1 00:00:04,320 --> 00:00:07,440 Speaker 1: Bud's Night and welcome to the Taking a Walk Podcast, 2 00:00:07,480 --> 00:00:10,959 Speaker 1: and welcome to another edition of This Week in Music History. 3 00:00:11,560 --> 00:00:14,880 Speaker 2: This is for the week of December the eighth. 4 00:00:14,840 --> 00:00:18,120 Speaker 1: And I'm going to go to the master of music 5 00:00:18,200 --> 00:00:22,560 Speaker 1: Mayhem that has stuck or the Maestro of music Mayhem. 6 00:00:22,960 --> 00:00:24,040 Speaker 1: Which one do you prefer? 7 00:00:24,320 --> 00:00:28,560 Speaker 2: Master of music Mayhem, master because I'm not a maestro. 8 00:00:28,640 --> 00:00:30,840 Speaker 2: I'm a hack rhythm guitar player. But I believe I 9 00:00:30,880 --> 00:00:35,159 Speaker 2: am the master of Mayhem. I'll take that because I 10 00:00:35,240 --> 00:00:38,120 Speaker 2: like Maestro of music Mayhem. I don't really have an 11 00:00:38,120 --> 00:00:41,320 Speaker 2: issue with that, because you are. There's a maestro factor 12 00:00:41,440 --> 00:00:45,159 Speaker 2: to you. It's the tiny little bit of a maestro. 13 00:00:45,800 --> 00:00:46,279 Speaker 2: I don't know. 14 00:00:46,400 --> 00:00:50,160 Speaker 1: I declare differently because when people listen to the Taking 15 00:00:50,200 --> 00:00:54,720 Speaker 1: a Walk podcast and it opens with what I know 16 00:00:54,840 --> 00:00:57,600 Speaker 1: affectionately is Harry's theme, I mean that's a maestro. 17 00:00:58,080 --> 00:01:02,080 Speaker 2: Hey. Yeah, well it's there, absolutely, Thanks you. 18 00:01:02,080 --> 00:01:05,600 Speaker 1: All right, all right, well, thank you, And let's take 19 00:01:05,640 --> 00:01:08,880 Speaker 1: a look at the week of December eighth, and this 20 00:01:08,959 --> 00:01:10,360 Speaker 1: Week in Music History. 21 00:01:11,760 --> 00:01:13,840 Speaker 2: This is you know, we start on a tough note 22 00:01:14,240 --> 00:01:18,000 Speaker 2: for you music historians. December eighth was the day that 23 00:01:18,800 --> 00:01:23,080 Speaker 2: John Lennon was shot outside the Dakota in New York City, 24 00:01:23,200 --> 00:01:26,279 Speaker 2: and this is you know, on so many levels, it's 25 00:01:26,360 --> 00:01:29,640 Speaker 2: just so awful. What I want to do is I 26 00:01:29,680 --> 00:01:33,640 Speaker 2: want to kind of take you through that day. Early 27 00:01:33,760 --> 00:01:37,160 Speaker 2: in the day, Mark David Chapman, who was the shooter 28 00:01:38,440 --> 00:01:43,160 Speaker 2: man that ended John Lennon's life, he approached John Lennon 29 00:01:43,200 --> 00:01:45,480 Speaker 2: and got his copy of Double Fantasy, the album that 30 00:01:45,560 --> 00:01:51,080 Speaker 2: had just been released signed that day. He was talkative 31 00:01:51,120 --> 00:01:55,000 Speaker 2: with Lenin, as talkative as he could be, but he 32 00:01:55,240 --> 00:02:00,400 Speaker 2: was inside and raged at Lenin for Lennon's behavior in 33 00:02:00,440 --> 00:02:03,880 Speaker 2: his opinion, including the comment about the Beatles being bigger 34 00:02:03,880 --> 00:02:08,520 Speaker 2: than Jesus from years and years before that, fifteen years 35 00:02:08,560 --> 00:02:12,840 Speaker 2: before that, when Lennon had said that, and he went 36 00:02:12,960 --> 00:02:18,240 Speaker 2: back to the Dakota at eleven o'clock at night and 37 00:02:18,360 --> 00:02:21,280 Speaker 2: laid in wait for John Lennon and those that were 38 00:02:21,320 --> 00:02:23,800 Speaker 2: watching Monday Night football. And even if you didn't watch 39 00:02:23,840 --> 00:02:26,639 Speaker 2: Monday Night Football, we can all see that clip of 40 00:02:26,680 --> 00:02:31,760 Speaker 2: Howard Cosell. This is something As a fourteen year old kid, 41 00:02:31,800 --> 00:02:35,160 Speaker 2: I didn't really grasp the full impact of it. I 42 00:02:35,320 --> 00:02:38,880 Speaker 2: remember staying at my grandparents' house. My folks were on 43 00:02:38,919 --> 00:02:43,200 Speaker 2: some trips somewhere and I was sequestered away in Shrewsbury, 44 00:02:43,280 --> 00:02:47,080 Speaker 2: mass But I remember my grandmother waking me and telling 45 00:02:47,080 --> 00:02:49,760 Speaker 2: me the story at eleven o'clock at night and just 46 00:02:49,800 --> 00:02:50,680 Speaker 2: being in shock. 47 00:02:51,320 --> 00:02:56,640 Speaker 1: Where were you when this happened. I was in Woodbury, Connecticut, 48 00:02:56,680 --> 00:03:00,760 Speaker 1: believe it or not. I was with my wife to 49 00:03:00,840 --> 00:03:02,560 Speaker 1: be at our. 50 00:03:04,120 --> 00:03:04,640 Speaker 2: Apartment. 51 00:03:05,960 --> 00:03:12,240 Speaker 1: Yes, we were living in sin and I think in 52 00:03:12,280 --> 00:03:15,800 Speaker 1: the background maybe the football game was on, but wasn't 53 00:03:15,840 --> 00:03:20,920 Speaker 1: paying really much attention to it. And we had a neighbor. 54 00:03:24,200 --> 00:03:27,200 Speaker 1: I won't mention his name because I don't want to 55 00:03:27,240 --> 00:03:31,519 Speaker 1: speak ill of someone who can't defend himself. But let's 56 00:03:31,520 --> 00:03:35,880 Speaker 1: just say he was an annoying neighbor. He actually was 57 00:03:35,960 --> 00:03:41,480 Speaker 1: a co worker at the time too, who sold time 58 00:03:41,760 --> 00:03:45,160 Speaker 1: at the radio station that I worked at. I ninety five, 59 00:03:45,280 --> 00:03:46,880 Speaker 1: So I'm giving it away, but I'm not going to 60 00:03:46,920 --> 00:03:48,320 Speaker 1: mention his name, I promise you. 61 00:03:49,400 --> 00:03:52,080 Speaker 2: But an annoying man. 62 00:03:52,840 --> 00:03:58,360 Speaker 1: So he comes downstairs to our apartment and knocks on 63 00:03:58,400 --> 00:04:02,560 Speaker 1: the door, and usually we were like, oh, what's he 64 00:04:02,680 --> 00:04:03,080 Speaker 1: doing here? 65 00:04:03,160 --> 00:04:05,080 Speaker 2: Yeah? Right, And he is the. 66 00:04:05,040 --> 00:04:08,240 Speaker 1: One that said, did you just hear what happened? John 67 00:04:08,320 --> 00:04:13,040 Speaker 1: Lennon's been shot? So he he this this guy named Neil. 68 00:04:14,800 --> 00:04:16,200 Speaker 2: He was you said, you weren't. 69 00:04:15,960 --> 00:04:17,640 Speaker 1: Going to give his name, and I'm not going to 70 00:04:17,640 --> 00:04:18,840 Speaker 1: give his last name, but. 71 00:04:20,400 --> 00:04:21,359 Speaker 2: I'll call him Neil. 72 00:04:21,720 --> 00:04:24,200 Speaker 1: But anyway, yeah, he was the one that revealed it, 73 00:04:24,560 --> 00:04:29,080 Speaker 1: and just a complete and utter shock, you know, just 74 00:04:29,600 --> 00:04:32,360 Speaker 1: the most shocking news you could possibly hear. 75 00:04:33,320 --> 00:04:36,600 Speaker 2: The world was in shock, you know when this happened. 