he came up with the lime picks up the
(29:01):
rice in a church where a wedding has been. That's
when it came up with the story of this lonely woman,
he said the lyrics, wearing the face that she keeps
in a jar by the door, as a reference to
the cold cream that she wears in an effort to
look younger. The song tells a story of two lonely people. First,
we meet a church going woman named eleanor Rigby, who
(29:22):
is seen cleaning up rice after a wedding. The second
verse introduces the pastor, Father Mackenzie, whose sermons no one
will hear. This could indicate that nobody is coming into
his church or that his sermons aren't getting through to
the congregation on a spiritual level. In the third verse,
Eleanor dies in the church and Father Mackenzie buries her.
(29:43):
Father Mackenzie was originally father McCartney. Paul decided, though he
didn't want to freak his dad out and pick a
name out of a phone book instead to use in
the song. After eleanor Rigby is buried, we learned that
no one was saved, indicating that her soul did not
to heaven as promised by the church. This could be
seen as a swipe at Christianity, I guess, and the
(30:06):
concept of being saved by Jesus. The song was released
in August of nineteen sixty six, just weeks after the
furor over John Lennon's remarks that Christianity will go, it
will vanish and shrink. I needn't argue about that. I'm right,
and I will be proved right. We are more popular
than Jesus now that famous quote from Lenin. For the
most part, the song eluded controversy, possibly because the lilting
(30:29):
string section made it a little easier to handle. A
string section was scored by Beatles producer George Martin, consisting
of four violins, two violas, and two cellos. They were
used during the recording. Paul may have been inspired by
the classic composer Vivaldi because the sound is very similar.
The Beatles didn't play any of the instruments on this track.
(30:49):
All the music came from string players who were hired
session musicians.
Speaker 7 (31:20):
You fight from God, the journey downs, you tied them
knots and the major friends.
Speaker 1 (31:27):
You left the scene with dollar trees.
Speaker 6 (31:31):
One hand on the ground, one hand hands your past, mercy,
you try to rest.
Speaker 5 (31:46):
You gave your body, You.
Speaker 15 (31:48):
Gave your best, starting the green bars, living in the sky.
Speaker 6 (31:54):
You don't want to know, You just walks.
Speaker 1 (32:34):
That was The Cars with Hello Again. Although it's a
light synthesizer driven pop track, the lyrics to the song
are quite profound, examining a person who never seems happy
despite his efforts to find something better, he always returns
to where he came from. Cars front man Ric Ocasek
wrote this song, the fourth hit from the Car's Heartbeat
(32:56):
City album. Hello Again came with a video directed by
Don Monroe Andy Warhol, who also appeared in the clip
as a bartender. It was some of Warhol's last work
because he died in nineteen eighty seven. The video starts
with a fake TV show called rock Talk, where a
host is discussing gratuitous sex and violence that has become
(33:17):
in music videos with a group of kids. As they
get into the discussion, a car crashes through the set
and the song starts Well comes next as a strangely
PG send up of videos with sexual imagery with an
appearances by Gina Gershaan Warhol did make an uncensored vision
of the video, but MTV actually just played the clean one.
Speaker 5 (33:36):
O ooh, some terms.
Speaker 4 (33:43):
Gets SOMs get so.
Speaker 6 (33:52):
Just.
Speaker 5 (33:56):
I can never no, do.
Speaker 4 (34:01):
I think it's you?
Speaker 6 (34:10):
What I think that's on?
Speaker 4 (34:11):
I will shoot down.
Speaker 6 (34:15):
For the long. I can't put you first. I've stopped up.
Think I'm gon t down.
Speaker 4 (34:35):
It would be.
Speaker 5 (34:41):
I've sudden messed upper.
Speaker 6 (34:46):
Man in the stream. I'm on honest on a chip.
