WEBVTT - "(I Can't Get No) Satisfaction" by The Rolling Stones: Everything You Didn't Know

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<v Speaker 1>Too Much Information is a production of iHeartRadio.

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<v Speaker 2>Hello everyone, and welcome to Too Much Information, the show

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<v Speaker 2>that brings you the secret histories and little known facts

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<v Speaker 2>and figures behind your favorite movies, music, TV shows, and more.

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<v Speaker 2>We are your two men on the Internet telling you

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<v Speaker 2>useless information supposed to fire your imagination and tell you

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<v Speaker 2>how white your shirts can be.

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<v Speaker 1>I'm Alex Heigel and I'm Jordan Run Talk and Jordan.

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<v Speaker 2>Today we're talking about one of the all time greatest

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<v Speaker 2>rock riffs. We're talking about a young man's snarl of

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<v Speaker 2>anti consumerism that turned the young men who made it

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<v Speaker 2>into some of the most insufferably wealthy musicians in all

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<v Speaker 2>of recorded history. That's right, Jordan. We're talking about parentheses open.

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<v Speaker 2>I can't get no parentheses clothes, Satisfaction by the Rolling Stones.

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<v Speaker 2>I refuse to pontificate about this song. You're gonna do

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<v Speaker 2>all that for us. It just is. It's satisfaction. It's

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<v Speaker 2>the demi urge of popular guitar music. It's the boundaries

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<v Speaker 2>at which cool guitar tone and pop writing interact. That's it.

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<v Speaker 2>It would just be one of those songs forever. Nothing

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<v Speaker 2>more to say about it except for all the stuff

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<v Speaker 2>we're about to say. But if you want to read

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<v Speaker 2>a lot about what it means, find Clinton Halen or

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<v Speaker 2>one of those jerk offs and let them explain to

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<v Speaker 2>you how it fits into mid century white man malaise

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<v Speaker 2>or possibly the Red Scare.

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<v Speaker 1>Yeah, I mean, that's kind of true. There's a book

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<v Speaker 1>that I cited called The Sun and the Moon and

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<v Speaker 1>the Rolling Stones, which is like, you know, the three

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<v Speaker 1>things that have just sort of always been present. And yeah,

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<v Speaker 1>that's fair, that's very very fair. And also I got

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<v Speaker 1>to say, as the resident Beatles guy on this show

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<v Speaker 1>and possibly the resident Beatles guy in most of your lives,

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<v Speaker 1>I have to say I was reluctant to tackle this

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<v Speaker 1>topic initially, despite the fact that the song is turning

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<v Speaker 1>sixty years old this month, which is insane.

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<v Speaker 2>It's crazy to think that there's a future in which

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<v Speaker 2>Mick Jagger will still be singing this song when it

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<v Speaker 2>turns sixty five, after he famously said he'd rather be

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<v Speaker 2>dead than singing it when he was sixty five, So.

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<v Speaker 1>That means he's wanted to be dead for a long time.

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<v Speaker 2>Now, long time who among us?

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<v Speaker 1>Well, but yeah, you know, it's not that I buy

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<v Speaker 1>into the whole Beatles Versus Stones thing, because that's just

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<v Speaker 1>stupid and as any classic rock gri and will tell you,

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<v Speaker 1>it's patently not true. The bands were very close friends,

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<v Speaker 1>and there are tons of stories of them sharing cabs

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<v Speaker 1>together around London and their early days and huddled around

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<v Speaker 1>tables at clubs to work out their single release schedules

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<v Speaker 1>that didn't step on each other's toes. Mick Jagger and

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<v Speaker 1>Keith Richards were in the audience during the Beatles' famous

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<v Speaker 1>TV broadcast that yielded All You Need Is Love in

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<v Speaker 1>nineteen sixty seven, and the Beatles saying uncredited backup vocals

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<v Speaker 1>on the Stones track We Love You that same year.

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<v Speaker 1>So this is any kind of personal vendetta born of

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<v Speaker 1>my psychotic Beatles fandom. It's just that at first, I

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<v Speaker 1>kind of I didn't think there was that much to

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<v Speaker 1>say about.

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<v Speaker 2>The song Rolling Stones won.

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<v Speaker 1>How so the fact that they're still out there on

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<v Speaker 1>the road.

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<v Speaker 2>They put out Exile on Main Street.

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<v Speaker 1>You like Exile on Main Street more than any Beatles release?

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<v Speaker 1>Question mark, Yes, Okay, let's talk about that for a minute.

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<v Speaker 2>No, No, I don't know, man, I mean, look, I

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<v Speaker 2>because like I didn't I wasn't a Beatles' album guy

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<v Speaker 2>until college, because it was just like I had Beatles

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<v Speaker 2>one and I just knew all of the songs. Same

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<v Speaker 2>with the Stones, honestly. But for me, like every time

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<v Speaker 2>I listened to Exile, I find something new and interesting

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<v Speaker 2>in it, and I just noticed some new weird production

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<v Speaker 2>thing or some stray bit of genius. The only mark

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<v Speaker 2>against it is the fin Angela Davis song, like the

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<v Speaker 2>worst song ever recorded, but ten Little Blackbirds. It's just

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<v Speaker 2>like the most offensive thing. But everything about that album

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<v Speaker 2>is also perfect with the exception of that. And you know,

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<v Speaker 2>druggy experimentation from legitimate drug enthusiasts rather than the dainty,

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<v Speaker 2>dainty boys of the Beatles is always going to be

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<v Speaker 2>interesting to me, especially when it's like in an old,

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<v Speaker 2>haunted castle and not like a studio where the technicians

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<v Speaker 2>wear lab coats.

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<v Speaker 3>You know.

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<v Speaker 2>Okay, the problem is is that, like the Beetles may

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<v Speaker 2>be better, but the Rolling Stones were cooler.

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<v Speaker 1>Sure, Okay, I can't fight you on that, that's true.

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<v Speaker 2>No, no, no, I.

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<v Speaker 1>Just I listened to Excel on Main Street and it

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<v Speaker 1>just kind of all becomes one.

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<v Speaker 2>It's like when you make a stew and then you

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<v Speaker 2>put it in the fridge.

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<v Speaker 1>A couple days later you take it out and it's

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<v Speaker 1>just this kind of like brown sludge of well, you have.

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<v Speaker 2>Mid making your stews correctly than my friend. You got

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<v Speaker 2>to keep some cohesion in there. You got to you

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<v Speaker 2>got to do your vegetables to certain levels of dunness

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<v Speaker 2>of some pop and some are you know, a little

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<v Speaker 2>bit more mushy. I shouldn't. I shouldn't be telling you

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<v Speaker 2>about this. You need to come to this stuff yourself. Yeah,

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<v Speaker 2>I don't know. It's it's just hits, like a lot

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<v Speaker 2>of the same wells of pathos and and just wonderful

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<v Speaker 2>sounds and hooks every nook and cranny that record.

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<v Speaker 1>I'm not saying I hate the Stones. I like the Stones.

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<v Speaker 1>But to me, they are a great attitude, They're a

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<v Speaker 1>great vibe. Like you said, they are a great sound.

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<v Speaker 1>But I feel like I could just kind of survive

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<v Speaker 1>with like a double album greatest hit set for the

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<v Speaker 1>Stones and be totally good. And I as you know,

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<v Speaker 1>I was thrown into the deep end of Stone's lore

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<v Speaker 1>because for a few years I was working on a

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<v Speaker 1>documentary style podcast for I Heart about the Stones. Recording

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<v Speaker 1>of Excel on Main Street and their nineteen seventy two

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<v Speaker 1>tour of the United States, and I really thought by

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<v Speaker 1>like going deep on that I would glean more from it,

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<v Speaker 1>I would appreciate it more, And for some reason I didn't.

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<v Speaker 1>It just didn't really Even after interviewing all these people

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<v Speaker 1>who were on the tour who knew the band intimately,

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<v Speaker 1>I just never connected with it. And I'd even met

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<v Speaker 1>some of the Stones on occasions, and I still didn't

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<v Speaker 1>really feel anything. And honestly, it wasn't until I had

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<v Speaker 1>the chance to see the Stones perform last that I

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<v Speaker 1>finally started to get it. Have you ever seen The

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<v Speaker 1>Stones live?

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<v Speaker 2>No, dude, how much money do you think I have

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<v Speaker 2>to throw at this stuff? Well? No.

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<v Speaker 1>I had two separate friends who, like a day or

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<v Speaker 1>two before their Met Life shows, got super cheap last minute,

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<v Speaker 1>like sub one hundred dollars tickets and they're like, do

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<v Speaker 1>you want to go? And I went the first night

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<v Speaker 1>and it ruled. And that another friend a couple days

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<v Speaker 1>later who asked me the same question. I was like, Yeah,

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<v Speaker 1>I went the other day. It was incredible. I'd love

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<v Speaker 1>to go again. Yeah. I would have never spent the

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<v Speaker 1>money that these things usually go for if they weren't.

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<v Speaker 2>Super super cheap, and I'm so glad I did so.

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<v Speaker 1>Folks, this is a PSA. If the Stones are coming

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<v Speaker 1>to your town, wait till the last minute and see

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<v Speaker 1>if you can get any last minute tickets at those

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<v Speaker 1>big stadiums.

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<v Speaker 2>It ruled. I mean, you'd need forty licks, and then

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<v Speaker 2>you also need exile sure, yeah, in its entirety, no skips,

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<v Speaker 2>and then you'd need a whole other one of like

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<v Speaker 2>deep cuts from all the country records, and even some

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<v Speaker 2>of their eighties ones have some bangers, you know, let's

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<v Speaker 2>not front really yeah, dude, waiting on a friend. It's

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<v Speaker 2>even some good stuff on Black and Blue.

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<v Speaker 1>Can you give us Shattered? Give us the rap from

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<v Speaker 1>Shattered please?

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<v Speaker 2>He's so obnoxious on that song? What is it? Rats

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<v Speaker 2>in the hotel Roaches Downtown.

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<v Speaker 1>Everyone gives Dibby Harry so much grief for the Rapture rap.

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<v Speaker 2>Now his is awful.

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<v Speaker 1>I mean, I do love the Stones. It's more like the.

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<v Speaker 2>Beatles go deeper, do they? Yeah? They do deeper for you,

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<v Speaker 2>or deeper into deeper into what I think.

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<v Speaker 1>They cover a wider swath of music. But the Stones rock.

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<v Speaker 1>I was gonna say, Stones rock better. But here in

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<v Speaker 1>Paul mccarton to do long tall sally and like I'm

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<v Speaker 1>down all those little Richard songs.

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<v Speaker 2>Yeah, I think he has a better rock voice than

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<v Speaker 2>Nick too. We're just getting into subjective measures here. I mean,

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<v Speaker 2>I think the Stones, being originally a blues band and

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<v Speaker 2>not a skiffle band whatever that was, I suggest already

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<v Speaker 2>went a little bit deeper because they were not simply

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<v Speaker 2>listening to whatever the skiffle was. They were listening to

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<v Speaker 2>like hardcore Chess Records blues already qualifies them as going deeper.

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<v Speaker 2>And the fact that they like went down to muscle

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<v Speaker 2>shoals and Jamaica, like they were just so much more

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<v Speaker 2>globe trotting than the Beatles with where they chose to record,

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<v Speaker 2>you know, I mean, like, yeah, the Beatles have like

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<v Speaker 2>way more pastiches of different styles, but they were all

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<v Speaker 2>still doing them out of all of the same studio,

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<v Speaker 2>like with no other local musicians. You know, these Indian

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<v Speaker 2>musicians did they Yeah, oh yeah they did, Okay, so

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<v Speaker 2>I'll give them that.

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<v Speaker 1>And they wanted to record in Stacks, But as soon

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<v Speaker 1>as the people at Stacks heard that the Beatles were involved,

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<v Speaker 1>they just tried to price gouge them.

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<v Speaker 2>Yeah, and I mean that probably would have been pretty

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<v Speaker 2>embarrassing for them. Honestly, Like, if you're like Ringo and

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<v Speaker 2>you know Al Jackson junior of Booker T and the

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<v Speaker 2>MG shows up drumming, I'd probably just quit. Any Stax musician.

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<v Speaker 2>Duck Dun on bass, Pau McCarty's Duck Dunn comes in

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<v Speaker 2>playing a bass the size of a telephone pole, they

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<v Speaker 2>get blown out of the studio.

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<v Speaker 1>We can I agree to disagree on this, but I

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<v Speaker 1>will say I'm forced to admit that, having researched this

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<v Speaker 1>along with you, it's probably more fun to talk about

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<v Speaker 1>the Stones than to talk about the Beatles.

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<v Speaker 2>Hell yeah it is.

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<v Speaker 1>Their stories are arguably way more entertaining and way more dramatic,

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<v Speaker 1>and way more salacious and usually more hilarious than the Beatles.

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<v Speaker 1>So I think this is gonna be a fun one.

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<v Speaker 1>I went from fearing that we did have enough to

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<v Speaker 1>talk about to us pounding out twenty pages this morning.

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<v Speaker 2>This is gonna be a good one. So join us

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<v Speaker 2>as we ride around the world metaphorically doing this and

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<v Speaker 2>signing that in an attempt to break our losing streak.

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<v Speaker 2>Those are lyrics from the song Here's everything you didn't

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<v Speaker 2>know about the Rolling Stones. I Can't get no satisfaction.

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<v Speaker 2>In the mid sixties, the Rolling Stones were at a crossroads.

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<v Speaker 2>They've released their first single, I Want to Be Your Man,

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<v Speaker 2>written for them by The Beatles, and their manager Andrew

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<v Speaker 2>Lug Oldham was low, I think.

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<v Speaker 1>Lug what is lug Luh?

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<v Speaker 2>What kind of name is that? Short for Lugi? That's

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<v Speaker 2>what went on his birth certificate. His dad was like, oh,

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<v Speaker 2>that's good. Doctor.

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<v Speaker 4>Doctor was like, okay, that's a good bit, very well, sir,

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<v Speaker 4>Lugi tremendous and their manager, Andrew Lugi Oldham had in

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<v Speaker 4>its wake of that single, begun his crafty plan to

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<v Speaker 4>usurp The Stone's nominal leader, the dandyish, unstable and allegedly

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<v Speaker 4>genius Brian Jones.

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<v Speaker 2>Oldham has given various reasons for his motivations for doing so.

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<v Speaker 2>The most charitable one is, rather than continued to have

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<v Speaker 2>the group based around the idea of one leader a

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<v Speaker 2>la a Hermann in the Hermit's situation, he wanted a

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<v Speaker 2>more collaborative identity for The Stone. But really he'd appreciately

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<v Speaker 2>seen the Beatles as the end of an era, the

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<v Speaker 2>era of pop stars who were delivered songs by professional

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<v Speaker 2>songwriters instead of merely writing them for themselves. So while

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<v Speaker 2>there are different explanations and different versions of the story

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<v Speaker 2>of how Mick and Keith begin writing, to the easiest explanation,

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<v Speaker 2>and thus the one I'm going to go with, is

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<v Speaker 2>that they were just living together at the time, whereas

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<v Speaker 2>Jones had his own flat as I believe they call

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<v Speaker 2>them in sunny London Town. The story goes that Odin

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<v Speaker 2>locked the Glimmer Twins into their kitchen and told them

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<v Speaker 2>they weren't coming out until they'd written a proper song,

0:11:20.320 --> 0:11:22.680
<v Speaker 2>not a pastiche of another musical style, and not a

0:11:22.720 --> 0:11:25.640
<v Speaker 2>blues song, but something that could be released as a single.