76 00:04:36,600 --> 00:04:41,760 Speaker 2: That the impact that Lennon had as an activist, as 77 00:04:41,800 --> 00:04:48,440 Speaker 2: an artist, as as a as a man was you know, 78 00:04:48,680 --> 00:04:52,640 Speaker 2: was second to none. And this cut short of life 79 00:04:53,400 --> 00:04:59,440 Speaker 2: for no reason other than a mental health issue, rights 80 00:04:59,640 --> 00:05:04,359 Speaker 2: a boil down to this was premeditated. This was you know, 81 00:05:04,520 --> 00:05:07,039 Speaker 2: probably someone who deserved the worst of the worst in 82 00:05:07,120 --> 00:05:09,960 Speaker 2: terms of punishment, but it's a mental health issue, and 83 00:05:11,120 --> 00:05:15,880 Speaker 2: you know, at its core an incredible tragedy. Who have 84 00:05:16,720 --> 00:05:19,400 Speaker 2: cut his life so short? I would imagine that he 85 00:05:19,440 --> 00:05:22,360 Speaker 2: would be deeply involved with what's happening in the world 86 00:05:22,360 --> 00:05:23,760 Speaker 2: at this point if he were still alive. 87 00:05:25,440 --> 00:05:27,960 Speaker 1: Oh, no doubt he would be doing something. I don't 88 00:05:28,040 --> 00:05:30,120 Speaker 1: know what it would be, but you're right. I think 89 00:05:30,160 --> 00:05:37,200 Speaker 1: he would be involved musically, socially, you know. Somehow. I 90 00:05:37,240 --> 00:05:42,680 Speaker 1: have to tell you that last year my wife and 91 00:05:42,720 --> 00:05:47,400 Speaker 1: I were in New York City. You know, at the 92 00:05:47,440 --> 00:05:52,599 Speaker 1: time of this, it's you know, anniversary I don't even 93 00:05:52,600 --> 00:05:57,000 Speaker 1: know the correct word, anniversary of the tragedy. And I 94 00:05:57,040 --> 00:06:02,839 Speaker 1: had always walked by and the Dakota from another vantage 95 00:06:02,880 --> 00:06:09,880 Speaker 1: point in front, and on this trip we walked on 96 00:06:10,160 --> 00:06:14,240 Speaker 1: the side street of the Dakota and I had never 97 00:06:14,320 --> 00:06:20,200 Speaker 1: seen until last year that spot, which you know is 98 00:06:20,240 --> 00:06:23,920 Speaker 1: that walkway, driveway whatever. 99 00:06:23,760 --> 00:06:24,440 Speaker 2: Entrance point. 100 00:06:25,360 --> 00:06:29,200 Speaker 1: And it was incredibly chilling seeing it from that point. 101 00:06:29,360 --> 00:06:32,720 Speaker 1: I had, you know, obviously read the account and seen 102 00:06:32,800 --> 00:06:38,880 Speaker 1: what had happened, but very eerie seeing it, you know, 103 00:06:38,960 --> 00:06:42,080 Speaker 1: from that vantage point. But then on the other side 104 00:06:42,120 --> 00:06:46,400 Speaker 1: there walking through Central Park and Strawberry Fields, it was 105 00:06:47,680 --> 00:06:50,960 Speaker 1: you know, also it was sad, but it was also 106 00:06:51,120 --> 00:06:56,520 Speaker 1: celebratory as you had, you know, a little band playing 107 00:06:56,720 --> 00:07:00,960 Speaker 1: you know, Beatles songs playing on one corner, and you know, 108 00:07:01,080 --> 00:07:04,720 Speaker 1: another side, a solo artist playing music. You had this 109 00:07:05,560 --> 00:07:11,760 Speaker 1: kind of interesting morning but celebration of his life that 110 00:07:11,920 --> 00:07:16,160 Speaker 1: was going on. It was a beautiful day. And so 111 00:07:16,480 --> 00:07:21,200 Speaker 1: just you know, passing that perspective along because it was 112 00:07:21,440 --> 00:07:24,920 Speaker 1: a different view certainly that I had never seen before. 113 00:07:25,160 --> 00:07:29,360 Speaker 2: You know, Yeah, it would a day that's going down 114 00:07:29,360 --> 00:07:31,840 Speaker 2: in history, one of the Satursday's of music, no question 115 00:07:31,880 --> 00:07:37,000 Speaker 2: about that. Let's continue. On nineteen ninety five, the Beatles 116 00:07:37,040 --> 00:07:39,680 Speaker 2: released Free as a Bird. You and I work together. 117 00:07:39,760 --> 00:07:42,920 Speaker 2: This is one of those things. It was a big 118 00:07:43,000 --> 00:07:46,360 Speaker 2: day eight we're both big Beatle fans. We were at 119 00:07:46,600 --> 00:07:50,600 Speaker 2: w ZLX in Boston and Free as a Bird was released, 120 00:07:50,640 --> 00:07:55,880 Speaker 2: the first piece of new Beatles music in twenty four years. 121 00:07:56,840 --> 00:07:59,840 Speaker 2: Thoughts from that day, Thoughts about that song, Thoughts about 122 00:08:00,680 --> 00:08:05,160 Speaker 2: I remember having some apprehension about when Free as a 123 00:08:05,200 --> 00:08:10,880 Speaker 2: Bird came out, but yet kind of listening and thinking, Okay, 124 00:08:10,960 --> 00:08:13,640 Speaker 2: I think this is pretty cool that this is out 125 00:08:13,720 --> 00:08:14,720 Speaker 2: so many years later. 126 00:08:15,960 --> 00:08:18,240 Speaker 1: As we know now this would be the beginning of 127 00:08:19,080 --> 00:08:22,960 Speaker 1: other releases like that that were unearthed and put out 128 00:08:23,800 --> 00:08:27,920 Speaker 1: years after the you know, the Beatles obviously had stopped recording. 129 00:08:28,560 --> 00:08:31,800 Speaker 1: So then as I over time got to sort of 130 00:08:32,800 --> 00:08:36,120 Speaker 1: listen to Free as a Bird and evaluate. 131 00:08:35,520 --> 00:08:36,880 Speaker 2: I think the reaction. 