Speaker 1 (35:01):
That was led Zeppelin Live from nineteen seventy with I
Can't Quit You Baby. Many musician types consider this one
of led Zeppelin's technically strongest performances, but Jimmy Page admits
that it's far from perfect. He told Guitar Player magazine
in nineteen seventy seven, there are mistakes in it, but
(35:22):
it doesn't make any difference. I always try to leave
the mistakes in. I can't help it. The timing bits
on the A and B parts are right, though it
might sound wrong. The timing just sounds off altogether. There
are may be even some wrong notes in there, but
you gotta be reasonably honest about it. This is based
on a blues song by Willie Dixon that he wrote
for the artist Otis Rush, a great artist, who recorded
(35:44):
it in nineteen fifty six. Many of led Zeppelin songs
where Let's Just to be kind say influenced by old
blues or folk songs. Some guitar parts are very similar
to the guitar solo in Heartbreaker as well. Rolling Stones
recorded this for their twenty sixteen blues covers album Blue
and Lonesome. Their version features Eric Clapton on the guitar solo.
Speaker 21 (36:08):
In every dream Home my heartache and every step I
take takes me further from Heaven?
Speaker 11 (36:25):
Is there I have?
Speaker 1 (36:29):
I'd like to think so.
Speaker 21 (36:36):
Standards of living.
Speaker 22 (36:41):
Their rising daily, But oh, most sweet home, It's only
a essay, ye from bell push to four sets.
Speaker 23 (36:59):
In smart Tongue part Man, the cartage just pretty, the
main house, subpalace, tant house perfection.
Speaker 19 (37:16):
But what goes on?
Speaker 11 (37:19):
What to do there?
Speaker 12 (37:21):
That?
Speaker 20 (37:22):
To pray there?
Speaker 1 (37:26):
That was the song in Every dream Home is a
Heartache by Roxy Music In this song, Roxy Music front
man Brian Ferry sings to his plastic fantastic lover and
inflatable doll with it will float nicely in his new pool,
part of his stately home that he just acquired. Typical
of fairy songwriting, it has a cinematic feel, with a
lyric that lays out series of imageries to kind of
(37:48):
form a strange story, and there is no chorus. In
this song. First we hear about the home with fairy
using real estate jargon like a Bungalow ranch style, and
then we hear about the doll, his disposable darling that
will be his companion. But in this dream home there
is also heartache. We are not sure why, and we
(38:09):
know better than to ask this guy any questions. According
to Ferry, this song was inspired by the British artist
Richard Hamilton's collage called just what it Is that makes
Today's Home So Different and So Appealing? Created in nineteen
fifty six, The magazine montage is considered by art historians
to be one of the earliest works of pop art.
(38:30):
Hamilton later taught fairy fine art at Newcastle University in
the nineteen sixties with Hamilton going so far as to
call Fairy one of his greatest creations. The first three
minutes of this song find Fairy telling his story over
a musical texture created with a VCS three synthesizer, faresa oregon,
and a little touch of saxophone. After the line but
(38:53):
you blew My Mind, the song becomes more of a
rave up, with drums, bass, and guitar entering the picture
and a whirl of phase shifted glory. The music slowly
fades out at the four minute mark and then returns
after a long bout of silence. It's one of the
lengthiest false endings in rock. This song concludes side one
(39:13):
of Roxy Music's sophomore album, For Your Pleasure, and twenty
twenty Rolling Stone ranked this album as number three hundred
and fifty one of their five hundred Greatest albums of
all Time, stating quote, this album's deeply weird centerpiece is
in every dream Home is a Heartache, and Fairy sings
a seductive ballad to an inflatable doll. I Blew up
(39:35):
your Body, but You Blew My Mind and one of
the creepiest love songs of all time.
Speaker 10 (39:51):
Monday Monday, So Good to Me.
Speaker 1 (40:00):
Monday morning.
Speaker 4 (40:02):
It was all I hope it would be.
Speaker 9 (40:08):
On monly morning, Monday morning.
Speaker 16 (40:13):
Couldn't guarantee.
Speaker 2 (40:17):
Then, Mon name man will still be here with me.
Speaker 4 (40:26):
Mon Name birthday.
Speaker 9 (40:30):
I can't trust that day, mon Name Monday. Sometimes it
just carries out that way.
Speaker 6 (40:43):
Oh Moly morning, you gave me no more?
Speaker 16 (40:48):
Oh what was to be?
Speaker 4 (40:52):
Oh my name Monday?
Speaker 5 (40:54):
How could you lead and not take me.
Speaker 2 (41:02):
Very the day? Every other day? The day.
