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Speaker 1: What's seven two weekend Breakfast in the Music Corner the

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Speaker 1: first from.

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Speaker 2: The eighties and nineties on seven O two. This is

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Speaker 2: Mark Morrison, his classic from nineteen ninety six, Return of

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Speaker 2: the Mac. That's how we start the Music Corner this morning,

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Speaker 2: because we're actually talking about thirty years of the song.

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Speaker 2: He released it exactly thirty years ago in nineteen ninety six.

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Speaker 2: I don't like the nineties being thirty years ago. I

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Speaker 2: don't enjoy it. It stresses me out. But we're talking

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Speaker 2: about Mark Morrison and joining us in the studio is

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Speaker 2: good friend of the show.

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Speaker 3: He's a musicologist.

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Speaker 2: His academic registrar at the Academy of Sound Engineering, Doctor

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Speaker 2: Sheldon Leale joins us this morning, Doctor Leale, good morning.

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Speaker 3: Good morning, and how are you? I'm great? And't you go?

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Speaker 1: So?

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Speaker 3: He it was Mark Morrison.

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Speaker 2: Actually we put up a tweets this week saying that

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Speaker 2: his I like, and that's the only song of his

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Speaker 2: I know. Actually, Return of the Mac is thirty years

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Speaker 2: old this week, and this song was huge.

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Speaker 1: Yes, it's quite an interesting it holds a weird it

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Speaker 1: holds a weird place in music history. So it is

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Speaker 1: just after the New Jack Swing era. And just before

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Speaker 1: the pop teen revolution of the late nineties, which was

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Speaker 1: like in sync Backstreet Boys, Brittany Spears, Christina Aguilere, etcetera.

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Speaker 2: To a New Jack Swing is Teddy Riley.

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Speaker 1: Michael Jackson, Janet Jackson, Black Streets, et cetera. So this

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Speaker 1: song has got like it borrows from the New Jack

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Speaker 1: Swing era, but it's leaning towards the pop era that

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Speaker 1: was about to break free in the late nineteen nineties.

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Speaker 1: So Mark Morrison was born in Germany actually, and then

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Speaker 1: lived in the UK, went to Florida and then moved

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Speaker 1: back to England. So they call him a British R

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Speaker 1: and B artist, but he's actually German.

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Speaker 3: He was born in Germany.

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Speaker 1: What I find a little perturbing about this song, and

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Speaker 1: I mean, and after I've realized that when I do

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Speaker 1: these shows, I've got to come up with a narrative.

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Speaker 1: There has to be a story, you know, Like it's

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Speaker 1: not just talking about the song. The song is titled

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Speaker 1: Return of the Mac, all right, and it's talking about

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Speaker 1: it's talking about how this guy was involved with this

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Speaker 1: girl and she cheated on him and now he's having

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Speaker 1: his revenge. He's back, right, but a Mac Return of

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Speaker 1: the Mac, all right.

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Speaker 3: So it means that before he was with her, he was.

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Speaker 1: Problematic, he was a mac right, and now because it

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Speaker 1: didn't work out for him in that relationship, because she

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Speaker 1: cheated on him, so she flipped the script. Now he's

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Speaker 1: back to his old ways because he's basically saying, I'm

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Speaker 1: returning to what I used to be, which is a mac.

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Speaker 3: Right. I never knew what mac meant. Yeah, a mac

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Speaker 3: is some one who.

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Speaker 1: Is a bit of a ladies man, okay, right, right,

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Speaker 1: and so and then you. Then I went on to

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Speaker 1: look at some of his other hits. He had a

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Speaker 1: few other hits. They weren't ever as big as this one,

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Speaker 1: but like the first one was also in nineteen ninety

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Speaker 1: six a song called Crazy all right, that's fine. Then

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Speaker 1: that went to number six in the UK. Then he

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Speaker 1: had another song in nineteen ninety six called Trippin' which

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Speaker 1: went to number eight in the UK. Then his next

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Speaker 1: biggest song after Return of the Mac was Horny all right,

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Speaker 1: number five nineteen ninety six, and then Moan and Groan

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Speaker 1: all right, so we know this guy's a back right, okay.

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Speaker 2: Also nineties music and in retrospect because I was really

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Speaker 2: young in the nineties nineties music was very horny, very

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Speaker 2: very problematic, incredibly honey, I love listening to all of us.

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Speaker 1: Yeah, yeah, like color me bad.

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Speaker 3: It was the very was the error. Yeah.