132 00:08:38,200 --> 00:08:40,760 Speaker 1: It was that was pretty cool, the first, the first 133 00:08:40,840 --> 00:08:45,200 Speaker 1: release of something that that was unearthed and then put 134 00:08:45,240 --> 00:08:50,480 Speaker 1: out into the marketplace. Now subsequently years later with more 135 00:08:50,520 --> 00:08:53,800 Speaker 1: of those coming out, I think we could both give 136 00:08:53,840 --> 00:08:56,960 Speaker 1: a collective eye roll to kind of go, oh, really, 137 00:08:57,040 --> 00:08:59,800 Speaker 1: I know, you need to sell the catalog. That's why 138 00:08:59,800 --> 00:09:02,120 Speaker 1: this is coming out. But I don't know if you 139 00:09:02,160 --> 00:09:05,080 Speaker 1: feel the same way. So I was cool at first 140 00:09:05,120 --> 00:09:07,719 Speaker 1: with not at first with Free as a Bird. Then 141 00:09:07,760 --> 00:09:12,120 Speaker 1: I grew to think that was pretty cool. And then 142 00:09:12,160 --> 00:09:15,080 Speaker 1: now over time, I'm like, enough of this? Can we 143 00:09:15,200 --> 00:09:17,760 Speaker 1: leave the band for what we remember them for? But 144 00:09:17,800 --> 00:09:18,880 Speaker 1: how do you feel about that? 145 00:09:19,640 --> 00:09:22,600 Speaker 2: There was a natural curiosity from all of us, obviously 146 00:09:23,360 --> 00:09:25,440 Speaker 2: around the world, not just you and I but everybody 147 00:09:25,520 --> 00:09:29,040 Speaker 2: with what it's gonna sound like? What will this be like? 148 00:09:29,760 --> 00:09:33,439 Speaker 2: You know? And it was I think even at the beginning, 149 00:09:33,520 --> 00:09:37,520 Speaker 2: I was underwhelmed with it right away. I thought, it's okay, 150 00:09:38,000 --> 00:09:41,480 Speaker 2: not Ticket to Ride, it's not help, it's not Sergeant Peppers, 151 00:09:41,520 --> 00:09:44,080 Speaker 2: it's not one of our favorites. And I don't know 152 00:09:44,160 --> 00:09:46,400 Speaker 2: that it's going to end up being one of our favorites. 153 00:09:47,480 --> 00:09:49,280 Speaker 2: Right well, let's stand the test of time, and I 154 00:09:49,280 --> 00:09:52,600 Speaker 2: think the truth is is not really we don't hear 155 00:09:52,640 --> 00:09:56,480 Speaker 2: Free as a Bird anywhere. Yeah, there was some I 156 00:09:56,559 --> 00:10:01,520 Speaker 2: probably haven't listened to it since that moment, you know, yeah, right, 157 00:10:02,280 --> 00:10:06,079 Speaker 2: there were some interesting things that happened around the Beatles 158 00:10:06,480 --> 00:10:11,199 Speaker 2: at that time. In these releases of these anthology albums. 159 00:10:11,960 --> 00:10:19,280 Speaker 2: You're familiar with the term chotkey very much. So the 160 00:10:19,400 --> 00:10:23,520 Speaker 2: chotkey is the item that we might get, we might 161 00:10:23,559 --> 00:10:27,640 Speaker 2: pick up somewhere. The Beatles sent a bunch of Chotkey's. 162 00:10:27,720 --> 00:10:30,280 Speaker 2: The Beatles of the Estate sent a bunch of bunch 163 00:10:30,320 --> 00:10:35,280 Speaker 2: of Chotzky's out with these anthology albums. One of the 164 00:10:35,280 --> 00:10:38,719 Speaker 2: things was pins. Do you remember the pins that they 165 00:10:38,800 --> 00:10:41,760 Speaker 2: sent out? Yes, I do. I have a bag of 166 00:10:41,760 --> 00:10:46,720 Speaker 2: them in my kitchen from nineteen ninety five, thirty years ago. 167 00:10:46,960 --> 00:10:51,680 Speaker 2: At this point, I've been schlepping these Chotski's around waiting 168 00:10:51,679 --> 00:10:55,920 Speaker 2: for an opportunity to talk about them. But these pins 169 00:10:56,440 --> 00:11:00,559 Speaker 2: were black and white, and these pins had the Beatles 170 00:11:00,640 --> 00:11:05,480 Speaker 2: logo in white, and then there were these sayings on them, help, 171 00:11:06,200 --> 00:11:10,920 Speaker 2: I need somebody, I'd love to turn you on from 172 00:11:10,960 --> 00:11:14,960 Speaker 2: a Day in the Life song lyrics, another one I've 173 00:11:14,960 --> 00:11:19,120 Speaker 2: got to admit It's getting better all the time. And 174 00:11:19,160 --> 00:11:22,360 Speaker 2: then my favorite, we all live in a yellow submarine 175 00:11:23,920 --> 00:11:27,200 Speaker 2: and they're really kind of cool. I've got ten or 176 00:11:27,200 --> 00:11:31,319 Speaker 2: fifteen of them in a ziplock bag sit in my kitchen. 177 00:11:31,720 --> 00:11:33,240 Speaker 2: I don't know that I'll ever do anything where it's 178 00:11:33,240 --> 00:11:36,360 Speaker 2: probably put them up somewhere, but it was kind of 179 00:11:36,360 --> 00:11:39,160 Speaker 2: cool to get a little something out of the Beatles 180 00:11:39,280 --> 00:11:41,600 Speaker 2: estate at that point in time you gained those to. 181 00:11:41,600 --> 00:11:45,800 Speaker 1: Me, Have you checked the marketplace for those? 182 00:11:46,720 --> 00:11:49,360 Speaker 2: You know? It's a good question, and I haven't. But 183 00:11:49,400 --> 00:11:51,040 Speaker 2: I can tell you the first thing I do, and 184 00:11:51,200 --> 00:11:53,960 Speaker 2: we're done with this week, is I'm going to eBay 185 00:11:54,000 --> 00:11:56,600 Speaker 2: to see what those things might fetch. Yeah, you should. 186 00:11:57,080 --> 00:12:00,160 Speaker 1: I'm going to tell you a sad tale about Beatles memorabilia, 187 00:12:00,960 --> 00:12:04,920 Speaker 1: and let this be a lesson if what you see 188 00:12:04,960 --> 00:12:10,240 Speaker 1: on eBay indicates that the collection, because I think as 189 00:12:10,440 --> 00:12:14,760 Speaker 1: the full collection is where it's going to be worth something, 190 00:12:14,800 --> 00:12:18,560 Speaker 1: whether it's twenty five cents or twenty five dollars or 191 00:12:18,600 --> 00:12:24,120 Speaker 1: twenty five hundred dollars. My late father in law he 192 00:12:24,240 --> 00:12:29,920 Speaker 1: gave to me a Beatles ukulele, which was one of 193 00:12:30,000 --> 00:12:34,920 Speaker 1: those pieces of memorabilia. Of the many pieces of memorabilia 194 00:12:34,960 --> 00:12:38,040 Speaker 1: that over their career the Beatles would would be part of. 195 00:12:38,120 --> 00:12:42,080 Speaker 1: You know, they had the babblehead dolls and. 196 00:12:41,280 --> 00:12:42,840 Speaker 2: The ukulele was one of those. 197 00:12:43,960 --> 00:12:50,679 Speaker 3: Unbeknownst to my wife, she didn't realize that her father 198 00:12:50,760 --> 00:12:55,160 Speaker 3: had given me that Beatles ukulele because I think she 199 00:12:55,280 --> 00:12:56,400 Speaker 3: thought it was. 200 00:12:56,360 --> 00:13:00,680 Speaker 1: Hers or whatever, or maybe her sister thought whatever, But 201 00:13:01,120 --> 00:13:03,800 Speaker 1: I said no, he gave it to me. It ended 202 00:13:03,880 --> 00:13:08,040 Speaker 1: up in the basement, and our basement to this day 203 00:13:08,160 --> 00:13:09,480 Speaker 1: is still horrible. 