Speaker 1 (41:17):
Time Monday. While awaiting the release of their big hit
song California Dream and band member of The Mamas and
Papa's Denny Daughtree was prodding songwriter John Phillips to come
up with some new material. Phillips said that he would
come back in the morning with quote a song with
(41:37):
universal appeal. Pretty egotistical of him to think that, but
so so it goes. He ignored the sarcastic comments from
the group members. Phillips came up with Monday Monday, about
that lousy feeling that comes at the end of the
weekend and the beginning of another work week. This is
the first Hot one hundred chart topper with a day
in the week in the title, and the only one
(41:58):
with Monday. Manic Monday by the Bengals and Rainy Days
and Mondays by the Carpenters only topped out at number two.
That took a little bit of research for me to find.
Danny Dordry, who sang lead on this song for the
Mama Z and Papas, thought very little of Monday Monday
when they recorded it. Quote, nobody likes Mondays, so I
thought I was just singing a song about the working man.
He said, nothing about it really stood out to me.
(42:21):
It was a dumb effing song about a stupid day
of the week. As you can imagine, he was taken
by surprise when the song became a pretty big, huge hit.
Doudre wasn't alone in this thought. Mama Cass and Michelle
Phillips didn't even like this song, and John Phillips claimed
he had no idea what the song even meant, even
though he wrote it. Monday Monday was the group's third single.
(42:41):
Go Where You Want To Go was issued first and
went nowhere really, but their next release was California Dreaming,
which was just a phenomenon. When the song was having
its run, radio stations started playing Monday Monday off the album,
and so by the time it was released as a single.
It was already widely anticipated and quickly rose to number one.
Speaker 16 (43:00):
He's a real no woman sitting in his now land
making all is nowheremans for nobody.
Speaker 15 (43:15):
He doesn't have a point of view, knows not where
he's going to.
Speaker 4 (43:24):
Isn't bit like you and me? No woman, Pase.
Speaker 16 (43:33):
Listen, you don't know Jones, Listen, no whelman the world.
Speaker 6 (43:43):
Is that your command?
Speaker 1 (44:03):
Apologies for playing you another Beatles song, but I just
thought this one fit too perfectly to not use it.
That was Nowhere Man by the Beatles. John Lennon came
up with this after struggling to write a song for
the album. Said Lennon, I thought of myself sitting there
doing nothing and getting nowhere, and that's when the song
came to me. This was used in the animated Beatles
movie Yellow Submarine. They sing it to Jeremy Hillary Boob PhD,
(44:27):
who describes himself as an eminent physicist, poly got classicist,
prize winning botanist, and hard biting satirist, talented pianist and
a good dentist too. The Beatles decide to take him somewhere,
and he eventually helps them defeat the Blue meanies. And
if none of that made sense, you weren't doing acid
in the sixties. I can tell. This starts with the
(44:49):
three part harmony sung by Lennon, Harrison and McCartney. Of course,
Ringo was left out because he couldn't really sing. This
is probably the first Beatles song that has nothing to
do with love. Typical of many John Lennon compositions are
the falling melodies, which can be heard in nowhere ma'am.
Folk music often has falling melodies, indicating melancholy and baroque music.
(45:11):
If falling melody means sadness. There's a very audible feedback
thirty eight seconds into the song after the word missing,
and that's never been quite explained if that was a
mistake or there on purpose. In two thousand and three,
John Lennon's original handwritten lyrics to the song were auctioned
at Christie's of New York for four hundred and fifty
five thousand dollars.
Speaker 10 (45:31):
You should have been.
Speaker 2 (45:32):
Done, no.
Speaker 7 (45:37):
Magippie lets should have been done.
Speaker 5 (45:42):
Half the all we see.
Speaker 7 (45:48):
What must have been a dreams of song.
Speaker 5 (45:58):
Who say.
Speaker 6 (46:06):
Whoa whoa? Oh say.
Speaker 2 (46:15):
No want to let down?
Speaker 12 (46:23):
You go.
Speaker 2 (46:29):
Give me better?
Speaker 5 (46:30):
On the line.
Speaker 7 (46:33):
I'm not William b being be bad, it's bad.
Speaker 16 (46:52):
Say.
