1 00:00:04,240 --> 00:00:06,280 Speaker 1: I'm buzs Night and welcome back to the Taking a 2 00:00:06,320 --> 00:00:09,880 Speaker 1: Walk Podcast. Another episode of This Week in Music History, 3 00:00:10,000 --> 00:00:12,520 Speaker 1: and we are going to conquer the week of November 4 00:00:12,840 --> 00:00:18,600 Speaker 1: the seventeenth, Master of Music Mayhem checking in Harry Jacobs, Hello, Harry, 5 00:00:18,680 --> 00:00:20,759 Speaker 1: Welcome back, Welcome. 6 00:00:20,480 --> 00:00:23,560 Speaker 2: Back, Master of Music may I knew it only took 7 00:00:23,640 --> 00:00:25,880 Speaker 2: us a year to find something that we would settle 8 00:00:25,920 --> 00:00:29,160 Speaker 2: into and go Master of Music Mayhem. They think I'm 9 00:00:29,160 --> 00:00:31,720 Speaker 2: going to open up an Instagram accoump okay, Master of 10 00:00:31,960 --> 00:00:33,640 Speaker 2: at Master of Music Mayhem. 11 00:00:33,840 --> 00:00:35,720 Speaker 3: Okay. I like it. 12 00:00:35,760 --> 00:00:37,839 Speaker 2: Doesn't Tommy Lee have a tattoo of may like the 13 00:00:37,880 --> 00:00:39,479 Speaker 2: word Mayhem across his belly? 14 00:00:39,800 --> 00:00:42,239 Speaker 3: He probably does, and I don't want to see it. 15 00:00:42,760 --> 00:00:45,440 Speaker 2: I have a rather large canvas to do that. On 16 00:00:46,120 --> 00:00:50,360 Speaker 2: November seventeenth, nineteen seventy nine, The Wall by Pink Floyd 17 00:00:50,520 --> 00:00:53,960 Speaker 2: was releasing the United Kingdom. Last week we discussed David 18 00:00:54,000 --> 00:00:57,680 Speaker 2: Gilmour with Wish You Were Here. We talked a little 19 00:00:57,680 --> 00:01:03,920 Speaker 2: bit about the relationship with Gilmore and some feelings on 20 00:01:04,760 --> 00:01:08,840 Speaker 2: Roger Waters, and here we are talking about The Wall. 21 00:01:08,959 --> 00:01:14,160 Speaker 2: This was an album that was primarily written by Roger 22 00:01:14,240 --> 00:01:20,480 Speaker 2: Waters and it was inspired by Alienation that he felt 23 00:01:20,600 --> 00:01:24,959 Speaker 2: during the Animal's Tour, which was a tour that happened 24 00:01:25,000 --> 00:01:31,080 Speaker 2: in seventy seven. I think the album was epic on 25 00:01:32,000 --> 00:01:37,200 Speaker 2: many levels. But it was recorded in seven different studios, 26 00:01:37,200 --> 00:01:40,160 Speaker 2: one of those things where they bounced around. They were 27 00:01:40,200 --> 00:01:44,520 Speaker 2: in France, they were in England, they were in la 28 00:01:44,640 --> 00:01:50,240 Speaker 2: they were in all kinds of different locations, and as 29 00:01:50,280 --> 00:01:53,840 Speaker 2: you can probably imagine, given how technical their music is, 30 00:01:54,560 --> 00:01:58,240 Speaker 2: the sessions were really intense. I think the older they got, 31 00:01:58,280 --> 00:02:05,360 Speaker 2: the more prickly they all became, especially Waters, and they 32 00:02:05,440 --> 00:02:09,160 Speaker 2: fired Richard Wright, who was their keyboard player. And what 33 00:02:09,320 --> 00:02:12,960 Speaker 2: happened with that situation is that they fired him and 34 00:02:13,000 --> 00:02:16,040 Speaker 2: then they went out on tour, as you recall, and 35 00:02:16,120 --> 00:02:18,640 Speaker 2: they hired him as a session player for the tour. 36 00:02:18,680 --> 00:02:20,960 Speaker 2: They're