0:11:26.280 --> 0:11:28.640
<v Speaker 2>They spent all night in the kitchen, and Richards eventually

0:11:28.720 --> 0:11:31.760
<v Speaker 2>got bored of being stuck in there without an elephant

0:11:31.840 --> 0:11:35.400
<v Speaker 2>supply of heroin and started strumming his guitar and singing

0:11:35.640 --> 0:11:38.439
<v Speaker 2>It is the evening of the day, and the two

0:11:38.440 --> 0:11:40.200
<v Speaker 2>of them quickly came up with the rest of the song,

0:11:40.840 --> 0:11:43.560
<v Speaker 2>although at least one source does suggest that As Tears

0:11:43.600 --> 0:11:46.800
<v Speaker 2>Go By was actually written by Jagger and a session guitarist,

0:11:46.840 --> 0:11:49.720
<v Speaker 2>Big Jim Sullivan, who will pop up in this episode again.

0:11:50.760 --> 0:11:53.840
<v Speaker 2>If so, that would be the first time of many

0:11:54.320 --> 0:11:57.360
<v Speaker 2>that a song written by Jagger or Richard's in collaboration

0:11:57.600 --> 0:12:01.760
<v Speaker 2>with someone else would subsequently be to Jagger Richards and

0:12:02.040 --> 0:12:05.320
<v Speaker 2>not the third person. Welcome to the music industry.

0:12:05.520 --> 0:12:08.560
<v Speaker 1>Lennonda McCartney did that a lot too, or rather, Paul

0:12:08.600 --> 0:12:11.760
<v Speaker 1>McCartney would write a lot of things, especially around the

0:12:11.800 --> 0:12:15.000
<v Speaker 1>Sergeant Pepper era with their Roady mal Evans and mal

0:12:15.040 --> 0:12:18.080
<v Speaker 1>Evans's diaries were published recently and there's all these like

0:12:18.200 --> 0:12:21.679
<v Speaker 1>really heartbreaking excerpts of him being like grow. Paul says

0:12:21.720 --> 0:12:24.920
<v Speaker 1>that I'll be credited on Captain Pepper. Oh, it'll be

0:12:24.960 --> 0:12:27.439
<v Speaker 1>so great. Maybe a new house for the family.

0:12:27.760 --> 0:12:31.600
<v Speaker 2>Oh yeah, Well, after the completed As Tears go By

0:12:31.760 --> 0:12:35.400
<v Speaker 2>was correctly shipped out of their filthy mouths and off

0:12:35.400 --> 0:12:38.960
<v Speaker 2>to someone less openly disreputable and leering, in this case

0:12:39.160 --> 0:12:40.000
<v Speaker 2>Mary unfaithful.

0:12:40.120 --> 0:12:43.120
<v Speaker 1>All right, I don't think I realized that As Tears

0:12:43.120 --> 0:12:45.640
<v Speaker 1>go By was the first Jagger Richard song. That's a

0:12:45.640 --> 0:12:47.160
<v Speaker 1>good song for a first time, it is.

0:12:47.679 --> 0:12:52.320
<v Speaker 2>Yeah, absolutely so. Despite this push two original songwriting, the

0:12:52.320 --> 0:12:54.120
<v Speaker 2>bulk of the Stones first album was made up of

0:12:54.200 --> 0:12:57.680
<v Speaker 2>cover versions of songs by Bo Diddley, Chuck Berry, Rufus Thomas,

0:12:57.720 --> 0:13:01.720
<v Speaker 2>Marvin Gay and other black American musicians. So The Stones'

0:13:01.760 --> 0:13:04.880
<v Speaker 2>debut album, eventually coming to be known as England's Newest

0:13:04.960 --> 0:13:07.559
<v Speaker 2>hit Makers, went to number one in the UK charts

0:13:07.600 --> 0:13:10.200
<v Speaker 2>in April of nineteen sixty four. This was a big

0:13:10.240 --> 0:13:12.719
<v Speaker 2>deal all the time because full albums, as opposed to

0:13:12.760 --> 0:13:15.320
<v Speaker 2>single releases, were considered the province of the adult market,

0:13:15.360 --> 0:13:17.320
<v Speaker 2>who generally had more money to spend on this time

0:13:17.360 --> 0:13:20.440
<v Speaker 2>of things, so they were priced according and the sales

0:13:20.520 --> 0:13:24.400
<v Speaker 2>charts just turned over at an absolutely glacial pace. Between

0:13:24.400 --> 0:13:28.240
<v Speaker 2>May of nineteen sixty three and February of nineteen sixty eight,

0:13:28.600 --> 0:13:32.280
<v Speaker 2>so almost five years, the only artists to have number

0:13:32.280 --> 0:13:35.080
<v Speaker 2>one albums in the UK with the Beatles, The Stones,

0:13:35.600 --> 0:13:39.080
<v Speaker 2>Bob Dylan, The Monkeys, the Cast of the Sound of

0:13:39.160 --> 0:13:42.360
<v Speaker 2>Music and Val dunikin.

0:13:43.000 --> 0:13:45.480
<v Speaker 1>Friend of the Pod, Val dunikin.

0:13:45.320 --> 0:13:47.640
<v Speaker 2>Anything on Val dunkin Jordan.

0:13:47.440 --> 0:13:49.760
<v Speaker 1>He had some incredible sweaters that much, I do know.

0:13:51.000 --> 0:13:54.200
<v Speaker 2>Well, Funnily enough, between May of nineteen sixty three and

0:13:54.320 --> 0:13:57.760
<v Speaker 2>April of nineteen sixty five, so almost a full two years,

0:13:58.360 --> 0:14:00.880
<v Speaker 2>it was only the Beatles in the Stones that had

0:14:01.000 --> 0:14:02.000
<v Speaker 2>number one albums.

0:14:02.200 --> 0:14:06.240
<v Speaker 1>That's crazy. I didn't realize that. That's nuts, I know.

0:14:06.480 --> 0:14:08.640
<v Speaker 1>And also I think the sound the music soundtrack was

0:14:08.720 --> 0:14:11.160
<v Speaker 1>number one for some ridiculous length of time too, like

0:14:11.200 --> 0:14:13.160
<v Speaker 1>I want to say, like the better part of the year.

0:14:13.240 --> 0:14:14.840
<v Speaker 1>I think that might actually be one of the best

0:14:14.840 --> 0:14:18.040
<v Speaker 1>selling albums of the decade in the UK. That's an

0:14:18.120 --> 0:14:21.280
<v Speaker 1>insane stat though. Wow, I didn't realize that you were

0:14:21.280 --> 0:14:22.680
<v Speaker 1>a school of me on this intro.

0:14:24.120 --> 0:14:26.800
<v Speaker 2>So the next single the band released, which the Bow

0:14:26.960 --> 0:14:30.160
<v Speaker 2>didified version of Buddy Hawley's Not Fade Away. That came

0:14:30.200 --> 0:14:32.880
<v Speaker 2>out in February nineteen sixty four and it hit number

0:14:32.920 --> 0:14:35.920
<v Speaker 2>three on the UK charts, and it became the first

0:14:36.000 --> 0:14:38.280
<v Speaker 2>Stones record to chart in the US, where it hit

0:14:38.400 --> 0:14:41.760
<v Speaker 2>number forty eight. But that was considered enough of an

0:14:41.800 --> 0:14:45.480
<v Speaker 2>achievement to begin discussions about getting them across the pond

0:14:46.080 --> 0:14:48.560
<v Speaker 2>to the US to tour for the first time.

0:14:49.600 --> 0:14:52.480
<v Speaker 1>Yes and the Beatles. Famously, their first trip to America

0:14:52.640 --> 0:14:56.880
<v Speaker 1>was this capitulation. America fell to them, huge crowds beating

0:14:56.880 --> 0:15:00.160
<v Speaker 1>them at the airport, their famous record breaking at all

0:15:00.160 --> 0:15:04.080
<v Speaker 1>of the show appearance playing at Carnegie Hall really really,

0:15:04.120 --> 0:15:08.320
<v Speaker 1>really tremendous. The Stones first US journey, Uh was more

0:15:08.400 --> 0:15:12.120
<v Speaker 1>mixed show, we say. They went on Dean Martin's Variety

0:15:12.120 --> 0:15:15.680
<v Speaker 1>show and he mocked them so much that Bob Dylan,

0:15:16.040 --> 0:15:18.320
<v Speaker 1>in his liner notes to his album Another Side of

0:15:18.360 --> 0:15:22.040
<v Speaker 1>Bob Dylan, wrote the line Dean Martin should apologize to

0:15:22.080 --> 0:15:24.400
<v Speaker 1>the Rolling Stones. It was a lot of those jokes

0:15:24.400 --> 0:15:27.240
<v Speaker 1>that you could imagine Dino with his you know, ice

0:15:27.280 --> 0:15:33.280
<v Speaker 1>clinking in his glass, all the stump. I'd be great.

0:15:36.680 --> 0:15:39.960
<v Speaker 3>I wanna leave right after the show for London. They're

0:15:40.040 --> 0:15:44.200
<v Speaker 3>challenging the Beatles to hair pulling contest. I could swear

0:15:44.280 --> 0:15:48.600
<v Speaker 3>Jackie Coogan and Skippy we're in that group. Well, I'm

0:15:48.600 --> 0:15:50.520
<v Speaker 3>gonna let you in on something. You know, all these

0:15:50.560 --> 0:15:52.600
<v Speaker 3>singing groups today, you're under the impression they.

0:15:52.520 --> 0:15:53.120
<v Speaker 2>Have long hair.

0:15:54.560 --> 0:15:55.400
<v Speaker 1>Not to at all.

0:15:55.440 --> 0:15:56.440
<v Speaker 2>It's not to go to lousion.

0:15:56.520 --> 0:15:58.400
<v Speaker 3>They just have low foreheads and high eyebrows.

0:16:00.400 --> 0:16:03.600
<v Speaker 1>Sa Ron.

0:16:05.040 --> 0:16:08.160
<v Speaker 3>So as we leave you right now, we'll have our

0:16:08.200 --> 0:16:10.800
<v Speaker 3>shorteren emission and we'll be back in Hollywood callous in

0:16:10.840 --> 0:16:11.600
<v Speaker 3>about a minute.

0:16:11.640 --> 0:16:11.760
<v Speaker 1>Now.

0:16:11.800 --> 0:16:14.960
<v Speaker 3>Don't go away, you you wouldn't leave me here alone

0:16:14.960 --> 0:16:15.960
<v Speaker 3>with the Rolling Stones.

0:16:17.600 --> 0:16:18.840
<v Speaker 2>I just feel like you got to be like a

0:16:18.880 --> 0:16:21.880
<v Speaker 2>real punk to take it from Dean Martin. Take it

0:16:21.920 --> 0:16:25.120
<v Speaker 2>from din O. Yeah, that's true, your D list rat

0:16:25.160 --> 0:16:28.320
<v Speaker 2>packer and we're the Rolling Stones. Don't bully us.

0:16:28.480 --> 0:16:30.280
<v Speaker 1>Oh, come on, he's more than a D list member

0:16:30.320 --> 0:16:32.320
<v Speaker 1>of the rat Pack. It's him and Frank. Him and

0:16:32.360 --> 0:16:33.840
<v Speaker 1>Frank are like vibe for number one.

0:16:34.320 --> 0:16:34.680
<v Speaker 2>Was he?

0:16:35.440 --> 0:16:37.880
<v Speaker 1>Okay, he was number two, but he was always number two.

0:16:38.600 --> 0:16:43.760
<v Speaker 1>It goes Frank Dean, Sammy Peter because of the Kennedy connection,

0:16:43.880 --> 0:16:45.280
<v Speaker 1>and then Joey Bishop is last.

0:16:45.680 --> 0:16:49.160
<v Speaker 2>I stand by that, Okay, okay, yeah, I'll defer to

0:16:49.200 --> 0:16:49.560
<v Speaker 2>you on that.

0:16:50.600 --> 0:16:53.960
<v Speaker 1>But Bob Dylan loved the Rolling Stones in a way

0:16:53.960 --> 0:16:56.840
<v Speaker 1>that he seems to love few things then or now.

0:16:57.520 --> 0:16:59.440
<v Speaker 1>It's kind of adorable, but it's also kind of weird.

0:16:59.720 --> 0:17:02.960
<v Speaker 1>Dylan was obsessed with Brian Jones for some reason and

0:17:03.000 --> 0:17:05.639
<v Speaker 1>repeatedly tried to call him to meet him when he

0:17:05.720 --> 0:17:08.280
<v Speaker 1>was on tour of Britain in nineteen sixty five, and

0:17:08.320 --> 0:17:12.000
<v Speaker 1>Brian Jones, as we'll discuss, was not a well man.

0:17:12.119 --> 0:17:14.879
<v Speaker 1>He was so paranoid that he refused to believe that

0:17:14.920 --> 0:17:16.399
<v Speaker 1>it was Bob Dylan on the other end of the

0:17:16.400 --> 0:17:21.000
<v Speaker 1>phone until Dylan's manager, Albert Grossman came on and convinced him,

0:17:22.200 --> 0:17:25.280
<v Speaker 1>and Dylan supposedly told Brian Jones the Stones were the

0:17:25.320 --> 0:17:27.480
<v Speaker 1>best band in the world, which seems like.

0:17:27.440 --> 0:17:29.400
<v Speaker 2>The kind of dumb thing that Bob Dylan would say.

0:17:29.920 --> 0:17:31.960
<v Speaker 1>And they spent so long on the phone over the

0:17:32.000 --> 0:17:35.200
<v Speaker 1>next year that the Stone staff dreaded getting the phone

0:17:35.200 --> 0:17:38.679
<v Speaker 1>bills because Brian Jones was talking long distance to Dylan

0:17:38.840 --> 0:17:41.359
<v Speaker 1>at all hours, which is kind of adorable.

0:17:42.000 --> 0:17:44.040
<v Speaker 2>Is that where he picked up all his Carnabie Dandy

0:17:44.640 --> 0:17:48.879
<v Speaker 2>exactly heels, Yeah, yep, yep. He started dressing like Brian Jones.

0:17:49.119 --> 0:17:51.639
<v Speaker 1>That's why Dylan's tour in nineteen sixty five when he

0:17:51.680 --> 0:17:54.280
<v Speaker 1>did come over was his last like solo acoustic tour

0:17:54.400 --> 0:17:56.440
<v Speaker 1>when he kind of showed up in the standard folky

0:17:56.480 --> 0:18:00.640
<v Speaker 1>regalia of you know, denim and in platte. And then

0:18:00.640 --> 0:18:03.240
<v Speaker 1>the next time he came over with his backing group

0:18:03.240 --> 0:18:04.760
<v Speaker 1>who would later go on to be the band, he

0:18:04.840 --> 0:18:07.000
<v Speaker 1>was wearing his Chelsea boots in a mod suit and

0:18:07.080 --> 0:18:10.399
<v Speaker 1>strapped in an electric guitar around him. When Brian Jones

0:18:10.440 --> 0:18:13.639
<v Speaker 1>and Bob Dylan finally cross paths in New York for

0:18:13.680 --> 0:18:15.960
<v Speaker 1>the first time at the end of the Stones nineteen

0:18:16.000 --> 0:18:19.280
<v Speaker 1>sixty five US tour, Brian Jones was so paranoid about

0:18:19.320 --> 0:18:22.480
<v Speaker 1>getting busted for pot that even Dylan admitted that he

0:18:22.560 --> 0:18:25.040
<v Speaker 1>was bumming him out. And then things got even weirder

0:18:25.080 --> 0:18:27.680
<v Speaker 1>when they went to Andy Warhol's factory and Brian Jones

0:18:27.720 --> 0:18:30.560
<v Speaker 1>got a little too friendly with Edie Sedgwick, which also

0:18:30.600 --> 0:18:31.480
<v Speaker 1>bummed Bob out.