204 00:13:09,880 --> 00:13:11,880 Speaker 2: It's a crime scene. 205 00:13:12,640 --> 00:13:18,319 Speaker 1: And so the Beatles ukulele was in there with the 206 00:13:18,440 --> 00:13:20,920 Speaker 1: you know, the cat with puke on it, or almost 207 00:13:20,960 --> 00:13:24,440 Speaker 1: puke on it. So I started thinking, well, wait a minute, 208 00:13:24,520 --> 00:13:27,160 Speaker 1: I got to have a a little bit of respect here. 209 00:13:28,040 --> 00:13:32,640 Speaker 1: So I went to a Beatles memorabilia show. It was 210 00:13:32,679 --> 00:13:36,079 Speaker 1: a it was a music memorabilia show, and obviously the 211 00:13:36,920 --> 00:13:40,559 Speaker 1: part of it was the Beatles' stuff being sold or 212 00:13:40,600 --> 00:13:44,079 Speaker 1: whatever praised. I forget which hotel I went to. I 213 00:13:44,120 --> 00:13:48,800 Speaker 1: went there with my daughter actually, so I was offered 214 00:13:49,600 --> 00:13:54,000 Speaker 1: on the spot then twenty five hundred dollars for that 215 00:13:54,040 --> 00:13:58,959 Speaker 1: Beatles ukulele, And of course, mister big shot here goes. 216 00:13:58,720 --> 00:14:01,920 Speaker 2: Well, well, I'm not no, I'm going to hold on. 217 00:14:01,880 --> 00:14:06,679 Speaker 1: To that, because everybody's whole posture would be hold on 218 00:14:06,720 --> 00:14:09,840 Speaker 1: to that. That's going to be worth more. Right, So 219 00:14:10,679 --> 00:14:15,600 Speaker 1: did nothing with it, took it out of the basement 220 00:14:15,640 --> 00:14:18,240 Speaker 1: where the cat could puke on it, and actually took 221 00:14:18,280 --> 00:14:20,400 Speaker 1: some care of it, thinking there's going to be a 222 00:14:20,440 --> 00:14:23,920 Speaker 1: moment where that thing's going to be worth. 223 00:14:23,680 --> 00:14:25,040 Speaker 2: More, maybe doubled. 224 00:14:26,120 --> 00:14:30,280 Speaker 1: And lo and behold, a couple of years ago I 225 00:14:30,360 --> 00:14:33,560 Speaker 1: went to get it appraised, and I'm not sure it 226 00:14:33,600 --> 00:14:38,080 Speaker 1: would even have fetched seventy five dollars at that point. 227 00:14:38,960 --> 00:14:40,480 Speaker 2: Wow, it's not interesting. 228 00:14:40,800 --> 00:14:44,160 Speaker 1: So now they get always listening and they want to 229 00:14:44,160 --> 00:14:47,000 Speaker 1: make an offer on Harry's beetle pins, or they want 230 00:14:47,040 --> 00:14:52,120 Speaker 1: to talk about the Beatles ukulele. We're all ears, right, Harry, 231 00:14:53,080 --> 00:14:53,920 Speaker 1: we are. 232 00:14:53,880 --> 00:14:58,080 Speaker 2: All ears, so happy to entertain any offers on any 233 00:14:58,120 --> 00:15:03,760 Speaker 2: of that. Ye, this is a big day in history. 234 00:15:04,080 --> 00:15:08,240 Speaker 2: Reagan and Gorbachev basically signed off on that nuclear deal, 235 00:15:08,280 --> 00:15:11,640 Speaker 2: the inf Nuclear Deal, and that marked the end of 236 00:15:12,120 --> 00:15:17,240 Speaker 2: the Cold War. Big and important day. December ninth, the 237 00:15:17,280 --> 00:15:21,440 Speaker 2: next day, this is kind of an interesting day in history, 238 00:15:21,440 --> 00:15:24,800 Speaker 2: and it relates to the Blues Brothers. This is kind 239 00:15:24,800 --> 00:15:29,320 Speaker 2: of a neat story. The Blues Brothers made their debut 240 00:15:29,360 --> 00:15:33,440 Speaker 2: on Saturday Night Live. At this point, this was, you know, 241 00:15:33,520 --> 00:15:37,680 Speaker 2: essentially something that started out as a parody, right, think 242 00:15:37,720 --> 00:15:41,640 Speaker 2: about what it was. It was a skit on SNL. 243 00:15:42,520 --> 00:15:46,360 Speaker 2: The reason that it went from parody to an actual 244 00:15:46,520 --> 00:15:50,600 Speaker 2: band is that at the bar they were playing at. 245 00:15:50,880 --> 00:15:55,240 Speaker 2: Howard Shore, who ended up being the musical director of SNL, 246 00:15:55,960 --> 00:16:00,920 Speaker 2: saw Akroyd and Blueshet playing out one night and old 247 00:16:01,320 --> 00:16:06,280 Speaker 2: this could actually be something. Belucian Akroyds surrounded themselves with 248 00:16:06,840 --> 00:16:12,080 Speaker 2: Paul Schaeffer and Lou Marini and Duc Dunn and Steve Cropper. 249 00:16:12,600 --> 00:16:19,520 Speaker 2: Dunn and Cropper were on the stacks sessions, most famously 250 00:16:20,560 --> 00:16:24,360 Speaker 2: soul Man Booker t and the MG's Green Onions. They 251 00:16:24,360 --> 00:16:28,640 Speaker 2: were in the middle of those, and Belucian Akroyd attracted 252 00:16:29,080 --> 00:16:33,880 Speaker 2: really world class musician musicians on this and it turned 253 00:16:33,920 --> 00:16:37,800 Speaker 2: into an album that did unbelievable numbers for something that 254 00:16:38,000 --> 00:16:40,800 Speaker 2: was in a way a parody, but it was kind 255 00:16:40,840 --> 00:16:44,680 Speaker 2: of a blues R and B supergroup at the time, 256 00:16:44,720 --> 00:16:47,800 Speaker 2: and that led to, you know, an album that hit 257 00:16:47,840 --> 00:16:51,480 Speaker 2: the charts and did far more than anyone anticipated it. 258 00:16:51,840 --> 00:16:53,920 Speaker 2: Briefcase full of Blues. Remember Rubber Biscuit? 259 00:16:54,240 --> 00:17:01,520 Speaker 1: Oh yeah, yeah, and You Go Hungry by all Bow, Well, that's. 260 00:17:01,640 --> 00:17:03,760 Speaker 2: Right, I gotta pull that. I should I should have 261 00:17:03,840 --> 00:17:07,960 Speaker 2: I should have gone down that rabbit hole Todays get 262 00:17:08,040 --> 00:17:08,560 Speaker 2: rabbit Hole. 263 00:17:08,600 --> 00:17:11,680 Speaker 1: By the way, where was Tom bones Malone in that? 264 00:17:11,720 --> 00:17:13,919 Speaker 1: Do you know Tom Bones Malone. I had him on 265 00:17:13,960 --> 00:17:17,439 Speaker 1: the podcast. He eventually was a member of the Blues Brothers. 