like, you're out of the band, but we're gonna 37 00:02:20,960 --> 00:02:23,000 Speaker 2: pay you know, a thousand bucks a week to come 38 00:02:23,040 --> 00:02:27,520 Speaker 2: play the you know, your keyboard parts. I think he 39 00:02:27,680 --> 00:02:31,400 Speaker 2: was replaced on some of it on the album. I've 40 00:02:31,400 --> 00:02:35,800 Speaker 2: got to do a deeper dive on that. But those 41 00:02:35,880 --> 00:02:42,239 Speaker 2: shows in nineteen eighty were epic shows, you know, where 42 00:02:42,280 --> 00:02:48,000 Speaker 2: they built the wall across the stage and I saw 43 00:02:49,000 --> 00:02:52,840 Speaker 2: a version of it, you know, in twenty twelve here 44 00:02:52,880 --> 00:02:56,360 Speaker 2: in Vegas where they built a wall, and you know, 45 00:02:56,480 --> 00:02:59,239 Speaker 2: through the course of the show, the wall comes down. 46 00:02:59,600 --> 00:03:04,480 Speaker 2: And as angry as I was at Roger Waters, I 47 00:03:04,520 --> 00:03:07,160 Speaker 2: couldn't stay away from that show. And it was just 48 00:03:08,000 --> 00:03:09,840 Speaker 2: I use the word epic a lot, but it was. 49 00:03:10,120 --> 00:03:13,519 Speaker 2: It was pretty epic, no doubt, and one of the 50 00:03:13,600 --> 00:03:17,840 Speaker 2: highest grossing tours, by the way, that one was in 51 00:03:17,880 --> 00:03:21,840 Speaker 2: the history of any solo artist as well, And it 52 00:03:21,960 --> 00:03:24,160 Speaker 2: was a big deal, right people, there's a there's an 53 00:03:24,280 --> 00:03:27,400 Speaker 2: appetite for Pink Floyd. 54 00:03:27,880 --> 00:03:30,760 Speaker 1: There's an appetite for Pink Floyd, and you know, just 55 00:03:30,760 --> 00:03:34,560 Speaker 1: the whole progressive rock you know genre on its own 56 00:03:34,560 --> 00:03:36,280 Speaker 1: as well, ravenous. 57 00:03:36,720 --> 00:03:39,600 Speaker 2: Do you remember who starred in the in the movie 58 00:03:39,800 --> 00:03:44,960 Speaker 2: version of The Wall? No, you probably thought I was 59 00:03:45,000 --> 00:03:47,720 Speaker 2: dozing off at that point. No, I was trying to 60 00:03:47,720 --> 00:03:49,880 Speaker 2: think of it. No, I saw you looking up. I 61 00:03:49,920 --> 00:03:52,400 Speaker 2: didn't know if you're thinking about lunch or who starred 62 00:03:52,440 --> 00:03:54,760 Speaker 2: in the Wall. It was Bob Geldoff, all right. I 63 00:03:54,880 --> 00:03:57,600 Speaker 2: was thinking, I was thinking Bob Geldof. 64 00:03:57,680 --> 00:04:01,720 Speaker 1: See I should have trusted my first, the gut instinct. 65 00:04:02,280 --> 00:04:08,040 Speaker 2: Yeah, emphasis gut, yeah, emphasis gut. In nineteen seventy eight. 66 00:04:08,120 --> 00:04:10,080 Speaker 2: This is an odd one. I don't think either of 67 00:04:10,160 --> 00:04:13,720 Speaker 2: us were whatever real Star Wars or sci Fi people. No, 68 00:04:15,160 --> 00:04:19,240 Speaker 2: the Star Wars Holiday Special aired on CBS. It aired 69 00:04:19,320 --> 00:04:24,800 Speaker 2: once and only once, and it sent the Star Wars 70 00:04:25,760 --> 00:04:33,480 Speaker 2: fans and critics out into this tail spin because it 71 00:04:33,600 --> 00:04:38,400 Speaker 2: was awful. It was a nightmare to the loyalists, and 72 00:04:38,600 --> 00:04:43,400 Speaker 2: something that's kind of a stain on the franchise to 73 00:04:43,480 --> 00:04:44,880 Speaker 