WEBVTT 00:07.749 --> 00:12.712 [SPEAKER_01]: Hey there, Jive Turkeys, and welcome back to WSYL. 00:13.073 --> 00:15.794 [SPEAKER_01]: This is your very groovy old Jeff Armin. 00:16.515 --> 00:23.680 [SPEAKER_01]: I'm stoked this week to bring you a most radical collection of Jason and D's top five songs of nineteen seventy five. 00:24.500 --> 00:36.989 [SPEAKER_01]: So as you cruise it down, lives highway and you shag and wagon, pause that eight track, crank up the boom box to the max, have a coconut smile, and enjoy these out-of-site favorites of nineteen seventy five. 00:37.789 --> 00:40.311 [SPEAKER_01]: Now, here's Jason indeed. 00:46.146 --> 01:09.447 [SPEAKER_02]: Welcome back to the surely you can't be serious podcast everybody if you were tuning in because you saw the title of this video slash podcast then I'm guessing that you've got some more back pain that you're dealing with and that's okay we do too but we're gonna go back to a time when there was no back pain there was nothing but love and rock and roll in the air going back to nineteen seventy five you know 01:10.148 --> 01:13.390 [SPEAKER_02]: People ask me, how do you have such good taste in music? 01:13.530 --> 01:16.152 [SPEAKER_02]: And I've always wondered until I started researching this year. 01:16.332 --> 01:22.535 [SPEAKER_02]: And I was cooking the whole year of nineteen seventy five literally from the beginning of the year until October. 01:22.815 --> 01:30.580 [SPEAKER_02]: And I'm thinking it's because in the womb, I was being exposed to some of the greatest rock and roll albums of all time. 01:31.388 --> 01:32.048 [SPEAKER_02]: That sounds good. 01:32.208 --> 01:32.488 [SPEAKER_02]: Yeah. 01:32.689 --> 01:32.849 [SPEAKER_02]: Yeah. 01:33.009 --> 01:44.572 [SPEAKER_02]: I know that in nineteen seventy five the day I was born the number one song in the radio was famed by David Billy, which is not a bad song to have as your number one song the day. 01:44.772 --> 01:45.433 [SPEAKER_05]: That's not bad. 01:45.473 --> 01:49.594 [SPEAKER_05]: I'll tell you what the number one song was when I was born in nineteen seventy three. 01:49.614 --> 01:49.774 [SPEAKER_05]: Yeah. 01:50.903 --> 01:53.886 [SPEAKER_05]: tie a real ribbon around the old tree. 01:53.906 --> 01:56.528 [SPEAKER_02]: That's right. 01:56.869 --> 01:59.511 [SPEAKER_02]: I was just very happy it was not captain and to Neil. 02:00.332 --> 02:01.493 [SPEAKER_02]: Love will keep us together. 02:01.553 --> 02:04.115 [SPEAKER_05]: Hey, you don't know what's coming on my list here. 02:05.496 --> 02:10.281 [SPEAKER_05]: Let's take us back to a time before people even cared about seat belts, right? 02:10.601 --> 02:27.440 [SPEAKER_02]: right unless you're an engrimland check out our Jimmy Buffet episode for that fantastic that's right yeah so this is you and I were talking earlier the way that we do this guys is that we each come up with our own top five and then we tease the songs up 02:27.660 --> 02:44.939 [SPEAKER_02]: We give history stories whatever about it to try to see if the other guy can guess which song it is and you guys play along and you try to guess which song it is that we're thinking of but we don't know what each other's lists are so really potentially are getting like the top ten of nineteen seventy five but just from our perspectives 02:45.739 --> 02:58.810 [SPEAKER_02]: And Jason just said this to me before we started I don't think we're gonna have a lot of crossover and I agree I don't think we will I don't think we will you're gonna have different perspective on this one because my nineteen seventy five musical taste really kind of happened in 02:59.627 --> 03:16.587 [SPEAKER_05]: nineteen eighty eight eighty nine when i started playing guitar and going back to the classics when we're talking about eighty songs i've got kind of a library of information that i kind of fall back on we're talking about banjo be a motley crew employees and i already know stuff about all those guys yeah 03:17.027 --> 03:26.761 [SPEAKER_05]: And so when I went back and studied these songs, not only did I not know anything about these songs, really, I didn't know anything about the band, and so this has been a real fun deep dive for me. 03:27.101 --> 03:27.642 [SPEAKER_05]: Absolutely. 03:27.762 --> 03:30.807 [SPEAKER_05]: I will be curious if you've even heard of all of my songs. 03:31.007 --> 03:33.731 [SPEAKER_02]: I wouldn't be surprised if there's some on there that I have not heard of. 03:34.363 --> 03:36.865 [SPEAKER_02]: But enough of the build up, let's jump in, you ready? 03:36.985 --> 03:37.385 [SPEAKER_02]: I'm ready. 03:37.565 --> 03:40.548 [SPEAKER_02]: Okay, I'm gonna let you go first, cause, you know, age before beauty. 03:42.189 --> 03:45.051 [SPEAKER_02]: I was two years old when the sun came out, so. 03:46.092 --> 03:54.458 [SPEAKER_02]: All right, so we're gonna start with our number five, work our way down to number two, then we're gonna give a couple of honorable mentions, and then we'll tell you what our number one song is. 03:54.578 --> 03:56.759 [SPEAKER_02]: Jason, start us off, what's your number five? 03:57.280 --> 03:58.801 [SPEAKER_02]: Number five. 04:02.284 --> 04:06.027 [SPEAKER_05]: Okay, so this song was released April fifth of nineteen seventy five. 04:06.627 --> 04:11.911 [SPEAKER_05]: It reached number twelve on the hot one hundred so relatively strong showing on the hot one hundred. 04:12.452 --> 04:19.437 [SPEAKER_05]: Topped out June twenty first nineteen seventy five almost exactly fifty years ago so like fifty years in a week or so. 04:19.657 --> 04:19.777 [SPEAKER_12]: Yeah. 04:20.117 --> 04:25.220 [SPEAKER_05]: This is a ballad, but people misunderstood the title of this song. 04:25.800 --> 04:29.643 [SPEAKER_05]: So much so that feminist groups protested this song. 04:29.743 --> 04:32.584 [SPEAKER_05]: When in fact, it's actually a woman anthem. 04:33.285 --> 04:33.545 [SPEAKER_05]: All right. 04:33.665 --> 04:39.488 [SPEAKER_05]: Now this was performed by a guy whose real name is Vincent Damon Fernier. 04:40.529 --> 04:40.769 [SPEAKER_05]: Okay. 04:40.869 --> 04:41.810 [SPEAKER_05]: It's not getting me. 04:41.830 --> 04:43.250 [SPEAKER_02]: Is that like a rock and roll name to you? 04:43.330 --> 04:43.490 [SPEAKER_02]: No. 04:43.710 --> 04:43.951 [SPEAKER_02]: All right. 04:44.131 --> 04:44.871 [SPEAKER_02]: You might have changed it. 04:45.071 --> 04:49.813 [SPEAKER_05]: So the interesting thing about this song is people think it's about menstruation. 04:50.713 --> 04:54.155 [SPEAKER_05]: How many rock and roll classics do you know that are about menstruation? 04:54.847 --> 04:56.529 [SPEAKER_02]: I can't see grow one yet, right? 04:56.629 --> 04:57.290 [SPEAKER_02]: All right, give it one. 04:57.750 --> 05:03.336 [SPEAKER_05]: When I tell you the title this song, you'll be like, oh, yeah, I see why they took that meaning, but it's not about that at all. 05:03.856 --> 05:12.766 [SPEAKER_05]: It's about abuse, like emotional abuse, physical abuse, women being dumped on by men, not being taken care of properly, not being loved the way they should. 05:13.166 --> 05:13.466 [SPEAKER_04]: Okay. 05:13.526 --> 05:13.827 [SPEAKER_05]: All right. 05:13.887 --> 05:17.811 [SPEAKER_05]: Now let me tell you about maybe the most infamous incident involving Vincent. 05:18.231 --> 05:41.057 [SPEAKER_05]: in his band okay young up and coming rock band performing the concert he's at the throttle rock festival and somebody throws a chicken on the stage i saw him interviewed he's like i didn't bring the chicken i did not bring the chicken and he said i was thinking about you know there's some guy who's like alright i'm getting ready to a concert let's see i got the tickets i got my keys i got my wallet oh yeah my chicken 05:42.994 --> 05:43.174 [SPEAKER_05]: Right? 05:43.234 --> 05:53.555 [SPEAKER_05]: So you throw a chicken on stage and the lead singer this band sees the chicken picks it up and thinks I mean it's a bird has feathers has wings all throw it in the air and it will fly away 05:54.263 --> 05:55.164 [SPEAKER_05]: Well, chicken's so fly. 05:55.184 --> 05:56.264 [SPEAKER_02]: Not really, no. 05:56.385 --> 05:57.505 [SPEAKER_05]: He said, I'm from Detroit. 05:57.545 --> 05:58.366 [SPEAKER_05]: I didn't know that. 05:59.747 --> 06:03.650 [SPEAKER_05]: So the chicken, he said it didn't fly, but it did plummet. 06:03.910 --> 06:05.671 [SPEAKER_05]: And so it fell into the crowd. 06:06.071 --> 06:07.793 [SPEAKER_02]: God is my witness. 06:07.873 --> 06:08.213 [SPEAKER_05]: Right? 06:09.014 --> 06:10.174 [SPEAKER_12]: Exactly. 06:10.234 --> 06:10.735 [SPEAKER_05]: Exactly. 06:12.276 --> 06:14.157 [SPEAKER_05]: So the chicken falls into the crowd. 06:14.357 --> 06:16.499 [SPEAKER_05]: And the crowd proceeds to tear it apart. 06:16.759 --> 06:19.681 [SPEAKER_05]: Oh, destroys the chicken who was alive momentarily. 06:19.701 --> 06:20.302 [SPEAKER_05]: Oh. 06:20.782 --> 06:23.464 [SPEAKER_05]: And then pieces of the chicken come back on stage. 06:24.969 --> 06:29.076 [SPEAKER_05]: And so there's blood and guts and chicken parts all over the stage. 06:29.877 --> 06:38.229 [SPEAKER_05]: And so the next day the guy that was kind of in charge of signing him Frank Zappa called him and said, Do you kill a chicken on stage? 06:39.631 --> 06:40.833 [SPEAKER_05]: He's like, no, I didn't kill a chicken. 06:40.953 --> 06:42.695 [SPEAKER_05]: He said, I threw the chicken into the crowd. 06:42.755 --> 06:44.318 [SPEAKER_05]: They killed it and threw it back to me. 06:44.338 --> 06:44.878 [SPEAKER_05]: Uh-huh. 06:45.199 --> 06:47.362 [SPEAKER_05]: This incident still follows him around to this day. 06:47.422 --> 06:50.006 [SPEAKER_05]: Like he'll go to festivals and they'll be like, no, you're not going to kill any chickens. 06:50.026 --> 06:51.668 [SPEAKER_05]: He's like, no, I'm not killing any chickens. 06:52.289 --> 06:54.853 [SPEAKER_05]: That happened in nineteen sixty nine and I didn't even do it. 06:56.635 --> 06:58.035 [SPEAKER_05]: So, anyway, do you know the band? 06:58.435 --> 06:59.716 [SPEAKER_05]: I thought I did, but I do not. 06:59.916 --> 07:00.576 [SPEAKER_05]: No, okay. 07:00.596 --> 07:02.296 [SPEAKER_05]: All right, that's good. 07:02.396 --> 07:03.857 [SPEAKER_05]: This comes from a concept album. 07:03.917 --> 07:06.457 [SPEAKER_05]: This was the ballad of that concept album. 07:07.178 --> 07:11.278 [SPEAKER_05]: And it was about a young boy named Stephen who would have nightmares. 07:11.699 --> 07:14.899 [SPEAKER_05]: And the concept album was that you would walk through Stephen's nightmares. 07:15.519 --> 07:16.000 [SPEAKER_03]: Okay. 07:16.240 --> 07:20.201 [SPEAKER_05]: And this was the soft release between heart rock songs. 07:20.681 --> 07:26.182 [SPEAKER_05]: So the lead singer Vincent Damon Furnier called this heavy metal housewife rock. 07:26.802 --> 07:27.162 [SPEAKER_02]: Okay. 07:27.402 --> 07:29.583 [SPEAKER_02]: Is the band a band or is it just really this guy? 07:30.264 --> 07:31.724 [SPEAKER_02]: It's really pretty much just this guy. 07:31.884 --> 07:32.585 [SPEAKER_02]: Is it Alice Cooper? 07:32.845 --> 07:33.905 [SPEAKER_02]: It's Alice Cooper. 07:34.125 --> 07:34.406 [SPEAKER_02]: Okay. 07:35.066 --> 07:41.409 [SPEAKER_02]: And so the only song that I know from this era by Alice Cooper could not be the song that you're talking about. 07:41.449 --> 07:42.909 [SPEAKER_02]: So you're gonna have to tell me with the song. 07:42.929 --> 07:43.149 [SPEAKER_02]: Okay. 07:43.350 --> 07:47.711 [SPEAKER_05]: You may be more familiar with songs like Poison that came out in nineteen eighty nine. 07:47.872 --> 07:48.072 [SPEAKER_05]: Sure. 07:48.372 --> 07:48.992 [SPEAKER_05]: Schools out. 07:49.452 --> 07:51.013 [SPEAKER_05]: That's the one I was thinking of from the seventies. 07:51.133 --> 07:53.814 [SPEAKER_05]: So school's out was his biggest hit that reached number seven. 07:53.914 --> 07:57.215 [SPEAKER_05]: He also had a song called Welcome to my nightmare, which this is from that album. 07:57.475 --> 07:58.676 [SPEAKER_05]: This song reached number twelve. 07:58.736 --> 08:01.617 [SPEAKER_05]: This song is called Only Women Bleed. 08:19.396 --> 08:27.153 [SPEAKER_07]: Please an up a man Feets him dinner Oh, anything she can 08:30.017 --> 08:32.318 [SPEAKER_02]: So not familiar with song beautiful song though. 08:32.378 --> 08:33.598 [SPEAKER_02]: Yeah, it's very pretty. 08:33.738 --> 08:36.739 [SPEAKER_02]: You said it sounded like Silent Lucidity by Queen's right. 08:36.859 --> 08:37.119 [SPEAKER_05]: Yes. 08:37.199 --> 08:38.179 [SPEAKER_05]: Yeah, I agree with you. 08:38.199 --> 08:38.619 [SPEAKER_05]: It does. 08:38.859 --> 08:39.139 [SPEAKER_05]: Okay. 08:39.199 --> 08:41.900 [SPEAKER_05]: I love it and in fact lead a Ford's got a great version of the song. 08:41.920 --> 08:44.280 [SPEAKER_05]: Oh, I could totally I could totally see that for sure. 08:44.300 --> 08:44.500 [SPEAKER_05]: Yeah. 08:44.680 --> 08:44.980 [SPEAKER_05]: All right. 