0:18:31.600 --> 0:18:33.400
<v Speaker 2>I mean, he'sluck he didn't beat the shot out of her.

0:18:33.600 --> 0:18:37.200
<v Speaker 2>Brian Jones was a notorious woman abuser. Yeah, we'll talk

0:18:37.240 --> 0:18:39.359
<v Speaker 2>about that. Die like everyone in the band kind of

0:18:39.359 --> 0:18:39.840
<v Speaker 2>hate him.

0:18:40.040 --> 0:18:41.359
<v Speaker 1>Yeah, oh yeah, we'll talk about that.

0:18:41.640 --> 0:18:43.640
<v Speaker 2>Okay, great, Oh yeah, that's in there. Yeah.

0:18:43.680 --> 0:18:45.400
<v Speaker 1>I think there's a direct quote from Keith that says

0:18:45.600 --> 0:18:46.560
<v Speaker 1>he was not a good man.

0:18:47.280 --> 0:18:49.800
<v Speaker 2>Yeah. Yeah.

0:18:49.880 --> 0:18:52.840
<v Speaker 1>The Stones met up with Murray the Kay, the famous

0:18:52.840 --> 0:18:56.440
<v Speaker 1>New York DJ and self appointed fifth beadle who would

0:18:56.440 --> 0:19:00.280
<v Speaker 1>earn a very different, believable nickname from Keith Richards that

0:19:00.359 --> 0:19:00.919
<v Speaker 1>I don't know this.

0:19:01.640 --> 0:19:04.760
<v Speaker 2>It's Murray the word that sounds like it starts with K,

0:19:05.119 --> 0:19:09.720
<v Speaker 2>but it starts with a C. Okay, that's medium funny

0:19:09.720 --> 0:19:10.840
<v Speaker 2>because he was really annoying.

0:19:11.200 --> 0:19:16.200
<v Speaker 1>Yeah, but despite not making a great impression on Keith Richards,

0:19:16.560 --> 0:19:19.000
<v Speaker 1>Murray the K did play them a song by Bobby

0:19:19.040 --> 0:19:22.359
<v Speaker 1>Womack called It's All Over Now, which had been a

0:19:22.520 --> 0:19:25.879
<v Speaker 1>medium sized hit by a group called The Valentinos. The

0:19:25.920 --> 0:19:28.480
<v Speaker 1>Stones decided on it as their next single, much to

0:19:28.520 --> 0:19:31.000
<v Speaker 1>the annoyance of Bobby Womack himself, who wanted to release

0:19:31.000 --> 0:19:34.760
<v Speaker 1>his own version. Phil Spector had suggested to manager Andrew

0:19:34.800 --> 0:19:37.520
<v Speaker 1>lug Oldham that since the Stones loved the Chicago blues

0:19:37.600 --> 0:19:40.240
<v Speaker 1>label Chess Records so much, they said record there and

0:19:40.359 --> 0:19:43.520
<v Speaker 1>time was booked, and this was the genesis of a

0:19:43.600 --> 0:19:46.359
<v Speaker 1>legend that when they arrived they found Muddy Waters changing

0:19:46.440 --> 0:19:49.280
<v Speaker 1>light bulbs and painting walls in the studio, which is

0:19:49.400 --> 0:19:50.679
<v Speaker 1>not true.

0:19:50.720 --> 0:19:54.080
<v Speaker 2>He was what's the problem with that? He deserved better? Well,

0:19:54.119 --> 0:19:57.480
<v Speaker 2>I mean maybe he was just like, you know, helping out. Yeah,

0:19:57.640 --> 0:20:03.120
<v Speaker 2>just help being a team player. Light Bombs don't change themselves.

0:20:04.200 --> 0:20:07.119
<v Speaker 1>Aside from meeting several of their musical idols, which, aside

0:20:07.160 --> 0:20:10.480
<v Speaker 1>from Muddy Waters, included Willie Dixon and Chuck Berry, the

0:20:10.520 --> 0:20:13.000
<v Speaker 1>Stones managed to cut a version of It's All Over Now,

0:20:13.040 --> 0:20:16.240
<v Speaker 1>which became their first UK number one single in nineteen

0:20:16.280 --> 0:20:20.280
<v Speaker 1>sixty four. More tours and singles followed Little Red Rooster,

0:20:20.800 --> 0:20:23.520
<v Speaker 1>which Brian Jones was dismayed to find the band had

0:20:23.560 --> 0:20:24.720
<v Speaker 1>recorded without him.

0:20:25.040 --> 0:20:27.320
<v Speaker 2>He showed up to a session with only himself on

0:20:27.440 --> 0:20:31.400
<v Speaker 2>engineer and Jagger's instructions on where to put his slide fills.

0:20:31.720 --> 0:20:34.800
<v Speaker 1>Wow, writing is on the wall because Brian Jones was

0:20:35.040 --> 0:20:37.440
<v Speaker 1>the founder of this band and the leader of it

0:20:37.560 --> 0:20:42.200
<v Speaker 1>for the early years. That's not nice, yeh.

0:20:42.600 --> 0:20:44.760
<v Speaker 2>On April twenty third and nineteen sixty five, the band

0:20:44.840 --> 0:20:47.600
<v Speaker 2>kicked off their third tour of North America, the first

0:20:47.600 --> 0:20:48.880
<v Speaker 2>of two that year.

0:20:49.000 --> 0:20:52.080
<v Speaker 1>Yeah, they really grounded out. They did several tours of

0:20:52.119 --> 0:20:54.080
<v Speaker 1>the UK and Ireland that same year.

0:20:54.160 --> 0:20:56.960
<v Speaker 2>It's pretty nuts. They'd had two top ten hits at

0:20:57.000 --> 0:20:59.840
<v Speaker 2>this time the last time and time is on my side.

0:21:00.240 --> 0:21:02.240
<v Speaker 2>These were a respectable showing, but in the rankings of

0:21:02.280 --> 0:21:06.240
<v Speaker 2>the British Invasion, they still notched below Herman's Hermits, who

0:21:06.320 --> 0:21:10.119
<v Speaker 2>scored big with Missus Brown You've got a Lovely Daughter.

0:21:10.040 --> 0:21:12.280
<v Speaker 1>Truly dreadful song. Even I can't put a good face

0:21:12.280 --> 0:21:12.520
<v Speaker 1>on that.

0:21:12.760 --> 0:21:16.040
<v Speaker 2>This bell You've got a Lovely Daughter.

0:21:16.880 --> 0:21:18.879
<v Speaker 1>That's the kind of song that gives, like mid sixties

0:21:18.920 --> 0:21:20.800
<v Speaker 1>Mersey beat songs, a bad.

0:21:20.680 --> 0:21:25.480
<v Speaker 2>Yeah yeah yeah. Lead singer Peter Noon was considered a

0:21:25.520 --> 0:21:30.639
<v Speaker 2>younger cuter jagger clomb and he looked also something like JFK,

0:21:31.080 --> 0:21:35.000
<v Speaker 2>which helped the Hermit and his Hermits actually get distribution

0:21:35.359 --> 0:21:39.320
<v Speaker 2>in the US. Herman's Hermits sold more tickets than the

0:21:39.359 --> 0:21:44.560
<v Speaker 2>Stones and the Beatles combined over the next year, supposedly, which,

0:21:44.560 --> 0:21:48.439
<v Speaker 2>as you can imagine, is an insane thing. The Stones

0:21:48.480 --> 0:21:50.560
<v Speaker 2>shared concert bills with them in this period, and Mick

0:21:50.640 --> 0:21:53.639
<v Speaker 2>always hated them. Herman's Hermits were in the top of

0:21:53.680 --> 0:21:55.440
<v Speaker 2>the bill and we were second, and there was some

0:21:55.560 --> 0:21:58.520
<v Speaker 2>argument about the dressing rooms. Herman was complaining because his

0:21:58.640 --> 0:22:00.920
<v Speaker 2>wasn't big enough. There were and he was top of

0:22:00.960 --> 0:22:04.080
<v Speaker 2>the bill because Herman's Hermits were huge, and the most

0:22:04.080 --> 0:22:07.040
<v Speaker 2>impossible thing was going out to have a Hamburger and

0:22:07.119 --> 0:22:10.480
<v Speaker 2>some guy would go, are you guys Herman Hermits? It

0:22:10.520 --> 0:22:15.320
<v Speaker 2>would it would kill us. We'd say, you Herman Hermit's is.

0:22:15.280 --> 0:22:21.080
<v Speaker 1>S Herbman's Emmitts. Is so funny because they are truly, truly,

0:22:21.320 --> 0:22:23.520
<v Speaker 1>maybe second only to Freddie and the Dreamers, like the

0:22:23.520 --> 0:22:27.960
<v Speaker 1>most saccherin pop group of the sixties, but they would

0:22:28.040 --> 0:22:32.080
<v Speaker 1>always be the headlining act for these future rock legends.

0:22:32.160 --> 0:22:34.359
<v Speaker 1>You've got the Stones, and then they also went on

0:22:34.440 --> 0:22:37.520
<v Speaker 1>tour with The Who a little later in nineteen sixty seven,

0:22:37.520 --> 0:22:42.960
<v Speaker 1>and the famous story of the Who trashing a holiday inn.

0:22:43.119 --> 0:22:44.280
<v Speaker 2>In I want to say Flint.

0:22:44.320 --> 0:22:47.399
<v Speaker 1>I think it was in Flint, and you know became

0:22:47.520 --> 0:22:51.080
<v Speaker 1>like ground zero for rock bands trashing hotels. That was

0:22:51.080 --> 0:22:52.920
<v Speaker 1>when they were on like a Hermit's Hermit's tour, and

0:22:52.960 --> 0:22:55.320
<v Speaker 1>there's pictures of like Peter Noon of Herman's Hermet's like

0:22:55.400 --> 0:22:58.800
<v Speaker 1>in the background as this holiday inn's getting torn apart.

0:22:58.840 --> 0:23:01.879
<v Speaker 1>So it's just hilarious. But like the squeaky cleanest group

0:23:02.000 --> 0:23:04.879
<v Speaker 1>of the British Invasion are evolved of all these like

0:23:05.080 --> 0:23:06.840
<v Speaker 1>really nasty guys and.

0:23:06.880 --> 0:23:11.639
<v Speaker 2>In Flint too, like it doesn't have enough problems. Despite this,

0:23:11.720 --> 0:23:14.120
<v Speaker 2>these early tours were remembered as a happy period before

0:23:14.200 --> 0:23:16.680
<v Speaker 2>drugs and serious financial pressures took hold of the group.

0:23:17.200 --> 0:23:21.560
<v Speaker 2>Photographer Jared with A g Mankowitz offered this evocative passage

0:23:21.600 --> 0:23:24.200
<v Speaker 2>to Rich Cohen in his twenty sixteen book The Sun

0:23:24.320 --> 0:23:27.080
<v Speaker 2>and the Moon and the Rolling Stones. That was the

0:23:27.119 --> 0:23:31.679
<v Speaker 2>best time, Gerer jid manco Witz said, because we were

0:23:31.720 --> 0:23:34.320
<v Speaker 2>still a gang. We didn't have that luxury or sophistication.

0:23:34.640 --> 0:23:36.760
<v Speaker 2>We didn't have backup bands. We didn't have sound checks

0:23:36.840 --> 0:23:39.560
<v Speaker 2>or lightings. We just had each other. It was primitive

0:23:39.600 --> 0:23:42.159
<v Speaker 2>and it was fantastic. One night we camped out on

0:23:42.160 --> 0:23:44.840
<v Speaker 2>the Apache Reservation outside Phoenix. It was like something out

0:23:44.880 --> 0:23:47.440
<v Speaker 2>of The Lone Ranger. We slept under the stars, cooked

0:23:47.480 --> 0:23:50.359
<v Speaker 2>on a fire. Keith bought us all guns and Stetson's

0:23:50.840 --> 0:23:54.359
<v Speaker 2>that whips. Yeah, sorry, I never did that for you guys.

0:23:55.960 --> 0:23:57.960
<v Speaker 2>The biggest pressure making Keith had to deal with was

0:23:58.000 --> 0:24:00.920
<v Speaker 2>to write the songs that kept their whole thing going.

0:24:00.960 --> 0:24:04.199
<v Speaker 2>Of course, though Jared with the g Mankowitz continued, we

0:24:04.280 --> 0:24:06.720
<v Speaker 2>traveled at night. They'd come off the stage, go into

0:24:06.760 --> 0:24:09.840
<v Speaker 2>the limo and straight to the airport. We'd fly until two, three,

0:24:09.960 --> 0:24:12.840
<v Speaker 2>four am, check into some dump. Nobody to welcome us,

0:24:12.840 --> 0:24:15.920
<v Speaker 2>nothing open, no food, Dadsville. The bulk of the tour

0:24:16.040 --> 0:24:18.320
<v Speaker 2>was like that. You do the show, you're gone. And

0:24:18.359 --> 0:24:20.639
<v Speaker 2>in all the in between times Mick and Keith were working.

0:24:20.800 --> 0:24:23.440
<v Speaker 2>They had orders to come up with material and struggled

0:24:23.440 --> 0:24:26.480
<v Speaker 2>because the schedule wasn't conducive, but they pushed through, taking

0:24:26.520 --> 0:24:28.879
<v Speaker 2>down the ideas wherever they came. You'd see them all

0:24:28.880 --> 0:24:32.160
<v Speaker 2>the time, jotting little notes. Throughout the tour. Mick would

0:24:32.200 --> 0:24:34.120
<v Speaker 2>later say that on the road was quote the best

0:24:34.119 --> 0:24:36.520
<v Speaker 2>place to write because you're totally into it. You get

0:24:36.560 --> 0:24:38.359
<v Speaker 2>back from a show, have something to eat, have a

0:24:38.359 --> 0:24:40.360
<v Speaker 2>few beers, and just go into your room and write.