266 00:17:17,480 --> 00:17:20,600 Speaker 1: He was part of the Saturday Night Live band, A 267 00:17:20,800 --> 00:17:24,480 Speaker 1: great trombone player, played with Blood, Sweat and Tears. He's 268 00:17:24,520 --> 00:17:27,320 Speaker 1: played with just about everybody. But where where was he 269 00:17:27,320 --> 00:17:29,560 Speaker 1: he was he part of that early or did he 270 00:17:29,680 --> 00:17:32,600 Speaker 1: come on later? I think he came on later Tom, But. 271 00:17:32,600 --> 00:17:36,320 Speaker 2: I think it's Malone. I think there were you know, 272 00:17:36,359 --> 00:17:39,720 Speaker 2: there were probably a group of guys that were added 273 00:17:39,760 --> 00:17:43,760 Speaker 2: after the fact, I think when they recorded and and 274 00:17:43,800 --> 00:17:46,440 Speaker 2: when they ended up going because they did some shows 275 00:17:47,280 --> 00:17:50,879 Speaker 2: to support to support briefcase, and and I think Bones 276 00:17:50,960 --> 00:17:53,360 Speaker 2: was one of the guys that was brought in afterwards. 277 00:17:53,400 --> 00:17:59,280 Speaker 2: I think I think Matt Guitar Murphy Yep. It was 278 00:17:59,359 --> 00:18:02,680 Speaker 2: part of that legendary scene in the movie. Scenes in 279 00:18:02,720 --> 00:18:05,560 Speaker 2: the movie. He was married to Aretha Franklin, who was 280 00:18:05,720 --> 00:18:08,600 Speaker 2: running that diner. Remember when Jake and Elwood went into 281 00:18:08,640 --> 00:18:12,280 Speaker 2: the diner and Jake said four whole fried chickens and 282 00:18:12,320 --> 00:18:14,800 Speaker 2: a coke. Yes. Right. 283 00:18:15,320 --> 00:18:17,480 Speaker 1: One of my favorite games that they did, too, was 284 00:18:17,560 --> 00:18:20,280 Speaker 1: when they would do the whole acrobatics thing. When they 285 00:18:20,320 --> 00:18:24,359 Speaker 1: would they would be you know, like flipping and doing 286 00:18:24,400 --> 00:18:25,600 Speaker 1: handstands and all that. 287 00:18:25,720 --> 00:18:29,080 Speaker 2: I love that. And it was him right, it was Blushy. 288 00:18:29,280 --> 00:18:33,000 Speaker 2: This was this was you know, pre Chris Farley. Farley 289 00:18:33,040 --> 00:18:37,479 Speaker 2: got his inspiration from watching Belusi's this guy that was 290 00:18:38,080 --> 00:18:42,840 Speaker 2: larger than life with those acrobatics, a quick kind of 291 00:18:42,880 --> 00:18:45,280 Speaker 2: a side. I'm a you know, I'm a big UFC fan. 292 00:18:45,320 --> 00:18:46,960 Speaker 2: I watched the fights all the time. There's a guy 293 00:18:46,960 --> 00:18:49,160 Speaker 2: who fights in the UFC by the name of Chris Barnett. 294 00:18:49,200 --> 00:18:51,679 Speaker 2: The guy's like five nine and two hundred and sixty 295 00:18:51,720 --> 00:18:55,040 Speaker 2: five files. He has to cut weight to get into 296 00:18:55,040 --> 00:18:57,399 Speaker 2: the fights at the fight limit, the heavyweight fight limit. 297 00:18:57,920 --> 00:19:01,879 Speaker 2: Barnett's the human tick. He's built like Belushi. And this 298 00:19:01,920 --> 00:19:04,840 Speaker 2: guy does cartwheels and the splits, and I'm thinking, this 299 00:19:04,880 --> 00:19:05,880 Speaker 2: is like John Belushy. 300 00:19:06,000 --> 00:19:08,280 Speaker 1: This is unbelievable. You don't expect it to come from 301 00:19:08,320 --> 00:19:11,119 Speaker 1: a guy like that. I have a request for the 302 00:19:11,160 --> 00:19:14,840 Speaker 1: next episode that we record. Would you start the episode 303 00:19:14,880 --> 00:19:18,040 Speaker 1: by coming on doing some of those acrobatics. 304 00:19:19,280 --> 00:19:21,679 Speaker 2: I cannot do any sort of acrobatics. As a matter 305 00:19:21,720 --> 00:19:23,520 Speaker 2: of fact, if I went down to do the splits, 306 00:19:23,600 --> 00:19:26,800 Speaker 2: we might need to call a record to get me 307 00:19:27,000 --> 00:19:29,560 Speaker 2: off the ground, so no, there'll be no acrobatics, and 308 00:19:29,600 --> 00:19:32,840 Speaker 2: I'm likely to break something that way. Dar. Anyway, the 309 00:19:33,200 --> 00:19:37,199 Speaker 2: whole Blues Brothers thing led to the movie, which was 310 00:19:38,240 --> 00:19:41,320 Speaker 2: one of the most expensive movies that was made, certainly 311 00:19:41,400 --> 00:19:44,960 Speaker 2: comedy at the time, because they wrecked. I mean, there's 312 00:19:45,000 --> 00:19:49,360 Speaker 2: some interesting facts about this. Forty different stunt drivers, sixty 313 00:19:49,480 --> 00:19:52,879 Speaker 2: old police cars, the Dixie Square Mall, which it was 314 00:19:52,960 --> 00:19:55,160 Speaker 2: shuttered at the time, that's the mall they drove through. 315 00:19:55,560 --> 00:19:58,000 Speaker 2: You know, it's just an incredible amount of work. And 316 00:19:58,040 --> 00:20:03,000 Speaker 2: the other issue you that came up with The Blues 317 00:20:03,040 --> 00:20:09,280 Speaker 2: Brothers is that the cost of that movie skyrocketed because 318 00:20:09,320 --> 00:20:13,080 Speaker 2: Belushi was using a lot at that point in time, 319 00:20:13,680 --> 00:20:18,000 Speaker 2: and he was constantly late for production, and that pushed 320 00:20:18,040 --> 00:20:23,000 Speaker 2: production back. And it's sad that that was something that 321 00:20:23,119 --> 00:20:26,199 Speaker 2: led to huge production costs. But imagine getting you know, 322 00:20:26,200 --> 00:20:28,280 Speaker 2: look at the credits on a movie like that. Imagine 323 00:20:28,280 --> 00:20:29,879 Speaker 2: having one hundred or two hundred pople show up to 324 00:20:29,880 --> 00:20:35,560 Speaker 2: work that day and your star is recovering from a hangover. 325 00:20:36,080 --> 00:20:38,639 Speaker 2: At any rate, amazing movie. The music, to me, the 326 00:20:38,720 --> 00:20:41,040 Speaker 2: music has stood in the test of time. I could 327 00:20:41,080 --> 00:20:42,880 Speaker 2: hear Rubber Biscuit right now in my head, and I'm 328 00:20:42,880 --> 00:20:44,679 Speaker 2: thinking that's probably where I'm gonna do this afternoon is 329 00:20:44,680 --> 00:20:46,480 Speaker 2: put out briefcase, pull of blues and listen to some 330 00:20:46,520 --> 00:20:48,960 Speaker 2: of those songs. But the album was great. I remember 331 00:20:48,960 --> 00:20:52,000 Speaker 2: listening to it with my dad. I loved it. The 332 00:20:52,040 --> 00:20:56,439 Speaker 2: next day, December tenth, was a sad day for music. 