2: a lot of people. This was just by the way, 74 00:04:44,880 --> 00:04:48,440 Speaker 2: This was two years after Star Wars came out, so 75 00:04:48,480 --> 00:04:51,440 Speaker 2: it's a big step for them to do something like this, 76 00:04:51,560 --> 00:04:54,840 Speaker 2: and it sent the sci fi people through the roof. 77 00:04:54,880 --> 00:04:56,960 Speaker 2: They're like, you're doing a Christmas special with R two 78 00:04:57,040 --> 00:05:01,160 Speaker 2: D two and Chewbacca and Dark Fader? What are you? 79 00:05:01,240 --> 00:05:03,880 Speaker 1: What in the hell are you doing? Well, we know 80 00:05:03,920 --> 00:05:05,800 Speaker 1: they probably wanted a little tight right. 81 00:05:06,560 --> 00:05:12,280 Speaker 2: Indeed they are. November eighteen, Danny Witten, who was a 82 00:05:12,320 --> 00:05:17,719 Speaker 2: guitarist for Neil Young's Crazy Horse Band, he passed away 83 00:05:18,120 --> 00:05:23,680 Speaker 2: an overdose and it was heroin overdose and it inspired 84 00:05:23,680 --> 00:05:26,160 Speaker 2: the song Needle and the Damage Done. 85 00:05:26,360 --> 00:05:27,400 Speaker 3: Oh there you go. Yep. 86 00:05:28,440 --> 00:05:31,320 Speaker 2: Great song, really a lovely song. 87 00:05:32,839 --> 00:05:35,320 Speaker 3: It's a not a toe tapper, but it's a great song. 88 00:05:35,760 --> 00:05:38,320 Speaker 2: No, and Jewell does a great version of it, by 89 00:05:38,360 --> 00:05:40,359 Speaker 2: the way, you know it's a it's a great song. 90 00:05:41,720 --> 00:05:44,800 Speaker 3: I'm a Neil guy, you know that I love Neil. 91 00:05:45,320 --> 00:05:47,760 Speaker 2: Yeah, this is interesting. This has nothing to do with 92 00:05:47,839 --> 00:05:50,599 Speaker 2: music history, but this is something I always wonder about, 93 00:05:50,680 --> 00:05:54,320 Speaker 2: you know, you wonder about especially in the US. I 94 00:05:54,320 --> 00:05:58,200 Speaker 2: wonder about time zones. I got some information because I 95 00:05:58,200 --> 00:06:01,159 Speaker 2: saw the thing pop up and I was thinking about 96 00:06:01,160 --> 00:06:06,360 Speaker 2: the week and the US and Canadian railroads actually introduced 97 00:06:06,520 --> 00:06:12,440 Speaker 2: the standard time zone prior to the late eighteen hundreds, 98 00:06:12,440 --> 00:06:14,640 Speaker 2: which really is not that long ago. If you think 99 00:06:14,640 --> 00:06:18,520 Speaker 2: about it, each city and each town kept their own 100 00:06:18,600 --> 00:06:21,800 Speaker 2: local time. Imagine how confusing was that, and it was 101 00:06:21,920 --> 00:06:25,719 Speaker 2: industry really coming to save the government from itself. 102 00:06:26,320 --> 00:06:30,760 Speaker 1: Ever, try to have a conversation with somebody in Australia 103 00:06:30,880 --> 00:06:36,360 Speaker 1: and understand their time zones. No, no, oh, I can't 104 00:06:36,360 --> 00:06:38,600 Speaker 1: even explain it. Maybe someone can explain it to me 105 00:06:38,720 --> 00:06:41,480 Speaker 1: at some point, Maybe one of our Australian listeners can 106 00:06:41,520 --> 00:06:46,920 Speaker 1: explain it. But it is the craziest. I can't follow it. 107 00:06:46,960 --> 00:06:53,839 Speaker 1: I can't explain it. But anyway, I digress. I'm literally 108 00:06:53,839 --> 00:06:55,560 Speaker 1: I just made a note on the yellow pad. I'm 109 00:06:55,600 --> 00:06:56,480 Speaker 1: still a yellow pad guy. 110 00:06:56,480 --> 00:06:58,400 Speaker 2: With all this digital stuff and phones and everything, I 111 00:06:58,480 --> 00:06:59,960 Speaker 2: still a yellow pad. I got a yellow pad. 112 00:07:00,320 --> 00:07:01,320 Speaker 3: I got sticky notes. 