0:24:40.720 --> 0:24:43.000
<v Speaker 2>I used to write about twelve songs in two weeks

0:24:43.000 --> 0:24:46.280
<v Speaker 2>on tour. They give you lots of ideas. The germ

0:24:46.320 --> 0:24:48.359
<v Speaker 2>of the songs usually came from Keith, who played old

0:24:48.359 --> 0:24:50.960
<v Speaker 2>blues legs which were then morph into something new over

0:24:51.000 --> 0:24:54.040
<v Speaker 2>which he'd sing wordless vowel sounds, which is just like

0:24:54.080 --> 0:24:57.680
<v Speaker 2>the strategy that literally everyone has in case you ever

0:24:57.680 --> 0:24:59.399
<v Speaker 2>want to know how to write a song, which the

0:24:59.600 --> 0:25:02.080
<v Speaker 2>just kind of to jam around and then you sing

0:25:02.720 --> 0:25:07.480
<v Speaker 2>nonsense stuff over it. That's what Lenin did. There's when

0:25:07.520 --> 0:25:11.040
<v Speaker 2>they they did that Bermuda box set. Oh yeah. Some

0:25:11.080 --> 0:25:14.080
<v Speaker 2>of the audio files where him like working on Watching

0:25:14.080 --> 0:25:18.000
<v Speaker 2>the Wheels and maybe Beautiful Boy too, and it's literally

0:25:18.080 --> 0:25:20.919
<v Speaker 2>just him banging out chords in a cycle until he

0:25:20.920 --> 0:25:23.080
<v Speaker 2>finds the core progression he likes and that he's just

0:25:23.240 --> 0:25:25.719
<v Speaker 2>singing gibberish over it, and then the rest is just

0:25:25.880 --> 0:25:29.040
<v Speaker 2>set dressing. Keith Richard's My favorite bit of studio advice

0:25:29.080 --> 0:25:32.919
<v Speaker 2>from him is add something new every thirty seconds. Huh.

0:25:33.720 --> 0:25:37.240
<v Speaker 1>That almost sounds stupid, but it's actually very smart.

0:25:37.640 --> 0:25:41.400
<v Speaker 2>It's great, great advice. Yeah, it keeps people's ears attuned.

0:25:43.160 --> 0:25:47.399
<v Speaker 2>So this process Valeve movement, Valel movements. So Keith and

0:25:47.800 --> 0:25:51.800
<v Speaker 2>Keith and Mick taking Valel movements is more or less

0:25:51.800 --> 0:25:54.840
<v Speaker 2>where we got satisfaction from. It was completed on tour

0:25:54.880 --> 0:25:57.600
<v Speaker 2>at the Fort Hotel in Clearwater, Florida, after the band

0:25:57.640 --> 0:26:00.280
<v Speaker 2>played a gig at the nearby Jack Russell Stadium, named

0:26:00.280 --> 0:26:00.680
<v Speaker 2>after the.

0:26:00.640 --> 0:26:02.000
<v Speaker 1>Dog that's a great question.

0:26:02.200 --> 0:26:04.840
<v Speaker 2>According to an article in the Saint Petersburg Times, about

0:26:04.840 --> 0:26:07.439
<v Speaker 2>two hundred young fans got into an altercation with a

0:26:07.440 --> 0:26:10.119
<v Speaker 2>line of police officers at the show. Hell Yeah, and

0:26:10.160 --> 0:26:13.000
<v Speaker 2>the Stones made it through just four songs as chaos

0:26:13.119 --> 0:26:15.480
<v Speaker 2>ensued and they were forced to flee in a white

0:26:15.520 --> 0:26:17.640
<v Speaker 2>station wagon like a white Bronco.

0:26:18.760 --> 0:26:20.840
<v Speaker 1>I regret to inform you the Jack Russell as a

0:26:20.880 --> 0:26:22.040
<v Speaker 1>baseball player.

0:26:22.160 --> 0:26:25.600
<v Speaker 2>Ah lame. While only a small fraction of the estimated

0:26:25.640 --> 0:26:29.040
<v Speaker 2>three to four thousand attendees caused chaos, the frenzy was

0:26:29.160 --> 0:26:32.200
<v Speaker 2>enough to push a local recreation director to his limit.

0:26:32.960 --> 0:26:35.560
<v Speaker 2>What a high limit that must have been. That's it,

0:26:35.800 --> 0:26:38.600
<v Speaker 2>he declared, There will never be another show like this

0:26:39.000 --> 0:26:42.760
<v Speaker 2>as long as I'm here at the Jack Russell Stadium.

0:26:43.720 --> 0:26:46.280
<v Speaker 1>Well, it was during their stay in Clearwater, Florida that

0:26:46.400 --> 0:26:49.720
<v Speaker 1>Keith Richards presented Mick with the infamous riff that we

0:26:49.800 --> 0:26:53.680
<v Speaker 1>all know and love for satisfaction. As per rock legend,

0:26:54.080 --> 0:26:57.399
<v Speaker 1>it came to him in a dream. However, the timing

0:26:57.440 --> 0:26:59.240
<v Speaker 1>and location of the stream has been the source of

0:26:59.320 --> 0:27:00.760
<v Speaker 1>much speculation.

0:27:00.200 --> 0:27:00.760
<v Speaker 2>Over the years.

0:27:01.280 --> 0:27:04.200
<v Speaker 1>I've seen it written that the dream actually occurred at

0:27:04.200 --> 0:27:07.600
<v Speaker 1>this very same hotel in Clearwater, Florida, but I suspect

0:27:08.200 --> 0:27:11.880
<v Speaker 1>that the tales evolved that way purely for economy of storytelling.

0:27:12.440 --> 0:27:15.000
<v Speaker 1>I've also heard that this dream occurred at his apartment

0:27:15.160 --> 0:27:18.560
<v Speaker 1>or his flat if you will, in Chelsea, his room

0:27:18.560 --> 0:27:21.240
<v Speaker 1>at the London Hilton, or a different flat in the

0:27:21.320 --> 0:27:22.320
<v Speaker 1>Saint John's.

0:27:21.960 --> 0:27:23.720
<v Speaker 2>Wood neighborhood of North London.

0:27:24.800 --> 0:27:27.000
<v Speaker 1>The latter spot is what Keith himself cites in his

0:27:27.080 --> 0:27:30.280
<v Speaker 1>twenty ten memoir Life, So let's go with that, and

0:27:30.320 --> 0:27:32.800
<v Speaker 1>the dream likely took place at some point in early

0:27:32.840 --> 0:27:36.680
<v Speaker 1>nineteen sixty five. But regardless of location, the substance of

0:27:36.720 --> 0:27:39.600
<v Speaker 1>the story is always the same. He's told it hundreds

0:27:39.640 --> 0:27:41.840
<v Speaker 1>of times over the years, but this is perhaps one

0:27:41.840 --> 0:27:44.960
<v Speaker 1>of my favorite versions from his appearance on NPR's Fresh Air.

0:27:45.840 --> 0:27:48.040
<v Speaker 1>I wish all songs would come this way, where you

0:27:48.160 --> 0:27:50.400
<v Speaker 1>just dream them and then the next morning there they are.

0:27:50.880 --> 0:27:54.159
<v Speaker 1>Satisfaction was a miracle that took place. I have one

0:27:54.200 --> 0:27:57.600
<v Speaker 1>of the first little cassette players, Arauco or Phillips. It

0:27:57.720 --> 0:28:00.600
<v Speaker 1>was a fascinating little machine to me, a set player

0:28:00.640 --> 0:28:03.080
<v Speaker 1>where you could actually lay ideas down wherever you were.

0:28:03.880 --> 0:28:05.920
<v Speaker 1>I set the machine up and put in a fresh tape.

0:28:06.520 --> 0:28:09.000
<v Speaker 1>I go to bed as usual with my guitar, and

0:28:09.040 --> 0:28:11.359
<v Speaker 1>I wake up the next morning and see the tape

0:28:11.440 --> 0:28:14.680
<v Speaker 1>is run till the very end. And I said, well,

0:28:14.760 --> 0:28:17.360
<v Speaker 1>I didn't do anything. Maybe I hit the button while

0:28:17.359 --> 0:28:19.679
<v Speaker 1>I was asleep, So I put it back to the

0:28:19.680 --> 0:28:22.760
<v Speaker 1>beginning and pushed play, and there was sort of a

0:28:22.800 --> 0:28:32.359
<v Speaker 1>ghostly version of Then after that, there's forty minutes of

0:28:32.400 --> 0:28:37.119
<v Speaker 1>me snoring. The forty minutes is always very specific, and

0:28:37.160 --> 0:28:40.160
<v Speaker 1>he's retelling of this, Yeah, it's always forty minutes.

0:28:40.320 --> 0:28:42.080
<v Speaker 2>I always like that. He notes that he sleeps us

0:28:42.120 --> 0:28:44.120
<v Speaker 2>with his guitar, which is like one of the bits

0:28:44.120 --> 0:28:48.400
<v Speaker 2>of advice that he gives in life. He's like, literally,

0:28:48.440 --> 0:28:49.360
<v Speaker 2>sleep with your guitar.

0:28:49.920 --> 0:28:51.640
<v Speaker 1>Oh yeah, No. When I was working on that Rolling

0:28:51.640 --> 0:28:54.400
<v Speaker 1>Stones show, one of the guys that I worked with

0:28:54.440 --> 0:28:57.720
<v Speaker 1>on it was this Rolling Stone magazine journalist Robert Greenfield,

0:28:57.720 --> 0:29:01.720
<v Speaker 1>and he lived with Keith at nellcut the the mansion

0:29:02.320 --> 0:29:05.280
<v Speaker 1>on the French Riviera where they were recording Excel on

0:29:05.320 --> 0:29:09.240
<v Speaker 1>Main Street, and he said, yeah, Keith truly did sleep

0:29:09.280 --> 0:29:11.320
<v Speaker 1>with his guitar. He would go into the toilet with

0:29:11.360 --> 0:29:13.520
<v Speaker 1>it like he was never without this guitar.

0:29:14.360 --> 0:29:18.080
<v Speaker 2>Awesome, Yeah, that's what you That's the attitude it.

0:29:18.040 --> 0:29:21.000
<v Speaker 1>Is, you know, Keith Richards in every sense it is

0:29:21.080 --> 0:29:23.720
<v Speaker 1>not a quitter. Ah.

0:29:26.200 --> 0:29:30.600
<v Speaker 2>So in his autobiography Life, Richards also id'd this legendary

0:29:30.680 --> 0:29:33.600
<v Speaker 2>recorder as a Phillips and it was actually pretty novel

0:29:33.760 --> 0:29:36.680
<v Speaker 2>at the time. It had been released by the Phillips

0:29:36.720 --> 0:29:40.520
<v Speaker 2>Corporation because they were trying to develop an engineer there

0:29:40.680 --> 0:29:43.320
<v Speaker 2>or head of development there named lou Auten's was attempting

0:29:43.320 --> 0:29:46.920
<v Speaker 2>to slim down the possibilities for mobile recording. Prior to this,

0:29:46.960 --> 0:29:49.520
<v Speaker 2>we're talking real to world tape units. You know, when

0:29:49.800 --> 0:29:52.680
<v Speaker 2>Alan Lomax went and did his famous Southern Journey in

0:29:52.680 --> 0:29:55.240
<v Speaker 2>this whole contraption that he had to carry around in

0:29:55.240 --> 0:29:58.400
<v Speaker 2>his car to record people was like sixty seventy pounds.

0:29:58.960 --> 0:30:02.400
<v Speaker 2>So qu Autins was walking through the halls of Phillips

0:30:02.400 --> 0:30:05.360
<v Speaker 2>Development with like a carved block of wood roughly the

0:30:05.360 --> 0:30:08.680
<v Speaker 2>size of the completed project, and telling everyone work on it. Okay,

0:30:09.240 --> 0:30:13.120
<v Speaker 2>the internal real toil of the cassette tape has to

0:30:13.160 --> 0:30:16.440
<v Speaker 2>fit in this. So basically portability and size were the

0:30:16.480 --> 0:30:20.160
<v Speaker 2>first priority there. So Richard's exact model of Phillips recorders

0:30:20.160 --> 0:30:22.560
<v Speaker 2>believed to have been an e L thirty three oh two,

0:30:22.960 --> 0:30:29.880
<v Speaker 2>which utilized germanium transistors. We will return to germanium transistors later.

0:30:30.680 --> 0:30:34.040
<v Speaker 2>I think small, Wow, Yeah, it looks it's quite portable.

0:30:34.840 --> 0:30:39.640
<v Speaker 2>But Richard's beyond using it to rescue satisfaction from the

0:30:39.680 --> 0:30:44.280
<v Speaker 2>realms of the subconscious. He basically ended up anchoring several

0:30:44.360 --> 0:30:47.960
<v Speaker 2>Stones classics just with this device, he told the Wall

0:30:48.000 --> 0:30:50.120
<v Speaker 2>Street Journal and an interview. I began to think of

0:30:50.160 --> 0:30:52.360
<v Speaker 2>the machine not as a dictation advice, but as a

0:30:52.400 --> 0:30:55.720
<v Speaker 2>mini recording studio. I just couldn't use an electric guitar

0:30:55.760 --> 0:30:58.520
<v Speaker 2>to record on it. The sound just overwhelmed the mic

0:30:58.560 --> 0:31:01.520
<v Speaker 2>and speaker. I tried to an acoustic guitar instead and

0:31:01.600 --> 0:31:04.920
<v Speaker 2>got this dry crips guitar sound on the tape the

0:31:04.960 --> 0:31:07.800
<v Speaker 2>exact sound I'd been looking for. At the time, I

0:31:07.840 --> 0:31:10.440
<v Speaker 2>was experimenting with open tunings on the guitar, you know,

0:31:10.520 --> 0:31:12.760
<v Speaker 2>tuning the strings to form specific chords so I could

0:31:12.800 --> 0:31:15.640
<v Speaker 2>bang out the broadest possible sound. That's how I came

0:31:15.720 --> 0:31:23.720
<v Speaker 2>up with Street Fighting Man's opening riff. Sometime in early

0:31:23.800 --> 0:31:26.920
<v Speaker 2>sixty eight, I took the Phillips recorder into London's Olympic

0:31:27.000 --> 0:31:30.920
<v Speaker 2>Sound Studio and had Charlie Watts meet me there. Charlie

0:31:31.000 --> 0:31:33.200
<v Speaker 2>had a snap drum kit that was made in the

0:31:33.240 --> 0:31:36.960
<v Speaker 2>nineteen thirties. Jazz drummers used to carry around this kit,

0:31:37.000 --> 0:31:40.200
<v Speaker 2>which folded into a suitcase to practice while they were

0:31:40.200 --> 0:31:42.360
<v Speaker 2>on the bus of the train, and had a little

0:31:42.400 --> 0:31:45.440
<v Speaker 2>spring up high hat and a half sized tambourine for

0:31:45.480 --> 0:31:48.640
<v Speaker 2>a snare. It was perfect because, like the acoustic guitar,

0:31:49.040 --> 0:31:52.080
<v Speaker 2>it wouldn't overpower the recorder's mike. Everyone do yourself a

0:31:52.080 --> 0:31:55.560
<v Speaker 2>favor and google this thing. It's like embarrassing what it

0:31:55.600 --> 0:31:59.760
<v Speaker 2>actually looks like. So he said, he had Charlie sit

0:31:59.840 --> 0:32:01.560
<v Speaker 2>right next to the mic with his little kit, and

0:32:01.600 --> 0:32:04.240
<v Speaker 2>then Keith just kneeled on the floor next to him

0:32:04.240 --> 0:32:08.360
<v Speaker 2>with an acoustic a Gibson Hummingbird big guitar, and then

0:32:08.520 --> 0:32:10.280
<v Speaker 2>he says, there we were in front of this little box,

0:32:10.320 --> 0:32:13.240
<v Speaker 2>hammering away, and after we listened to playback, the sound

0:32:13.320 --> 0:32:16.120
<v Speaker 2>was perfect. He also explains a little bit more about

0:32:16.120 --> 0:32:17.680
<v Speaker 2>the sound he got out of the Phillips in his

0:32:17.840 --> 0:32:22.120
<v Speaker 2>autobiography Life Playing an acoustic You'd overload the Phillips cassette

0:32:22.120 --> 0:32:24.440
<v Speaker 2>player to the point of distortion, so that when it

0:32:24.480 --> 0:32:27.680
<v Speaker 2>played back it was effectively an electric guitar. You were

0:32:27.760 --> 0:32:30.320
<v Speaker 2>using the cassette player as a pickup and an amplifier

0:32:30.320 --> 0:32:33.880
<v Speaker 2>at the same time. Forcing acoustic guitars through a cassette

0:32:33.880 --> 0:32:36.840
<v Speaker 2>player made what came out the other end electric as hell.