Speaker 1 (46:54):
This was the first single from Journey lead singer Steve
Perry's first solo album. The song is about his real
life girlfriend at the time, Sherry Swafford, who also appeared
in the video. Of course, the song is called Oh Sherry.
Perry co wrote this with Nashville songwriter Randy Goodrum, pretty
legendary songwriter, and he told the story quote, I'd gotten
(47:14):
to know him and Sherry, not really well, but I
had a general idea of what they were like as people.
I sensed a certain amount of drama in their relationship.
To put it mildly, I like to find a premise
and go with that rather than a hook. And as
long as I know what the point of the song is,
or the mission of the song is, then the lyrics
just usually fall into place for me. So I focused
it on that. It was me saying here's a relationship
(47:37):
and the way I perceive it between two people. When
this song took off, some fans wondered if he would
even return to Journey, or if the band would simply
break up. Perry wasn't the first to explore a side
project guitarist Neil Shan released albums with John Hammer or
Jon Hammer, depending on what country you're from and what
you're pronouncing it like in nineteen eighty one and eighty two,
and drummer Steve Smith made a jazz album in nineteen
(47:59):
eighty one. Perry wasn't even the group's first front man.
He joined three albums in In their original form, Journey
was more of a jazzy progressive rock outfit, featuring virtuoso
talents of their seasoned pros, including Santana veterans Sean and
Greg Rawley. Perry felt like he constantly had to prove
himself within the group, but he was pretty committed. He
(48:21):
made this clear and an extra segment for the video
on the last Street Talk single Foolish Heart, where he
shares some laughs with his Journey bandmates and says let's
go cut a track. The group released this album, Raised
on Radio in nineteen eighty six, but that tour was
their last with Perry. They fractured after that. When they
reformed for the nineteen ninety six album Trial by Fire,
(48:44):
Perry couldn't go on the road due to a bad
hip condition. He was replaced by a sound alike named
Steve Agari. He never returned to the band. Perry released
a second studio album nineteen ninety four, but didn't make
another until twenty eighteen, when he returned with the album Traces.
It's fin One week you looked.
Speaker 6 (49:02):
At me, got get into the side and said I'm angry.
Speaker 19 (49:05):
Five days to laugh to me.
Speaker 6 (49:06):
It's saying get back together, come back and see me.
Three days a living room, I really remember saw my father.
Speaker 5 (49:12):
Couldn't tell you yesterday.
Speaker 2 (49:14):
You've forgiven me, but I'll still eat to day till last.
Speaker 6 (49:16):
Sam'm sorry cold and I want want to look wink.
Speaker 1 (49:19):
I mean you stop thinking.
Speaker 6 (49:20):
You'll think you're looking that achoman.
Speaker 1 (49:22):
I summon fish to the dish all though.
Speaker 14 (49:23):
Well like a shallow she said, like the sushi cuz
it's never touch to Brian Man a lot like with
Sabie Win of us rhymes speak like leam rhymes because
I'm all about value.
Speaker 1 (49:30):
Bertie Campers come to man gates. If you try to
match which if you try to hold me bout a
bus through, You're gonna make a break and take a
pick up like a sinking naked check out like Aanilla.
It's the finest of the flavors. You can see the
showcaus and you'll know the Verdigo was gonna go because
it's so dangerous at sun a waiver?
Speaker 11 (49:43):
Can I help it if I think it funny when
you're bad trying hard to smile or what feel bad?
Speaker 12 (49:47):
I'm the kind of guy laughs.
Speaker 19 (49:48):
In the funeral.
Speaker 6 (49:49):
Can't understand what I mean?
Speaker 1 (49:50):
When you soon well, I have a tell it to
you to win my mind. I'm Aslee have a history
of taking up my shirt.
Speaker 6 (49:55):
It's been one week you look at me threw You're
up in the air.
Speaker 1 (50:00):
That was one week by Bare Naked Ladies, remember them.