113 00:07:01,839 --> 00:07:04,760 Speaker 2: That sticky notes is indicative of a problem. My yellow 114 00:07:04,800 --> 00:07:08,919 Speaker 2: pad is still reasonable. Sticky pads they go everywhere. I know. 115 00:07:09,520 --> 00:07:12,240 Speaker 2: All right, I'm gonna make a note about Australian Times. 116 00:07:12,240 --> 00:07:15,080 Speaker 3: Well, yeah, I'm probably completely wrong. 117 00:07:15,280 --> 00:07:18,320 Speaker 2: So yeah, well I find I'll be the judge of that. Okay, 118 00:07:18,400 --> 00:07:20,160 Speaker 2: you will, and I'll report back. 119 00:07:20,240 --> 00:07:23,400 Speaker 3: Thank you, Master of music, Mayhem and time zone Mayhem. 120 00:07:23,960 --> 00:07:29,160 Speaker 2: That's right. November nineteenth, nineteen ninety one, you two released 121 00:07:29,280 --> 00:07:33,920 Speaker 2: a tun Baby. This was a you know, more of 122 00:07:33,920 --> 00:07:38,720 Speaker 2: an experimental era for them. I enjoyed that album me too. 123 00:07:39,880 --> 00:07:40,320 Speaker 3: Yeah. 124 00:07:40,920 --> 00:07:44,800 Speaker 2: Seventy three November nineteenth, Houses of the Holy went eleven 125 00:07:44,880 --> 00:07:49,160 Speaker 2: times platinum in the US. Great, of course, the you 126 00:07:49,200 --> 00:07:53,000 Speaker 2: know the rain song obviously a great song. Song remains 127 00:07:53,040 --> 00:07:55,120 Speaker 2: the same. Over the Hills and Far Away the Crunge 128 00:07:55,760 --> 00:07:59,360 Speaker 2: another odd quick song. Oh yeah, like hot Dog or whatever, 129 00:07:59,360 --> 00:08:00,560 Speaker 2: you know what I mean. There were just all these 130 00:08:00,600 --> 00:08:03,600 Speaker 2: weird little almost like they had to put something on there, 131 00:08:03,600 --> 00:08:05,000 Speaker 2: and they did it. But over the Hills and Far 132 00:08:05,080 --> 00:08:08,840 Speaker 2: Away the Rain Song to me is a beautiful epic 133 00:08:09,320 --> 00:08:12,800 Speaker 2: oh yeah guitar piece, and the song remains the. 134 00:08:12,800 --> 00:08:15,920 Speaker 1: Same of you know, and over the Hills and far 135 00:08:16,160 --> 00:08:17,760 Speaker 1: over this Yeah yeah. 136 00:08:18,320 --> 00:08:21,960 Speaker 2: November twentieth, nineteen seventy three, The Who released Quadrophenia in 137 00:08:22,000 --> 00:08:27,800 Speaker 2: the US, and and this was, you know, another big 138 00:08:27,840 --> 00:08:33,160 Speaker 2: one for them. It was dark. Tommy was about the 139 00:08:33,280 --> 00:08:35,440 Speaker 2: young boy. This is another one about a boy named 140 00:08:35,520 --> 00:08:39,840 Speaker 2: Jimmy struggling with his identity. And I didn't realize that, 141 00:08:40,160 --> 00:08:43,760 Speaker 2: you know, because this was a double album that each 142 00:08:43,800 --> 00:08:48,240 Speaker 2: of the four sides dealt with and represented a different 143 00:08:48,280 --> 00:08:54,000 Speaker 2: aspect of the protagonist's personality, which corresponded This is really 144 00:08:54,040 --> 00:08:58,840 Speaker 2: funny to each of the different band members. Really