0:32:38.040 --> 0:32:40.440
<v Speaker 2>In the studio, I plugged the cassette into a little

0:32:40.480 --> 0:32:42.680
<v Speaker 2>extension speaker and put a microphone in front of the

0:32:42.720 --> 0:32:45.040
<v Speaker 2>extension speaker so it had a little bit more breadth

0:32:45.080 --> 0:32:47.680
<v Speaker 2>and depth, and put that onto tape. That was the

0:32:47.720 --> 0:32:50.960
<v Speaker 2>basic track. There are no electric instruments on Street Fighting

0:32:50.960 --> 0:32:53.520
<v Speaker 2>Man at all, apart from the bass, which I overdubbed later.

0:32:53.880 --> 0:32:57.320
<v Speaker 2>They're all acoustic guitars. Even the solo that we're like

0:32:57.440 --> 0:33:01.880
<v Speaker 2>Wow sounds almost like a siren. Which I think was

0:33:01.920 --> 0:33:11.120
<v Speaker 2>the point. Oh yeah, I know you're right. Yeah yeah,

0:33:11.280 --> 0:33:14.400
<v Speaker 2>I don't know. I'd have to dive into the true

0:33:14.440 --> 0:33:17.640
<v Speaker 2>granularity of that. But maybe it maybe it was an

0:33:17.640 --> 0:33:21.560
<v Speaker 2>acoustic guitar. But sadly the e L thirty three two

0:33:21.840 --> 0:33:25.440
<v Speaker 2>as a studio tool had a limited shelf life because

0:33:26.480 --> 0:33:30.160
<v Speaker 2>Phillips put a limitter on the device soon after in

0:33:30.200 --> 0:33:33.000
<v Speaker 2>its production run, so that you couldn't overload it. As

0:33:33.120 --> 0:33:35.880
<v Speaker 2>Keith says, just as you're getting off on something, they

0:33:35.880 --> 0:33:39.640
<v Speaker 2>put a lock on it. But this is actually what's

0:33:39.680 --> 0:33:43.560
<v Speaker 2>really wild about how he did this. For Street Fight,

0:33:43.680 --> 0:33:47.000
<v Speaker 2>Man Jumping Jack, Flash, Gimme Shelter. He would do what

0:33:47.080 --> 0:33:49.240
<v Speaker 2>he was suggesting, which is just play this acoustic guitar

0:33:49.880 --> 0:33:53.280
<v Speaker 2>into the tape recorder, but then he would overdob up

0:33:53.280 --> 0:33:56.560
<v Speaker 2>to like eight other guitars on this And that's why

0:33:56.600 --> 0:33:59.800
<v Speaker 2>the guitar sound is so full on those, because I

0:33:59.800 --> 0:34:02.600
<v Speaker 2>think on Street Fighting, he says, it's up to eight.

0:34:03.600 --> 0:34:04.520
<v Speaker 2>Back to you, Jordan.

0:34:06.040 --> 0:34:08.120
<v Speaker 1>So back to the morning that Keith Richards wakes up

0:34:08.120 --> 0:34:11.279
<v Speaker 1>after having dreamed the satisfaction riff. He plays it back,

0:34:11.719 --> 0:34:15.440
<v Speaker 1>he hears the ghostly No, I think it was just

0:34:15.520 --> 0:34:17.799
<v Speaker 1>those five notes I don't even think it was the

0:34:17.840 --> 0:34:22.080
<v Speaker 1>descending part. And at first he was really worried that

0:34:22.160 --> 0:34:25.040
<v Speaker 1>it was too close to a recent Motown hit, Dancing

0:34:25.080 --> 0:34:27.920
<v Speaker 1>in the Street by Martha and the Vandellas.

0:34:28.719 --> 0:34:35.319
<v Speaker 4>Dum oh, yeah, I can kind of hear it.

0:34:35.760 --> 0:34:36.080
<v Speaker 2>Sure.

0:34:36.560 --> 0:34:40.319
<v Speaker 1>Ultimately he decided that was fine. He perhaps recalled that

0:34:40.360 --> 0:34:42.439
<v Speaker 1>the Love and Spoonful was worried that the riff would

0:34:42.480 --> 0:34:44.880
<v Speaker 1>You Believe In Magic? Was a sped up version of

0:34:44.880 --> 0:34:47.719
<v Speaker 1>another Martha and the Vendela's hit, heat Wave, and no

0:34:47.760 --> 0:34:49.719
<v Speaker 1>one seemed to care. So maybe he was like, if

0:34:49.719 --> 0:34:52.160
<v Speaker 1>it's good enough for Love and Spoonful, it's good enough

0:34:52.160 --> 0:34:52.360
<v Speaker 1>for me.

0:34:53.040 --> 0:35:13.640
<v Speaker 2>That's often what I say. It is kind of the

0:35:13.640 --> 0:35:14.640
<v Speaker 2>same core progression.

0:35:15.239 --> 0:35:19.360
<v Speaker 1>Fine, yeah, Keith put the tape into an envelope marked

0:35:19.520 --> 0:35:24.520
<v Speaker 1>can't get no Satisfaction, which in some retellings he drowsily.

0:35:24.080 --> 0:35:26.720
<v Speaker 2>Sang on the tape too, just like mumbled.

0:35:26.360 --> 0:35:29.759
<v Speaker 1>Something about can't get anice satisfaction. I've heard two different

0:35:29.840 --> 0:35:31.959
<v Speaker 1>versions of either just the riff or that he did sing.

0:35:32.239 --> 0:35:35.200
<v Speaker 1>I've never heard the sleep demo, as I choose to

0:35:35.239 --> 0:35:37.520
<v Speaker 1>call it. I would It's got to be in like

0:35:37.560 --> 0:35:40.080
<v Speaker 1>some kind of like fireproof safe somewhere, like do you

0:35:40.080 --> 0:35:43.520
<v Speaker 1>think it exists? I still I would like to think so,

0:35:43.640 --> 0:35:45.879
<v Speaker 1>because that's like very I want to believe it's really

0:35:45.920 --> 0:35:48.040
<v Speaker 1>high on my list of it belongs to the museum

0:35:48.080 --> 0:35:50.399
<v Speaker 1>type things. But oh for sure, I could also see

0:35:50.440 --> 0:35:52.320
<v Speaker 1>as like a twenty something year old musician on the

0:35:52.400 --> 0:35:55.600
<v Speaker 1>road with probably one, maybe two cassette tapes just like

0:35:56.280 --> 0:35:59.040
<v Speaker 1>just overdubbed it, especially with all of us snoring on it,

0:35:59.160 --> 0:36:02.040
<v Speaker 1>like because there's we'll talk about he really was not

0:36:02.239 --> 0:36:05.680
<v Speaker 1>all that taken with this riff or this song it took.

0:36:05.760 --> 0:36:09.040
<v Speaker 1>He's probably of everybody in the Stones, the person who

0:36:09.160 --> 0:36:11.000
<v Speaker 1>likes it the least, second.

0:36:10.640 --> 0:36:12.280
<v Speaker 2>Maybe to Brian Jones, I guess, but we'll.

0:36:12.160 --> 0:36:15.439
<v Speaker 1>Get there, Sode I can't get no satisfaction line?

0:36:15.440 --> 0:36:16.600
<v Speaker 2>Where did that come from?

0:36:17.440 --> 0:36:19.719
<v Speaker 1>He's never explained the origin of the phrase himself, but

0:36:19.800 --> 0:36:22.880
<v Speaker 1>in a Rolling Stone magazine interview years later, Mick Jagger

0:36:22.960 --> 0:36:26.680
<v Speaker 1>theorized that Keith was probably influenced by Chuck Berry's Thirty Days,

0:36:27.080 --> 0:36:30.160
<v Speaker 1>which includes the lyric if I don't get no satisfaction

0:36:30.280 --> 0:36:33.560
<v Speaker 1>from the judge. Jagger explained Keith might have heard it

0:36:33.600 --> 0:36:36.120
<v Speaker 1>back then because it's not any way an English person

0:36:36.160 --> 0:36:38.360
<v Speaker 1>would have expressed it. Yeah, I'm not saying he purposely

0:36:38.440 --> 0:36:41.600
<v Speaker 1>nicked anything, but we played those records a lot. And

0:36:41.640 --> 0:36:44.360
<v Speaker 1>it's also been theorized that another inspiration for the line

0:36:44.400 --> 0:36:48.080
<v Speaker 1>was Muddy Water's nineteen forty eight song Ib's Troubled, which

0:36:48.120 --> 0:36:51.920
<v Speaker 1>contains the line I'm never being satisfied and I just

0:36:52.000 --> 0:36:53.160
<v Speaker 1>can't keep from crying.

0:36:53.360 --> 0:36:55.799
<v Speaker 2>I mean, Muddy Water is saying something about being satisfied

0:36:55.840 --> 0:36:58.640
<v Speaker 2>in like every one of his songs. He just loves

0:36:58.680 --> 0:37:04.399
<v Speaker 2>being satisfied or was constantly unsatisfied. That's true. Yeah, which

0:37:04.440 --> 0:37:06.960
<v Speaker 2>one are you? Let's not go there.

0:37:08.280 --> 0:37:10.960
<v Speaker 1>Keith has been very open about discussing the possibility that

0:37:11.160 --> 0:37:15.760
<v Speaker 1>artists are less composers than mediums channeling energy from beyond

0:37:15.840 --> 0:37:16.480
<v Speaker 1>you and I talk.

0:37:16.320 --> 0:37:17.760
<v Speaker 2>About this a lot.

0:37:17.840 --> 0:37:20.840
<v Speaker 1>Robert Hunter, the lyricists for The Grateful Dead, as fast

0:37:20.840 --> 0:37:23.279
<v Speaker 1>as the ped would pull you, pulled the idea.

0:37:23.000 --> 0:37:23.600
<v Speaker 2>Out of the ether.

0:37:24.040 --> 0:37:26.800
<v Speaker 1>But it's also worth noting that there's a surprisingly long

0:37:26.880 --> 0:37:30.560
<v Speaker 1>wiki list of art that supposedly sprung from dreams.

0:37:31.080 --> 0:37:32.799
<v Speaker 2>Oh, I bet you're gonna tell us about it, Yes,

0:37:32.840 --> 0:37:33.120
<v Speaker 2>i am.

0:37:33.160 --> 0:37:34.480
<v Speaker 1>There's a few here that surprised me.

0:37:34.560 --> 0:37:35.880
<v Speaker 2>Well, this first one didn't surprise me.

0:37:36.400 --> 0:37:39.480
<v Speaker 1>The most famous example to me as the Beatles guy,

0:37:40.480 --> 0:37:44.800
<v Speaker 1>is Yesterday. In early nineteen sixty five, probably around the

0:37:44.840 --> 0:37:48.400
<v Speaker 1>same time that Keith had his satisfaction dream, Paul McCartney

0:37:48.400 --> 0:37:51.000
<v Speaker 1>woke up with the tune to Yesterday in his head.

0:37:51.120 --> 0:37:54.640
<v Speaker 2>You just can't give them anything. No, we don't know.

0:37:54.640 --> 0:37:59.200
<v Speaker 1>Which one came first, though, we don't know. I mean, honestly,

0:37:59.480 --> 0:38:02.680
<v Speaker 1>if history he's anything to go by, the Beatles probably

0:38:02.719 --> 0:38:03.440
<v Speaker 1>did it first.

0:38:06.320 --> 0:38:10.319
<v Speaker 2>I begrudgingly concede that parts yes, yes, yes, yeah.

0:38:10.320 --> 0:38:13.200
<v Speaker 1>Paul McCartney was living in a little artist garrett on

0:38:13.239 --> 0:38:16.080
<v Speaker 1>the top floor of his girlfriend at the time, Jane

0:38:16.120 --> 0:38:19.200
<v Speaker 1>Asher's family's house, and he had a little spin it

0:38:19.280 --> 0:38:21.000
<v Speaker 1>piano by the bed, and he just rolled out of

0:38:21.000 --> 0:38:24.200
<v Speaker 1>bed and kind of found the chords to what became Yesterday,

0:38:24.239 --> 0:38:27.120
<v Speaker 1>And he was so convinced that he'd stolen it from

0:38:27.120 --> 0:38:27.920
<v Speaker 1>an old jazz.

0:38:27.719 --> 0:38:30.279
<v Speaker 2>Tune because his dad really loved old jazz.

0:38:30.040 --> 0:38:33.359
<v Speaker 1>Songs and played piano around the house, that he compulsively

0:38:33.400 --> 0:38:36.160
<v Speaker 1>played the song to anyone and everyone who would listen,

0:38:36.280 --> 0:38:39.400
<v Speaker 1>asking if they knew what this was. And he famously

0:38:39.480 --> 0:38:42.840
<v Speaker 1>used the working title Scrambled Eggs as the dummy lyrics

0:38:43.080 --> 0:38:44.920
<v Speaker 1>when he sang this around to people said.

0:38:44.719 --> 0:38:46.680
<v Speaker 2>He yesterday was scrambled eggs.

0:38:47.520 --> 0:38:51.000
<v Speaker 1>Years later, he admitted that the lyrics were probably a

0:38:51.000 --> 0:38:54.680
<v Speaker 1>lot of processing is grief around his late mother. He

0:38:54.719 --> 0:38:56.840
<v Speaker 1>once made fun of the way she spoke, which he

0:38:56.920 --> 0:38:59.360
<v Speaker 1>regretted the rest of his life. And he reflected on

0:38:59.400 --> 0:39:02.960
<v Speaker 1>the line said something wrong. Now I long for yesterday

0:39:03.360 --> 0:39:06.760
<v Speaker 1>as maybe having its origins in that trauma. So yeah,

0:39:06.880 --> 0:39:11.040
<v Speaker 1>dreams way we process unresolved feelings, un resolved issues. Trauma

0:39:11.160 --> 0:39:14.600
<v Speaker 1>is a very real possibility that Yesterday sprung from that

0:39:15.280 --> 0:39:17.600
<v Speaker 1>and we got a second Paul McCartney entry on this list.

0:39:17.640 --> 0:39:18.480
<v Speaker 2>Aren't you lucky?

0:39:18.719 --> 0:39:19.759
<v Speaker 3>Jesus Christ.

0:39:21.040 --> 0:39:22.200
<v Speaker 2>Singing which let it Be?