08:45.280 --> 08:45.540 [SPEAKER_02]: All right. 08:45.580 --> 08:45.941 [SPEAKER_02]: My turn. 08:46.081 --> 08:47.061 [SPEAKER_02]: My number five. 08:47.141 --> 08:47.401 [SPEAKER_02]: All right. 08:47.421 --> 08:47.761 [SPEAKER_02]: Here we go. 08:47.901 --> 08:48.201 [SPEAKER_02]: Okay. 08:48.281 --> 08:51.202 [SPEAKER_02]: My number five is a gospel song. 08:51.442 --> 08:51.742 [SPEAKER_05]: Okay. 08:53.473 --> 08:55.354 [SPEAKER_02]: Well, it was a gospel song. 08:55.454 --> 08:58.675 [SPEAKER_02]: It was originally recorded back in the twenties. 08:59.156 --> 09:05.558 [SPEAKER_02]: And there's a lot of kind of versions of the song and the authorship is sort of unknown. 09:06.119 --> 09:11.321 [SPEAKER_02]: But the first guy to record it was a Reverend, Reverend J.C. 09:11.361 --> 09:12.682 [SPEAKER_02]: Burnett, but it never got issued. 09:12.782 --> 09:18.544 [SPEAKER_02]: So the guy who gets the credit for having first recorded the music is Blind Willy Johnson. 09:18.624 --> 09:22.086 [SPEAKER_02]: Blind Willy is a big influence on a whole lot of the guys in seventies, right? 09:22.426 --> 09:26.188 [SPEAKER_05]: I love old school, you know, blues guys, and blindly Johnson. 09:26.308 --> 09:26.548 [SPEAKER_02]: Yes. 09:27.088 --> 09:31.010 [SPEAKER_02]: So it is inspired by Psalm forty one verse three. 09:31.030 --> 09:31.510 [SPEAKER_02]: Okay. 09:31.630 --> 09:38.713 [SPEAKER_02]: The Lord will strengthen him upon the bed of languishing that will to make all his bed in his sickness. 09:38.993 --> 09:46.957 [SPEAKER_02]: That song has been covered by Bob Dylan and it has also been covered by another band in the seventies, which is the version that I'm talking about today. 09:47.237 --> 09:47.577 [SPEAKER_05]: Okay. 09:47.597 --> 09:47.937 [SPEAKER_02]: Okay. 09:48.117 --> 09:51.799 [SPEAKER_02]: This song comes from their sixth studio album. 09:52.119 --> 09:58.381 [SPEAKER_02]: And when this sixth studio album came out, all of their albums went back into the top two hundred albums. 09:58.401 --> 09:58.621 [SPEAKER_02]: Okay. 09:58.781 --> 10:00.262 [SPEAKER_02]: You will know the band for sure. 10:00.422 --> 10:02.143 [SPEAKER_02]: I don't know that you're going to know this song. 10:02.263 --> 10:08.285 [SPEAKER_02]: Most people, if they were thinking, okay, best songs of nineteen seventy five would pick a different song from this album, right? 10:08.525 --> 10:13.328 [SPEAKER_02]: And as you may know, a lot of bands didn't really release a whole lot of singles. 10:13.489 --> 10:17.391 [SPEAKER_02]: The only single that came off of this one was a single called trampled underfoot. 10:17.732 --> 10:18.072 [SPEAKER_02]: Or did that? 10:18.192 --> 10:20.934 [SPEAKER_05]: Okay, that's fantastic because this goes right into my number four. 10:21.074 --> 10:22.735 [SPEAKER_05]: trampled underfoot is not one. 10:22.815 --> 10:25.277 [SPEAKER_05]: I was very familiar with keep going. 10:25.397 --> 10:26.698 [SPEAKER_02]: So you know who the band is. 10:26.858 --> 10:27.118 [SPEAKER_02]: I do. 10:27.198 --> 10:28.239 [SPEAKER_02]: You know what the album is. 10:28.339 --> 10:28.559 [SPEAKER_02]: Yes. 10:28.919 --> 10:29.220 [SPEAKER_02]: Okay. 10:29.240 --> 10:31.661 [SPEAKER_02]: So I'm going to give you, I'm going to give the listeners a little bit more. 10:31.721 --> 10:32.022 [SPEAKER_02]: Okay. 10:32.142 --> 10:33.883 [SPEAKER_02]: So this one was released on 10:34.363 --> 10:36.785 [SPEAKER_02]: February, twenty-fourth, nineteen seventy-five. 10:37.005 --> 10:39.267 [SPEAKER_02]: It's over eleven minutes long. 10:39.327 --> 10:45.691 [SPEAKER_02]: It is the longest studio track they had, which is saying something because they had a long, long, long, long studio track. 10:45.871 --> 10:54.417 [SPEAKER_02]: The album, even though this song was obviously a cover of the Blind Willie Johnson song, credits the four members of the band as the authors of the song. 10:54.497 --> 10:54.857 [SPEAKER_02]: Really? 10:54.877 --> 10:55.758 [SPEAKER_02]: But they didn't write it. 10:55.998 --> 10:56.798 [SPEAKER_02]: Okay. 10:57.058 --> 11:04.161 [SPEAKER_02]: This one, the lead guitarist is playing a Dan Electro Shorthorn, which is a different kind of guitar than he normally played. 11:04.221 --> 11:21.909 [SPEAKER_02]: Usually he was playing a Gibson Les Paul, but he's playing in an open A tuning, which is E-A-E-A-C-Sharp and E. This is the same tuning that Jack White of the White Stripes used on the Seven Nation Army song, which if you're a younger viewer, you may know that one a little bit better. 11:22.329 --> 11:34.598 [SPEAKER_02]: The base player played a fretless base on this one and Rick Ruben said the baseline in the fast grooves is so interesting and unexpected it keeps shifting gears over and over. 11:34.738 --> 11:45.126 [SPEAKER_02]: The drums use the same reverb effect that the drummer used in what I would call the drum introduction of all songs of all time, off one of their earlier albums. 11:45.526 --> 11:46.127 [SPEAKER_02]: Okay. 11:46.187 --> 12:02.159 [SPEAKER_02]: But, and the song was great, but this lead singer wasn't super excited about performing it live because the name of the song has to do with dying and he had actually almost died himself in a car crash just before they had recorded this song. 12:02.299 --> 12:06.682 [SPEAKER_02]: And so once they started doing live shows, he felt kind of uncomfortable covering this song. 12:06.782 --> 12:07.002 [SPEAKER_05]: Okay. 12:07.022 --> 12:07.283 [SPEAKER_02]: Okay. 12:07.383 --> 12:12.947 [SPEAKER_02]: The guitarist after this band split up, the guitarist has since played this song with David Coverdale. 12:13.506 --> 12:14.386 [SPEAKER_05]: probably had that album. 12:14.667 --> 12:14.887 [SPEAKER_02]: Uh-huh. 12:15.027 --> 12:18.769 [SPEAKER_02]: He's also played it with the Black Cross, live the Greek. 12:18.929 --> 12:21.290 [SPEAKER_05]: Hey, I know exactly who we're talking about. 12:21.450 --> 12:22.410 [SPEAKER_02]: All right, very good. 12:22.510 --> 12:25.852 [SPEAKER_05]: This is the same one that Richard Robinson said, take a hike. 12:25.892 --> 12:26.973 [SPEAKER_05]: We don't want your ideas. 12:27.713 --> 12:29.314 [SPEAKER_02]: Yes, that's that guitar. 12:29.354 --> 12:30.394 [SPEAKER_02]: Yes, that's right. 12:30.855 --> 12:37.358 [SPEAKER_02]: And the song that most people are thinking about from this album relates to a place that makes me think of a sweater. 12:37.458 --> 12:39.519 [SPEAKER_02]: But I won't go into that because it may be your number four. 12:39.719 --> 12:40.860 [SPEAKER_05]: We'll talk about that one here in a second. 12:40.900 --> 12:42.501 [SPEAKER_02]: Okay. 12:42.521 --> 12:44.623 [SPEAKER_02]: And so can you tell me who the band is? 12:45.043 --> 12:45.923 [SPEAKER_05]: This is Led Zeppelin. 12:46.124 --> 12:46.364 [SPEAKER_02]: Yes. 12:46.604 --> 12:48.265 [SPEAKER_05]: And I have no idea what the song is. 12:48.665 --> 12:49.306 [SPEAKER_02]: Tell me the album. 12:49.966 --> 12:50.747 [SPEAKER_02]: This is gold graffiti. 12:50.827 --> 12:51.507 [SPEAKER_02]: That is correct. 12:51.587 --> 12:53.869 [SPEAKER_02]: So this is the off the album fiscal graffiti. 12:54.309 --> 12:57.111 [SPEAKER_02]: The name of the song is in my time. 13:23.230 --> 13:35.795 [SPEAKER_12]: For nobody to move All I want is to do and stay my part 13:55.800 --> 14:17.040 [SPEAKER_02]: that song so much because it was one I discovered on my own you know like so many songs you've got somebody else who's who were okay you should listen to this right and so Led Zeppelin I got introduced to as a teenager and so I came across the physical graffiti album and when that that song came on I was like holy crap that is freaking awesome 14:17.300 --> 14:27.674 [SPEAKER_02]: The drum intro that I was talking about was from when the levy breaks on the floor, but I mean it's just such a good the bluesy awesomeness and the Robert Plant Scream and Voice. 14:27.694 --> 14:30.397 [SPEAKER_02]: Ladies and gentlemen, it's a lead to a stand-up bit. 14:32.800 --> 14:43.025 [SPEAKER_05]: You know, that's funny when so just as an observation, you know, you said my song sounded like silent lucidity, which probably is a trickle down effect, right? 14:43.525 --> 14:47.747 [SPEAKER_05]: This song that you just played for me sounds just like falling apart at the seams by Cinderella. 14:47.987 --> 14:48.267 [SPEAKER_04]: Oh, yeah. 14:48.407 --> 14:48.507 [SPEAKER_04]: Yeah. 14:48.547 --> 14:48.647 [SPEAKER_04]: Yeah. 14:48.667 --> 14:48.747 [SPEAKER_04]: Yeah. 14:48.787 --> 14:56.971 [SPEAKER_05]: You know, that bluesy, which as I coincidence today is July fifth and long-cold winner was released on July fifth, like teenage eight. 14:56.991 --> 14:58.912 [SPEAKER_05]: So it's actually it's hard math. 15:00.333 --> 15:01.916 [SPEAKER_05]: Pretty seventh anniversary. 15:01.936 --> 15:07.789 [SPEAKER_05]: Yeah, so anyway, that sounds exactly like that blues that Cinderella probably got directly from the Zepelin. 15:07.890 --> 15:08.351 [SPEAKER_05]: Absolutely. 15:08.651 --> 15:09.854 [SPEAKER_05]: Speaking of Led Zeppelin. 15:12.188 --> 15:12.608 [SPEAKER_02]: four. 15:13.068 --> 15:14.049 [SPEAKER_02]: Yeah, it looks like we've got it. 15:14.069 --> 15:16.970 [SPEAKER_02]: We've probably got the band and probably also the album. 15:16.990 --> 15:18.310 [SPEAKER_02]: We got the album we got the band. 15:18.510 --> 15:20.971 [SPEAKER_02]: Okay, so we're ready here for Jason's number four. 15:20.991 --> 15:21.371 [SPEAKER_02]: Number four. 15:21.411 --> 15:22.832 [SPEAKER_02]: All we got to do is figure out the song. 15:22.992 --> 15:25.253 [SPEAKER_05]: So this should not be hard. 15:25.353 --> 15:27.034 [SPEAKER_05]: And in fact, you probably already have it as it is. 15:27.074 --> 15:29.594 [SPEAKER_05]: But this was released February, twenty fourth, nineteen, seventy five. 15:29.795 --> 15:34.596 [SPEAKER_02]: It did not chart that the reason that neither one of these charted is because they weren't released to singles. 15:34.636 --> 15:36.297 [SPEAKER_02]: There was only the one single that was released. 15:36.577 --> 15:42.819 [SPEAKER_05]: Okay, well then I don't know where I got this release date because that's when the album came out mine was the same release. 15:42.859 --> 15:43.259 [SPEAKER_05]: There we go. 15:43.319 --> 15:43.519 [SPEAKER_05]: Okay. 15:43.559 --> 15:44.279 [SPEAKER_05]: Well, that makes sense then. 15:44.359 --> 15:44.579 [SPEAKER_05]: Okay. 15:45.239 --> 15:50.540 [SPEAKER_05]: So this was written while the lead singer Robert Plant was traveling in Morocco. 15:50.880 --> 15:51.020 [SPEAKER_03]: Yeah. 15:51.481 --> 15:57.662 [SPEAKER_05]: So he's driving around Morocco in nineteen seventy three and he's in this desolate desert area in southern Morocco. 15:57.842 --> 15:58.582 [SPEAKER_05]: And he's just a guy. 15:58.622 --> 16:00.683 [SPEAKER_05]: He's like every other hippie out in Morocco. 16:00.743 --> 16:01.563 [SPEAKER_05]: Nobody knows who he is. 16:01.643 --> 16:03.243 [SPEAKER_05]: He's just a guy with long hair who cares. 16:03.763 --> 16:03.963 [SPEAKER_05]: Right. 16:04.123 --> 16:05.724 [SPEAKER_05]: They don't know he's an international rock star. 16:06.805 --> 16:15.665 [SPEAKER_05]: I don't really know how he makes the jump from writing a song about Morocco and it ends up with the name of a region in northern India. 16:17.080 --> 16:18.601 [SPEAKER_05]: Yeah. 16:18.881 --> 16:24.083 [SPEAKER_05]: So anyway, I do think it's interesting every band member, all four band members. 16:24.363 --> 16:28.545 [SPEAKER_05]: You got Robert Plain, you got Jimmy Page, you got John Paul Jones, you've got John Bottom. 16:28.745 --> 16:28.885 [SPEAKER_05]: Yeah. 16:29.005 --> 16:31.526 [SPEAKER_05]: All four of them say this is the greatest song we ever did. 16:31.546 --> 16:32.186 [SPEAKER_05]: Nice. 16:32.526 --> 16:37.228 [SPEAKER_05]: And it's a rolling series of three notes that hit you like explosions. 16:37.721 --> 16:42.784 [SPEAKER_02]: Throwing it back to Jack White, who I mentioned played the open A tuning in Seven Nation Army. 16:43.184 --> 16:51.688 [SPEAKER_02]: I saw an interview with Jack White and the Edge from U-II and Robert Plant and the Edge was like, tell me about Kashmir. 17:04.772 --> 17:05.232 [SPEAKER_02]: Fantastic. 17:05.312 --> 17:06.193 [SPEAKER_02]: I mean, come on. 17:06.253 --> 17:08.073 [SPEAKER_02]: Gosh, it's just iconic. 17:08.253 --> 17:13.235 [SPEAKER_05]: Did you know that this song was played at every live show from nineteen seventy five until they break up in nineteen eighty. 17:14.036 --> 17:20.258 [SPEAKER_05]: And I don't know for sure, but I'm guessing that Phil Collins played this at live aid with Robert Plant and Jimmy Page. 17:20.859 --> 17:23.560 [SPEAKER_05]: John Paul Jones and the other dude from cheek. 17:25.941 --> 17:26.741 [SPEAKER_02]: Right. 17:27.561 --> 17:27.821 [SPEAKER_05]: All right. 