333 00:20:56,600 --> 00:21:00,399 Speaker 2: In nineteen sixty seven, Otis Redding was in a plane 334 00:21:00,440 --> 00:21:06,280 Speaker 2: crash with the Barquays. This happened near Madison, Wisconsin. Life 335 00:21:06,400 --> 00:21:11,000 Speaker 2: was cut short. From a timing perspective, understand that Doctor 336 00:21:11,080 --> 00:21:14,480 Speaker 2: the Bay had just been recorded three days before that 337 00:21:15,720 --> 00:21:19,919 Speaker 2: hadn't even come out. There were some interesting things that 338 00:21:20,000 --> 00:21:22,000 Speaker 2: happened around Doctor the Bay. His plan was to go 339 00:21:22,080 --> 00:21:25,040 Speaker 2: in and add some additional vocals. He was also going 340 00:21:25,080 --> 00:21:28,160 Speaker 2: to redo the whistling at the end, and it ended 341 00:21:28,200 --> 00:21:31,639 Speaker 2: up being put out as it was put out. A 342 00:21:31,720 --> 00:21:35,719 Speaker 2: couple of other things to think about here. His appearance 343 00:21:35,840 --> 00:21:40,520 Speaker 2: at the Monterey Pop Festival in sixty seven was a 344 00:21:40,560 --> 00:21:45,240 Speaker 2: career defining moment. He as a black R and B artist, 345 00:21:45,280 --> 00:21:50,680 Speaker 2: was introduced to a completely new audience, a white rock audience, 346 00:21:51,440 --> 00:21:54,320 Speaker 2: and it was a big moment for him. He did 347 00:21:54,320 --> 00:21:59,080 Speaker 2: a cover of Satisfaction Stone song at that event. And 348 00:21:59,119 --> 00:22:01,439 Speaker 2: another thing I found that I didn't realize is that 349 00:22:01,480 --> 00:22:06,800 Speaker 2: he was an instrumental producer in those days, and I 350 00:22:06,840 --> 00:22:10,040 Speaker 2: had no idea that he was a behind the scenes 351 00:22:10,800 --> 00:22:12,879 Speaker 2: production kind of guy. I just thought he was a 352 00:22:12,920 --> 00:22:16,600 Speaker 2: singer songwriter. And that's where we left it with Otis. 353 00:22:16,640 --> 00:22:21,119 Speaker 2: But interesting facts about Otis writing totally and that song 354 00:22:21,920 --> 00:22:25,639 Speaker 2: sitting on the dock of the Bay, I think, you know, 355 00:22:26,400 --> 00:22:30,600 Speaker 2: stands the test of time. I would completely agree with that. 356 00:22:31,359 --> 00:22:37,080 Speaker 2: December tenth of nineteen seventy six, McCartney and Wings ended 357 00:22:37,160 --> 00:22:41,560 Speaker 2: up releasing Wings Over America. This was a big deal. 358 00:22:42,720 --> 00:22:47,240 Speaker 2: I can't think of how many triple albums there were 359 00:22:47,359 --> 00:22:51,760 Speaker 2: in you know, music history, but certainly in terms of 360 00:22:51,800 --> 00:22:56,240 Speaker 2: a live album, I don't think of another triple live 361 00:22:56,280 --> 00:23:02,360 Speaker 2: album that came out. The law on that was McCartney's 362 00:23:02,359 --> 00:23:07,600 Speaker 2: hand was actually held or beat. We were put to 363 00:23:07,640 --> 00:23:10,199 Speaker 2: the flames, as they would say, because there was a 364 00:23:10,240 --> 00:23:14,119 Speaker 2: bootleg album allegedly released at that time and it was 365 00:23:14,160 --> 00:23:16,080 Speaker 2: called let me get this right, it was called Wings 366 00:23:16,080 --> 00:23:20,679 Speaker 2: from Wings and this was a full concert album that 367 00:23:20,840 --> 00:23:26,000 Speaker 2: was released by a bootlegger on colored vinyl. So they 368 00:23:26,000 --> 00:23:29,880 Speaker 2: were rushed to release Wings Over America. That's how that's 369 00:23:30,040 --> 00:23:34,720 Speaker 2: that's what the legend is about that album. 370 00:23:35,200 --> 00:23:37,760 Speaker 1: You talk about those memorabilia. If you get a hold 371 00:23:37,760 --> 00:23:40,280 Speaker 1: of a copy of that bootleg, I bet that's worth something. 372 00:23:40,359 --> 00:23:45,960 Speaker 2: You know, listen, I would completely agree with that. This 373 00:23:46,119 --> 00:23:48,360 Speaker 2: is how we you know, we hear stories about how 374 00:23:48,440 --> 00:23:51,240 Speaker 2: painful Springsteen is and how he was in the studio 375 00:23:51,840 --> 00:23:56,800 Speaker 2: back in those days. They collected eight thousand hours of 376 00:23:57,960 --> 00:24:04,800 Speaker 2: live recordings. McCartney mixed it himself. They took ninety hours 377 00:24:04,840 --> 00:24:08,560 Speaker 2: worth of music out of the eight thousand McCartney sat 378 00:24:08,600 --> 00:24:11,679 Speaker 2: in the studio, they listened to. They had five different 379 00:24:11,760 --> 00:24:15,800 Speaker 2: versions of every song and McCartney sat and listened to 380 00:24:15,880 --> 00:24:21,800 Speaker 2: every single one, picked the best one. They remixed them, 381 00:24:22,359 --> 00:24:25,359 Speaker 2: and they made the entire albums sound like it was 382 00:24:25,440 --> 00:24:28,639 Speaker 2: one night, but it was from called down from eight 383 00:24:28,920 --> 00:24:36,320 Speaker 2: thousand hours of recordings from that tour in nineteen seventy five. 384 00:24:36,440 --> 00:24:39,520 Speaker 2: I think is when the tour actually happened. T be 385 00:24:39,600 --> 00:24:44,720 Speaker 2: a crazy story about that. I mean, McCartney was and 386 00:24:44,960 --> 00:24:48,639 Speaker 2: is a you know, a madman, and that album I 387 00:24:48,680 --> 00:24:50,760 Speaker 2: love that. I mean, it has My favorite version of 388 00:24:50,760 --> 00:24:53,040 Speaker 2: Maybe I'm Amazed is the live version. But there were 389 00:24:53,040 --> 00:24:55,359 Speaker 2: a whole bunch of great songs there, and there were 390 00:24:55,400 --> 00:24:57,040 Speaker 2: a couple of Beatles songs, right, He did a couple 391 00:24:57,040 --> 00:25:00,199 Speaker 2: of Beatles songs on there. I think maybe Yesterday Day 392 00:25:00,200 --> 00:25:03,080 Speaker 2: and Bluebird were on that, but the rest of it 393 00:25:03,200 --> 00:25:06,720 Speaker 2: was was his stuff. We'll go to the next day 394 00:25:07,320 --> 00:25:13,879 Speaker 2: another Beatles story. Beatles hit number one with I Feel Fine, 395 00:25:15,240 --> 00:25:19,200 Speaker 2: another great, different kind of sounding fun song, and Genesis 396 00:25:19,200 --> 00:25:23,120 Speaker 2: and seventy two released Foxtrot. That was their fifth album 397 00:25:23,680 --> 00:25:27,560 Speaker 2: at the time. It'd been around for some time at 398 00:25:27,600 --> 00:25:30,280 Speaker 2: that point in seventy two, which is a million years ago. 399 00:25:30,520 --> 00:25:34,080 Speaker 2: That's crazy to think that. Well, were you a fan 400 00:25:34,119 --> 00:25:39,800 Speaker 2: of the early Genesis music, Yes, but the one that 401 00:25:39,880 --> 00:25:43,240 Speaker 2: comes to mind was the song Watcher of the Skies 402 00:25:44,320 --> 00:25:47,520 Speaker 2: and then I liked, I mean, this would. 