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Speaker 1: Anyway, So he's upset because a woman flipped the script

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Speaker 1: on him. So actually, I think the message is quite

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Speaker 1: good because what it's saying is that, dude, you gotta

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Speaker 1: you know, there's gonna be problems if you if you

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Speaker 1: behave in certain ways, you might get the fruits of

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Speaker 1: your day exactly. So he used to, so he gave

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Speaker 1: up his his Mac ways, yeah, for this relationship being macking.

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Speaker 2: And then she cheats on him and he goes, do

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Speaker 2: you know what screw gets this? I'm coming back right, okay, right,

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Speaker 2: the return of the Mac exactly.

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Speaker 1: So the song's quite like what so seven point five

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Speaker 1: million units. It was a certified massive hit across the world.

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Speaker 1: The song combines samples of four different songs Genius of

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Speaker 1: Love by The Tom Tom Club nineteen eighty one, Chuckie

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Speaker 1: Booker Games nineteen ninety two, Earsg's UFO nineteen eighty one,

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Speaker 1: Seron Rocket in the Pocket. He's a fam French disco

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Speaker 1: artist and from nineteen seventy nine and the Treacherous Threes

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Speaker 1: Feel the Heartbeat from nineteen ninety four. What I find

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Speaker 1: interesting about that kind of thing and that era in music,

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Speaker 1: which is to a certain extent little around but people

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Speaker 1: loved using samples in those days, is that in order

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Speaker 1: to assimilate all of those samples while still maintaining the

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Speaker 1: identity of a new song is genius because it means

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Speaker 1: that the person who composed a song, which was Mark Morrison,

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Speaker 1: but and then the producers who then have worked on

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Speaker 1: the song would have been listening art and doing intensive

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Speaker 1: research to be able to incorporate songs from I mean,

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Speaker 1: the Tom Tom Club were like a girl independent rock

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Speaker 1: disco act, and Seron is a French disco artist. I

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Speaker 1: mean you're getting music from a very wide spectrum of

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Speaker 1: artists from around the world, and then a similar relating

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Speaker 1: it into this and using elements of that that is

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Speaker 1: going to create a new composition. And a lot of

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Speaker 1: people back in those days were saying, oh, there's no imagination.

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Speaker 1: People are just rehashing old songs and they're not creating

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Speaker 1: anything new. But any song, even if you sitting in

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Speaker 1: your room writing a song by yourself, there will be

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Speaker 1: influences of whatever you're listening to, because your music is

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Speaker 1: a product of who you are and what you listen to,

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Speaker 1: just like we're all a product of what we eat,

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Speaker 1: as I've come to learn for myself, you know, like

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Speaker 1: if you're eating too many big macs, it's going to

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Speaker 1: be a problem. Which is the other interesting thing about

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Speaker 1: this song. This song became a cultural phenomenon, and in

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Speaker 1: two thousand and seven seventeen Burger King use the song

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Speaker 1: for like a Mac and Cheese that they were releasing

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Speaker 1: and it was called a Mac and Cheetos, which is

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Speaker 1: quite ironic Cheetos and that mac, all right, So that

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Speaker 1: was quite interesting. And then in twenty twenty McDonald's used

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Speaker 1: Return of the Mac when they returned from the twenty

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Speaker 1: nine from the COVID nineteen lockdown. This was the song

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Speaker 1: that they used to bring themselves back into full operation.

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Speaker 1: Return of the Mac. Yeah, so that that was quite interesting.

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Speaker 2: So it remains even though it is this mid nineties song.

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Speaker 1: Yeah, it keeps, it keeps coming back. Yes, it keeps

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Speaker 1: on returning. The Mac keeps on. The producers of the

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Speaker 1: song are a group of two guys called cut Father,

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Speaker 1: Cutfather and Joe and They were part of the late

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Speaker 1: nineties pop revolution which emerged from the Scandinavian areas. They

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Speaker 1: were specifically Norwegian, but there was a there was a

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Speaker 1: group of producers in Sweden and in a studio called

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Speaker 1: Chron who were basically the guys that orchestrated the pop

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Speaker 1: sound of the late nineteen nineties. So they wrote hit

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Speaker 1: Me Baby One More Time, Everybody for Backstreet Boys, They

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Speaker 1: wrote music for n SYNC Celindiana.

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Speaker 3: At that point there was a long list.

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Speaker 1: I mean Max Martin still in the business and writing

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Speaker 1: for Taylor Swift.

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Speaker 3: I mean.