17:28.142 --> 17:28.942 [SPEAKER_05]: Do your number four, sir. 17:29.242 --> 17:30.862 [SPEAKER_02]: Okay, my number four. 17:31.103 --> 17:38.824 [SPEAKER_02]: So interestingly, we are in America month this month where we just got finished celebrating the independence of the US. 17:39.105 --> 17:40.885 [SPEAKER_02]: Sorry, Britain, but hey, guess what? 17:41.265 --> 17:43.966 [SPEAKER_02]: Over half of my songs are by UK fans. 17:44.426 --> 17:48.087 [SPEAKER_02]: Now, a lot of them were borrowing from old blues musicians from the US. 17:48.967 --> 17:51.908 [SPEAKER_02]: Who knows, but this one, I will tell you is not a UK band. 17:51.928 --> 17:55.089 [SPEAKER_02]: This is a born and bred in the USA band, okay? 17:55.229 --> 17:55.889 [SPEAKER_02]: All right. 17:56.449 --> 18:00.790 [SPEAKER_02]: The, the single was released May, nineteen, nineteen, seventy, five. 18:01.250 --> 18:09.252 [SPEAKER_02]: The single was three minutes and nine seconds long, which they had cut down from the album version, which is four minutes and thirty four seconds long. 18:09.743 --> 18:18.032 [SPEAKER_02]: And for my money every day of the week and twice on Sunday, you got to play the album version because the intro is so freaking awesome. 18:18.132 --> 18:18.312 [SPEAKER_02]: Okay. 18:18.352 --> 18:19.394 [SPEAKER_02]: You can't just skip it. 18:19.954 --> 18:24.820 [SPEAKER_02]: What they did when they cut it down was they kind of jumped right into the chorus and that leads off with the chorus. 18:24.840 --> 18:26.021 [SPEAKER_02]: It doesn't lead off with the verse. 18:26.461 --> 18:26.762 [SPEAKER_02]: Okay. 18:27.282 --> 18:28.042 [SPEAKER_02]: Okay. 18:28.102 --> 18:33.263 [SPEAKER_02]: This was number four hundred and sixteen in Rolling Stone Magazine's five hundred greatest songs of all time. 18:33.523 --> 18:44.826 [SPEAKER_02]: It peaked on July nineteenth, which I don't know when this episode's coming out precisely, but almost exactly fifty years ago, peaked at number thirty-six on the Hot One Hundred. 18:45.686 --> 18:46.727 [SPEAKER_02]: Number thirty-six. 18:47.227 --> 18:49.867 [SPEAKER_02]: Now, what day was your, what was the release date on that one? 18:50.147 --> 18:52.608 [SPEAKER_02]: The release date was May nineteen nineteen seventy-five. 18:53.818 --> 18:54.659 [SPEAKER_02]: Hold that thought. 18:54.979 --> 18:55.219 [SPEAKER_02]: Okay. 18:55.400 --> 18:55.620 [SPEAKER_02]: All right. 18:55.740 --> 18:59.384 [SPEAKER_02]: We're going to hold onto that one because Jason's got it coming up here in a minute. 19:00.725 --> 19:01.225 [SPEAKER_02]: That's okay. 19:01.346 --> 19:03.308 [SPEAKER_02]: Hey, that we do have some overlap. 19:03.328 --> 19:04.349 [SPEAKER_02]: We do have some overlap. 19:04.449 --> 19:06.491 [SPEAKER_02]: We'll be fun to talk about this one together. 19:06.631 --> 19:06.931 [SPEAKER_02]: All right. 19:07.292 --> 19:07.532 [SPEAKER_02]: All right. 19:07.572 --> 19:07.972 [SPEAKER_02]: Let's see. 19:08.032 --> 19:08.273 [SPEAKER_02]: All right. 19:08.293 --> 19:11.536 [SPEAKER_02]: Number four and we'll move on to your number three. 19:11.756 --> 19:12.076 [SPEAKER_05]: All right. 19:12.557 --> 19:13.398 [SPEAKER_05]: Number three. 19:17.211 --> 19:21.892 [SPEAKER_05]: All right, so this song has an interesting title based on what the song is about, okay? 19:22.572 --> 19:29.214 [SPEAKER_05]: It was written in response to the lead singer's wife telling him you don't tell me you love me enough, okay? 19:29.474 --> 19:39.116 [SPEAKER_05]: He had this kind of backward response that basically was like if I tell you I love you as much as I feel it the words will cease to have meaning 19:39.376 --> 19:40.997 [SPEAKER_05]: It would just be, I love you. 19:41.057 --> 19:41.957 [SPEAKER_05]: Have a great day, you know. 19:42.237 --> 19:46.918 [SPEAKER_05]: And so he held those words in an effort to make them meaningful. 19:47.459 --> 19:50.880 [SPEAKER_05]: So when he did tell her that, it was supposed to hit with more emotional impact. 19:51.300 --> 19:53.240 [SPEAKER_05]: This song was released in May of nineteen seventy five. 19:53.540 --> 19:58.282 [SPEAKER_05]: It reached number two in September of seventy five blocked only by the hustle. 20:01.470 --> 20:05.591 [SPEAKER_05]: So, by Van McCoy and the soul city symphony. 20:05.651 --> 20:06.471 [SPEAKER_05]: That's right. 20:06.511 --> 20:06.951 [SPEAKER_05]: That's right. 20:07.271 --> 20:09.391 [SPEAKER_05]: So, here's the interesting thing about this song. 20:09.691 --> 20:14.992 [SPEAKER_05]: The Oz, like the... The like the backing track. 20:15.532 --> 20:19.573 [SPEAKER_05]: They spent three weeks just building the Oz. 20:19.653 --> 20:21.373 [SPEAKER_05]: And like the ooze. 20:21.974 --> 20:25.714 [SPEAKER_05]: And they had to use these giant tape loops to make them infinite. 20:26.154 --> 20:30.175 [SPEAKER_05]: And when you listen to the song, it's not like... Uh-uh-uh-uh, it's like... 20:31.860 --> 20:35.405 [SPEAKER_05]: It's constant and it comes in and out, but it's infinite. 20:35.806 --> 20:36.126 [SPEAKER_04]: Okay. 20:36.366 --> 20:36.647 [SPEAKER_05]: Okay. 20:37.308 --> 20:38.770 [SPEAKER_05]: And you'll know what I'm talking about here in a second. 20:38.910 --> 20:40.452 [SPEAKER_05]: Do you remember the song from the eighties? 20:40.772 --> 20:42.415 [SPEAKER_05]: I want to be a cowboy. 20:42.755 --> 20:42.995 [SPEAKER_05]: Yes. 20:43.216 --> 20:44.678 [SPEAKER_05]: And you can be my cowgirl. 20:44.758 --> 20:44.998 [SPEAKER_03]: Yes. 20:45.118 --> 20:45.799 [SPEAKER_05]: No, the name of that group. 20:46.560 --> 20:46.680 [SPEAKER_05]: No. 20:46.940 --> 20:47.140 [SPEAKER_05]: Okay. 20:47.420 --> 20:49.681 [SPEAKER_05]: Name of that group is they're called boys don't cry. 20:50.101 --> 20:50.422 [SPEAKER_03]: Okay. 20:50.642 --> 20:52.702 [SPEAKER_05]: They got the name of that group from this song. 20:52.922 --> 20:53.223 [SPEAKER_05]: Okay. 20:53.463 --> 20:57.064 [SPEAKER_05]: In the middle of the song, there's a breakdown where like there's no singing going on. 20:57.464 --> 21:03.166 [SPEAKER_05]: And you have a person who comes on in a kind of a weird like hushed tone and says, be quiet. 21:04.047 --> 21:04.907 [SPEAKER_05]: Big boys don't cry. 21:06.352 --> 21:07.733 [SPEAKER_05]: It's a very emotional song. 21:07.773 --> 21:10.374 [SPEAKER_05]: Like when I hear it, I want to weep every single time. 21:10.434 --> 21:10.654 [SPEAKER_05]: Okay. 21:10.694 --> 21:10.894 [SPEAKER_05]: Yeah. 21:11.795 --> 21:13.556 [SPEAKER_05]: Here's the cool thing about that little tidbit. 21:13.616 --> 21:15.877 [SPEAKER_05]: So many people will probably recognize it off that alone. 21:16.097 --> 21:16.297 [SPEAKER_05]: Okay. 21:16.617 --> 21:17.237 [SPEAKER_05]: I'm not one of them. 21:17.397 --> 21:17.597 [SPEAKER_05]: Okay. 21:18.118 --> 21:23.440 [SPEAKER_05]: So they needed somebody with this kind of crisp kind of sexy voice. 21:23.940 --> 21:24.120 [SPEAKER_05]: Okay. 21:24.140 --> 21:24.561 [SPEAKER_03]: Yeah. 21:25.121 --> 21:31.924 [SPEAKER_05]: And they're in the studio one day and the guys in the band are talking about, you know, man, I don't know where we're going to find this person has this voice. 21:32.665 --> 21:33.525 [SPEAKER_05]: And they get there's like a 21:35.328 --> 21:38.190 [SPEAKER_05]: And they turn, they open the door in the secretary. 21:38.790 --> 21:46.295 [SPEAKER_05]: A girl named Kathy Redfern comes in and says, Excuse me, Eric, I hate to bother you, but you have a telephone call. 21:46.835 --> 21:47.035 [SPEAKER_05]: Uh-huh. 21:47.695 --> 21:50.336 [SPEAKER_05]: And they're like, that's the girl right there, that's who we want. 21:50.696 --> 21:52.077 [SPEAKER_05]: And they had to kind of coax her into it. 21:52.797 --> 21:55.418 [SPEAKER_05]: So when she says, be quiet, bit boys don't cry. 21:56.079 --> 21:58.500 [SPEAKER_05]: She was the secretary at the recording studio. 21:58.520 --> 21:59.120 [SPEAKER_05]: That's fantastic. 21:59.140 --> 21:59.300 [SPEAKER_05]: Okay. 21:59.920 --> 22:01.861 [SPEAKER_05]: Here's where I kind of, my mind was blown. 22:01.941 --> 22:02.221 [SPEAKER_05]: Okay. 22:03.022 --> 22:13.806 [SPEAKER_05]: So we've talked at length about two members of this band, who when the band broke up, they did other things including direct videos and great songs. 22:13.826 --> 22:14.887 [SPEAKER_05]: They did a lot of other stuff. 22:15.247 --> 22:15.688 [SPEAKER_05]: Okay. 22:15.848 --> 22:19.672 [SPEAKER_05]: Those two guys were their last names were godly and cream and cream. 22:19.812 --> 22:21.473 [SPEAKER_05]: I figured that's what we were talking about there. 22:21.674 --> 22:31.784 [SPEAKER_05]: At the time, the band was being courted by mercury records, but they hadn't really signed and they were kind of in between record labels, whatever, and when they played this song for them, the record company freaked. 22:32.585 --> 22:34.246 [SPEAKER_05]: Okay, and like I've never heard this before. 22:34.827 --> 22:36.709 [SPEAKER_05]: They said, this is a masterpiece. 22:37.189 --> 22:38.030 [SPEAKER_05]: How much money do you want? 22:40.053 --> 22:41.294 [SPEAKER_05]: What record company says that? 22:41.534 --> 22:51.705 [SPEAKER_02]: That's yeah, okay impressive All right in the idea what we're talking about here They only clue that I've got is you said Eric and That's not given it to me yet. 22:51.945 --> 22:55.189 [SPEAKER_02]: All right, we played the song for you see if you recognize it 23:28.660 --> 23:39.833 [SPEAKER_08]: All right, so the name of that song is I'm not in love by Tennessee 23:46.200 --> 23:46.520 [SPEAKER_02]: Okay. 23:46.820 --> 23:51.582 [SPEAKER_02]: Yep, that one I'm familiar with, but because of guardians of the galaxy, that was not in my- For sure, right? 23:51.622 --> 23:58.085 [SPEAKER_02]: Not in my wheelhouse, certainly not in the seventies or the eighties or the nineties, but yes, I am familiar with that. 23:58.105 --> 23:58.525 [SPEAKER_02]: It's great. 23:59.026 --> 23:59.266 [SPEAKER_02]: Good one. 23:59.466 --> 23:59.626 [SPEAKER_02]: Yeah. 23:59.886 --> 24:01.247 [SPEAKER_02]: All right, to your number three, sir. 24:02.227 --> 24:03.268 [SPEAKER_02]: Okay, number three. 24:03.988 --> 24:08.311 [SPEAKER_02]: So this album again only had one single off of it. 24:08.992 --> 24:16.877 [SPEAKER_02]: I won't tell you the name of it because I think that'll give it away too quickly, but they had a different lead singer for that single than normally sang for the group. 24:17.783 --> 24:39.117 [SPEAKER_02]: couple of guys would sing for the group sometimes the bass player would sing sometimes the guitarist would sing the guy who sang this song was a guy named Roy Harper but that's that's not the song I'm talking about that was just the single that came off this album now the song that I'm talking about has the same title as the album had okay album was released September twelfth nineteen seventy five 24:40.348 --> 24:42.169 [SPEAKER_02]: It was sandwiched. 24:42.409 --> 24:44.129 [SPEAKER_02]: Well, there's another one. 24:45.549 --> 24:53.251 [SPEAKER_02]: It and another album were sandwiched in between what I would describe as the band's two biggest albums, which are two of the biggest albums of all time. 24:53.771 --> 24:56.812 [SPEAKER_02]: One of the songs on this album has nine parts. 24:57.192 --> 25:03.054 [SPEAKER_02]: It starts off with like parts one through four and then ends up with parts five through nine. 25:03.074 --> 25:03.534 [SPEAKER_02]: Okay. 25:04.574 --> 25:08.556 [SPEAKER_02]: I could have picked any one of the songs on this album as my number three song. 25:08.596 --> 25:11.057 [SPEAKER_02]: I'm just picking this one because I happen to love it. 25:11.597 --> 25:12.138 [SPEAKER_02]: I love it all. 25:12.318 --> 25:17.260 [SPEAKER_02]: This is the favorite album of the guitarist and the keyboardist for this band. 25:17.520 --> 25:22.062 [SPEAKER_02]: Even though it's obviously not even their second biggest album. 25:22.262 --> 25:24.263 [SPEAKER_02]: It's their favorite album, but it's not their biggest album. 25:24.283 --> 25:26.725 [SPEAKER_02]: It's not their biggest album by a couple of albums. 25:26.765 --> 25:27.045 [SPEAKER_02]: Yeah. 25:27.245 --> 25:27.365 [SPEAKER_02]: Okay. 25:28.126 --> 25:36.608 [SPEAKER_02]: It actually didn't have as much critical success when it was released, but has become well known as a classic album of this band, okay? 25:36.708 --> 25:36.909 [SPEAKER_02]: All right. 25:37.752 --> 25:46.035 [SPEAKER_02]: The song and the album itself is kind of a tribute to a former band member that these guys had. 25:46.055 --> 25:55.418 [SPEAKER_02]: He was a co-founder of the band, but he left the band about seven years before that because he was having some significant mental health issues. 25:56.798 --> 26:00.500 [SPEAKER_02]: And so I was following, I was tracking and now I'm lost. 26:01.340 --> 26:07.262 [SPEAKER_02]: So that band member, he did actually come back and not, he didn't perform, but he just showed up at the recording studio 26:07.691 --> 26:12.234 [SPEAKER_02]: hung out for a little bit with them while they were recording this album, which was a tribute to him. 26:12.254 --> 26:12.615 [SPEAKER_02]: Okay. 26:12.875 --> 26:13.195 [SPEAKER_05]: All right. 