The band has said that this song is about a
big fight in a relationship. The lyrics are essentially meaningless
as most of their songs, but wildly entertaining, showing off
their clever wordplay in a rapid fire interplay between their
lead singers Ed Robertson and Steven Page. Robertson is the
one who wrote this song. Fittingly, it spent one week
(50:23):
at number one in the US. Quote maybe I should
have called it fifty eight weeks, the frontman joked in
an interview. This was the first big hit for the
Bare Naked Ladies. They formed in nineteen eighty eight and
developed a pretty large cult following, especially in their native
Canada and among college students. They made some inroads in
America with their nineteen ninety six single The Old Apartment
(50:45):
and did just barely crack the Hot one hundred, landing
at number eighty eight. In nineteen ninety seven. A live
version of their song Brian Wilson was issued later that year.
In nineteen ninety eight, when one Week was released as
the first single from their albums Stunt, they pushed it
pretty hard, promoting the song by playing a series of
radio station concerts throughout the country. Most acts wouldn't do
(51:07):
well playing to a handful of contest winners and Poughkeepsie
answering dumb questions from a disc jockey, and then doing
it the next day in Scranton, but Bare Naked Ladies
stayed remarkably gracious throughout the process. Humor and improvisation were
always a pretty big part of their repertoire, and it
came in handy during this promotional cycle. Radio stations rewarded
them by spinning the single and talking up the band.
(51:30):
The reason why many of the lyrics are just a
podge podge of cultural references is that the song was
written as a free style singer. Guitarist Ed Robertson explained quote,
I wrote the chorus structure of the song, but I
couldn't figure out the verses at all. I got together
with Steven Page a bunch of times and said, I
have this idea for a song. We couldn't figure out
where to go with it. And finally Steve said to me,
at some point, let's just freestyle and shout out gibberish.
(51:53):
And it's what we do on stage every night. Why
don't we just do it for the record.
Speaker 2 (51:57):
I Oh, I'm baby for you.
Speaker 12 (52:06):
I wish nothing bad the best for you both.
Speaker 5 (52:14):
I'm not the vision of me.
Speaker 3 (52:17):
She preferred it like me.
Speaker 6 (52:19):
Would she goes down on you him love her.
Speaker 18 (52:23):
She speaking of money and she have your baby.
Speaker 6 (52:28):
I'm sure she'd make a really accent mother. She's to
be pap for.
Speaker 2 (52:35):
The people to pay for your top.
Speaker 6 (52:38):
Why no? And every time she then tell me, do
tell your dice, till your dice. But after that, knife
and love it.
Speaker 2 (52:51):
Now to the money.
Speaker 6 (52:55):
I'm the last year, twenty year.
Speaker 1 (53:11):
I played you two Canadian acts in a row. That
was a Linus Morris set with You oughta Know. Song's
an angry message from a scorndex girlfriend directed at her
former lover. Morisett has said it is about a specific person,
but that person has not contacted her and probably doesn't
even know it's about him. Morset claims she will never
say who it is about, just like Carly Simon has
(53:32):
done with the song You're So Vain. The song was
rumored though to be about the actor Dave Kooyier, whom
Morisset dated for a time. Kuya says it was about
nineteen ninety two, when Alanas would have been seventeen or
eighteen years old, and he would have been this will
Creep You out thirty two or thirty three, hence the
line and older version of me. Kuya played Joey on
the TV show Full House and is known for his
(53:54):
Bullwinkle impression, which is a weird thing to be known for.
Koya claimed the song is about their former relationship. The
actor comedian said that he first heard the track when
he was driving and said, Wow, this girl's very angry,
and then I said, oh, man, I think that's alanis
Quoier revealed I listened to the song over and over again,
and I said, I think I have really hurt this person.
(54:15):
I tried to contact her and I finally got a
hold of her. At the same time the press was
calling and saying do you want to comment on this song?
I called her and said, what do you want me
to say? And she said, you can say whatever you want.
We saw each other and hung out for an entire
day and it was kind of beautiful. It was one
of those things where we were like, eh, we're good
and we can move on. This song blasted over the
airways and late summer of nineteen ninety five, creating quite
(54:38):
a buzz for Morris set. That whole album, Jagged Little Pill,
was a huge hit at the time. Because of this
cold vocal open, DJs had to be quick and creative
when talking it up. No dead air, just keep the
music moving, as DJs are taught to do, a problem
compounded by her six syllables talking over the end of
a song was also a verboten. The out is a
(55:00):
cold vocal outro. Many listeners ended up in record stores
looking for the song, only to find it it wasn't
for sale, A common gambit in mid nineties music marketing,
to increase album sales. The only way to own the
song was to buy the Jagged Little Pill album, which
ended up selling over sixteen million copies. Of the times
when albums were going to fifteen dollars a pop.