403 00:25:47,320 --> 00:25:54,240 Speaker 1: Obviously be the Peter Gabriel era with you know, carpet 404 00:25:54,280 --> 00:25:59,040 Speaker 1: Crawlers and the Lamb, but that that would be that's 405 00:25:59,320 --> 00:26:01,960 Speaker 1: compared to what you just said, that's years after they 406 00:26:02,000 --> 00:26:03,120 Speaker 1: had been around. 407 00:26:03,280 --> 00:26:06,159 Speaker 2: You know, Lamb Lies Down on Broadways one of my 408 00:26:06,200 --> 00:26:08,679 Speaker 2: favorite songs. I mean, I really feel like, you know, 409 00:26:08,800 --> 00:26:11,160 Speaker 2: that's just a great, great song, and that band got 410 00:26:11,160 --> 00:26:13,840 Speaker 2: better over time, and that you know, without Peter Gabriel 411 00:26:13,880 --> 00:26:16,280 Speaker 2: even you know, think about you know, turn It On 412 00:26:16,359 --> 00:26:19,040 Speaker 2: Again and Mama and like where they were in the 413 00:26:19,160 --> 00:26:23,600 Speaker 2: in the late seventies early eighties. I really enjoyed a 414 00:26:23,640 --> 00:26:27,199 Speaker 2: lot of that music. Oh still do we love the 415 00:26:27,240 --> 00:26:29,439 Speaker 2: prog rock And I think I might have told you this. 416 00:26:29,520 --> 00:26:30,720 Speaker 2: One of the greatest shows. 417 00:26:30,560 --> 00:26:34,040 Speaker 1: I ever saw was Genesis on the Trick of the 418 00:26:34,200 --> 00:26:39,720 Speaker 1: Tale tour at the Ohio Theater in Columbus. So this 419 00:26:39,880 --> 00:26:44,240 Speaker 1: was after Peter Gabriel had just left, and they had 420 00:26:44,240 --> 00:26:49,200 Speaker 1: the double drumming Phil Collins and the great Bill Bruford, 421 00:26:49,640 --> 00:26:52,679 Speaker 1: one of my favorite drummers of all time. And I 422 00:26:52,760 --> 00:26:56,919 Speaker 1: just remember that show like it was yesterday, and it 423 00:26:57,000 --> 00:26:59,440 Speaker 1: was one of the greats. Seeing them at that venue 424 00:26:59,720 --> 00:27:03,480 Speaker 1: was unbelievable. But seeing them to support Trick of the 425 00:27:03,560 --> 00:27:07,639 Speaker 1: Tale one of my favorites from them. Album wise, every 426 00:27:07,680 --> 00:27:08,400 Speaker 1: song is great. 427 00:27:08,880 --> 00:27:14,440 Speaker 2: It was spectacular. I really have an appreciation for Genesis 428 00:27:14,480 --> 00:27:17,280 Speaker 2: as well, not the early stuff, but you know, as 429 00:27:17,320 --> 00:27:20,600 Speaker 2: time went on, you know, not from your era, from 430 00:27:20,640 --> 00:27:26,880 Speaker 2: my era era. I'm sorry. In my Teddy Kennedy imitation, 431 00:27:28,119 --> 00:27:31,359 Speaker 2: that's okay, because you're you're about to get another shot 432 00:27:31,600 --> 00:27:33,399 Speaker 2: across the bile you're about to take two in the 433 00:27:33,400 --> 00:27:37,760 Speaker 2: back of the head. Nineteen oh one. December twelfth, Marconi 434 00:27:37,800 --> 00:27:42,080 Speaker 2: sent the first transatlantic radio signal from Cornwall to Newfoundland 435 00:27:43,200 --> 00:27:48,359 Speaker 2: bus True or false? You worked afternoon drive for Marconi 436 00:27:48,520 --> 00:27:51,320 Speaker 2: on that radio station where he sent that first transatlantic 437 00:27:51,400 --> 00:27:55,040 Speaker 2: signal in nineteen oh one, afternoon drive under the name 438 00:27:55,080 --> 00:27:58,359 Speaker 2: Bob Kosak The Kossak Show. True or false? False. I 439 00:27:58,480 --> 00:28:02,400 Speaker 2: was a bordop. But anyway, that happened historic day Marconi. 440 00:28:02,440 --> 00:28:07,520 Speaker 2: Obviously we you and I wouldn't know each other without Marconi, right, 441 00:28:07,560 --> 00:28:11,760 Speaker 2: the father of radio. You got that right. On December thirteenth. 442 00:28:11,920 --> 00:28:17,359 Speaker 2: The next day, nineteen sixty six, Jimi Hendrix recorded Foxy Lady. 443 00:28:18,240 --> 00:28:24,800 Speaker 2: This was, you know, an aggressive sounding like most of 444 00:28:24,840 --> 00:28:28,919 Speaker 2: his music. It was a great aggressive sounding, different sounding song. 445 00:28:29,560 --> 00:28:33,240 Speaker 2: All the guitar effects and stuff. He used a couple 446 00:28:33,280 --> 00:28:36,720 Speaker 2: of interesting facts. It was done at CBS in London. 447 00:28:38,440 --> 00:28:41,560 Speaker 2: The version on the album was the first take the 448 00:28:41,600 --> 00:28:46,800 Speaker 2: band did, which is surprising. Also a first song he 449 00:28:46,840 --> 00:28:51,320 Speaker 2: played at the Monterey Pop Festival. He was legendary at 450 00:28:51,320 --> 00:28:54,520 Speaker 2: that event for a couple of different reasons. Number one, 451 00:28:54,680 --> 00:28:58,560 Speaker 2: he humped his amp and number two he set his 452 00:28:58,640 --> 00:29:02,280 Speaker 2: guitar on fire. I'm not going to judge anyone, but 453 00:29:02,320 --> 00:29:05,959 Speaker 2: I'm thinking there were some sort of substances involved at 454 00:29:05,960 --> 00:29:10,120 Speaker 2: that point with Jimmy. Well, he just like electrifying things too, 455 00:29:10,240 --> 00:29:13,000 Speaker 2: you know that was happening. Yeah, he certainly did. The 456 00:29:13,080 --> 00:29:16,959 Speaker 2: lighting of the guitar on fire. Is it's a legendary? 457 00:29:17,560 --> 00:29:20,080 Speaker 2: What kind of deal? I got a question to ask 458 00:29:20,120 --> 00:29:23,080 Speaker 2: you this next story. In nineteen seventy one, David Bowie 459 00:29:23,160 --> 00:29:27,640 Speaker 2: released Hunky Dory. That's an album that I'm not familiar with. 460 00:29:27,720 --> 00:29:31,840 Speaker 2: Is that an album that you're familiar with. Well, if we. 461 00:29:31,760 --> 00:29:34,240 Speaker 1: Went through the track list, that would probably be there. 