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Speaker 1: I'm Buzzsnight, the host of the taking Over podcast music

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Speaker 1: History on foot, well sort of, and welcome to another

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Speaker 1: episode of This Week in Music History for the week

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Speaker 1: of January the twenty seventh, and we go to the

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Speaker 1: music History Desk to my main man radio pro, former

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Speaker 1: radio programmer, self described musicologist, Harry Jacobs at the Music

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Speaker 1: History Desk. Hello, Harry, us.

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Speaker 2: Good to good to be here, and we've got a

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Speaker 2: couple of couple of good ones for this week, the

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Speaker 2: week of January twenty seventh, So I'm excited.

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Speaker 3: About this one. Good.

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Speaker 1: Let's let it roll.

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Speaker 2: In nineteen eighty five January twenty eighth, they recorded We

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Speaker 2: Are the World, which was, you know, a monster deal.

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Speaker 3: We've spoke a little.

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Speaker 2: Bit about you know about this in the past, but

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Speaker 2: this was a huge deal to organize.

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Speaker 3: Michael Jackson and Lionel Ritchie.

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Speaker 2: These were the you know, the monsters at the times,

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Speaker 2: TV wonder Tina Turner, Bob Dylan, Bruce Springsteen. It was

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Speaker 2: just a who's who of music and a tremendous benefit.

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Speaker 2: Harry Belafani actually had had organized the entire thing, but

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Speaker 2: Michael Jackson was deeply involved in it.

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Speaker 1: The documentary the Greatest Night and Pop was an incredible

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Speaker 1: watch to really get the behind the scenes and the

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Speaker 1: flavor of it, and you really just saw, you know,

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Speaker 1: who was kind of leading that whole charge. Lionel Ritchie

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Speaker 1: was pretty amazing in terms of the way he kind

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Speaker 1: of led things. I also got to ask John Oates

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Speaker 1: about it, I believe as well, maybe even Darryl too,

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Speaker 1: if I'm not mistaken about their you know vibe of

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Speaker 1: that whole that whole evening. So yeah, it was an incredible,

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Speaker 1: you know scene there, no doubt, and it had little

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Speaker 1: pockets of drama everywhere, right.

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Speaker 3: And had some humor.

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Speaker 2: Think about Lionel Richie, Bob Dylan on how to sing

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Speaker 2: like Bob Dylan.

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Speaker 1: Oh yeah, I mean Bob was the most uncomfortable person there.

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Speaker 2: No doubt, next to next to Bruce, it was Bob.

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Speaker 3: They were a fish out of water.

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Speaker 2: And I forget who it was, but one of the

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Speaker 2: big country you know guys walked.

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Speaker 1: Out, Whalen Jenning. He Whalen could not deal with it,

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Speaker 1: and I think Way said he thinks maybe Whalen regretted

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Speaker 1: that move, like walking out of that.

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Speaker 2: I'm sure after it came out and it was the

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Speaker 2: monster hit that it was, he thought to himself, son.

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Speaker 1: Of my God, Yeah, I messed up.

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Speaker 3: I misplayed that.

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Speaker 2: February first, nineteen sixty nine, the Beatles performed their final

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Speaker 2: live concert, was the Rooftop in London. This was an

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Speaker 2: impromptu performance. It was almost forty five minutes long, you know,

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Speaker 2: the full concert more the footage was released on that

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Speaker 2: and that Peter Jackson let it be.

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Speaker 3: It's amazing to see that.

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Speaker 1: Oh yeah, just incredible And it's fascinating thinking about the

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Speaker 1: length of that concert. It's about fifteen minutes longer than

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Speaker 1: the concerts they used to play at, like Shay Stadium

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Speaker 1: in places like that.

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Speaker 3: Isn't that incredible?

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Speaker 2: Think about that They would show up somewhere at you know,

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Speaker 2: something like Shay and play for thirty minutes. That's it,

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Speaker 2: bang through their two and a half minute songs and

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Speaker 2: that's the end of that.

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Speaker 1: Yeah, and no one could hear anything. I guess.

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Speaker 2: Get Back was the twenty twenty one documentary, which was

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Speaker 2: fascinating to watch.