Speaker 24 (55:22):
I'm sitting them the wait.
Speaker 19 (55:26):
Damba, we say.
Speaker 24 (55:36):
Everybody's going somewhere reading this as fast as second right.
I guess they got a lot to do before they
convest to shoot the evers.
Speaker 19 (55:58):
Justify very good, believe.
Speaker 6 (56:04):
You canna let me slide.
Speaker 19 (56:09):
Up down high.
Speaker 4 (56:11):
Will but.
Speaker 19 (56:16):
Good see.
Speaker 1 (56:22):
Running at six minutes and five seconds, this song covers
a lot of emotional ground, much of it dealing with
Jackson Brown's personal life. The song is your bright Baby Blues.
Early in the song, he's trying to outrun his demons,
but no matter where he goes there he is quote
from the song, no matter how fast I run, I
can never seem to get away from me. Later, he
(56:43):
addresses a person who might be there to help, baby,
you can free me all in the power of your
sweet tenderness. This could be Phyllis Major, mother to his
son and his first wife appears she did have bright
baby blue eyes. Major fell into a depression and died
by suicide in nineteen seventy six. Is Brown was working
on the Pretender album. This song was written and likely
(57:05):
recorded before her death. Your Bright Baby Blues wasn't released
as a single, but became one of Jackson Brown's most
popular songs, played it most of his concerts. It's part
of his fourth album, The Pretender, which has a pretty
timeless quality thanks to high production value and songs that
explore the human condition. Brown brought in John Landau, known
for his work with Bruce Springsteen, to produce the album.
(57:29):
Brown feels that this song is best understood within the
context of the album as a whole, where it's the
second track quote, the whole album is a cycle because
more happens on the second side. It's obvious that there's
a continuity. That's only because the first side is preparatory,
like having Your Bright Baby Blues where it is and
then sleep Dark and Silent. Gait wouldn't mean as much
(57:49):
if you didn't have it there right after it. The
things discussed on the first side really come to a
head on the second side, so it appears a second
side is more connected when the two.
Speaker 12 (58:00):
To be.
Speaker 4 (58:04):
No, then you.
Speaker 2 (58:10):
Dies, don't you?
Speaker 4 (58:12):
And somebody in love.
Speaker 25 (58:14):
Don't to me somebody in love and to have somebody love.
Speaker 16 (58:22):
You find somebody a love.
Speaker 4 (58:27):
Love.
Speaker 12 (58:35):
God is gone as he loved.
Speaker 25 (58:41):
Dad said, Yeah, your man, he's somethl of bread. Don't
do want somebody love? Don't to me somebody in love?
And do love somebody a love, dude, somebody.
Speaker 17 (59:04):
Your eyes say, your eyes made look like.
Speaker 5 (59:12):
Your head?
Speaker 4 (59:13):
Baby?
Speaker 6 (59:14):
Heyde, don't know. Worry somebody.
Speaker 25 (59:23):
Somebody somebody loved.
Speaker 1 (59:30):
Somebody that was somebody to love by Jefferson Airplane. The
song was written by Grace Slick's brother in law, Oil Slick. No,
I'm just kidding. I thought that was a pretty funny
joke to throw in here. Darby Slick in nineteen sixty
five is the real name. They were a San Francisco
(59:52):
band called The Great Society, which also included Jerry Slick,
who was Grace's husband and Darby's brother. Jerry played drums
and Darby played guitar. The Great Society released the song
as a single in late nineteen sixty five, with another
Darby Slick composition, Free Advice, as the B side. The
single went nowhere. When Darby started exploring Indian music in
(01:00:12):
nineteen sixty six, The group broke up and Grace joined
Jefferson Airplane, which was already established. When she arrived at
her new group, she came bearing hits. They recorded a
new version of Somebody to Love and also did White Rabbit,
which she wrote as a member of the Great Society.
San Francisco in the mid nineteen sixties was the epicenter
(01:00:33):
of free love, but Darby Slick saw a downside to
this ethos, and it could lead to jealousy and disconnect.