0:39:22.920 --> 0:39:25.319
<v Speaker 1>Paul McCartney has also claimed that the idea for let

0:39:25.360 --> 0:39:27.240
<v Speaker 1>It Be came to him after a dream.

0:39:27.760 --> 0:39:29.160
<v Speaker 2>Do you think it's just kind of his go to

0:39:29.239 --> 0:39:31.600
<v Speaker 2>explanation when he gets tired of actually talking about how

0:39:31.600 --> 0:39:34.080
<v Speaker 2>he wrote the song, Oh, dream one, there was another

0:39:34.160 --> 0:39:37.600
<v Speaker 2>dream one right there? Let me stop you right there dream.

0:39:37.719 --> 0:39:40.040
<v Speaker 1>He does get weird about talking about where these songs

0:39:40.040 --> 0:39:43.760
<v Speaker 1>came from. There is a n iHeart podcast actually where

0:39:44.440 --> 0:39:46.359
<v Speaker 1>you know the Paul McCartney lyrics book that came out

0:39:46.400 --> 0:39:48.680
<v Speaker 1>a few years ago where he goes like really deep

0:39:48.680 --> 0:39:51.319
<v Speaker 1>into They took tapes from those interviews and made a

0:39:51.360 --> 0:39:53.719
<v Speaker 1>podcast out of it, and it's actually really well done,

0:39:53.800 --> 0:39:55.839
<v Speaker 1>and that's kind of the most in depth I heard

0:39:55.920 --> 0:39:58.640
<v Speaker 1>him talk about truly what he was thinking of when

0:39:58.640 --> 0:40:02.080
<v Speaker 1>he wrote specific lines. It's all my heart, so uh,

0:40:02.360 --> 0:40:05.000
<v Speaker 1>it's worth checking out. But yeah, let it be. He

0:40:05.000 --> 0:40:06.799
<v Speaker 1>said he had a dream where his mother came to

0:40:06.880 --> 0:40:09.040
<v Speaker 1>him during a really tense period when the Beatles were

0:40:09.080 --> 0:40:11.560
<v Speaker 1>starting to split up, and he said, it was great

0:40:11.560 --> 0:40:14.040
<v Speaker 1>to visit with her again. I felt very blessed to

0:40:14.080 --> 0:40:16.520
<v Speaker 1>have that dream, so that got me writing let it Be.

0:40:16.880 --> 0:40:19.520
<v Speaker 2>Unfortunately I made fun of her voice again and she

0:40:19.560 --> 0:40:21.000
<v Speaker 2>hasn't spoken to me since.

0:40:24.480 --> 0:40:24.920
<v Speaker 1>Terrible.

0:40:25.600 --> 0:40:26.840
<v Speaker 2>I'm an awful person.

0:40:27.239 --> 0:40:30.480
<v Speaker 1>In the dream, she supposedly offered words of comfort to

0:40:30.520 --> 0:40:34.520
<v Speaker 1>her son that culminated in the phrase for anyone who

0:40:34.560 --> 0:40:39.440
<v Speaker 1>looks like him.

0:40:39.600 --> 0:40:41.439
<v Speaker 2>That's actually where they got the line in Training Day

0:40:41.440 --> 0:40:45.600
<v Speaker 2>from is the unpublished part of his dream about his mom.

0:40:46.280 --> 0:40:53.040
<v Speaker 2>She said, King Kong ain't got on me. You let

0:40:53.040 --> 0:40:56.800
<v Speaker 2>those motherfuckers be, Paul, I'm gonna put papers on every

0:40:56.800 --> 0:40:59.960
<v Speaker 2>single one of them, on every single one.

0:41:00.200 --> 0:41:04.239
<v Speaker 1>You Another work of art that was supposedly inspired by

0:41:04.239 --> 0:41:07.080
<v Speaker 1>a dream. I didn't know this Mary Shelley's eighteen eighteen

0:41:07.120 --> 0:41:08.920
<v Speaker 1>book Frankenstein. Did you know this?

0:41:09.760 --> 0:41:11.279
<v Speaker 2>I did not. I mean I know that it was

0:41:11.440 --> 0:41:15.920
<v Speaker 2>at this whole artist institute and like artist retreat or

0:41:15.960 --> 0:41:19.520
<v Speaker 2>whatever they're doing, like channeling, and you know she was

0:41:19.520 --> 0:41:25.080
<v Speaker 2>married to Percy B. Shelley at the time. And yeah,

0:41:25.120 --> 0:41:26.640
<v Speaker 2>she knocked it out of the park. She made like

0:41:26.719 --> 0:41:33.440
<v Speaker 2>the first essentially the first science fiction novel in you know, Jules,

0:41:33.680 --> 0:41:37.000
<v Speaker 2>like fifty years later, sixty years later. Yeah, you're right, yeah, yeah,

0:41:37.080 --> 0:41:39.719
<v Speaker 2>And but I don't know what were you gonna say

0:41:39.719 --> 0:41:40.759
<v Speaker 2>about it? Something less cool?

0:41:42.280 --> 0:41:44.000
<v Speaker 1>It was less cool. But these are her words, so

0:41:44.000 --> 0:41:46.839
<v Speaker 1>they that makes them more cool. It's a quote from her.

0:41:46.920 --> 0:41:49.120
<v Speaker 1>She said. When I placed my head upon my pillow,

0:41:49.239 --> 0:41:51.920
<v Speaker 1>I did not sleep, nor could I be said to think.

0:41:52.360 --> 0:41:56.800
<v Speaker 1>My imagination unbidden, possessed and guided me, gifting the successive

0:41:56.840 --> 0:41:59.759
<v Speaker 1>images that arose in my mind with a vividness, far

0:42:00.120 --> 0:42:03.320
<v Speaker 1>on the usual bounds of reverie. I saw the pale

0:42:03.400 --> 0:42:06.600
<v Speaker 1>student of unhollowed arts, kneeling beside the thing he had

0:42:06.600 --> 0:42:09.960
<v Speaker 1>put together. I saw the hideous phantasm of a man

0:42:10.120 --> 0:42:14.120
<v Speaker 1>stretched out, and then on the working of some powerful engine,

0:42:14.520 --> 0:42:18.080
<v Speaker 1>show signs of life and stir with an uneasy, half

0:42:18.160 --> 0:42:22.399
<v Speaker 1>vital motion. Frightful must it be? For supremely frightful would

0:42:22.400 --> 0:42:25.160
<v Speaker 1>be the effect of any human endeavor to mock the

0:42:25.200 --> 0:42:27.280
<v Speaker 1>stupendous creator of the world.

0:42:28.040 --> 0:42:30.160
<v Speaker 2>Tell you what does you? Didn't dream? An editor really

0:42:30.160 --> 0:42:33.319
<v Speaker 2>thought that was great? No? No, I mean I've have

0:42:33.400 --> 0:42:35.000
<v Speaker 2>you ever read the actual Franken sign?

0:42:35.160 --> 0:42:38.040
<v Speaker 1>Oh yeah, I think I read as a kid, like

0:42:38.080 --> 0:42:39.839
<v Speaker 1>an abridged version that I thought was.

0:42:39.760 --> 0:42:42.239
<v Speaker 2>The real thing. And then because the actual version is

0:42:42.360 --> 0:42:45.920
<v Speaker 2>so much talking. That's why it's so damn funny that

0:42:46.000 --> 0:42:50.280
<v Speaker 2>the monster in popular consciousness is this mute, a hulking beast.

0:42:50.320 --> 0:42:56.160
<v Speaker 2>Because Frankenstein's monster in that book chatty. He's a real

0:42:56.320 --> 0:42:58.840
<v Speaker 2>chatty bitch pill chatterbox. Well, have you been dead for

0:42:58.880 --> 0:43:01.279
<v Speaker 2>a while, you probably have things to say too. Yeah.

0:43:01.320 --> 0:43:03.239
<v Speaker 2>Do you think it's like every single body part was

0:43:03.280 --> 0:43:05.520
<v Speaker 2>sending him memories that he had to talk about? Oh

0:43:05.560 --> 0:43:08.160
<v Speaker 2>my god, that's an incredible thought.

0:43:08.880 --> 0:43:13.480
<v Speaker 1>Wow, that's great, that's that bit. Yeah, we got a Oh,

0:43:13.560 --> 0:43:15.360
<v Speaker 1>if you were a loved one.

0:43:15.360 --> 0:43:19.040
<v Speaker 2>I think of writing a screenplay with that. Don't verbal

0:43:19.080 --> 0:43:19.840
<v Speaker 2>copyright or.

0:43:19.840 --> 0:43:24.040
<v Speaker 1>If you have thoughts on that. Wow, somebody sent me

0:43:24.120 --> 0:43:26.719
<v Speaker 1>because I guess they wanted to make me cry. This

0:43:26.760 --> 0:43:29.920
<v Speaker 1>woman was getting married and her young son had died

0:43:30.160 --> 0:43:31.880
<v Speaker 1>and his heart he was an organ doner, and his

0:43:31.920 --> 0:43:34.359
<v Speaker 1>heart had been put in another little boy. And then

0:43:34.400 --> 0:43:37.520
<v Speaker 1>this little boy surprised her on her wedding day.

0:43:37.880 --> 0:43:39.080
<v Speaker 2>Oh God, listened to.

0:43:39.040 --> 0:43:41.160
<v Speaker 1>Her little boy's heartbeat before she walked.

0:43:40.920 --> 0:43:42.920
<v Speaker 2>Down the aisle. Yeah that's crushing.

0:43:43.120 --> 0:43:47.640
<v Speaker 1>Yeah, yeah, big time. Yeah. Somebody sent that to me today.

0:43:47.680 --> 0:43:53.840
<v Speaker 1>And now it's your problem. Lists I can't take the

0:43:53.840 --> 0:43:57.759
<v Speaker 1>burden alone. From Frank and Simon, we go to Twilight.

0:43:58.440 --> 0:44:02.440
<v Speaker 1>The inspiration for Stephanie Meyer's book series came in a dream.

0:44:02.640 --> 0:44:05.000
<v Speaker 1>She said. It was two people in a kind of

0:44:05.040 --> 0:44:08.520
<v Speaker 1>little circular meadow with really bright sunlight, and one of

0:44:08.560 --> 0:44:11.279
<v Speaker 1>them was a beautiful, sparkly boy, and one of them

0:44:11.400 --> 0:44:13.840
<v Speaker 1>was just a girl who was human and normal, and

0:44:13.880 --> 0:44:17.000
<v Speaker 1>they were having this conversation. The boy was a vampire,

0:44:17.040 --> 0:44:19.680
<v Speaker 1>which is so bizarre that I'd be dreaming about vampires,

0:44:20.000 --> 0:44:21.839
<v Speaker 1>And he was trying to explain to her how much

0:44:21.840 --> 0:44:24.520
<v Speaker 1>you cared about her and yet at the same time

0:44:24.880 --> 0:44:27.520
<v Speaker 1>how much you wanted to kill her. Who among us?

0:44:27.920 --> 0:44:31.760
<v Speaker 2>Yeah? What I was I gonna say, Oh yeah. David

0:44:31.880 --> 0:44:34.840
<v Speaker 2>Lynch in his book Catching the Big Fish, which is

0:44:34.840 --> 0:44:38.919
<v Speaker 2>all about transcendental meditation, he talks about in there he'd

0:44:38.960 --> 0:44:42.399
<v Speaker 2>been napping in his trailer and then like went out

0:44:42.480 --> 0:44:48.040
<v Speaker 2>into the parking lot and put his hand on the

0:44:48.040 --> 0:44:50.799
<v Speaker 2>hood of a car without realizing how hot it was,

0:44:51.360 --> 0:44:53.719
<v Speaker 2>and the second he realized how hot it was and

0:44:54.200 --> 0:44:58.000
<v Speaker 2>yanked his hand off. He says that this scene in

0:44:58.080 --> 0:45:00.920
<v Speaker 2>the diner from Mulholland Drive where they guy explains his

0:45:01.040 --> 0:45:03.600
<v Speaker 2>nightmare and he goes out and goes behind the you

0:45:03.640 --> 0:45:06.399
<v Speaker 2>get that great jump scare when the creeping bag lady

0:45:06.480 --> 0:45:08.840
<v Speaker 2>jumps out from behind the dumpster, that all came to

0:45:08.920 --> 0:45:12.239
<v Speaker 2>him like at that moment, fully formed, which I just

0:45:12.239 --> 0:45:15.319
<v Speaker 2>think is such a it's ever happened to me. But

0:45:15.400 --> 0:45:16.880
<v Speaker 2>I'm happy it happened to David.

0:45:17.680 --> 0:45:20.160
<v Speaker 1>I mean that makes sense though, Like that would be.

0:45:20.320 --> 0:45:22.360
<v Speaker 2>A horrifying thing to pop out of your dream.

0:45:22.520 --> 0:45:25.160
<v Speaker 1>Ohyah. That it was just like a visual representation of

0:45:25.239 --> 0:45:28.719
<v Speaker 1>like that shock of like the physical shock. That's really

0:45:28.719 --> 0:45:31.040
<v Speaker 1>interesting to me. Huh. I don't think we touched on

0:45:31.080 --> 0:45:33.640
<v Speaker 1>this on our Christmas Songs grab Bag episode, but a

0:45:33.680 --> 0:45:36.600
<v Speaker 1>little town of Bethlehem was also at least the music

0:45:36.640 --> 0:45:39.200
<v Speaker 1>for it also came from a dream. The American musician

0:45:39.320 --> 0:45:41.680
<v Speaker 1>Lewis Redner wrote the tune into a Little Town of

0:45:41.680 --> 0:45:45.360
<v Speaker 1>Bethlehem in December eighteen sixty eight, at the request of

0:45:45.360 --> 0:45:50.000
<v Speaker 1>an Episcopal clergyman who had written the lyrics already. Redner

0:45:50.080 --> 0:45:52.400
<v Speaker 1>had not written the tune on the night before he

0:45:52.440 --> 0:45:57.200
<v Speaker 1>was scheduled to rehearse it, which God bless this man.

0:45:57.840 --> 0:46:00.640
<v Speaker 1>According to his account, he was quote roused from sleep

0:46:00.760 --> 0:46:03.680
<v Speaker 1>late in the night, hearing an angel strain whispering in

0:46:03.760 --> 0:46:06.319
<v Speaker 1>my ear, and seizing a piece of music paper, I

0:46:06.440 --> 0:46:08.799
<v Speaker 1>jotted down the treble of the tune as we now

0:46:08.840 --> 0:46:11.399
<v Speaker 1>have it, and on Sunday morning, before going to church,

0:46:11.520 --> 0:46:14.400
<v Speaker 1>I filled in the harmony. I used to do that

0:46:14.440 --> 0:46:16.440
<v Speaker 1>when I was in screenwriting school and we really had

0:46:16.480 --> 0:46:18.759
<v Speaker 1>strict deadlines about finishing scripts and stuff.

0:46:18.480 --> 0:46:21.200
<v Speaker 2>And I just was like out, I had no idea

0:46:21.280 --> 0:46:23.160
<v Speaker 2>where to go next. I would usually go to sleep,

0:46:23.239 --> 0:46:24.799
<v Speaker 2>and then I would.

0:46:24.560 --> 0:46:28.640
<v Speaker 1>Sleep really poorly, but I would wake up usually with

0:46:28.680 --> 0:46:31.040
<v Speaker 1>whatever needed to happen next kind of already there.