26:13.535 --> 26:13.935 [SPEAKER_05]: Interesting. 26:14.116 --> 26:20.920 [SPEAKER_02]: This song in addition to being a tribute to him, and when you hear the title, you're going to be like, oh, well, of course, that makes complete sense. 26:21.161 --> 26:31.928 [SPEAKER_02]: It's also, if you listen to the lyrics, it is also kind of the dichotomy of the guy who's normally their lead singer who wrote the lyrics to this song. 26:32.168 --> 26:35.471 [SPEAKER_02]: His dichotomy of greed and ambition battling against 26:35.971 --> 26:42.935 [SPEAKER_02]: his compassion and idealism because the band's popularity was really, really picking up steam at this point. 26:43.115 --> 26:46.557 [SPEAKER_02]: The introduction is a guitar introduction and it's a twelve string guitar. 26:46.777 --> 26:47.158 [SPEAKER_02]: Yeah. 26:47.298 --> 26:52.060 [SPEAKER_02]: You remember you sent me a video like the top ten twelve string guitar interest. 26:52.201 --> 26:55.182 [SPEAKER_02]: This was one of those, this was one of those intros. 26:55.262 --> 26:55.623 [SPEAKER_02]: Okay. 26:56.003 --> 26:59.565 [SPEAKER_02]: And the way this song comes in from the song that plays before it 27:00.005 --> 27:07.992 [SPEAKER_02]: it's like somebody changing the dial on a radio station and so you like it's like you're listening to the song and all of a sudden it's like somebody's changing the dial for you. 27:08.313 --> 27:18.462 [SPEAKER_02]: By the way, Jason told me, in nineteen seventy five, this was the year that they came out with the push buttons on the on your radio on your car radio so that you could jump right to a particular radio station. 27:18.802 --> 27:19.442 [SPEAKER_05]: That's why I saw. 27:19.662 --> 27:20.643 [SPEAKER_02]: What would your dad say? 27:21.163 --> 27:23.665 [SPEAKER_05]: He said that was a huge advancement in technology. 27:23.785 --> 27:24.385 [SPEAKER_05]: Yeah, and have to go. 27:26.306 --> 27:34.050 [SPEAKER_02]: So the song that, you know, as they're scrolling through like they're turning a dial, one of the songs that goes by is Chikaski's fourth symphony. 27:34.550 --> 27:34.670 [SPEAKER_02]: Okay. 27:34.890 --> 27:35.171 [SPEAKER_02]: Yeah. 27:35.711 --> 27:41.214 [SPEAKER_02]: And then you get this twelve string guitar playing sounding like it's coming out of an AM radio. 27:42.354 --> 27:56.777 [SPEAKER_02]: And then the lead guitar is an acoustic guitar and it comes over it as though somebody's listening to the radio trying to play the lead along with the radio because the lead guitar is a much clearer, stronger, louder sound. 27:56.917 --> 27:57.137 [SPEAKER_02]: Okay? 27:57.157 --> 27:57.898 [SPEAKER_02]: Okay? 27:58.278 --> 27:58.678 [SPEAKER_02]: No idea. 27:58.718 --> 27:58.878 [SPEAKER_02]: Yeah. 27:59.418 --> 28:00.698 [SPEAKER_02]: I am lost. 28:01.098 --> 28:01.398 [SPEAKER_04]: Okay. 28:02.139 --> 28:08.520 [SPEAKER_02]: So the co-founder of the band, who left seven years before they recorded this album, his name is Sid Barrett. 28:10.007 --> 28:10.327 [SPEAKER_02]: Nothing. 28:10.447 --> 28:10.727 [SPEAKER_02]: Nothing. 28:10.847 --> 28:11.207 [SPEAKER_02]: Okay. 28:11.487 --> 28:13.928 [SPEAKER_02]: I imagine a lot of the viewers have got it at this point. 28:14.348 --> 28:15.048 [SPEAKER_05]: Wait, wait, wait. 28:15.268 --> 28:16.889 [SPEAKER_05]: I have some holes in my back history. 28:17.109 --> 28:17.349 [SPEAKER_02]: Yes. 28:17.409 --> 28:17.949 [SPEAKER_05]: This pink Floyd. 28:18.409 --> 28:18.649 [SPEAKER_05]: Yes. 28:18.669 --> 28:19.410 [SPEAKER_05]: Okay. 28:20.910 --> 28:21.490 [SPEAKER_02]: Stop on the song. 28:22.010 --> 28:25.231 [SPEAKER_05]: Uh, I know it's not another brick in the wall because that's later. 28:25.591 --> 28:27.052 [SPEAKER_05]: Didn't come out until, yes, I mean. 28:27.072 --> 28:28.532 [SPEAKER_05]: So this is from dark side of the moon. 28:29.232 --> 28:29.412 [SPEAKER_02]: Nope. 28:30.032 --> 28:32.013 [SPEAKER_02]: It's not either one of those albums. 28:32.428 --> 28:34.310 [SPEAKER_05]: That dark side of the moon was seventy five. 28:34.450 --> 28:34.850 [SPEAKER_02]: Okay. 28:34.990 --> 28:37.352 [SPEAKER_02]: It was seventy three or seventy four. 28:37.432 --> 28:37.753 [SPEAKER_02]: Okay. 28:37.833 --> 28:38.113 [SPEAKER_02]: All right. 28:38.253 --> 28:38.654 [SPEAKER_05]: Okay. 28:39.014 --> 28:39.354 [SPEAKER_05]: I don't know. 28:39.454 --> 28:41.956 [SPEAKER_05]: I had one of my holes in my back history as Pink Floyd. 28:41.976 --> 28:42.417 [SPEAKER_05]: So keep going. 28:42.557 --> 28:42.837 [SPEAKER_02]: Okay. 28:42.877 --> 28:43.938 [SPEAKER_02]: No problem. 28:43.978 --> 28:45.319 [SPEAKER_02]: So we know it's Pink Floyd. 28:45.420 --> 28:46.801 [SPEAKER_02]: We know it's not dark side of the moon. 28:46.841 --> 28:48.122 [SPEAKER_02]: We know it's not the wall. 28:48.402 --> 28:52.346 [SPEAKER_02]: This album and this song are called Wish You Were Here. 29:01.250 --> 29:03.912 [SPEAKER_09]: Can you tell a green field? 29:03.992 --> 29:08.155 [SPEAKER_09]: What the cause do you laugh? 29:09.776 --> 29:11.878 [SPEAKER_09]: A smile from the van? 29:13.999 --> 29:18.142 [SPEAKER_09]: Do you think you can tell? 29:18.182 --> 29:21.705 [SPEAKER_09]: Did they get you to trade? 29:22.225 --> 29:24.207 [SPEAKER_09]: Your heroes become 29:36.887 --> 29:37.528 [SPEAKER_05]: That's a great one. 29:37.808 --> 29:39.029 [SPEAKER_05]: I know that from Classic Rock. 29:39.329 --> 29:39.549 [SPEAKER_05]: Right. 29:39.790 --> 29:46.856 [SPEAKER_05]: I told you that my football team used to lift weights during the summers and our football coaches would turn it to Classic Rock. 29:47.076 --> 29:49.058 [SPEAKER_05]: And we were like, can you please turn it to Mondry? 29:49.838 --> 29:52.080 [SPEAKER_05]: Well, that's where I heard most of these songs. 29:52.241 --> 29:53.181 [SPEAKER_02]: Yeah, absolutely. 29:53.241 --> 29:59.267 [SPEAKER_02]: This one is one that go TA and I performed whenever we got our little group together. 30:00.168 --> 30:09.958 [SPEAKER_02]: This is actually his dearly departed wife and my good friend Kristen's favorite song and so it was especially meaningful since she's gone that we which she was here too. 30:10.158 --> 30:13.682 [SPEAKER_05]: Well, it's funny that you had mentioned that because my number two song 30:16.212 --> 30:19.394 [SPEAKER_05]: to is a song that I thought you and go to you should play. 30:19.774 --> 30:20.094 [SPEAKER_05]: Okay. 30:20.214 --> 30:20.635 [SPEAKER_05]: Okay. 30:20.735 --> 30:20.955 [SPEAKER_05]: Yeah. 30:21.335 --> 30:25.458 [SPEAKER_05]: So this week when I was listening to this song, I was like, oh man, this is such a crowd pleaser. 30:25.478 --> 30:26.558 [SPEAKER_05]: There's such a great song. 30:26.578 --> 30:29.860 [SPEAKER_05]: Like people would love this song that you were talking about. 30:30.040 --> 30:32.882 [SPEAKER_05]: There are certain songs that you just play and there's the crowd just reacts. 30:33.142 --> 30:33.342 [SPEAKER_05]: Right. 30:33.463 --> 30:34.763 [SPEAKER_05]: I think this is one of those songs. 30:34.903 --> 30:35.164 [SPEAKER_05]: Okay. 30:35.324 --> 30:37.545 [SPEAKER_05]: So I'll see where you come down on this. 30:37.585 --> 30:45.350 [SPEAKER_05]: So you know, we talked about in our death leopard hysteria album that the song hysteria was the combination of two songs. 30:45.730 --> 30:45.890 [SPEAKER_05]: Yeah. 30:46.110 --> 31:03.327 [SPEAKER_05]: So when they came back to the studio, Rick Savage had like a guitar strumming part that he liked and that Phil Colin had kind of a picking part that he liked and they were sharing their ideas and they're like, you know, I think these two things come together and make the song hysteria. 31:03.748 --> 31:04.088 [SPEAKER_05]: Okay. 31:04.869 --> 31:06.090 [SPEAKER_05]: Same thing happened on this song. 31:06.310 --> 31:06.591 [SPEAKER_05]: Okay. 31:06.891 --> 31:07.111 [SPEAKER_05]: Okay. 31:07.271 --> 31:11.576 [SPEAKER_05]: So the singer for this rock group wrote this song. 31:11.657 --> 31:14.800 [SPEAKER_05]: He started writing this song when he was traveling America. 31:14.840 --> 31:15.341 [SPEAKER_05]: He's British. 31:15.842 --> 31:17.443 [SPEAKER_05]: He was in America in nineteen sixty eight. 31:18.505 --> 31:19.526 [SPEAKER_05]: And it was just traveling around. 31:19.566 --> 31:21.548 [SPEAKER_05]: He tried to do and what hippies did, right? 31:22.149 --> 31:24.991 [SPEAKER_05]: Well, he came across a girl while he was traveling, hitchhiking. 31:25.311 --> 31:28.473 [SPEAKER_05]: He was young and free like this girl, okay? 31:28.853 --> 31:31.415 [SPEAKER_05]: And so he started writing the verses for this song, okay? 31:31.715 --> 31:41.822 [SPEAKER_05]: And when he brought these ideas to his guitarist bandmate, that guy said, well, that song seems to go with this song, but they're totally different styles. 31:42.362 --> 31:51.648 [SPEAKER_05]: And when you listen to the song, you're like, obviously, like it hit me like a ton of bricks that like the verse is slow and kind of quiet, and then the chorus is like, 31:52.088 --> 31:52.788 [SPEAKER_05]: Kubbo. 31:52.928 --> 31:53.148 [SPEAKER_05]: Right. 31:53.348 --> 31:53.589 [SPEAKER_05]: Uh-huh. 31:53.809 --> 31:54.509 [SPEAKER_05]: You know what I'm talking about? 31:54.809 --> 31:56.749 [SPEAKER_02]: I think I know the song that you're talking about, yes. 31:56.950 --> 31:57.210 [SPEAKER_05]: Okay. 31:58.070 --> 31:59.850 [SPEAKER_05]: So here's the interesting thing to me. 32:00.131 --> 32:07.313 [SPEAKER_05]: Roberta Flack had a number one hit in nineteen seventy four with the same title, but it has not at least in my eyes stood the test the time. 32:07.713 --> 32:07.933 [SPEAKER_03]: Okay. 32:07.953 --> 32:08.413 [SPEAKER_05]: Okay. 32:08.493 --> 32:10.394 [SPEAKER_05]: Roberta Flack is killing me softly and that's it. 32:10.714 --> 32:10.854 [SPEAKER_05]: Mm-hmm. 32:10.994 --> 32:15.355 [SPEAKER_05]: This band was inducted in the rocket hole of Hall of Fame in two thousand and twenty five. 32:15.575 --> 32:15.755 [SPEAKER_05]: Yeah. 32:15.955 --> 32:19.877 [SPEAKER_05]: And the guy who wrote the chorus died maybe a week ago. 32:20.397 --> 32:20.717 [SPEAKER_05]: Oh, no. 32:21.217 --> 32:23.057 [SPEAKER_05]: So, what do you think, do you have any guesses? 32:23.197 --> 32:23.778 [SPEAKER_02]: I have a guess. 32:23.998 --> 32:24.778 [SPEAKER_05]: All right, what do you got? 32:24.798 --> 32:28.058 [SPEAKER_02]: Okay, so my guess is that the band is bad company. 32:28.098 --> 32:32.579 [SPEAKER_02]: It is, and the song is, feel like making love. 32:44.121 --> 32:46.202 [SPEAKER_10]: Baby, can I think about you? 32:54.055 --> 32:54.756 [SPEAKER_02]: Very good. 32:54.876 --> 32:55.456 [SPEAKER_02]: Very good. 32:55.476 --> 33:00.800 [SPEAKER_02]: So I will tell you, my band, original high school band performed this song. 33:01.041 --> 33:01.301 [SPEAKER_02]: Yes. 33:01.321 --> 33:02.522 [SPEAKER_02]: That is church function. 33:03.863 --> 33:04.703 [SPEAKER_02]: They were Methodists. 33:04.723 --> 33:07.005 [SPEAKER_05]: You know, they were like making popcorn. 33:08.747 --> 33:09.887 [SPEAKER_02]: And at the time. 33:09.908 --> 33:14.211 [SPEAKER_02]: A little slow reaction there. 33:17.534 --> 33:19.015 [SPEAKER_02]: So, but at the time, 33:19.515 --> 33:27.061 [SPEAKER_02]: that we were playing this song, a young lady in the audience caught my gaze because she was staring at me. 33:28.583 --> 33:32.806 [SPEAKER_02]: And I'm introduced myself later that night and things progressed quickly. 33:32.946 --> 33:33.207 [SPEAKER_02]: Yes. 33:33.607 --> 33:39.892 [SPEAKER_02]: She became my longtime high school girlfriend and this was our song because of that moment of course. 33:52.374 --> 33:53.774 [SPEAKER_05]: These first groupie. 33:54.634 --> 33:54.915 [SPEAKER_05]: Yeah. 33:55.375 --> 33:55.775 [SPEAKER_05]: Love it. 33:55.835 --> 33:56.075 [SPEAKER_05]: Yeah. 33:56.295 --> 33:57.076 [SPEAKER_05]: So, all right. 33:57.536 --> 33:58.256 [SPEAKER_05]: That's my number two. 33:58.816 --> 33:59.196 [SPEAKER_05]: Excellent. 33:59.397 --> 34:00.857 [SPEAKER_05]: I think you need to add it to your repertoire. 34:00.877 --> 34:01.497 [SPEAKER_05]: I think it'd be great. 34:01.818 --> 34:02.958 [SPEAKER_05]: Oh, yeah. 34:03.258 --> 34:04.119 [SPEAKER_05]: It's a great one to play. 34:04.159 --> 34:07.540 [SPEAKER_05]: By the way, just so I just want to say this, the lead singer Paul Rogers. 34:07.680 --> 34:08.641 [SPEAKER_05]: Yeah. 34:08.781 --> 34:10.021 [SPEAKER_05]: He was the one who wrote the verses. 34:10.361 --> 34:12.522 [SPEAKER_05]: And Mick Ralph's is the guy who just passed away. 34:12.622 --> 34:13.723 [SPEAKER_05]: He was one who wrote the chorus. 