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Speaker 1: Just I loved every bit of it. Some people thought

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Speaker 1: it was too long, whatever, I just I dug the

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Speaker 1: whole thing.

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Speaker 2: January thirty first, nineteen seventy led Zeppelin played a Whole

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Speaker 2: Lot of Love live on TV their first ever British

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Speaker 2: TV appearance on the BBC, and that song would you

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Speaker 2: know later go on to become one of the most

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Speaker 2: iconic Zeppelin songs.

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Speaker 3: I can't find footage of that. I used to be

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Speaker 3: the fine footage of that.

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Speaker 2: For whatever reason, I think the BBC removed that appearance

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Speaker 2: of them doing a whole Lot of Loves all kinds

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Speaker 2: of appearances in nineteen seventy is Zeppelin playing a whole

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Speaker 2: Lot of Love in all kinds of places, including the

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Speaker 2: Royal Albert Hall. But the BBC footage is now gone.

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Speaker 1: They must have put a paywall up or something that

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Speaker 1: requires you to have to pay to see it, you know.

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Speaker 1: That's all I could think about. And Jimmy Page just

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Speaker 1: you know, over the recent days, celebrating a birthday, you

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Speaker 1: talk about someone well, he and Robert plant aging gracefully,

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Speaker 1: you know, with such such dignity. So it's great to

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Speaker 1: see those guys, you know, looking great. And you know,

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Speaker 1: Jimmy seems like he's not up to that much as

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Speaker 1: far as music. Robert obviously is up to a lot

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Speaker 1: of things. But well you can't deny the monster known

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Speaker 1: as led Zeppelin, right.

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Speaker 2: Jimmy, you know this is a this is an area

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Speaker 2: where where there's contention between the two of them, because

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Speaker 2: Jimmy wanted to take that reunion that they did at

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Speaker 2: the O two and go on the road. That's what

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Speaker 2: the plan was, was to go and make that show

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Speaker 2: the launch of a tour and do you know a

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Speaker 2: dozen shows all over the world which would have been

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Speaker 2: monster moneymakers. Just can you imagine them getting back together

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Speaker 2: at that time and doing shows?

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Speaker 1: Oh? I could imagine it. Yeah. But so you're saying

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Speaker 1: that you think the relationship to this day is a

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Speaker 1: little fractured.

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Speaker 2: I think it's a little fractured because Robert doesn't want

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Speaker 2: to sing those songs, and Jimmy and John and certainly

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Speaker 2: Jason Bonham at this point, Jason Bonham is just happy

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Speaker 2: to be along for the ride. But Jimmy and John

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Speaker 2: were gained to go out on the road and.

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Speaker 3: And b Zeppelin again, Robert didn't want to do it.

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Speaker 1: I kind of sided with Robert. It's like, if you

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Speaker 1: don't want to sing those songs anymore, then because you're

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Speaker 1: happier with Alison Kraust, then you know, hey, man, that's

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Speaker 1: the way that sort of goes.

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Speaker 2: You know, at what point do you think to yourself,

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Speaker 2: think about that money piece, but how many people it

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Speaker 2: would attract? Think about how many millions of bands around

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Speaker 2: the oh would pay to see you.

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Speaker 3: Sing those songs.

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Speaker 2: It's not worth if nothing else to fill your own ego,

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Speaker 2: to fill stadiums, to fill I mean, isn't there something that.

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Speaker 3: I don't know?

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Speaker 1: Yeah? I mean some would do it right and and

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Speaker 1: some have no problem having one surviving member part of

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Speaker 1: the band with you know, three others being not original members.

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Speaker 1: It's so interesting to see how that all rolls out

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Speaker 1: for a lot of bands. I think it's a you know,

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Speaker 1: a money grab when it's it's too far from what

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Speaker 1: the original really is. But nonetheless, I think both of them,

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Speaker 1: Robert and Jimmy, in their own way, you know, are

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Speaker 1: aging gracefully, you know, And I have to say that.

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Speaker 2: I would love to see you know, it's not gonna

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Speaker 2: happen now, but I'd love to see it.

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Speaker 3: I would love to have seen it. I would have

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Speaker 3: flown anywhere to go to.