0:46:31.640 --> 0:46:32.200
<v Speaker 2>Interesting.

0:46:32.480 --> 0:46:37.600
<v Speaker 1>Yeah, I also like, I remember, do you ever do

0:46:37.640 --> 0:46:40.200
<v Speaker 1>this because you're you have whatever freaky thing I do.

0:46:40.320 --> 0:46:43.839
<v Speaker 1>And you can extrapolate on that and whichever way you wish.

0:46:43.880 --> 0:46:46.640
<v Speaker 1>I remember, I like turned it in like a really

0:46:46.640 --> 0:46:48.840
<v Speaker 1>long article, and then I went to bed, I like

0:46:48.880 --> 0:46:50.480
<v Speaker 1>emailed it in, and then I in the middle of

0:46:50.520 --> 0:46:53.600
<v Speaker 1>the night, I was like, oh, page six, paragraph nine,

0:46:54.000 --> 0:46:56.080
<v Speaker 1>there's a typo there. And I went in and there

0:46:56.120 --> 0:46:57.680
<v Speaker 1>it was. And it was like.

0:46:59.120 --> 0:47:01.239
<v Speaker 2>I tortured myself in my sleep, is what I'm saying. Well,

0:47:01.239 --> 0:47:03.120
<v Speaker 2>there's a great there's a great scene in the in

0:47:03.160 --> 0:47:05.239
<v Speaker 2>the Wire where one of the I think it's in

0:47:05.280 --> 0:47:08.279
<v Speaker 2>the fifth season, the one newspaper editor does exactly that.

0:47:08.680 --> 0:47:11.800
<v Speaker 2>Oh really, yeah, He like calls downstairs to the page.

0:47:11.800 --> 0:47:15.120
<v Speaker 2>He like wakes up, goes downstairs, calls the paper and

0:47:15.200 --> 0:47:18.120
<v Speaker 2>like asks them about a comma or says like something's

0:47:18.280 --> 0:47:21.040
<v Speaker 2>errant and they're like, no, this was actually correct, just

0:47:21.080 --> 0:47:23.440
<v Speaker 2>your average run of the mill. He calls it like

0:47:23.680 --> 0:47:27.920
<v Speaker 2>night before printing editor nightmare or something like that. I

0:47:28.000 --> 0:47:29.640
<v Speaker 2>just thought, was it's a great touch.

0:47:30.640 --> 0:47:34.480
<v Speaker 1>I didn't know this. The song Black Sabbath apparently came

0:47:34.520 --> 0:47:37.320
<v Speaker 1>to Geezer Butler in a dream or a nightmare, I

0:47:37.360 --> 0:47:39.719
<v Speaker 1>should say, he had a nightmare that he encountered a

0:47:39.760 --> 0:47:42.360
<v Speaker 1>tall black figure at the edge of his bed, gazing

0:47:42.360 --> 0:47:44.839
<v Speaker 1>at him. It was probably aussy. After he woke up,

0:47:45.440 --> 0:47:47.640
<v Speaker 1>the book on the Occult that he'd been reading prior

0:47:47.719 --> 0:47:50.800
<v Speaker 1>to his nightmare had mysteriously vanished from his room. Again,

0:47:50.880 --> 0:47:54.160
<v Speaker 1>probably aussy. He later told the band about his experience

0:47:54.200 --> 0:47:55.160
<v Speaker 1>and recorded both of.

0:47:55.120 --> 0:47:59.880
<v Speaker 2>You to assume that Ozzie was literate at this point, respectfully,

0:48:00.280 --> 0:48:00.839
<v Speaker 2>but come on.

0:48:03.600 --> 0:48:06.439
<v Speaker 1>Now. Brian May said that he wrote the Queen song

0:48:06.520 --> 0:48:10.080
<v Speaker 1>The Prophet Song nineteen seventy five Queen Song after a

0:48:10.120 --> 0:48:14.240
<v Speaker 1>hepatitis induced fever dream he had about an apocalyptic flood.

0:48:14.600 --> 0:48:15.960
<v Speaker 2>Okay, you must have.

0:48:15.960 --> 0:48:19.359
<v Speaker 1>Known this, but I had no idea. James Cameron's said

0:48:19.360 --> 0:48:22.399
<v Speaker 1>that he dreamed the Terminator. He said he had a

0:48:22.440 --> 0:48:26.200
<v Speaker 1>soaring fever when he was sick and dead broke in Rome,

0:48:26.280 --> 0:48:29.000
<v Speaker 1>Italy during the final cut of Piranha.

0:48:28.640 --> 0:48:31.040
<v Speaker 2>II that he was directing great film.

0:48:31.160 --> 0:48:34.520
<v Speaker 1>He dreamed of quote a chrome skeleton emerging from a fire,

0:48:34.640 --> 0:48:38.560
<v Speaker 1>and made some sketches on hotel stationary Upon waking. He said,

0:48:38.600 --> 0:48:40.960
<v Speaker 1>the first sketch I did showed a metal skeleton cut

0:48:41.000 --> 0:48:43.800
<v Speaker 1>in half at the waist, crawling over a tile floor

0:48:44.239 --> 0:48:46.879
<v Speaker 1>using a large kitchen knife. To pull itself forward while

0:48:46.920 --> 0:48:50.440
<v Speaker 1>reaching out with the other hand extremely metal in the

0:48:50.480 --> 0:48:54.279
<v Speaker 1>second drawing the characters threatening a crawling woman minus the

0:48:54.360 --> 0:48:57.719
<v Speaker 1>kitchen knife. These images became the finale of The Terminator

0:48:57.719 --> 0:49:02.880
<v Speaker 1>almost exactly good for him? Yeah, and didn't Terminator two.

0:49:03.160 --> 0:49:07.480
<v Speaker 1>I want to say the plot was loosely inspired by

0:49:08.280 --> 0:49:13.440
<v Speaker 1>a MDMA trip he like listened to. Uh, he listened

0:49:13.440 --> 0:49:16.600
<v Speaker 1>to one of Sting's albums about like built the Russians

0:49:16.640 --> 0:49:18.080
<v Speaker 1>hug their kids too or something.

0:49:18.200 --> 0:49:20.319
<v Speaker 2>I don't know, you're you're pulling for me, but we

0:49:20.360 --> 0:49:24.920
<v Speaker 2>will do T two. Oh yeah, because it's the best

0:49:24.960 --> 0:49:26.520
<v Speaker 2>action movie up there.

0:49:26.760 --> 0:49:29.160
<v Speaker 1>Wait, I need to find this. Keep talking about T two?

0:49:30.360 --> 0:49:34.040
<v Speaker 2>Oh well, I mean how much time he got? Yeah?

0:49:34.080 --> 0:49:36.200
<v Speaker 2>What do you want me to say about it? Actually,

0:49:36.280 --> 0:49:38.080
<v Speaker 2>the only thing that I don't like about that movie

0:49:38.160 --> 0:49:41.520
<v Speaker 2>is poor Eddie Furlong, who was just like, you know,

0:49:41.520 --> 0:49:45.080
<v Speaker 2>he's a child actor, so it's tough, but it's just

0:49:45.239 --> 0:49:46.520
<v Speaker 2>so annoying in that movie.

0:49:47.960 --> 0:49:48.200
<v Speaker 1>Yes.

0:49:48.520 --> 0:49:48.719
<v Speaker 3>Yes.

0:49:48.880 --> 0:49:51.960
<v Speaker 1>In a recent thirtieth anniversary oral history of Terminator Too,

0:49:52.040 --> 0:49:54.719
<v Speaker 1>James Cameron admitted that he was on ecstasy when he

0:49:54.760 --> 0:49:57.839
<v Speaker 1>conceived that the plot of the film. Yeah, he told

0:49:57.840 --> 0:50:00.920
<v Speaker 1>the ringer, I remember sitting there once high on writing

0:50:00.960 --> 0:50:03.720
<v Speaker 1>notes for terminator, and I was struck by sting song.

0:50:04.080 --> 0:50:06.920
<v Speaker 1>I hope the Russians love their children too, And I thought,

0:50:06.960 --> 0:50:09.239
<v Speaker 1>you know what, the idea of nuclear war is just

0:50:09.280 --> 0:50:13.120
<v Speaker 1>so anithetical to life itself. That's where the kid came from.

0:50:13.719 --> 0:50:16.800
<v Speaker 1>Why was he doing ecstasy just to feel something?

0:50:17.560 --> 0:50:21.480
<v Speaker 2>Yeah, he hadn't gone in a large boat for a while.

0:50:21.560 --> 0:50:21.640
<v Speaker 4>No.

0:50:22.360 --> 0:50:24.839
<v Speaker 1>Wait, two more things that surprised me that supposedly came

0:50:24.840 --> 0:50:28.600
<v Speaker 1>from dreams. The periodic table. Did you know this?

0:50:29.400 --> 0:50:31.279
<v Speaker 2>Of course? Do you guys? Have you guys heard about this?

0:50:31.400 --> 0:50:35.279
<v Speaker 1>Please hear this. The chemist Dmitri Mendelev is said to

0:50:35.320 --> 0:50:38.320
<v Speaker 1>have invented the modern periodic table in a dream where

0:50:38.360 --> 0:50:42.680
<v Speaker 1>all the elements fell into place as required. Mendelev, a

0:50:42.719 --> 0:50:46.239
<v Speaker 1>chemistry professor and an added player of the card game solitaire.

0:50:46.520 --> 0:50:51.160
<v Speaker 1>Hell yeah, had been attempting to clearly organize the elements,

0:50:51.560 --> 0:50:53.759
<v Speaker 1>which at the time were grouped either by atomic weight

0:50:53.920 --> 0:50:58.720
<v Speaker 1>or by common properties. However, in Solitaire cards are arranged

0:50:58.760 --> 0:51:03.160
<v Speaker 1>by suit horizontally and also by number vertically, and after

0:51:03.200 --> 0:51:06.080
<v Speaker 1>three days of NonStop attempts to invent the periodic table,

0:51:06.120 --> 0:51:10.160
<v Speaker 1>mendeleevs said to have fallen asleep, whereupon he promptly dreamt

0:51:10.239 --> 0:51:12.799
<v Speaker 1>its structure based on Solitaire.

0:51:13.160 --> 0:51:14.719
<v Speaker 2>That's nice.

0:51:14.880 --> 0:51:17.480
<v Speaker 1>I also I didn't include this because it's been verified,

0:51:17.480 --> 0:51:21.040
<v Speaker 1>but I also read that the modern sewing machine was

0:51:21.080 --> 0:51:22.880
<v Speaker 1>supposedly inspired in a dream.

0:51:23.280 --> 0:51:24.120
<v Speaker 2>Fascinating. Yeah.

0:51:24.239 --> 0:51:26.879
<v Speaker 1>Yeah, and we're going to end on a real damp

0:51:26.920 --> 0:51:27.520
<v Speaker 1>squib here.

0:51:28.080 --> 0:51:28.880
<v Speaker 2>Salesforce.

0:51:29.760 --> 0:51:35.640
<v Speaker 1>The user interface of Salesforce, the widely used enterprise software

0:51:35.719 --> 0:51:37.960
<v Speaker 1>platform founded in nineteen ninety nine.

0:51:38.200 --> 0:51:42.239
<v Speaker 2>Was inspired by a dream of its co founder, Mark Benioff,

0:51:42.400 --> 0:51:47.560
<v Speaker 2>who owns our former employer, well, not people, but he

0:51:47.640 --> 0:51:50.600
<v Speaker 2>owns Time magazine. Now I didn't know that, okay.

0:51:51.600 --> 0:51:56.680
<v Speaker 1>Benioff envisioned application interface resembling that of Amazon, which included

0:51:56.760 --> 0:52:00.600
<v Speaker 1>labeled tabs. Benioff said that in his dream, quote, I

0:52:00.600 --> 0:52:03.000
<v Speaker 1>could see this app that looked like Amazon, and it

0:52:03.080 --> 0:52:09.279
<v Speaker 1>said Contacts, Accounts, Opportunities, forecast reports at tabs. No one

0:52:09.840 --> 0:52:13.879
<v Speaker 1>had ever built enterprise software quite.

0:52:13.680 --> 0:52:21.879
<v Speaker 2>Like like that, that quite before. Wow, what a huge

0:52:21.920 --> 0:52:27.680
<v Speaker 2>moment for him, You rich guy, What did you expect

0:52:27.680 --> 0:52:28.239
<v Speaker 2>me to say? There?

0:52:28.480 --> 0:52:33.680
<v Speaker 1>Yeah, I just thought about all these like deeply moving pieces.

0:52:33.360 --> 0:52:36.000
<v Speaker 2>Of art, or like the periodic table, or like so

0:52:37.680 --> 0:52:41.280
<v Speaker 2>you know, yeah, oh yeah, the salesforce interfaced real cool story.

0:52:41.960 --> 0:52:45.480
<v Speaker 2>What's your name? Doug? Bill? What was it Mark?

0:52:46.160 --> 0:52:46.440
<v Speaker 1>Mark?

0:52:47.680 --> 0:52:53.840
<v Speaker 2>No, Doug's better. As you meditate on that, we'll be

0:52:53.920 --> 0:53:07.319
<v Speaker 2>right back with more too much information after these messages. Wow,

0:53:12.080 --> 0:53:15.279
<v Speaker 2>things that didn't happen in dreams. A stay at the

0:53:15.320 --> 0:53:20.280
<v Speaker 2>Fort Harrison Hotel in early May of what year, metthew

0:53:20.320 --> 0:53:25.680
<v Speaker 2>sixty five, nineteen sixty five. Keith not really a fan

0:53:25.719 --> 0:53:28.640
<v Speaker 2>of the song. He gave his jagger and as Mick

0:53:28.640 --> 0:53:30.560
<v Speaker 2>would later say, I think Keith thought it was a

0:53:30.560 --> 0:53:33.080
<v Speaker 2>bit basic. I don't think he really listened to it properly.

0:53:33.640 --> 0:53:35.840
<v Speaker 2>He was too close to it and just felt like

0:53:35.880 --> 0:53:38.520
<v Speaker 2>it was kind of a silly riff. Together, they posted

0:53:38.600 --> 0:53:40.440
<v Speaker 2>up by the pool and Mick took shot at fleshing

0:53:40.440 --> 0:53:42.920
<v Speaker 2>out the lyrics It was Born in Large Park. From

0:53:42.960 --> 0:53:45.520
<v Speaker 2>the tensions of the tour, the crass commercialism of the

0:53:45.560 --> 0:53:47.759
<v Speaker 2>loud TV ads came out in the line about the

0:53:47.760 --> 0:53:50.960
<v Speaker 2>man on television telling him how white my shirts can be,

0:53:51.440 --> 0:53:53.800
<v Speaker 2>but he can't be a man because he doesn't smoke

0:53:54.040 --> 0:53:56.839
<v Speaker 2>the same cigarettes as me, a reference to the then

0:53:56.960 --> 0:54:04.600
<v Speaker 2>ubiquitous Marble Marble cow Marvel marl Borough cowboy.