34:13.903 --> 34:14.123 [SPEAKER_03]: Yeah. 34:14.583 --> 34:17.564 [SPEAKER_05]: I saw a bad company in concert with Damiankees in 34:19.265 --> 34:19.706 [SPEAKER_05]: Oh, wow. 34:19.766 --> 34:20.207 [SPEAKER_05]: How was it? 34:20.548 --> 34:21.831 [SPEAKER_05]: It's fantastic. 34:22.051 --> 34:22.372 [SPEAKER_05]: Awesome. 34:22.512 --> 34:26.200 [SPEAKER_05]: And in fact, I almost chose shooting star as my song. 34:26.501 --> 34:26.781 [SPEAKER_05]: Nice. 34:27.312 --> 34:32.637 [SPEAKER_02]: Yeah, this one is, it was my top one, but you know, that relationship kind of sourd me on the song a little bit. 34:33.157 --> 34:34.158 [SPEAKER_02]: I had it on my list. 34:34.198 --> 34:34.398 [SPEAKER_02]: Okay. 34:34.558 --> 34:36.941 [SPEAKER_02]: It was one of those ones that was on the radar. 34:37.101 --> 34:37.221 [SPEAKER_02]: Okay. 34:37.241 --> 34:38.442 [SPEAKER_02]: So that was great pick. 34:38.502 --> 34:38.822 [SPEAKER_02]: I love it. 34:39.823 --> 34:40.163 [SPEAKER_02]: Very good. 34:40.203 --> 34:40.424 [SPEAKER_02]: All right. 34:40.504 --> 34:41.044 [SPEAKER_02]: You're number two. 34:41.284 --> 34:41.525 [SPEAKER_02]: Okay. 34:41.685 --> 34:42.345 [SPEAKER_02]: My number two. 34:42.606 --> 34:49.512 [SPEAKER_02]: Now this song was first written and recorded in nineteen seventy four by a guy named Larry Weiss. 34:50.012 --> 34:50.872 [SPEAKER_02]: Get all very wise. 34:50.892 --> 34:51.712 [SPEAKER_02]: Get all very wise. 34:52.072 --> 34:58.014 [SPEAKER_02]: The new version that I'm talking about is by a different singer, and I know you have heard of him, okay? 34:58.234 --> 35:05.535 [SPEAKER_02]: That old version was not super popular in the US, but actually was pretty popular in Australia. 35:05.895 --> 35:15.857 [SPEAKER_02]: And as it turns out, this singer of the song was touring in Australia at the time that the song was popular, heard it on the radio, and he was like, I want to record this song. 35:16.773 --> 35:21.538 [SPEAKER_02]: Now this guy is one of the greatest guitarists of all time. 35:21.638 --> 35:26.743 [SPEAKER_02]: He probably is the most well-known member of the Reckon crew. 35:26.943 --> 35:33.610 [SPEAKER_02]: He was involved with pet sounds and many other incredible songs, okay? 35:34.059 --> 35:34.960 [SPEAKER_05]: And who were talking about? 35:35.080 --> 35:35.400 [SPEAKER_02]: All right. 35:35.680 --> 35:38.803 [SPEAKER_02]: This song has David Page on the piano. 35:38.983 --> 35:40.144 [SPEAKER_02]: David Page of Toto. 35:40.324 --> 35:40.764 [SPEAKER_02]: You got it. 35:41.605 --> 35:46.889 [SPEAKER_02]: It also has a twelve string guitar, which is being played by the singer, guitarist that I'm referring to. 35:47.890 --> 35:57.658 [SPEAKER_02]: And it's the first song to have hit number one in both the country hits and the hot one hundred at the same time. 35:57.838 --> 36:03.042 [SPEAKER_02]: It was it had been number one on the hot one hundred and then got beat out by Loretta Lynn. 36:03.082 --> 36:03.483 [SPEAKER_02]: I believe 36:03.903 --> 36:09.727 [SPEAKER_02]: some song that she had and then it came back to the number one spot and at that point it had both both spots. 36:09.767 --> 36:12.308 [SPEAKER_02]: That was the first time that had happened in fourteen years. 36:13.008 --> 36:16.270 [SPEAKER_02]: Sixty one, Jimmy Dean had it with Big Bad John. 36:16.971 --> 36:20.353 [SPEAKER_05]: Okay, but I thought maybe Jerry Lee Lewis did with great balls of fire. 36:20.373 --> 36:23.915 [SPEAKER_05]: We talked about maybe on our top guns and the, anyway, keep going. 36:24.355 --> 36:33.801 [SPEAKER_02]: So, um, after this guitarist singer died in two thousand seventeen, this went back up to number twelve on the country digital song chart. 36:33.821 --> 36:34.221 [SPEAKER_02]: Okay. 36:34.321 --> 36:35.122 [SPEAKER_02]: Do you know who it is yet? 36:35.202 --> 36:35.702 [SPEAKER_05]: I think I do. 36:35.862 --> 36:36.082 [SPEAKER_05]: Okay. 36:36.122 --> 36:36.583 [SPEAKER_05]: Yeah, go for it. 36:36.743 --> 36:37.863 [SPEAKER_05]: I think this is Glenn Campbell. 36:38.103 --> 36:38.504 [SPEAKER_05]: Correct. 36:38.804 --> 36:40.885 [SPEAKER_05]: And the song has to be Ryan Stone Cowboy. 36:41.105 --> 36:41.425 [SPEAKER_05]: Got it. 36:41.606 --> 36:41.806 [SPEAKER_05]: Yes. 37:00.398 --> 37:18.705 [SPEAKER_02]: I wore this song out as a boy like I can remember holding that album and just listening to it over and over and over just love everything about this song and somebody who knew Glenn Campbell very well said this song even though he didn't write it 37:19.085 --> 37:31.511 [SPEAKER_02]: This is all about Glenn of being in the throes of it, just constantly work hard, work hard, and not get appreciated, but know that someday you will be, and man, this really hit for him. 37:31.911 --> 37:34.592 [SPEAKER_05]: When I was looking at my list, this made my short list. 37:34.672 --> 37:34.892 [SPEAKER_02]: Yeah. 37:34.972 --> 37:39.054 [SPEAKER_05]: And I had a very distinct memory of being at Denys with my family. 37:39.514 --> 38:04.255 [SPEAKER_05]: and it was playing over the loudspeaker while I'm eating my junior stack of pancakes or whatever so one ninety nine yeah can I have a grand slam no you have the junior stack but yes a wonderful song from my childhood I love it so billboard ranked this as the number two song of all of the songs of nineteen seventy five number two yeah I think I know the number one song 38:05.768 --> 38:06.048 [SPEAKER_05]: Okay. 38:06.809 --> 38:08.070 [SPEAKER_05]: Maybe we'll talk about that here in a second. 38:08.090 --> 38:08.630 [SPEAKER_05]: Maybe we will. 38:08.710 --> 38:09.291 [SPEAKER_05]: Maybe we will. 38:09.331 --> 38:09.811 [SPEAKER_05]: Maybe we won't. 38:09.851 --> 38:10.172 [SPEAKER_05]: We'll see. 38:10.392 --> 38:10.712 [SPEAKER_02]: All right. 38:10.792 --> 38:12.714 [SPEAKER_02]: So we are to your honorable mention. 38:12.734 --> 38:13.734 [SPEAKER_02]: Our honorable mentions. 38:13.774 --> 38:13.995 [SPEAKER_02]: Yes. 38:14.255 --> 38:14.515 [SPEAKER_05]: All right. 38:14.555 --> 38:15.536 [SPEAKER_05]: My first honorable mention. 38:15.936 --> 38:18.839 [SPEAKER_05]: We're doing this two two two two two or one one two two two. 38:18.899 --> 38:19.299 [SPEAKER_05]: All right. 38:20.220 --> 38:23.802 [SPEAKER_05]: So this song was released in November of nineteen seventy four. 38:23.823 --> 38:24.683 [SPEAKER_05]: Okay. 38:25.264 --> 38:26.425 [SPEAKER_05]: This has recently come up. 38:26.445 --> 38:27.525 [SPEAKER_05]: We've talked about this song. 38:27.586 --> 38:30.128 [SPEAKER_05]: I don't really remember how we got on the subject, but 38:30.828 --> 38:33.551 [SPEAKER_05]: It hit number one in March of nineteen seventy five. 38:33.971 --> 38:41.039 [SPEAKER_05]: I found that this song was performed by this group on a nineteen seventy eight episode of what's happening. 38:47.302 --> 38:54.270 [SPEAKER_02]: Was it the what's going down episode with starring Joe the policeman right Randy Watson? 38:56.832 --> 38:58.514 [SPEAKER_02]: Yes, I know that is not true. 38:58.554 --> 38:59.836 [SPEAKER_05]: That's from what's happening. 38:59.996 --> 39:00.336 [SPEAKER_05]: Oh, guys. 39:00.356 --> 39:00.536 [SPEAKER_05]: Sorry. 39:00.576 --> 39:00.757 [SPEAKER_05]: Sorry. 39:00.777 --> 39:05.261 [SPEAKER_05]: So, but they were there to teach the characters about the dark sides of bootlegging. 39:05.822 --> 39:06.303 [SPEAKER_05]: Okay. 39:06.323 --> 39:07.224 [SPEAKER_05]: Okay. 39:07.384 --> 39:07.504 [SPEAKER_05]: Okay. 39:08.511 --> 39:11.073 [SPEAKER_05]: the dark side of food lagging on what's happening. 39:11.093 --> 39:11.974 [SPEAKER_05]: Yes, okay. 39:12.614 --> 39:16.957 [SPEAKER_05]: I mean because you know smoking the band it showed it pretty pretty good light, you know. 39:16.977 --> 39:18.058 [SPEAKER_02]: Yeah, it's a hazard, I guess. 39:18.158 --> 39:18.438 [SPEAKER_02]: All right. 39:21.481 --> 39:25.384 [SPEAKER_05]: So this song was written number four by the lead guitarist Patrick Simmons. 39:25.764 --> 39:28.266 [SPEAKER_05]: You know this group with a difference singer probably. 39:29.086 --> 39:32.028 [SPEAKER_02]: Yeah, so I think I know which one of your you're talking about. 39:32.189 --> 39:34.490 [SPEAKER_02]: Okay, and I'm pleased because it eliminated. 39:34.510 --> 39:35.291 [SPEAKER_02]: I had three. 39:35.737 --> 39:36.758 [SPEAKER_02]: I was going there, right? 39:36.858 --> 39:37.038 [SPEAKER_02]: Yeah. 39:37.158 --> 39:40.240 [SPEAKER_02]: Pat Simmons was the lead guitarist for the Dooby Brothers. 39:40.460 --> 39:40.740 [SPEAKER_02]: Yes. 39:41.501 --> 39:48.305 [SPEAKER_02]: And if it's the song that I'm thinking of, they were in between takes on the captain and me album that they were recording. 39:48.865 --> 39:51.147 [SPEAKER_02]: And he was just fiddling around with his guitar. 39:51.747 --> 40:01.289 [SPEAKER_02]: And Ted Templeman, who, you know, from Van Halen, absolutely, he was, you know, hit the little sound, you know, the sound booth recording, microphone, and said, what's that? 40:01.309 --> 40:02.009 [SPEAKER_02]: What are you playing there? 40:02.709 --> 40:04.550 [SPEAKER_02]: And he says, oh, it's just something I'm working on. 40:04.570 --> 40:06.290 [SPEAKER_02]: He said, you need to make that a song. 40:06.470 --> 40:08.330 [SPEAKER_02]: And so, went down to New Orleans. 40:09.611 --> 40:11.291 [SPEAKER_02]: Listen to some funky, dixie land. 40:11.331 --> 40:11.871 [SPEAKER_02]: That's it. 40:12.171 --> 40:12.591 [SPEAKER_02]: You got it. 40:12.971 --> 40:16.472 [SPEAKER_02]: This song is Blackwater by the Doopy Brothers. 40:17.372 --> 40:38.843 [SPEAKER_10]: But like water keep on holding it's a set of mood keep on showing me And keep on shining your eyes Don't make everything great I'm gonna make everything alright And I can't go away It's cause I didn't know 40:44.310 --> 40:45.491 [SPEAKER_05]: This was a B side. 40:45.971 --> 40:51.556 [SPEAKER_05]: This is the song, you know, we hear this every once in a while we come across this where it was on the B side of another song. 40:51.896 --> 40:54.758 [SPEAKER_05]: The other song was called Another Park Another Sunday, which I don't remember. 40:54.778 --> 40:55.179 [SPEAKER_03]: Right. 40:55.319 --> 41:04.546 [SPEAKER_05]: But, you know, a radio station in Minnesota gets a hold of it and starts playing it and becomes a hit there and then another radio station and then next thing you know, it's across America. 41:04.566 --> 41:08.950 [SPEAKER_05]: It's so black water became it was a B until it became an A. 41:09.305 --> 41:11.206 [SPEAKER_02]: this is such an incredibly good song. 41:11.246 --> 41:21.093 [SPEAKER_02]: I mean, you listen to the little plinkly little wind shimes come in and then in the middle of the song, you get that excellent accopelo of those guys singing. 41:21.213 --> 41:23.014 [SPEAKER_05]: You love that song. 41:23.154 --> 41:25.535 [SPEAKER_02]: So it's such just takes you away. 41:25.575 --> 41:26.856 [SPEAKER_02]: I absolutely love it. 41:26.956 --> 41:35.342 [SPEAKER_02]: By the way, I don't know if you remember, I don't know if I can't remember even when we talked about it, but there was a point where Michael McDonald got super high 41:35.862 --> 41:41.025 [SPEAKER_02]: And then went to his hotel room and saw Rick Moranis playing Michael McDonald on S.E.T.V. 41:41.545 --> 41:43.346 [SPEAKER_02]: The guy who got him super high was Pat Simmons. 41:43.967 --> 41:44.387 [SPEAKER_05]: Oh, OK. 41:44.427 --> 41:44.947 [SPEAKER_05]: There we go. 41:45.407 --> 41:45.788 [SPEAKER_05]: All right. 41:46.168 --> 41:46.448 [SPEAKER_05]: All right. 41:46.508 --> 41:47.789 [SPEAKER_05]: My other honorable mention. 41:48.249 --> 41:51.311 [SPEAKER_05]: So this artist, this was his first number one hit. 41:51.651 --> 41:51.831 [SPEAKER_05]: Okay. 41:52.151 --> 41:52.672 [SPEAKER_05]: Of thirteen. 41:52.952 --> 41:53.512 [SPEAKER_05]: Number one hits. 41:53.892 --> 41:54.072 [SPEAKER_05]: Okay. 41:54.092 --> 41:54.933 [SPEAKER_05]: All right. 41:55.013 --> 41:55.393 [SPEAKER_05]: Number one. 41:55.713 --> 41:57.835 [SPEAKER_05]: This was released in November of nineteen seventy four. 41:57.915 --> 42:00.616 [SPEAKER_05]: Reach number one in January of nineteen seventy five. 42:00.776 --> 42:01.597 [SPEAKER_05]: So early. 42:02.377 --> 42:03.978 [SPEAKER_05]: These barely cooking at this time. 42:04.078 --> 42:04.238 [SPEAKER_05]: Right. 42:04.258 --> 42:04.799 [SPEAKER_05]: Okay. 42:05.239 --> 42:08.761 [SPEAKER_05]: It was nominated for record of the year, but it lost two. 42:09.121 --> 42:11.022 [SPEAKER_05]: Level keep us together by captain and tenil. 