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Speaker 1: Go do that.

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Speaker 2: Ye. January twenty seventh, nineteen seventy one, David Bowie came

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Speaker 2: to the US for.

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Speaker 3: The first time and he wasn't allowed to perform because

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Speaker 3: there was a work visa issue.

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Speaker 2: So he could come visit, but he couldn't work, So

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Speaker 2: he spent time in New York hung out with you.

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Speaker 3: Know, Lou.

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Speaker 2: These relationships, you know, Andy Warhol and Lou Reid and

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Speaker 2: and and those relationships ended up influencing Ziggy Stardust.

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Speaker 1: There's some great photos too of that era, you know,

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Speaker 1: from a number of distinguished photographers, you know, Andy and

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Speaker 1: Lou and Bowie, you know, huddling, you know, over a

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Speaker 1: cocktail or whatever. So you can't find, you know, anything

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Speaker 1: cooler than that if you think about the beginnings of

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Speaker 1: what Bowie would create with Ziggy.

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Speaker 2: You know, January twenty ninth, nineteen seventy nine, the Clash

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Speaker 2: released London Calling. This was an epic think about what

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Speaker 2: the remember what the hit song was from that?

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Speaker 1: Right train in Vain anything? Oh? Yeah, you remember that?

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Speaker 2: You couldn't find that listed in the tracks on the album.

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Speaker 2: It was like a hidden track, right.

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Speaker 1: Yes, it was, that's right. That's rights so strange.

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Speaker 3: What was so.

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Speaker 1: Interesting about all that? And I think we touched on

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Speaker 1: this in a previous episode. You know, there was the

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Speaker 1: emergence of of you know what we would call sort

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Speaker 1: of sort of new wave there, right, and out of

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Speaker 1: that came, you know, certain real pop sounds, and then

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Speaker 1: out of new wave would come a blend of new

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Speaker 1: wave and punk that would come out. And that was

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Speaker 1: sort of how I would characterize the Clash. So they

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Speaker 1: were viewed, I think as this way different entity because

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Speaker 1: they were way different the sound of the Rebellion, and

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Speaker 1: then the more you would sort of get in and

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Speaker 1: dig into it, it was this different cool miss factor

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Speaker 1: to what the Clash was about, you know, just that

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Speaker 1: raw nastiness. And I think over time people started deciphering

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Speaker 1: it style wise. You know, it was the reggae aspect

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Speaker 1: of it and the rockabilly aspect as well. So one

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Speaker 1: of the great albums for sure.

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Speaker 3: Ever, and you kind of two last thoughts.

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Speaker 2: You think about the difference in sound on that same

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Speaker 2: album of a song like London Calling and then Train

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Speaker 2: in Vain, which I want to say they almost hid

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Speaker 2: because they thought it sounded too poppy?

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Speaker 3: Is that the story behind.

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Speaker 1: I'm not sure. I'm not sure about that. Maybe you

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Speaker 1: might be right. Was it also that other one on

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Speaker 1: London Calling that was sort of a cool deep track

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Speaker 1: lost in the supermarket.

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Speaker 3: You're the deep track guy. I don't know lost in

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Speaker 3: the supermarket.

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Speaker 1: Check it out, well, I will a couple.

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Speaker 3: Of other things of note.

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Speaker 2: Elton John's Candle and the Wind became the best selling

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Speaker 2: single of all time in nineteen ninety seven. Think about

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Speaker 2: when that album actually came out. That was part of

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Speaker 2: Goodbye Yellow Brick Road, you know in the in the seventies, right,

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Speaker 2: and it became the number one seller because of the

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Speaker 2: Princess Diana tribute that that song ended up being nineteen

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Speaker 2: seventy three, it came out originally and song about Marilyn Monroe.

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Speaker 1: Yeah, and you know Elton with his ability to craft

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Speaker 1: pop pop hits, he really put a spotlight on Elton

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Speaker 1: in a different way when that happened.

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Speaker 2: Whitney Houston Star Spangled Banner performance happened at Super Bowl

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Speaker 2: thirty January twenty seven, nineteen ninety one.

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Speaker 3: Think about how moving that was. Remember watching that live?