another 145 00:08:58,960 --> 00:09:03,079 Speaker 2: like complex, you know, kind of thing you never would 146 00:09:03,080 --> 00:09:05,120 Speaker 2: have thought of it, you know, on your own. But 147 00:09:05,520 --> 00:09:07,959 Speaker 2: this was the follow up. This is very interesting to me. 148 00:09:08,120 --> 00:09:11,720 Speaker 2: They made Tommy in sixty nine and then this thing 149 00:09:11,800 --> 00:09:15,160 Speaker 2: comes out in seventy three. They were just this is 150 00:09:15,200 --> 00:09:17,960 Speaker 2: a long way from meaty bead big in bouncy oh 151 00:09:18,040 --> 00:09:22,160 Speaker 2: yeah right. They they did a couple of things conceptually 152 00:09:22,240 --> 00:09:26,280 Speaker 2: that were very different. You got to applaud him for it. Yep. 153 00:09:27,000 --> 00:09:31,160 Speaker 2: I just saw Roger Daltrey and Pete Townsend like a 154 00:09:31,480 --> 00:09:34,720 Speaker 2: performing won't get fooled again in Eminence Front. You know, 155 00:09:34,720 --> 00:09:38,160 Speaker 2: they're in Roger's maybe eighty one at this point he is, 156 00:09:38,960 --> 00:09:41,720 Speaker 2: and they still look good, they still sound good. I 157 00:09:41,720 --> 00:09:43,760 Speaker 2: don't know how many tours they have left in him. 158 00:09:43,800 --> 00:09:46,960 Speaker 2: I don't know at what point you just say stop. 159 00:09:47,679 --> 00:09:51,240 Speaker 1: Well, Roger made some comments recently just how he felt 160 00:09:51,280 --> 00:09:53,480 Speaker 1: he was going to die at a young age, meaning 161 00:09:53,720 --> 00:09:57,400 Speaker 1: you know, he didn't have that much left between his 162 00:09:57,480 --> 00:10:02,320 Speaker 1: hearing and visions and just you know stuff. Yeah, it 163 00:10:02,320 --> 00:10:04,959 Speaker 1: was really the vision he was focused on. But sad 164 00:10:05,000 --> 00:10:09,840 Speaker 1: to see him, you know, talk that way, and but 165 00:10:10,000 --> 00:10:15,280 Speaker 1: you write, the complexity that those albums represented, you know, 166 00:10:15,440 --> 00:10:16,240 Speaker 1: needs to be noted. 167 00:10:17,080 --> 00:10:20,719 Speaker 2: We're in a place in this country and in the 168 00:10:20,760 --> 00:10:25,480 Speaker 2: world where men just don't live much past eighty years old. 169 00:10:26,600 --> 00:10:29,840 Speaker 2: So you know, it's scary. I mean, these think about 170 00:10:30,160 --> 00:10:33,800 Speaker 2: all the people that we love musically that were inspired 171 00:10:33,880 --> 00:10:36,280 Speaker 2: by not just in general, not just the humanity part 172 00:10:36,280 --> 00:10:39,439 Speaker 2: of it, but you know, all of these guys are 173 00:10:39,760 --> 00:10:44,280 Speaker 2: you know, final chapter yep, kind of guys nineteen eighty three, 174 00:10:44,360 --> 00:10:49,440 Speaker 2: November twentieth Thriller. The video premiered on MTV. This changed 175 00:10:49,440 --> 00:10:54,440 Speaker 2: the game in terms of music videos and pretty amazing. 176 00:10:54,480 --> 00:10:57,120 Speaker 2: I remember seeing it and watching it over and over again. 