42:11.362 --> 42:11.863 [SPEAKER_05]: Okay. 42:12.063 --> 42:17.326 [SPEAKER_05]: Now this song was originally written by a guy named Scott English and a guy named Richard Kerr. 42:17.346 --> 42:17.946 [SPEAKER_05]: Okay. 42:18.206 --> 42:20.928 [SPEAKER_05]: Scott English had a different title for this song. 42:21.188 --> 42:49.265 [SPEAKER_05]: The singer of the song that I'm referring to from nineteen seventy five changed the name of the song because he didn't want it to be confused with another popular song of the day okay alright so the original writer Scott English when he heard the song he said I did not want to like the song did not want to like the song in fact I wanted to hate it he said but when I heard it it was so beautiful and then it went on to shake the rafters of the world wow okay 42:50.025 --> 42:51.247 [SPEAKER_05]: Now I don't know if I'd go that far. 42:53.509 --> 42:55.971 [SPEAKER_05]: But it was an incredible song. 42:56.231 --> 42:56.752 [SPEAKER_05]: I love it. 42:56.852 --> 42:58.313 [SPEAKER_05]: It's still like a joy. 42:58.333 --> 42:58.774 [SPEAKER_05]: Okay. 42:58.914 --> 42:59.775 [SPEAKER_04]: Okay. 43:00.035 --> 43:07.442 [SPEAKER_05]: Now he also said that even though he didn't like it initially, he came to love it because it quote by him houses. 43:08.303 --> 43:08.723 [SPEAKER_05]: Right. 43:09.143 --> 43:11.204 [SPEAKER_05]: Hard to like something that buys you houses, right? 43:11.464 --> 43:11.664 [SPEAKER_05]: Okay. 43:12.285 --> 43:13.225 [SPEAKER_05]: Now, here's the interesting thing. 43:13.365 --> 43:17.647 [SPEAKER_05]: When they brought it in, the artist that I'm referring to, it was more up tempo. 43:18.227 --> 43:19.588 [SPEAKER_05]: And he played it for Miles Davis. 43:19.628 --> 43:20.968 [SPEAKER_05]: They did two different versions of it. 43:21.328 --> 43:22.749 [SPEAKER_05]: They did for Miles Davis and Miles Davis. 43:23.069 --> 43:24.930 [SPEAKER_05]: First one he's like, hey, it, hate it. 43:25.310 --> 43:25.530 [SPEAKER_03]: Uh-huh. 43:25.830 --> 43:32.733 [SPEAKER_05]: And so he slowed it way down, pushed the strings way up, really leaned into the orchestra version. 43:32.753 --> 43:33.373 [SPEAKER_04]: Okay. 43:33.614 --> 43:33.794 [SPEAKER_05]: Okay. 43:33.814 --> 43:36.995 [SPEAKER_05]: I'm gonna tell you the name of the song that caused them to change the name of it. 43:37.315 --> 43:37.515 [SPEAKER_04]: Okay. 43:37.635 --> 43:37.836 [SPEAKER_05]: Okay. 43:38.496 --> 43:43.140 [SPEAKER_05]: So the name of the song that they were trying to avoid confusion with. 43:43.520 --> 43:45.261 [SPEAKER_05]: So looking glass is the band. 43:45.481 --> 43:46.762 [SPEAKER_05]: Brandy, you're a fine girl. 43:46.883 --> 43:49.104 [SPEAKER_05]: Is the song they were trying to avoid confusion with. 43:49.705 --> 43:50.025 [SPEAKER_04]: Okay. 43:50.245 --> 43:50.625 [SPEAKER_04]: Got nothing. 43:50.665 --> 43:50.766 [SPEAKER_04]: Okay. 43:50.906 --> 43:53.448 [SPEAKER_05]: So the original version was called Brandy. 43:53.928 --> 43:54.208 [SPEAKER_04]: Okay. 43:54.468 --> 43:57.090 [SPEAKER_05]: You know the song better as Mandy. 43:58.111 --> 44:02.014 [SPEAKER_10]: Looking in their eyes, I see a memory. 44:02.034 --> 44:06.618 [SPEAKER_10]: I never realized how happy you made me. 44:13.885 --> 44:15.066 [SPEAKER_10]: Barry Manillow. 44:15.246 --> 44:16.246 [SPEAKER_02]: Barry Manillow. 44:16.326 --> 44:17.206 [SPEAKER_02]: Barry Manillow. 44:17.426 --> 44:17.606 [UNKNOWN]: Yeah. 44:18.206 --> 44:18.567 [SPEAKER_02]: All right. 44:19.287 --> 44:19.547 [SPEAKER_02]: Okay. 44:19.767 --> 44:21.267 [SPEAKER_02]: So those are your two honorable mentions here. 44:21.507 --> 44:22.808 [SPEAKER_05]: You know, I get no reaction for that. 44:23.068 --> 44:23.848 [SPEAKER_02]: It's Barry Manillow. 44:24.788 --> 44:26.569 [SPEAKER_02]: No, it's Barry Manillow. 44:26.689 --> 44:31.050 [SPEAKER_02]: I think, you know, we talked about him whenever we were talking about Nickelback and Creed. 44:31.090 --> 44:34.591 [SPEAKER_02]: And I was like, there's, you know, there are artists that I remember in the eighties. 44:34.992 --> 44:36.432 [SPEAKER_02]: Barry Manillow was like a joke. 44:36.612 --> 44:40.353 [SPEAKER_02]: Like it was just, you know, like, corny, silly songs. 44:40.813 --> 44:42.274 [SPEAKER_02]: But you go back and listen to his songs. 44:42.334 --> 44:42.754 [SPEAKER_02]: And you're like, 44:43.314 --> 44:44.295 [SPEAKER_02]: Well, these are really good. 44:44.795 --> 44:46.316 [SPEAKER_02]: Why does everybody hate him? 44:46.336 --> 44:48.757 [SPEAKER_02]: It's because he was so dang popular, right? 44:49.258 --> 44:51.199 [SPEAKER_02]: And so, yeah, I can't fault you at all for that picture. 44:51.448 --> 44:53.469 [SPEAKER_05]: All right, let's go to your honorable mentions. 44:53.589 --> 44:54.270 [SPEAKER_02]: Okay, here we go. 44:54.390 --> 45:03.676 [SPEAKER_02]: All right, so my first honorable mention was written by the singer as she was trying to support her guitarist's boyfriend. 45:03.776 --> 45:04.376 [SPEAKER_02]: Maybe husband. 45:04.416 --> 45:05.877 [SPEAKER_02]: I don't remember if they were married at this point. 45:05.937 --> 45:06.318 [SPEAKER_02]: Okay. 45:06.518 --> 45:08.959 [SPEAKER_02]: And what it is, I think I know what it is, all right. 45:10.400 --> 45:12.161 [SPEAKER_02]: He was he was trying to play guitar. 45:12.201 --> 45:13.922 [SPEAKER_02]: They had worked professionally together. 45:14.083 --> 45:17.525 [SPEAKER_02]: They had even played together had an album released and then there 45:17.985 --> 45:20.726 [SPEAKER_02]: Label dropped them before they could release a follow-up album. 45:20.866 --> 45:27.190 [SPEAKER_02]: So she was a waitress and a cleaning lady to try to support him as he's writing music. 45:27.530 --> 45:43.298 [SPEAKER_02]: And so she takes a trip to Aspen to see a friend is looking out at the mountains and just imagines this, you know, all of these bad things that are happening to her coming down upon her like an avalanche or landslide. 45:43.438 --> 45:43.878 [SPEAKER_02]: You got it. 45:51.320 --> 46:05.004 [SPEAKER_00]: It's land and mountain and a turn to land And I saw my reflection in snow covered hills To the lands that brought me 46:07.757 --> 46:15.101 [SPEAKER_05]: We just talked about Stevie Nix on our Eagles episode because she wrote a song for, I think, William Jennings. 46:15.241 --> 46:24.225 [SPEAKER_02]: William Jennings and his wife, who was his wife, you know, from, I mean, they got married and I think the sixties are early seventies and she was with him all the way through. 46:24.385 --> 46:26.506 [SPEAKER_02]: She had a big hit in nineteen seventy five. 46:26.626 --> 46:28.347 [SPEAKER_02]: Her name is Jesse Colter. 46:28.587 --> 46:47.003 [SPEAKER_05]: yeah that's right and oddly her song was a song called I'm not Lisa we talked about that in our eagles episode because I think I said you know you've got like rocket man and then a whole bunch of crap and then that that song I put in the kind of the whole bunch of crap yeah category yeah okay she's smoking hot on the album cover though you can't deny that 46:47.183 --> 46:48.285 [SPEAKER_05]: She's kind of up in together. 46:48.445 --> 46:48.986 [SPEAKER_05]: Let's go. 46:49.166 --> 46:49.366 [SPEAKER_02]: Yeah. 46:49.386 --> 46:50.007 [SPEAKER_05]: So it looks good. 46:50.307 --> 46:50.448 [SPEAKER_05]: Yep. 46:50.748 --> 46:51.008 [SPEAKER_05]: Okay. 46:51.269 --> 46:52.350 [SPEAKER_05]: I love landslide. 46:52.430 --> 46:56.456 [SPEAKER_05]: And I think did the Dixie chicks do a version of that in the nineties that was real popular? 46:56.536 --> 47:01.703 [SPEAKER_02]: Dixie chicks did a very popular version of it smashing pumpkins did a very popular version of it as well. 47:01.964 --> 47:02.124 [SPEAKER_05]: Yeah. 47:02.424 --> 47:02.924 [SPEAKER_05]: That's cool. 47:03.685 --> 47:14.150 [SPEAKER_05]: I think, don't call me on this, but I believe David Spade was dating a girl and somehow he knew Stevie Nix, like, through, you know, something. 47:14.410 --> 47:19.513 [SPEAKER_05]: Something, and he called her and said, my girlfriend's favorite song is Lancelide. 47:19.773 --> 47:27.637 [SPEAKER_05]: And on her birthday, he had Stevie Nix called his girlfriend and she played Lancelide, like personally for her over the telephone on her birthday. 47:27.845 --> 47:29.306 [SPEAKER_02]: That's incredible. 47:29.326 --> 47:30.046 [SPEAKER_02]: That's awesome. 47:30.066 --> 47:40.093 [SPEAKER_02]: Yeah, she has played this in every since it's released in every concert except for like one tour one tour didn't get played. 47:40.513 --> 47:43.755 [SPEAKER_02]: But in the last, you know, and she's still she's still out there singing now. 47:43.895 --> 47:48.078 [SPEAKER_02]: So in the last fifty years, there's only been one tour that she didn't not play the song. 47:49.344 --> 47:49.704 [SPEAKER_05]: Great song. 47:49.724 --> 47:50.165 [SPEAKER_05]: All right. 47:50.945 --> 47:51.325 [SPEAKER_05]: You're second. 47:51.585 --> 47:51.866 [SPEAKER_05]: Okay. 47:51.906 --> 47:53.467 [SPEAKER_02]: Second honorable mention. 47:53.707 --> 47:53.947 [SPEAKER_02]: Okay. 47:53.967 --> 47:54.567 [SPEAKER_02]: This is great. 47:54.767 --> 47:57.329 [SPEAKER_02]: I absolutely love this song. 47:57.549 --> 47:59.810 [SPEAKER_02]: And I can tell you how I became familiar with it. 47:59.830 --> 48:00.691 [SPEAKER_02]: And I'll tell you just second. 48:00.731 --> 48:08.616 [SPEAKER_02]: But first, at the time this came out, it was the longest title of any number one song up until that point. 48:09.337 --> 48:24.877 [SPEAKER_02]: there's another like later on some song I never heard of that took the spot but at the point that it came out in nineteen seventy five in the hit number one it was the longest song title okay okay it's got a little parenthetical at the beginning but if you put in all those words it's long 48:25.518 --> 48:35.123 [SPEAKER_02]: It was written by Larry Butler, and if you don't remember that, go back to when we were talking about the ladies, the lady, lady, lady episode. 48:35.403 --> 48:43.107 [SPEAKER_02]: He was the one that brought Kenny Rogers back from playing in clubs to being a huge country star. 48:43.567 --> 48:46.710 [SPEAKER_02]: He and a guy named Chip's moment wrote this song. 48:46.930 --> 48:52.174 [SPEAKER_02]: Other artists who have recorded this song include Loretta Lynn, Frankie Lane, and Ray Conif. 48:52.555 --> 49:02.543 [SPEAKER_02]: The guy who recorded this version of it, we talked about recently because he, I believe, was one of the singers for growing pain. 49:02.603 --> 49:03.804 [SPEAKER_02]: The growing pain's theme. 49:04.064 --> 49:04.665 [SPEAKER_02]: Do you know who that is? 49:05.245 --> 49:05.885 [SPEAKER_02]: Jiamathas? 49:06.305 --> 49:06.525 [SPEAKER_02]: No. 49:06.965 --> 49:07.586 [SPEAKER_02]: My beard got thrown. 49:07.606 --> 49:08.346 [SPEAKER_05]: J. Thomas. 49:08.686 --> 49:09.026 [SPEAKER_02]: Yes. 49:09.586 --> 49:10.166 [SPEAKER_05]: B. J. Thomas. 49:10.266 --> 49:11.026 [SPEAKER_02]: B. J. Thomas. 49:11.046 --> 49:11.546 [SPEAKER_02]: B. J. Thomas. 49:11.566 --> 49:12.246 [SPEAKER_02]: B. J. Thomas. 49:12.286 --> 49:13.167 [SPEAKER_02]: B. J. Thomas. 49:13.387 --> 49:15.027 [SPEAKER_02]: B. J. Thomas came out with this song. 49:15.307 --> 49:18.348 [SPEAKER_02]: I of course didn't hear it because I was not born yet. 49:18.608 --> 49:29.470 [SPEAKER_02]: But, if your car will call from our very first episode, my true first LP before I got Michael Jackson Thriller was Jim Monk's chipmunk punk. 49:30.940 --> 49:32.721 [SPEAKER_02]: Not long after I got chipmunk. 49:33.181 --> 49:43.284 [SPEAKER_02]: I got urban chipmunk, which had a version, a chipmunk version of this song on it, which Larry, but there was a part of that production as well. 49:43.404 --> 49:44.425 [SPEAKER_02]: I'm not sure. 49:44.525 --> 49:53.048 [SPEAKER_02]: This song by BJ Thomas is called, hey, won't you play another somebody, done somebody wrong song? 49:53.228 --> 49:53.608 [SPEAKER_06]: Wow. 49:55.637 --> 50:00.580 [SPEAKER_06]: I bet I haven't heard that song in forty-five years. 50:19.693 --> 50:21.915 [SPEAKER_05]: But as soon as you play it, I'm like, yeah. 50:22.535 --> 50:24.316 [SPEAKER_02]: It's in the ether, man. 50:24.596 --> 50:24.877 [SPEAKER_02]: Yeah. 50:24.957 --> 50:25.757 [SPEAKER_02]: Such a good song. 50:26.017 --> 50:26.438 [SPEAKER_02]: Wow. 50:26.478 --> 50:28.379 [SPEAKER_02]: It was hard for me not to put that on my top five. 50:28.799 --> 50:29.380 [SPEAKER_05]: That's a good one. 50:29.540 --> 50:29.900 [SPEAKER_02]: I like it. 50:30.040 --> 50:30.340 [SPEAKER_02]: I like it. 50:30.520 --> 50:30.781 [SPEAKER_02]: Okay. 50:30.881 --> 50:33.963 [SPEAKER_02]: So I already know what this song is because he stopped me in the middle of my number four. 50:34.883 --> 50:38.546 [SPEAKER_02]: But you guys can still play the guessing game and figure out what this song is. 50:38.626 --> 50:40.007 [SPEAKER_02]: So go ahead. 50:40.127 --> 50:41.888 [SPEAKER_02]: This is Jason's number one. 50:44.510 --> 50:44.630 [SPEAKER_06]: One. 50:48.303 --> 50:52.244 [SPEAKER_05]: Okay, so we've already established this was released May, nineteenth of nineteen seventy five. 50:53.144 --> 50:58.185 [SPEAKER_05]: It peaked at number thirty six on the high one hundred, which is an absolute crime. 