The song champions loyalty and monogamy, as the lead singer
implores us to find that one true love that will
nurture us and get us through tough times. Jefferson Airplane's
first hit song, Somebody Love, was also the first big
hit to come out of the US West Coast counterculture scene.
(01:00:56):
Over the next few years, musicians flocked to San Francisco
Bay to part of the scene.
Speaker 4 (01:01:03):
Okay, mm hmmm, Hey journey, mm hmmmm, just.
Speaker 11 (01:01:13):
You know why.
Speaker 26 (01:01:19):
Why you and I?
Speaker 4 (01:01:24):
We'll buy and buy.
Speaker 11 (01:01:30):
No true love way.
Speaker 26 (01:01:36):
Some times will sigh, sometimes will cry, and we know.
Speaker 4 (01:01:49):
Why just you and I?
Speaker 12 (01:01:53):
No true love.
Speaker 4 (01:01:58):
True the day uh true go bring joys to show.
Speaker 16 (01:02:15):
With those who.
Speaker 12 (01:02:18):
Kay.
Speaker 26 (01:02:21):
Sometimes will you side, sometimes you cry.
Speaker 4 (01:02:33):
And we know just you lie.
Speaker 1 (01:02:39):
Note that was one of my favorite artists, Buddy Holly
with True Love Ways. It was co written by Buddy
and Norman Petty and recorded in October of nineteen fifty eight.
Petty was Buddy Holly's first producer and actually owned the
studio in Clovis, New Mexico, where all of Buddy's first
(01:03:01):
recordings were made. Lubbock, where he's from, did not even
have a recording studio at the time. This song and
It Doesn't Matter Anymore, were Buddy's first recordings to use
the orchestral string arrangements, which accentuated his vocal mannerisms. The
strings were arranged by Dick Jacobs. The song's haunting melody
was inspired by one of Betty's Buddy's favorite Black gospel hymns,
(01:03:25):
All Be Alright, which was recorded by the Angelic Gospel Singers.
This song was likely inspired by his wife, Maria Elena.
This wasn't released though, until after Holly's death in nineteen
fifty nine. After he died in a plane crash, the
album The Buddy Holly Story was released, which contained many
of his early hits. This album came out a few
(01:03:45):
months later and included many of his lesser known or
never released songs.
Speaker 6 (01:03:50):
The records do you have about seventy five?
Speaker 27 (01:03:53):
I wouldn't be the least a bit surprised if you
didn't have this one in your collection, or maybe you
were about to add it. It's one of the fastest
records in the country called Come Softly to Me. Ladies
and gentlemen, here the Fleetwood Come.
Speaker 4 (01:04:06):
Dom Doom Don Don Doom, Doom dom dum dom do
do do come sound come don come sucky, Come Sucky,
(01:04:33):
come son dom, don come soundly die, come.
Speaker 5 (01:04:41):
To me, stay.
Speaker 4 (01:04:45):
My session forever. Don't I want I want you to know.
Speaker 15 (01:04:57):
I love I love you so.
Speaker 5 (01:05:00):
Please?
Speaker 1 (01:05:28):
That was the Fleetwoods would Come Softly to Me. Originally
called Come Softly, The title of the song was changed
because Dolphin Records owner Bob Reistor feared that AM radio
DJs would think it would be too suggestive. He was
being extra cautious, of course. Dolphin Records was formed by
the Seattle DJ for the sole purpose of distributing the
Fleetwoods records. The song started when Fleetwood member Gary Troxel
(01:05:53):
and Gretchen Christopher were waiting for a lift home from
their high school by her mother. Troxel started humming dumbed
doom dum doooh, and Gretchen noticed that this is the
same chord progression that she used in a song they
had just finished writing called Come Softly. She asked him
to slow the tempo up and sang her song a
top of Troxels humming. They took it to Gretchen's singing partner,
(01:06:15):
Barbara Ellis, who liked it. In the trio formed Two
Girls and a Guy. Two Girls and a Guy performed
this live twice, at a senior class assembly and at
a post football game dance. Classmates wanted copies of the
song so that they could learn it. It took six months, though,
for the trio to record it. Ultimately, they sang it
in an a cappella form and instrumentation was just over dubbed.