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Speaker 1: Yeah, well, what a performer she was, you know.

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Speaker 2: Became a they released it became a top twenty hit

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Speaker 2: on the Billboard Hot one hundred at the time as well.

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Speaker 2: And this also was the week you can't talk about

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Speaker 2: the Super Bowls and history in pop and moments without

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Speaker 2: thinking about the wardrobe malfunction, justin Timberlake and Janet Jackson

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Speaker 2: remember the exposure as you.

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Speaker 1: And oh yeah, yeah, I was watching it with my daughter,

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Speaker 1: I remember, and that was we were like, oops, what

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Speaker 1: just happened? How do you explain to Let's see, how

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Speaker 1: old would my daughter ben? Then?

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Speaker 2: She was.

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Speaker 1: Seven or eight years old, I guess then. So it

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Speaker 1: was an awkward moment as a parent, for sure. But

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Speaker 1: what that would yield also would be a lot of

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Speaker 1: change in what broadcast media had to be considering when

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Speaker 1: it came to, you know, not violating certain certain things,

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Speaker 1: what they needed to censor, you know, the importance of delays.

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Speaker 1: So that had ripple effects really when it came to,

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Speaker 1: you know, the way media had to behave themselves basically.

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Speaker 1: So that was quite a moment and one that still

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Speaker 1: to this day I think has impact.

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Speaker 3: Yeah, interesting and true. Billy Joel released fifty.

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Speaker 2: Second Street this week in nineteen seventy nine, Big Shots

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Speaker 2: one of my favorite songs. It's got the greatest line

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Speaker 2: to me, one of the greatest lines in pop music,

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Speaker 2: which is you wake up in the morning with your

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Speaker 2: head on fire and your eyes too bloody to see.

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Speaker 1: Yeah, right, mister big shot.

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Speaker 2: Yeah, two other things have not won a news story.

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Speaker 2: I'll give you the kind of sappy one first and

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Speaker 2: then we'll talk to the news story and wrap it up.

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Speaker 3: But this is the that the.

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Speaker 2: Final episode of mister Rogers Neighborhood aired. And you know,

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Speaker 2: I remember watching it when when I was young. But

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Speaker 2: what I remember, and it was incredibly emotional, was the

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Speaker 2: documentary that they made about mister Rogers.

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Speaker 3: Did you ever did you see that?

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Speaker 1: No? Someone recommended it. I didn't, so you're the second

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Speaker 1: one who recommended it, so I should see it.

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Speaker 2: It made me a because I watched it when I

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Speaker 2: was a kid, and he was just like when you

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Speaker 2: listen to his message, you know this, you know, just

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Speaker 2: his manner, his personality, his being. It just made me

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Speaker 2: so emotional to watch him talk about what that was like.

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Speaker 3: He did fresh episodes for years.

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Speaker 2: He didn't have to think about the generations, you know,

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Speaker 2: every three or four years. They could have ran reruns

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Speaker 2: and run the same programming, but it was important to

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Speaker 2: him to continue his teachings about being a good person, right,

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Speaker 2: and there's just so much for us to learn.

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Speaker 3: It made I'd be curious on your ta on. It

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Speaker 3: made me emotional to watch that.

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Speaker 1: Yeah, I'll check it out. But you can't deny you

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Speaker 1: have he defines compassion right.

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Speaker 2: Yeah, absolutely, And this is the week the Paris Peace

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Speaker 2: Accord basically ended the Vietnam War January twenty seventh, nineteen

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Speaker 2: seventy three. That was the end of our involvement, in

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Speaker 2: the US's involvement, and that was a war that, like

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Speaker 2: many there was there was no winning.

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Speaker 1: It and a lot of suffering.

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Speaker 2: You know, those port vets came back from Vietnam and

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Speaker 2: didn't didn't get what they should have.

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Speaker 1: Yeah, you got that right. Well, thanks for listening to

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Speaker 1: this episode of This Week in Music History. Thank you

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Speaker 1: Harry Jacobs, and you could check out the Taking a

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Speaker 1: Walk podcast at Apple Podcasts, Spotify, iHeart, or wherever you

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Speaker 1: get your podcasts.