50:58.565 --> 50:58.745 [SPEAKER_04]: Yeah. 50:58.945 --> 51:01.426 [SPEAKER_05]: However, it was their first top forty hit. 51:01.806 --> 51:01.986 [SPEAKER_04]: Yeah. 51:02.006 --> 51:02.426 [SPEAKER_05]: Okay. 51:03.086 --> 51:13.548 [SPEAKER_05]: Now, the same group of guys after derailing the whole thing in the eighties, put it back together in the late eighties and went on to be one of the biggest bands in the nineteen nineties. 51:13.788 --> 51:17.690 [SPEAKER_05]: do in no small part from a crossover cover. 51:17.710 --> 51:19.891 [SPEAKER_02]: A hundred percent that came from the same album. 51:19.951 --> 51:20.471 [SPEAKER_05]: There you go. 51:20.791 --> 51:21.132 [SPEAKER_05]: Excellent. 51:21.192 --> 51:22.052 [SPEAKER_05]: I didn't even think about that. 51:22.092 --> 51:22.292 [SPEAKER_05]: Yeah. 51:22.772 --> 51:27.234 [SPEAKER_05]: Now this song was kind of born out of a couple of things. 51:27.555 --> 51:34.218 [SPEAKER_05]: Desperation because they had to have a hit, drug problems, toxic relationships, and a spilled milk incident. 51:34.678 --> 51:38.340 [SPEAKER_05]: The infamous, the infamous, spilled milk incident. 51:38.400 --> 51:38.620 [SPEAKER_05]: Yes. 51:38.820 --> 51:41.261 [SPEAKER_02]: Which we covered, but we can't tell you when yet. 51:43.402 --> 51:50.085 [SPEAKER_05]: So this song was written in part about the lead guitarist's wife who would talk about things that nobody cared about. 51:50.966 --> 51:51.266 [SPEAKER_05]: Right? 51:51.846 --> 51:52.486 [SPEAKER_05]: Yep. 51:52.686 --> 51:56.748 [SPEAKER_05]: And then she threw milk on the wife of the basis. 51:57.068 --> 51:57.248 [SPEAKER_04]: Yeah. 51:57.268 --> 51:57.689 [SPEAKER_05]: Okay. 51:58.269 --> 52:00.270 [SPEAKER_05]: And that became a big blow a problem. 52:00.730 --> 52:00.910 [SPEAKER_04]: Right. 52:01.130 --> 52:03.591 [SPEAKER_05]: Now, I will say this in this song. 52:03.791 --> 52:05.871 [SPEAKER_05]: You have the lead singer at the top of his game. 52:06.031 --> 52:06.311 [SPEAKER_05]: Mm-hmm. 52:06.491 --> 52:08.472 [SPEAKER_05]: You have the lead guitarist at the top of his game. 52:08.592 --> 52:08.872 [SPEAKER_05]: Mm-hmm. 52:09.152 --> 52:10.872 [SPEAKER_05]: And the bass line on this is incredible. 52:11.152 --> 52:12.772 [SPEAKER_02]: Yeah, song was actually written. 52:13.072 --> 52:15.073 [SPEAKER_02]: The music was written by the bass player. 52:15.933 --> 52:18.553 [SPEAKER_02]: This opening bass line unmistakable. 52:18.654 --> 52:21.054 [SPEAKER_02]: Once you get there, you're gonna be like, oh, of course. 52:21.594 --> 52:21.814 [SPEAKER_02]: Yes. 52:22.194 --> 52:26.235 [SPEAKER_02]: And it was the bass player's wife that the guitar player's wife dumped the milk on. 52:27.639 --> 52:28.240 [SPEAKER_05]: Oh, is that right? 52:28.280 --> 52:28.540 [SPEAKER_02]: Yes. 52:28.720 --> 52:29.421 [SPEAKER_05]: I got it backwards. 52:30.081 --> 52:30.542 [SPEAKER_05]: There you go. 52:30.682 --> 52:33.404 [SPEAKER_05]: So you start off with base marimbas. 52:33.785 --> 52:37.168 [SPEAKER_05]: And then you have what's called a vibroslap. 52:40.708 --> 52:43.952 [SPEAKER_02]: Yeah, so the lead singer is playing the Viber slap on this one. 52:44.152 --> 52:44.372 [SPEAKER_02]: Yes. 52:44.813 --> 52:55.626 [SPEAKER_02]: And if you don't know what a Viber slap is, imagine like a little ball on a bar that shaped like this, and it's thumped into a little box that's got a musical component to it. 52:56.166 --> 52:58.509 [SPEAKER_02]: The third time he plays it in the song, it broke. 52:58.889 --> 52:59.250 [SPEAKER_02]: It broke. 52:59.786 --> 53:01.548 [SPEAKER_02]: And you can hear it break on the record. 53:01.648 --> 53:02.048 [SPEAKER_02]: Absolutely. 53:02.088 --> 53:05.551 [SPEAKER_05]: And I've heard a thousand times, I'm like, hey, that's what happened. 53:05.751 --> 53:06.431 [SPEAKER_05]: Wow. 53:06.552 --> 53:07.052 [SPEAKER_05]: It broke. 53:07.212 --> 53:07.552 [SPEAKER_05]: It broke. 53:07.813 --> 53:10.114 [SPEAKER_05]: That's why it makes that incredibly cool sound. 53:10.975 --> 53:14.998 [SPEAKER_05]: And at the beginning of the song, when they go to record it, they look around. 53:15.038 --> 53:16.840 [SPEAKER_05]: Nobody can find the Maracas. 53:17.460 --> 53:19.382 [SPEAKER_05]: And so they can't find the freaking Maracas. 53:19.402 --> 53:20.263 [SPEAKER_05]: They're like, what are you talking about? 53:20.523 --> 53:21.804 [SPEAKER_05]: We're here to record the song. 53:22.304 --> 53:23.325 [SPEAKER_05]: Where are the freaking Maracas? 53:23.345 --> 53:24.026 [SPEAKER_05]: Well, I can't find it. 53:24.366 --> 53:29.370 [SPEAKER_05]: So the lead singer looks around and at the bottom of the box, there's a sugar packet, sugar packet. 53:30.026 --> 53:34.450 [SPEAKER_05]: And so he's going with the sugar packet. 53:34.590 --> 53:35.231 [SPEAKER_05]: Pack it a sugar. 53:35.671 --> 53:35.812 [SPEAKER_05]: Yeah. 53:36.572 --> 53:40.676 [SPEAKER_05]: Now, if you don't know what this is, they re-released it in the nineteen nineties along with a video. 53:40.876 --> 53:41.977 [SPEAKER_05]: Did you watch the video of this? 53:42.338 --> 53:42.478 [SPEAKER_05]: No. 53:42.698 --> 53:43.439 [SPEAKER_05]: Do you remember it? 53:43.639 --> 53:43.779 [SPEAKER_05]: No. 53:43.959 --> 53:45.240 [SPEAKER_05]: So it's all about phone sex. 53:46.241 --> 53:46.402 [SPEAKER_05]: Right? 53:47.022 --> 53:51.606 [SPEAKER_05]: So you got this kid who calls and he's talking to this smoke and hot girl. 53:51.847 --> 53:52.007 [SPEAKER_05]: Yep. 53:52.407 --> 53:54.469 [SPEAKER_05]: And she's like, oh Billy, what are you going to do to me? 53:55.875 --> 54:17.852 [SPEAKER_05]: you know it's it's early nineties so there's no internet and you know right this is the era of phone phone calls and she's like oh that I love that and at the end of the video so you're led through this deal where she's smoking on director of videos Marty Coleman by the way at the end of the video you see this fat woman baby and arm hair and curlers she's ironing she's like 54:18.548 --> 54:19.149 [SPEAKER_05]: Oh, talk to me. 54:19.230 --> 54:20.592 [SPEAKER_05]: Come here again sometime, Billy. 54:21.194 --> 54:24.500 [SPEAKER_05]: And you see the illusion that it's not who he is envisioning. 54:24.580 --> 54:24.961 [SPEAKER_05]: Right. 54:25.542 --> 54:26.664 [SPEAKER_05]: So the song, of course, is. 54:27.125 --> 54:27.787 [SPEAKER_02]: Sweet emotion. 54:59.271 --> 55:01.773 [SPEAKER_02]: How do you leave that bass line off of the song, man? 55:01.793 --> 55:10.538 [SPEAKER_02]: I mean, talk about one of the best introductions of all time, and brilliantly used in the movie, Days and Confused, as the opening. 55:10.838 --> 55:14.700 [SPEAKER_02]: Like you get nothing but a black screen with that bass line pumping away. 55:15.080 --> 55:22.825 [SPEAKER_02]: And when the drums come in, the screen pops up, and you've got the sevenies, you know, challenger driving through the parking lot, it's just 55:23.484 --> 55:24.585 [SPEAKER_02]: freaking awesome. 55:24.665 --> 55:38.080 [SPEAKER_02]: By the way, Tom Hamilton had this baseline and he's playing it and the drummer, Joey Cramer, he comes in playing, but instead of playing on the first and the third, which he would normally do for a rock song, he comes in on the second and the fourth. 55:40.663 --> 55:41.063 [SPEAKER_02]: magic. 55:41.504 --> 55:45.446 [SPEAKER_02]: It's just such an incredible mixture of sounds. 55:45.946 --> 55:48.007 [SPEAKER_02]: And this is the most amazing part of it, right? 55:48.227 --> 55:51.189 [SPEAKER_02]: This song, as we said, was their first top forty hit. 55:51.249 --> 55:55.712 [SPEAKER_02]: This song came out after Dream On, which is their signature song. 55:55.792 --> 55:56.152 [SPEAKER_02]: Crazy. 55:56.552 --> 56:01.035 [SPEAKER_02]: When Dream On came out the first time back in seventy-three, it only made it up to fifty-six. 56:01.915 --> 56:14.649 [SPEAKER_02]: but after this song hits the top forty and they do a big show in central park on the same day that it hits number thirty six they re-released dream on wow and after they re-released it hit number six 56:16.282 --> 56:23.026 [SPEAKER_02]: So this song really is the song that opened the door to what everyone knows about Eric Smith. 56:23.246 --> 56:23.947 [SPEAKER_05]: I will tell you this. 56:24.307 --> 56:33.433 [SPEAKER_05]: One of our back catalog episodes that I don't think gets a lot of spins that probably should is we went track by track through Eric Smith's get a grip album. 56:33.673 --> 56:33.873 [SPEAKER_03]: Yep. 56:34.274 --> 56:36.916 [SPEAKER_05]: And we talk about the Reformation of Aerosmith. 56:36.976 --> 56:47.324 [SPEAKER_05]: We talk about Alicia Silverstone and all those great videos that we got such a great era, but seventies Aerosmith, big breakup, and then you come back strong with eighties and nineties Aerosmith. 56:47.405 --> 56:51.428 [SPEAKER_05]: Yeah, and this Stephen Tyler said he wants sweet emotion on this great gravestone. 56:51.940 --> 56:52.240 [SPEAKER_02]: I love it. 56:52.661 --> 56:53.081 [SPEAKER_02]: I love that. 56:53.641 --> 56:53.941 [SPEAKER_02]: All right. 56:54.162 --> 56:55.062 [SPEAKER_02]: So sweet emotion. 56:55.242 --> 56:55.423 [SPEAKER_02]: Yeah. 56:55.643 --> 56:56.583 [SPEAKER_02]: It's number thirty six. 56:56.884 --> 56:58.365 [SPEAKER_02]: Would you like to hear the top ten? 57:00.006 --> 57:00.466 [SPEAKER_02]: Yes. 57:00.646 --> 57:03.208 [SPEAKER_02]: July nineteen nineteen seventy five. 57:03.248 --> 57:03.668 [SPEAKER_05]: Come on. 57:03.708 --> 57:04.169 [SPEAKER_05]: Let's go. 57:04.329 --> 57:07.151 [SPEAKER_02]: It's so nice to be the guy who used to do this every get there. 57:07.171 --> 57:07.932 [SPEAKER_02]: See this right. 57:08.052 --> 57:08.372 [SPEAKER_02]: All right. 57:08.412 --> 57:08.692 [SPEAKER_02]: Here we go. 57:08.712 --> 57:08.972 [SPEAKER_02]: All right. 57:09.052 --> 57:09.573 [SPEAKER_02]: Number ten. 57:10.757 --> 57:13.478 [SPEAKER_02]: Rockin' chair by Gwen McCray. 57:13.538 --> 57:13.698 [SPEAKER_02]: No. 57:13.718 --> 57:13.778 [SPEAKER_02]: No. 57:13.798 --> 57:13.838 [SPEAKER_02]: No. 57:14.538 --> 57:14.638 [SPEAKER_02]: No. 57:14.678 --> 57:14.978 [SPEAKER_02]: No. 57:14.998 --> 57:15.038 [SPEAKER_02]: No. 57:15.558 --> 57:15.638 [SPEAKER_02]: No. 57:15.658 --> 57:15.698 [SPEAKER_02]: No. 57:15.718 --> 57:15.758 [SPEAKER_02]: No. 57:15.778 --> 57:15.918 [SPEAKER_02]: No. 57:15.958 --> 57:16.038 [SPEAKER_02]: No. 57:16.058 --> 57:16.098 [SPEAKER_02]: No. 57:32.480 --> 57:33.100 [SPEAKER_02]: Nope, doesn't know. 57:33.440 --> 57:33.640 [SPEAKER_02]: Yeah. 57:33.840 --> 57:35.881 [SPEAKER_02]: Number six, magic by pilot. 57:35.901 --> 57:36.981 [SPEAKER_02]: Uh-huh. 57:37.141 --> 57:38.321 [SPEAKER_05]: Magic by living in New York. 57:38.581 --> 57:39.821 [SPEAKER_05]: Yes, magic by pilot. 57:39.841 --> 57:43.482 [SPEAKER_02]: Well, actually, number five, please, Mr. Please, is by Olivia Newton John. 57:44.642 --> 57:46.683 [SPEAKER_05]: I mean, right before she hits a big with grease. 57:46.903 --> 57:47.103 [SPEAKER_02]: Yep. 57:47.983 --> 57:54.464 [SPEAKER_02]: Number four, one of these nights, go back and check our out our Eagles, greatest hits coverage, which we did. 57:54.484 --> 57:54.944 [SPEAKER_02]: Great song. 57:55.084 --> 57:55.844 [SPEAKER_02]: Good weeks ago. 57:56.544 --> 58:00.625 [SPEAKER_02]: Number three, you mentioned earlier, I'm not in love by Tennessee C. 58:02.986 --> 58:04.609 [SPEAKER_02]: Number two, the hustle. 58:06.631 --> 58:08.674 [SPEAKER_02]: Van McCoy and Soul City Symphony. 58:09.475 --> 58:18.347 [SPEAKER_02]: And number one, this week, July, nineteen, nineteen, seventy-five was listen to what the man says by wings. 58:20.145 --> 58:23.087 [SPEAKER_05]: little known song from Paul McCartney in the wings. 58:23.487 --> 58:25.028 [SPEAKER_05]: Much like spies like us. 58:26.670 --> 58:31.353 [SPEAKER_05]: Classic song that reached number seven on the charts in nineteen eighty six. 58:31.553 --> 58:32.053 [SPEAKER_05]: That's great. 58:32.854 --> 58:33.174 [SPEAKER_05]: All right. 58:33.574 --> 58:35.296 [SPEAKER_05]: Now we're two year number one. 58:35.994 --> 58:37.035 [SPEAKER_05]: I think I know what it is. 58:37.435 --> 58:37.695 [SPEAKER_05]: Okay. 58:38.055 --> 58:45.901 [SPEAKER_02]: So I imagine for a lot of our listeners and viewers that they've got to be going, um, if you guys don't say this song, I'm going to be angry. 58:46.021 --> 58:47.142 [SPEAKER_02]: So don't worry, I'm going to say it. 58:47.302 --> 58:47.962 [SPEAKER_02]: Alright. 58:48.302 --> 58:51.565 [SPEAKER_05]: Okay, but first of all, if I didn't include it, I was doing it wrong. 58:51.785 --> 58:51.945 [SPEAKER_02]: Right. 58:52.645 --> 58:57.729 [SPEAKER_02]: But I'm going to tell you something that you maybe don't know about this song, that you maybe don't know about this song. 58:57.749 --> 58:58.009 [SPEAKER_02]: All right. 58:58.189 --> 58:59.430 [SPEAKER_02]: That I just learned. 