462 00:29:34,240 --> 00:29:36,400 Speaker 1: I do remember it as a title, but I can 463 00:29:36,560 --> 00:29:39,120 Speaker 1: instantly go, oh, that's on there, that one. But I 464 00:29:39,160 --> 00:29:42,160 Speaker 1: do remember Hunky Dorry because I worked with a lot 465 00:29:42,160 --> 00:29:45,600 Speaker 1: of folks at the college radio station that were major 466 00:29:45,680 --> 00:29:49,360 Speaker 1: Bowie Bowie fans. Let's take a brief pause and I'll 467 00:29:49,400 --> 00:29:49,880 Speaker 1: take a look. 468 00:29:49,920 --> 00:29:50,200 Speaker 2: Hang on. 469 00:29:50,920 --> 00:29:54,400 Speaker 1: Well, Hunky Dory was released in nineteen seventy one fourth 470 00:29:54,400 --> 00:29:57,880 Speaker 1: studio album, widely considered one of the finest works. I'm 471 00:29:57,920 --> 00:30:01,560 Speaker 1: embarrassed with this one, by the way, completely embarrassed. Side one, 472 00:30:02,280 --> 00:30:04,360 Speaker 1: this song, I don't know. We maybe have heard it 473 00:30:04,400 --> 00:30:08,720 Speaker 1: called changes, Owe You Pretty Things, eight line poem Life 474 00:30:08,720 --> 00:30:15,880 Speaker 1: on Mars, Kooks maybe your Favorite not Mine, and quicksand 475 00:30:16,120 --> 00:30:20,280 Speaker 1: then side to Fill Your Heart Andy Warhol. Don't know 476 00:30:20,360 --> 00:30:22,080 Speaker 1: any of those song for. 477 00:30:22,240 --> 00:30:30,200 Speaker 4: Bob Dylan, what Wow Queen Bitch, and then something called 478 00:30:30,240 --> 00:30:35,040 Speaker 4: the Bewley Brothers. But change of Life on Mars we 479 00:30:35,120 --> 00:30:39,840 Speaker 4: certainly know. So hey, so much for knowing every song 480 00:30:39,880 --> 00:30:40,880 Speaker 4: on every album. 481 00:30:42,040 --> 00:30:44,560 Speaker 2: No, we screwed the pooch on that Changes on its own. 482 00:30:46,600 --> 00:30:51,760 Speaker 2: December fourteenth, nineteen seventy nine, The Clash released London Calling 483 00:30:52,160 --> 00:30:56,440 Speaker 2: in the UK. Great album. That was a I believe 484 00:30:56,440 --> 00:31:01,440 Speaker 2: a double album too, and the hidden track on that 485 00:31:01,520 --> 00:31:07,120 Speaker 2: album became the hit training Vein, not a listed track 486 00:31:07,520 --> 00:31:10,040 Speaker 2: like last song, maybe side four or something like that. 487 00:31:11,480 --> 00:31:13,640 Speaker 2: They'll just try to interstrikey with us thinking we were 488 00:31:13,640 --> 00:31:17,320 Speaker 2: half asleep, because we probably were. Yeah. And and the 489 00:31:17,400 --> 00:31:20,960 Speaker 2: last story for the week, December fourteenth, nineteen seventy seven, 490 00:31:21,520 --> 00:31:25,680 Speaker 2: Saturday Night Fever premiered John Travolta and that struck. I mean, 491 00:31:25,680 --> 00:31:28,320 Speaker 2: there's so much about that. What that first of all, 492 00:31:28,320 --> 00:31:31,000 Speaker 2: what it did for tra Volta, what it did for 493 00:31:31,440 --> 00:31:34,120 Speaker 2: the Beg's And that movie was a legendary just walking 494 00:31:34,160 --> 00:31:37,440 Speaker 2: down the street with that leather jacket, you know, the 495 00:31:38,000 --> 00:31:41,000 Speaker 2: folded up pizza, the you know, his dancing. I mean, 496 00:31:41,040 --> 00:31:42,880 Speaker 2: there's so many. It's just a great movie. 497 00:31:43,240 --> 00:31:46,240 Speaker 1: I mean it became a cultural time. 498 00:31:46,120 --> 00:31:52,520 Speaker 2: Piece, really it did. And and that soundtrack movie soundtrack 499 00:31:53,000 --> 00:31:55,880 Speaker 2: double album, you know I'm going here? You know where 500 00:31:55,880 --> 00:31:56,560 Speaker 2: I'm going that? 501 00:31:56,680 --> 00:31:59,160 Speaker 1: Yeah, like you like that, that's kind of that's kind 502 00:31:59,200 --> 00:32:01,600 Speaker 1: of your your thing, you know, to be able to 503 00:32:01,920 --> 00:32:02,840 Speaker 1: And did. 504 00:32:02,640 --> 00:32:06,400 Speaker 2: You have white pants in that era? No, I was ten. 505 00:32:07,120 --> 00:32:12,040 Speaker 2: I mean, you can't argue that that album, that soundtrack 506 00:32:12,120 --> 00:32:17,840 Speaker 2: wasn't filled with great songs. The Beg's Alone, Staying Alive, 507 00:32:18,560 --> 00:32:22,800 Speaker 2: Night Fever, Jive Talking, you should be Dancing. More than 508 00:32:22,840 --> 00:32:24,720 Speaker 2: a Woman by Yvonne Ellman was on there. If I 509 00:32:24,760 --> 00:32:27,120 Speaker 2: Can't Have You, I'm sorry, more than a Woman by 510 00:32:27,120 --> 00:32:29,120 Speaker 2: the Beg's their version of it, yvon element is if 511 00:32:29,120 --> 00:32:31,280 Speaker 2: I Can't Have You was on it. A Fit the 512 00:32:31,320 --> 00:32:35,440 Speaker 2: Baekoven was there, and Disco Inferno by the Tramps. 513 00:32:35,880 --> 00:32:39,800 Speaker 5: Come on, come on, I mean, I'm gonna I'm gonna 514 00:32:40,080 --> 00:32:46,560 Speaker 5: admit that in its moment, me and the anti disco, 515 00:32:47,360 --> 00:32:52,360 Speaker 5: anti pop mode that I was as a rock DJ. 516 00:32:53,280 --> 00:32:57,240 Speaker 1: Kind of pushed that aside, but now especially all those 517 00:32:57,280 --> 00:33:01,480 Speaker 1: Beg songs that you just named love And that's it. 518 00:33:02,000 --> 00:33:07,880 Speaker 1: Beautifully done. Master of music, Mayhem, Maestro of music Mayhem. 519 00:33:08,280 --> 00:33:09,120 Speaker 2: Harry Jacobs. 520 00:33:09,360 --> 00:33:13,360 Speaker 1: Another look at this Week in music history for the 521 00:33:13,400 --> 00:33:17,520 Speaker 1: week of December the eighth. Pretty dark stuff in that week, 522 00:33:18,080 --> 00:33:18,800 Speaker 1: but also. 523 00:33:18,800 --> 00:33:20,560 Speaker 2: Ending it on an up note. 524 00:33:20,640 --> 00:33:23,600 Speaker 1: Thank you, Harry, and thanks to all of you for 525 00:33:23,720 --> 00:33:27,200 Speaker 1: listening to the Taking a Walk podcast. Please share this 526 00:33:27,240 --> 00:33:29,000 Speaker 1: with your friends, please,