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Speaker 1: This. This group of Scandinavian producers and artists had an

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Speaker 1: immense influence on the music industry, and they produced this

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Speaker 1: song for Mark Morrison. So he's actually one of the

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Speaker 1: early innovators within this like pop sound that was going

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Speaker 1: to land up dominating the scene from about nineteen ninety

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Speaker 1: seven to the early two thousands. And that's why he

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Speaker 1: holds this interesting place in music history where it's just

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Speaker 1: after this new Jack swing which was so popular amongst

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Speaker 1: Oramby R. Kelly was part of it, P Diddy, all

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Speaker 1: of those guys, and then this new pop revolution that

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Speaker 1: was just about to break free, which ties into the

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Speaker 1: last song that we wore going that we are going

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Speaker 1: to play because this Tom Tom Club, Oh am I

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Speaker 1: gonna say yesterday, I thought, let me go re listen

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Speaker 1: to this Genius of Love song which is incorporated in

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Speaker 1: the Mark Morrison song, but it's also incorporated in the

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Speaker 1: song that we're going to listen to. The song itself

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Speaker 1: is really bad. It's such an awful song, this Genius

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Speaker 1: of Love song. The singing is almost unmelodic and off pitch,

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Speaker 1: and it's super repetitive, like it just repeats the whole time,

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Speaker 1: and then towards the end it's an eight minute song,

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Speaker 1: it starts going into like a Japanese thing, and it's

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Speaker 1: just like a combobulated song, like it's just messy. What

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Speaker 1: interesting is that two massive songs emerge from this one

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Speaker 1: song from this Tom Tom Club Genius of Love, Mark

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Speaker 1: Morrison's Return of the Mac and the song that We're

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Speaker 1: going to go into, which is Mariah Carey's Fantasy. Now,

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Speaker 1: that song is the complete opposite of what Return of

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Speaker 1: the Back is. It was Mariah Carey's ninth number one

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Speaker 1: hit single out of nineteen that she's got nineteen number one,

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Speaker 1: the most by any female artist in history, and it's

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Speaker 1: a song about finding this person that you that you

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Speaker 1: that you love and that you know every time you

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Speaker 1: see them you feel like a flutter in you whatever. Right,

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Speaker 1: So so it's this really innocent, pretty song. But and

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Speaker 1: then in the remix she brings od b in right.

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Speaker 3: I love the remix and Mariah pacify exactly and what

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Speaker 3: you're going to do when you get out of jail?

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Speaker 3: It's like, what, why are we celebrating people be in

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Speaker 3: jail in the first place? But it's a love song. Low, Yes,

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Speaker 3: it's just some weird and it's about a mac.

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Speaker 1: Obviously, this guy's a mac daddy, you know, who's like

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Speaker 1: in prison. He's obviously done something really bad. And are

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Speaker 1: they talking about what they're going to do when they

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Speaker 1: get out of jail? Like the two of them like

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Speaker 1: what jail birds. It's like so confusing, But I mean,

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Speaker 1: this is the nineteen nineties. This song was so if

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Speaker 1: you compare it to Return of the Mac, it was

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Speaker 1: a year before Return of the Mac. And the reason

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Speaker 1: why Mariah decided that she was going to use this

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Speaker 1: genius of love song is she was driving around and

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Speaker 1: she heard the song on the radio and she was like, Wow,

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Speaker 1: I think I really can do something.

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Speaker 3: Now.

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Speaker 1: If you listen to the original compare it to Fantasy,

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Speaker 1: Mariah did the song so much justice. She really really

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Speaker 1: helped out the Tom Tom Club because this song was

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Speaker 1: really awful. And then you listen to what Mariah does

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Speaker 1: and the enhancements that she adds to the song and

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Speaker 1: the embellishment, and she adds melody to the song, and

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Speaker 1: she takes what the original sing is that and auto

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Speaker 1: corrected it by singing it in tune. Another massive number one,

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Speaker 1: and this one sold over eight million units. So between

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Speaker 1: these two songs, Mark Morrison and Mariah Carey the Tom

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Speaker 1: Tom Club, she'd be doing very well because a right,

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Speaker 1: she'd be doing very very well because they would get

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Speaker 1: royalties from both songs.

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Speaker 2: Yeah yeah, Doctor lil Or was a group Please to

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Speaker 2: tatting to you.

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Speaker 3: Thank you much time.

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Speaker 2: Yes, Mariah care featuring All Dirty Bastard with Fantasy on

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Speaker 2: seven or two weekends, keeping it real.

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Speaker 3: Shining Starck starckl