58:59.510 --> 58:59.810 [SPEAKER_02]: Okay. 58:59.971 --> 59:00.111 [SPEAKER_12]: Yeah. 59:00.551 --> 59:04.834 [SPEAKER_02]: So this song was a very big song for the band. 59:05.034 --> 59:07.596 [SPEAKER_02]: They were asked to play it on top of the pops. 59:08.016 --> 59:14.261 [SPEAKER_02]: And when you say play it on top of the pops, what that really means is you mightment on top of the pops, because it was always lip synced. 59:14.401 --> 59:16.843 [SPEAKER_02]: You didn't actually ever play live on top of the pops. 59:16.883 --> 59:17.003 [SPEAKER_02]: Right. 59:17.643 --> 59:19.524 [SPEAKER_02]: I keep in mind, this is mid-seventies, right? 59:19.704 --> 59:20.705 [SPEAKER_02]: So they're asked to do it. 59:20.745 --> 59:23.066 [SPEAKER_02]: Now, this song is a very complicated song. 59:23.306 --> 59:28.489 [SPEAKER_02]: Number one, and number two, they just felt awkward trying to mime this song. 59:28.529 --> 59:30.930 [SPEAKER_02]: It just seemed like a ridiculous idea. 59:31.130 --> 59:37.513 [SPEAKER_02]: So they said, how about instead of us coming there and doing it, we just record a video for you. 59:37.853 --> 59:39.074 [SPEAKER_02]: And they're like, okay. 59:39.294 --> 59:43.116 [SPEAKER_02]: And so they record a video of themselves performing this song. 59:43.836 --> 59:49.241 [SPEAKER_02]: And they do some very cool effects with the video where, and it's video, it's not film, it's video. 59:49.901 --> 59:58.148 [SPEAKER_02]: And so they'll do a thing where they turn the camera on like the monitor, so you get like a repeating effect, you know, it's swimming effect. 59:58.789 --> 01:00:10.258 [SPEAKER_02]: They have this, they have this art where the band members are in a Marlene Dietrich kind of pose, and the lighting is like Marlene Dietrich, which you would know from Vogue by Madonna. 01:00:11.729 --> 01:00:14.130 [SPEAKER_02]: Yes, exactly, she's like that. 01:00:14.850 --> 01:00:24.572 [SPEAKER_02]: And so, and then they would do a fade that they would hold over that of the lead singer with his big face on top of all four bend members faces. 01:00:24.912 --> 01:00:27.992 [SPEAKER_02]: In the song, he's playing the piano with a recorded version of this. 01:00:28.033 --> 01:00:31.833 [SPEAKER_02]: He's playing the piano that Paul McCartney played when he played hey Jude. 01:00:32.393 --> 01:00:33.214 [SPEAKER_02]: Didn't know that either. 01:00:33.654 --> 01:00:34.694 [SPEAKER_02]: Same piano, same piano. 01:00:34.714 --> 01:00:35.654 [SPEAKER_02]: Same piano, okay. 01:00:36.194 --> 01:00:39.075 [SPEAKER_02]: And so, they record this video for top of the pops. 01:00:39.855 --> 01:00:47.622 [SPEAKER_02]: and top of the pops, it's perfect for them because they don't have to have the band there, and so they can play it anytime they have an empty space. 01:00:48.102 --> 01:00:53.487 [SPEAKER_02]: And so they end up playing the song over and over for months, which keeps the song at the top of the charts. 01:00:54.067 --> 01:00:58.531 [SPEAKER_02]: And so all of the other British musicians are like, hey, well, why don't we record a video? 01:00:58.631 --> 01:00:59.813 [SPEAKER_02]: It's nineteen seventy five. 01:01:00.393 --> 01:01:04.497 [SPEAKER_02]: So this starts a trend of UK performers 01:01:05.077 --> 01:01:14.217 [SPEAKER_02]: recording videos, which is why in nineteen eighty one when MTV comes out a bulk of the videos that they have to play are from UK bands. 01:01:15.081 --> 01:01:15.702 [SPEAKER_05]: Oh, about that. 01:01:15.722 --> 01:01:16.543 [SPEAKER_05]: That is excellent. 01:01:16.603 --> 01:01:17.083 [SPEAKER_05]: Good job. 01:01:17.303 --> 01:01:17.624 [SPEAKER_02]: Thank you. 01:01:17.824 --> 01:01:18.124 [SPEAKER_02]: Okay. 01:01:18.465 --> 01:01:18.745 [SPEAKER_02]: Okay. 01:01:19.005 --> 01:01:24.270 [SPEAKER_02]: Now, if you don't know what it is yet, I can forgive you for that because I didn't know any of that stuff when I first started looking into the song. 01:01:24.310 --> 01:01:24.591 [SPEAKER_02]: All right. 01:01:25.011 --> 01:01:26.112 [SPEAKER_02]: But I think you're going to get it from this. 01:01:26.252 --> 01:01:28.635 [SPEAKER_02]: There is no refraining chorus in the song. 01:01:29.015 --> 01:01:32.719 [SPEAKER_02]: The song was released on October, thirty first, nineteen, seventy five. 01:01:33.480 --> 01:01:35.382 [SPEAKER_02]: Mirror days after I was born, right? 01:01:35.762 --> 01:01:40.405 [SPEAKER_02]: comes off of the UK's third best selling album of all time. 01:01:41.125 --> 01:01:49.129 [SPEAKER_02]: It is combination of three different songs that the lead singer had been working on since the sixties, one of which was called the Cowboy song. 01:01:49.149 --> 01:01:50.030 [SPEAKER_02]: Okay. 01:01:50.471 --> 01:01:55.474 [SPEAKER_02]: It was recorded on eight generations of a twenty four track tape. 01:01:56.114 --> 01:02:00.376 [SPEAKER_02]: And what that means is, they would record twenty three to touch tracks. 01:02:00.676 --> 01:02:06.079 [SPEAKER_02]: Then they would take all twenty three of those tracks and bounce them over to the last remaining track. 01:02:06.459 --> 01:02:09.061 [SPEAKER_02]: And then they would record another twenty two tracks. 01:02:09.321 --> 01:02:11.522 [SPEAKER_02]: And then bounce those twenty three track. 01:02:11.582 --> 01:02:17.085 [SPEAKER_02]: And so eight generations, twenty four times gets you in the neighborhood of two hundred overdubs. 01:02:17.982 --> 01:02:21.444 [SPEAKER_02]: They said by the time they were done recording this, you could see through the tape. 01:02:21.844 --> 01:02:22.965 [SPEAKER_02]: Okay. 01:02:23.105 --> 01:02:23.325 [SPEAKER_02]: Wow. 01:02:23.865 --> 01:02:27.107 [SPEAKER_02]: That's one of the first things I learned about this song from my brother, by the way. 01:02:27.448 --> 01:02:30.009 [SPEAKER_02]: This song mentions some interesting things. 01:02:30.049 --> 01:02:34.432 [SPEAKER_02]: It mentions a stock clown character from sixteenth century comedy to Dale Art. 01:02:35.632 --> 01:02:40.455 [SPEAKER_02]: It mentions a dance made popular in Portugal and Spain in the seventeen hundreds. 01:02:41.195 --> 01:02:48.518 [SPEAKER_02]: It mentions an astronomer and physicist born in fifteen sixty four and died in sixteen forty two. 01:02:48.738 --> 01:02:56.022 [SPEAKER_02]: It mentions a name of a Philistine God that became synonymous with a demon or the devil. 01:02:56.602 --> 01:03:06.415 [SPEAKER_02]: And it mentions an Islamic phrase often recited by Muslims before they engage in their daily activities or religious practices. 01:03:08.255 --> 01:03:10.137 [SPEAKER_02]: I'll tell you what those things are. 01:03:10.157 --> 01:03:10.498 [SPEAKER_02]: Yeah. 01:03:10.678 --> 01:03:12.721 [SPEAKER_02]: The stock clown is Scaramush. 01:03:13.562 --> 01:03:15.524 [SPEAKER_02]: The dance is the Fandango. 01:03:15.544 --> 01:03:16.085 [SPEAKER_02]: Uh-huh. 01:03:16.125 --> 01:03:18.688 [SPEAKER_02]: The physicist is Galileo. 01:03:19.129 --> 01:03:26.679 [SPEAKER_02]: The Philistine guy is Bill Zabab and the Islamic phrase is Bismillah. 01:03:27.333 --> 01:03:27.754 [SPEAKER_02]: Okay. 01:03:28.615 --> 01:03:34.023 [SPEAKER_02]: Which if you look at the lyrics, it's printed in Arabic or something. 01:03:34.363 --> 01:03:38.569 [SPEAKER_02]: It's not spelled out in the English language. 01:03:38.609 --> 01:03:39.110 [SPEAKER_02]: Interesting. 01:03:39.150 --> 01:03:39.410 [SPEAKER_02]: Yes. 01:03:39.690 --> 01:03:40.071 [SPEAKER_02]: Okay. 01:03:40.331 --> 01:03:40.612 [SPEAKER_02]: Okay. 01:03:41.012 --> 01:03:43.275 [SPEAKER_02]: And if you haven't guessed it by now, 01:03:43.836 --> 01:03:45.117 [SPEAKER_02]: You need to go watch Wayne's World. 01:03:46.197 --> 01:03:47.598 [SPEAKER_02]: Because it's an iconic scene. 01:03:47.858 --> 01:03:58.805 [SPEAKER_02]: I can remember as a kid, as a teenager, calling the radio station and saying, we please play the song and the DJ going, I just play that like ten minutes ago. 01:03:59.925 --> 01:04:09.751 [SPEAKER_02]: Just in disgust, because in the mid-seventies and in the mid-nindies, you could not escape the wonder of the song, Bohemian Rhapsody. 01:04:09.771 --> 01:04:13.113 [SPEAKER_11]: Is this the real life? 01:04:17.675 --> 01:04:30.840 [SPEAKER_11]: God in the landslide, the whisky from reality Open your eyes, look up to the skies 01:04:36.022 --> 01:04:54.211 [SPEAKER_11]: Just a fool, I don't know why Because I'm easy, I'm easy, go, little high, little low And the way the wind blows doesn't really fly 01:05:00.227 --> 01:05:00.928 [SPEAKER_05]: It's incredible. 01:05:00.948 --> 01:05:03.232 [SPEAKER_05]: I mean, it's like one of the greatest songs ever written. 01:05:03.753 --> 01:05:04.073 [SPEAKER_05]: Absolutely. 01:05:04.093 --> 01:05:10.864 [SPEAKER_05]: And I told you I couldn't include it in seventy five on a technicality because for me, the first time I heard it, it was from Wayne's World. 01:05:19.108 --> 01:05:40.873 [SPEAKER_02]: Right, but that's true of all of these songs like men of these songs that I hear in seventy five that I have any memory of That's true So you can't not have this song and it honestly it has to be the best even I mean I just looked at the songs that came out in seventy five the albums toys in the attic wish you were here 01:05:41.513 --> 01:05:43.994 [SPEAKER_02]: physical graffiti, a night at the opera. 01:05:44.194 --> 01:05:50.375 [SPEAKER_02]: I mean, holy cow, that is, that is a Mount Rushmore of incredible albums. 01:05:51.056 --> 01:05:51.616 [SPEAKER_05]: No doubt about it. 01:05:51.936 --> 01:05:58.218 [SPEAKER_05]: So I told you, I've got a hole in my history with Pink Floyd, even Queen, you know, Led Zeppelin. 01:05:58.238 --> 01:05:59.398 [SPEAKER_05]: I'm not a big Led Zeppelin guy. 01:05:59.718 --> 01:05:59.898 [SPEAKER_05]: Right. 01:06:00.198 --> 01:06:02.419 [SPEAKER_05]: One of these days, we need to go track track through some of those. 01:06:02.659 --> 01:06:03.019 [SPEAKER_05]: Thank you. 01:06:03.160 --> 01:06:03.740 [SPEAKER_05]: I'd love to do that. 01:06:03.860 --> 01:06:04.220 [SPEAKER_02]: Thank you. 01:06:04.400 --> 01:06:04.640 [SPEAKER_02]: Okay. 01:06:04.920 --> 01:06:05.641 [SPEAKER_02]: So there you go. 01:06:05.681 --> 01:06:06.681 [SPEAKER_02]: There's our top five. 01:06:07.121 --> 01:06:07.962 [SPEAKER_02]: Tell us what you think. 01:06:08.082 --> 01:06:09.422 [SPEAKER_02]: Tell us what you think we missed. 01:06:09.462 --> 01:06:13.624 [SPEAKER_02]: I mean, we had to eliminate some hard choices in coming up with this list. 01:06:14.064 --> 01:06:15.005 [SPEAKER_02]: So we won't fall. 01:06:15.105 --> 01:06:20.007 [SPEAKER_02]: If you're coming at us with Linda Ronstad or Steve Miller or Eagles. 01:06:20.467 --> 01:06:20.647 [SPEAKER_05]: Yeah. 01:06:21.454 --> 01:06:51.041 [SPEAKER_05]: fifty years old sons yeah and they're still absolute bangers okay they come back next week we are going that's true you will be here you and I will be here whether anybody else we are going back to the mid eighty sunset strip and we're visiting LA to cover the nineteen eighty five album by rat and the nineteen eight five album by docking 01:06:51.743 --> 01:06:54.246 [SPEAKER_02]: So this is going to be like Rambo and Commander for me. 01:06:54.426 --> 01:06:57.369 [SPEAKER_02]: These are not either one albums that I was super familiar with. 01:06:57.449 --> 01:07:03.396 [SPEAKER_02]: I mean, you couldn't escape round and round, but other than that, I'm not super familiar with either one of these bands. 01:07:03.596 --> 01:07:05.659 [SPEAKER_02]: I mean, I couldn't tell you a doc and song. 01:07:05.679 --> 01:07:06.159 [SPEAKER_02]: I don't think. 01:07:06.239 --> 01:07:11.285 [SPEAKER_02]: So this is, I'm going to, you guys are going to see me on my doc and virginity and my, you know, 01:07:12.774 --> 01:07:17.896 [SPEAKER_02]: just the tip on a rat. 01:07:17.916 --> 01:07:37.822 [SPEAKER_02]: To iconic bands from the early hair metal days it's gonna be fun come back grab your eyeliner grab your your hair spray yeah it's gonna be fun awesome guys thank you so much for joining us if you enjoyed this episode if you haven't heard our other episodes we did one on best of eighty five top five of eighty five from earlier this year 01:07:38.249 --> 01:07:44.498 [SPEAKER_02]: We've done top five of seventy eight and seventy nine eighty eight eighty nine. 01:07:44.558 --> 01:07:49.225 [SPEAKER_02]: Yes, I anticipate that this fall will probably do top five of nineteen ninety five. 01:07:49.426 --> 01:07:52.751 [SPEAKER_02]: It's it's just one of our favorite kinds of episodes to do. 01:07:52.811 --> 01:07:55.074 [SPEAKER_02]: We hope that you are enjoying whatever you're doing. 01:07:55.375 --> 01:07:56.817 [SPEAKER_02]: Maybe you're catching us on vacation. 01:07:56.977 --> 01:07:58.219 [SPEAKER_02]: Thank you so much for tuning in. 01:07:58.259 --> 01:07:59.381 [SPEAKER_02]: We'll see you guys next week. 01:07:59.501 --> 01:08:00.122 [SPEAKER_05]: See you guys next week.