177 00:10:57,200 --> 00:11:00,400 Speaker 2: That red leather jacket and kind of a creep fun 178 00:11:00,800 --> 00:11:06,440 Speaker 2: music video. November twenty first, nineteen seventy, your song entered 179 00:11:06,440 --> 00:11:10,360 Speaker 2: the Billboard Hot one hundred for Elton John and Queen 180 00:11:10,400 --> 00:11:14,240 Speaker 2: and David Bowie released under Pressure. I've got a funny 181 00:11:14,280 --> 00:11:17,040 Speaker 2: under pressure story. And I didn't even realize. I didn't 182 00:11:17,080 --> 00:11:20,680 Speaker 2: go back this morning and look at this. But yesterday 183 00:11:20,880 --> 00:11:25,120 Speaker 2: I'm watching something on Instagram and I see John bon 184 00:11:25,200 --> 00:11:28,840 Speaker 2: Jovi talking about his connection to under Pressure. Do you 185 00:11:28,960 --> 00:11:31,760 Speaker 2: have any idea about this story? You have any idea 186 00:11:32,320 --> 00:11:36,080 Speaker 2: clues historia In nineteen eighty one, bon Jovi was still, 187 00:11:36,200 --> 00:11:40,800 Speaker 2: you know, basically a kid. He was working at I 188 00:11:40,840 --> 00:11:43,120 Speaker 2: don't know the record plant or wherever he was working. 189 00:11:43,720 --> 00:11:46,199 Speaker 2: He was basically a gopher. He was an intern. I 190 00:11:46,240 --> 00:11:50,120 Speaker 2: knew that yet, right he was there that day. He 191 00:11:50,200 --> 00:11:52,640 Speaker 2: was there at that session. He looked, He says, he 192 00:11:52,760 --> 00:11:58,600 Speaker 2: looked into the recording studio and saw David Bowie and 193 00:11:58,720 --> 00:12:02,480 Speaker 2: Freddie Mercury singing under Pressure. He said that over the 194 00:12:02,600 --> 00:12:05,880 Speaker 2: years he had to ask people if he was doing 195 00:12:05,920 --> 00:12:09,760 Speaker 2: some revisionist history in his head, but bon Jovi was 196 00:12:09,800 --> 00:12:11,520 Speaker 2: there for under pressure. 197 00:12:11,600 --> 00:12:15,360 Speaker 3: Pretty incredible. Yeah, a moment in music history. 198 00:12:15,840 --> 00:12:22,320 Speaker 2: Yeah, November twenty second, the Beatles' white album Justin released 199 00:12:22,360 --> 00:12:25,880 Speaker 2: in the UK nineteen sixty eight and sixty. In nineteen 200 00:12:26,120 --> 00:12:30,240 Speaker 2: ninety four, sorry about that. Pearl Jam released Vitology on 201 00:12:31,960 --> 00:12:34,640 Speaker 2: an album and then I guess two weeks before the 202 00:12:34,679 --> 00:12:37,719 Speaker 2: CD came out in nineteen ninety four. We were all 203 00:12:37,760 --> 00:12:41,360 Speaker 2: well into the CDs at that point pretty much, but 204 00:12:41,440 --> 00:12:44,800 Speaker 2: the album came out first. And November twenty second, obviously 205 00:12:44,880 --> 00:12:49,760 Speaker 2: is the day that John Kennedy was assassinated in Dallas. 206 00:12:50,080 --> 00:12:54,720 Speaker 2: And with that that brings this week in Music History 207 00:12:55,160 --> 00:12:55,920 Speaker 2: to a close. 208 00:12:56,400 --> 00:12:59,959 Speaker 3: And that was a dark day for sure, that Nova 209 00:13:00,240 --> 00:13:01,760 Speaker 3: twenty second day, for sure. 210 00:13:03,000 --> 00:13:06,400 Speaker 1: Harry, thank you for taking us through it and for 211 00:13:06,440 --> 00:13:10,400 Speaker 1: a look at not only music history but the life 212 00:13:10,480 --> 00:13:14,920 Speaker 1: we have led. And thanks for doing that, and thank 213 00:13:14,960 --> 00:13:17,240 Speaker 1: you all for checking out to Taking a Walk podcast 214 00:13:17,280 --> 00:13:21,240 Speaker 1: and listening to this Week in Music History.