(01:06:35):
There were no drums in the recording. The only percussion
was that of Troxyl shaking his car keys in his
closed hands.
Speaker 16 (01:06:42):
Can you tell me where my country lies?
Speaker 3 (01:06:47):
Said the Uni fun to his true love.
Speaker 6 (01:06:50):
Sighes it lies with.
Speaker 4 (01:06:54):
Me, cried the Queen of Maybe for her machan and die.
Speaker 6 (01:07:00):
He traded in his prize.
Speaker 4 (01:07:07):
Paper late, cried a voice in the crowd.
Speaker 15 (01:07:15):
Old man dies and lot he left a sign, Old father.
Speaker 4 (01:07:21):
The tennison. It seems he's drown silly, ill by the pound.
Speaker 22 (01:07:35):
Citizens of open Glory, Time goes by.
Speaker 9 (01:07:40):
It's the time of your life.
Speaker 11 (01:07:44):
Easy enough, sit you down, chewing through y'all?
Speaker 1 (01:07:51):
Where we dreaming?
Speaker 8 (01:07:53):
They hit without a sound, diegesting.
Speaker 1 (01:08:08):
Dancing with the Moonlit Night is a song by the
progressive rock band Genesis. It was released on their nineteen
seventy three album Selling England by the Pound. Going back
to the traditional Scottish and English folk music, Peter Gabriel
and Genesis crafted a perfect intro for their landmark album,
Selling England by the Pound. For their live shows, Peter
(01:08:29):
Gabriel walked on stage with a lance and a helmet
and a cape painted in Union Jack colors and started
dancing with the Moonlit Night on his own. A beautiful
melody akin to what was sung by the minstrels of
old is how he pitched it. Such a clear focus
on the vocals helped the listener really hear the lyrics
and to feel the message just a bit better. The
(01:08:50):
song was developed from several brief piano pieces composed by
frontman Peter Gabriel, which later combined with some of Steve
Hackett's guitar figures to make up the song. Gabriel contributed
English themed lyrics to Dancing with the Moonlit Night because
most of the music press thought Genesis were putting too
much effort into appealing to American audiences. And with that,
(01:09:12):
we have to end for the day, but not before
I play you one last song from the very underrated
nineties band Bush, and the song is called Swallowed. The
song is written in response to the success of Bush's
multimillion selling debut album sixteen Stone after years and years
of failure. Gavin Rosdale said, when you first climb the ladder,
(01:09:32):
if you're lucky enough, and I was lucky enough to
have that insane success with it, it's a bit overwhelming
in some ways. I didn't go to school where you
learn how to prepare yourself for that kind of success.
I was English. I failed for many years, and I'm
not I didn't even know being successful was an option.
It was just more of an observation of what others
could become. Rosdale has added that Swallowed was a bit
(01:09:53):
like his version of the song help although he was
quick to say that he was not as good as
the Beatles. Of course, well, we hope you enjoyed the
season premiere of Listen to this season thirteen. Of course,
we wouldn't be here without y'all, and so please please
please share this with people you know, recommend it. People
are always wanting to try out new podcasts and say, hey,
I got this really cool music history podcast you should
(01:10:15):
listen to by this super ultra handsome guy who's also
six foot four and built like a brick truck. You'd
be lying, of course, but there you go. Anyways, turn
this song up loud and we'll see it next week.
Speaker 15 (01:10:27):
Woom song, feed me.
Speaker 20 (01:10:35):
Loaded low then for changing us slim.
Speaker 23 (01:10:44):
Some oil away.
Speaker 5 (01:10:50):
Squaw swallowed.
Speaker 2 (01:11:03):
Slow, I wear away water, loud, I wear avery water very.
Speaker 20 (01:11:20):
Just wanted to be myself, he said, you would love
to try some.
Speaker 1 (01:11:32):
He said, you would love dice.
Speaker 20 (01:11:37):
Every woman word of a fish hook. You're the wavy,
Y're the wavy Hollway.
Speaker 2 (01:11:48):
Swallowed, followed Heavybody, My love swallow.
Speaker 5 (01:12:04):
Shop.
Speaker 3 (01:12:11):
Thank you for listening 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
Speaker 1 (01:12:22):
Com, This is Funner,
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