0:54:04.840 --> 0:54:08.279
<v Speaker 1>Right, I have a fact I'd like to share go on,

0:54:08.640 --> 0:54:10.719
<v Speaker 1>it's really just the name of the show. One of

0:54:10.719 --> 0:54:13.520
<v Speaker 1>the original Marlborough Men, he was in ads in the fifties,

0:54:13.600 --> 0:54:16.839
<v Speaker 1>Robert C. Norris. He never smoked, and after twelve years

0:54:16.880 --> 0:54:19.680
<v Speaker 1>as the Marlboro Man, he quit the role to avoid

0:54:19.800 --> 0:54:24.360
<v Speaker 1>influencing children, and he lived until age ninety in twenty nineteen.

0:54:25.280 --> 0:54:28.480
<v Speaker 2>Uh huh, good for him. Yeah. Anyway, they have this

0:54:28.600 --> 0:54:31.640
<v Speaker 2>aggression of youth so that they'd seen writing at their concert.

0:54:31.719 --> 0:54:40.120
<v Speaker 2>The general frustrations that arise while touring related to women, sleeping, arrangements, women, alcohol, women.

0:54:40.880 --> 0:54:43.680
<v Speaker 2>One of the biggest lyrical inspirations likely came from Bob Dylan,

0:54:43.719 --> 0:54:46.320
<v Speaker 2>who's Bringing It All Back Home had Hit Shells earlier

0:54:46.320 --> 0:54:48.640
<v Speaker 2>that year. A photo from the time even shows Jagger

0:54:48.719 --> 0:54:52.000
<v Speaker 2>lounging pool side and clear water, intently reading the album's

0:54:52.040 --> 0:54:55.080
<v Speaker 2>back cover. Dylan at the time was shaking up songwriting,

0:54:55.120 --> 0:54:57.960
<v Speaker 2>showing that lyrics could be deeply personal, cryptic, and rooted

0:54:58.000 --> 0:55:00.920
<v Speaker 2>in lived experience. Less like storyteller, you're more like overhearing

0:55:00.960 --> 0:55:03.319
<v Speaker 2>a private joke you're not quite in on. It was

0:55:03.320 --> 0:55:06.120
<v Speaker 2>a move borrowed from the beat poets, a modernist sleight

0:55:06.160 --> 0:55:09.319
<v Speaker 2>of hand that made songs feel like puzzles. By keeping

0:55:09.360 --> 0:55:12.760
<v Speaker 2>things elusive, Dylan encouraged listeners to come back again and again.

0:55:13.520 --> 0:55:15.239
<v Speaker 2>After all, a few things are more intriguing than a

0:55:15.280 --> 0:55:18.040
<v Speaker 2>rock star is half told anecdote, the kind of story

0:55:18.080 --> 0:55:20.920
<v Speaker 2>you're left to finish in your own head. Accordingly, satisfaction

0:55:21.040 --> 0:55:24.080
<v Speaker 2>central figure is a thinly veiled version of Jagger himself,

0:55:24.360 --> 0:55:28.120
<v Speaker 2>a young man already famous but bracing for superstardom, railing

0:55:28.160 --> 0:55:31.840
<v Speaker 2>against the growing pressures of fame, consumerism, and societal expectations.

0:55:32.560 --> 0:55:34.520
<v Speaker 2>I said we weren't going to pontificate earlier. I know,

0:55:34.600 --> 0:55:37.440
<v Speaker 2>I'm sorry. I would have read this, Okay, go ahead.

0:55:38.239 --> 0:55:41.400
<v Speaker 1>It's less a traditional song than a defiant stance, a

0:55:41.440 --> 0:55:44.920
<v Speaker 1>crystallization of Jagger's public persona and his way of moving

0:55:44.920 --> 0:55:45.959
<v Speaker 1>through the world.

0:55:46.320 --> 0:55:47.759
<v Speaker 2>The lyrics struck a nerve.

0:55:47.480 --> 0:55:51.319
<v Speaker 1>Of the generation increasingly skeptical of authority in marketing, but

0:55:51.360 --> 0:55:54.560
<v Speaker 1>beneath the sneer as a broader rebellion, a rejection of

0:55:54.560 --> 0:55:58.400
<v Speaker 1>parental values, conventional wisdom, and the ever looming figure of

0:55:58.960 --> 0:56:02.160
<v Speaker 1>capital t Capital am the man, a stand in for

0:56:02.239 --> 0:56:05.960
<v Speaker 1>institutional control and discipline. It's the kind of attitude that,

0:56:06.120 --> 0:56:08.680
<v Speaker 1>as later pop culture entities like School of Rock would

0:56:08.760 --> 0:56:13.719
<v Speaker 1>argue feels like a generational mission resist at all costs.

0:56:15.239 --> 0:56:19.759
<v Speaker 1>The fundamental dichotomy of the Stones, these you know, middle

0:56:19.800 --> 0:56:21.880
<v Speaker 1>class white guys from England, can be summed up in

0:56:21.920 --> 0:56:25.600
<v Speaker 1>the image of them writing this anti consumerist the Hell

0:56:25.640 --> 0:56:28.920
<v Speaker 1>with the Man tirade while sitting around the swimming pool

0:56:29.080 --> 0:56:30.560
<v Speaker 1>out of Florida hotel.

0:56:30.760 --> 0:56:36.680
<v Speaker 2>That they are not paying for hypocrisy. Good for them.

0:56:36.800 --> 0:56:38.680
<v Speaker 1>When I asked how he was able to write songs

0:56:38.680 --> 0:56:41.799
<v Speaker 1>that connected so strongly to the zeitgeist, Jagger would later

0:56:41.840 --> 0:56:45.400
<v Speaker 1>tell journalist Rich Cohen, It's about being a social animal.

0:56:45.880 --> 0:56:50.560
<v Speaker 2>We're in an ant hill. We've got these antennas, I will.

0:56:50.400 --> 0:56:54.080
<v Speaker 1>Say Jagger, having gone through like sixty hours of tapes

0:56:54.120 --> 0:56:56.360
<v Speaker 1>with The Stones from nineteen seventy two for that podcast

0:56:56.360 --> 0:57:00.560
<v Speaker 1>I worked on Jagger divorced from like how he looks

0:57:00.560 --> 0:57:03.040
<v Speaker 1>at how he presents himself when you just hear his words.

0:57:04.000 --> 0:57:06.759
<v Speaker 2>Not a very articulate guy. I don't I've never thought

0:57:06.760 --> 0:57:09.880
<v Speaker 2>he was a good lyricist. I mean, like, do people

0:57:09.960 --> 0:57:13.480
<v Speaker 2>like get rolling Stone arm tattoos or like that's a

0:57:13.480 --> 0:57:16.080
<v Speaker 2>good point. Yeah, I don't know, I don't know. Yeah,

0:57:16.320 --> 0:57:19.120
<v Speaker 2>start me up. I got start me up and the

0:57:19.200 --> 0:57:22.280
<v Speaker 2>name of my mom because you know, and then the

0:57:22.360 --> 0:57:24.320
<v Speaker 2>day that I was born, because that's when she started

0:57:24.320 --> 0:57:32.840
<v Speaker 2>me up. So wow, my rolling Stone tattoo the lips there,

0:57:33.360 --> 0:57:36.240
<v Speaker 2>that's true. Yeah, yeah, I guess you could. I'm trying

0:57:36.240 --> 0:57:39.240
<v Speaker 2>to think of other sympathy for the Devil's pretty good.

0:57:39.400 --> 0:57:41.560
<v Speaker 2>That's like probably one of the few that I would

0:57:41.560 --> 0:57:45.080
<v Speaker 2>give him credit for actually being a good song. Yeah,

0:57:45.200 --> 0:57:48.400
<v Speaker 2>but it's such an old trope, you know, I know,

0:57:48.520 --> 0:57:50.439
<v Speaker 2>but it's like, but but you know, how many people

0:57:50.480 --> 0:57:53.440
<v Speaker 2>had read Master and Margarita at that point, or like

0:57:53.840 --> 0:57:57.439
<v Speaker 2>had gotten these different you know, gotten any like even

0:57:57.480 --> 0:58:00.360
<v Speaker 2>stringing something as a narrative together like that, Like that's

0:58:00.400 --> 0:58:02.840
<v Speaker 2>like the idea of like the Eternal Warrior or whatever.

0:58:03.520 --> 0:58:05.240
<v Speaker 2>You know, we wouldn't even get that until years later

0:58:05.320 --> 0:58:10.200
<v Speaker 2>with Rolling the Heads and Headless Thompson Gunner, Wow, Warren and

0:58:10.200 --> 0:58:14.920
<v Speaker 2>by Warren. Yeah, I'll give him that one. What else

0:58:14.960 --> 0:58:16.760
<v Speaker 2>would I give him? That's okay?

0:58:16.840 --> 0:58:17.680
<v Speaker 1>Yeah, let's okay.

0:58:19.120 --> 0:58:23.000
<v Speaker 2>Moonlight Mile, it's kind of got some nice imagery, I

0:58:23.000 --> 0:58:25.240
<v Speaker 2>guess Wild Horses, Uh well, I THNK.

0:58:25.280 --> 0:58:27.960
<v Speaker 1>Graham Parsons ghost write a lot of that.

0:58:28.600 --> 0:58:29.120
<v Speaker 2>I don't know.

0:58:29.880 --> 0:58:30.280
<v Speaker 3>I was up.

0:58:30.800 --> 0:58:35.600
<v Speaker 1>I was touring the hard rock vaults many years ago,

0:58:36.280 --> 0:58:39.480
<v Speaker 1>and the head archivist became a friend of mine, and

0:58:39.520 --> 0:58:41.120
<v Speaker 1>he was a really brilliant guy.

0:58:41.120 --> 0:58:42.200
<v Speaker 2>He's a really brilliant guy.

0:58:42.480 --> 0:58:44.200
<v Speaker 1>And one of the things he was most excited to

0:58:44.240 --> 0:58:49.400
<v Speaker 1>show me was Grand Parsons Diaries, in which he had

0:58:49.400 --> 0:58:54.840
<v Speaker 1>written an early version of Wild Horses and and he

0:58:54.920 --> 0:58:57.840
<v Speaker 1>was very excitedly saying, you know, you don't you understand,

0:58:57.920 --> 0:59:00.840
<v Speaker 1>like this change is rock history. This is like shows

0:59:01.280 --> 0:59:07.360
<v Speaker 1>proves because Graham Parsons, the famous country rock pioneer, was

0:59:07.640 --> 0:59:11.360
<v Speaker 1>a very close friend of Keith Richards before before he

0:59:11.400 --> 0:59:15.160
<v Speaker 1>died of a heroin overdose and his body stolen and

0:59:15.200 --> 0:59:15.880
<v Speaker 1>set on fire.

0:59:15.920 --> 0:59:17.080
<v Speaker 2>But that's another episode.

0:59:18.000 --> 0:59:20.640
<v Speaker 1>So yeah, it was always theorized that Graham Parsons played

0:59:20.640 --> 0:59:22.720
<v Speaker 1>a role in writing that song, but this was like

0:59:22.760 --> 0:59:26.200
<v Speaker 1>pretty definitive proof that he he wrote a great deal

0:59:26.240 --> 0:59:26.440
<v Speaker 1>of it.

0:59:26.680 --> 0:59:27.200
<v Speaker 2>How about that?

0:59:27.440 --> 0:59:30.400
<v Speaker 1>Yeah, So I'm not giving that one to Mick or Keith.

0:59:30.680 --> 0:59:31.360
<v Speaker 1>That's fairy.

0:59:34.400 --> 0:59:35.360
<v Speaker 2>I always liked.

0:59:35.240 --> 0:59:38.360
<v Speaker 1>The lyrics, probably for the same reason of like the

0:59:38.440 --> 0:59:40.560
<v Speaker 1>Dylan role that we talked about earlier, where it feels

0:59:40.600 --> 0:59:43.520
<v Speaker 1>like you're in like a joke that you're not you're

0:59:43.520 --> 0:59:45.360
<v Speaker 1>hearing a joke you're not in on. I always liked

0:59:45.400 --> 0:59:47.600
<v Speaker 1>you can't always get what you want, just because it

0:59:47.640 --> 0:59:50.960
<v Speaker 1>was so specific. It scans so well, but I very

0:59:51.080 --> 0:59:52.440
<v Speaker 1>rarely knew what any of it meant.

0:59:53.000 --> 0:59:55.000
<v Speaker 2>Yeah, I don't know. That's just kind of generic to me,

0:59:55.080 --> 0:59:58.320
<v Speaker 2>maybe maybe fitting the specific definition you're talking about. I

0:59:58.400 --> 1:00:00.160
<v Speaker 2>kind of I would always get that from like play

1:00:00.160 --> 1:00:03.560
<v Speaker 2>with Fire. It's just like, what for you people talking

1:00:03.600 --> 1:00:08.040
<v Speaker 2>about all of these different locations and names in England,

1:00:11.280 --> 1:00:15.120
<v Speaker 2>anything else good that they've written, Torn and Freed has

1:00:15.200 --> 1:00:18.640
<v Speaker 2>kind of a oh yeah, nice narrative to it. Got

1:00:19.240 --> 1:00:23.200
<v Speaker 2>a session guitarist coat. That's it. I don't feel like

1:00:23.240 --> 1:00:26.640
<v Speaker 2>talking about this any much longer. Okay, So and you.

1:00:26.600 --> 1:00:29.000
<v Speaker 1>Know what, that's okay, that's okay.

1:00:29.280 --> 1:00:30.680
<v Speaker 2>If you find one, get back to me.

1:00:32.320 --> 1:00:34.680
<v Speaker 1>Well, now, I'd like to talk about the Fort Harrison

1:00:34.720 --> 1:00:37.200
<v Speaker 1>Hotel where the stones were staying Jordan.

1:00:37.280 --> 1:00:37.560
<v Speaker 2>Please.

1:00:37.760 --> 1:00:39.120
<v Speaker 1>The fact that it's the origin of one of the

1:00:39.160 --> 1:00:42.520
<v Speaker 1>most iconic rock songs in history. We more than enough

1:00:42.520 --> 1:00:45.000
<v Speaker 1>to put the Fort Harrison Hotel on the Florida Registry

1:00:45.000 --> 1:00:49.080
<v Speaker 1>of Historic Sites, and yet, and yet there's so much

1:00:49.120 --> 1:00:51.840
<v Speaker 1>more of the history of this building is so much weirder.

1:00:52.760 --> 1:00:55.320
<v Speaker 1>It was built in nineteen twenty six and managed by

1:00:55.400 --> 1:00:59.920
<v Speaker 1>Ransom Olds, incredibly named Ransom Olds, the namesake of the

1:01:00.120 --> 1:01:05.920
<v Speaker 1>Oldsmobile and to markets opening the Daredevil, Henry Rowland climbed

1:01:06.000 --> 1:01:08.480
<v Speaker 1>the exterior in a blindfold.

1:01:07.920 --> 1:01:09.200
<v Speaker 2>Which is pretty bad ass.

1:01:09.840 --> 1:01:12.120
<v Speaker 1>And for a time it's where the Philadelphia Phillies would

1:01:12.120 --> 1:01:15.400
<v Speaker 1>stay when they were doing spring training in Clearwater. Okay,

1:01:16.320 --> 1:01:21.840
<v Speaker 1>but then, but then, but then strap in, folks. The

1:01:21.880 --> 1:01:24.960
<v Speaker 1>building was later purchased by the Church of Scientology and

1:01:25.000 --> 1:01:28.120
<v Speaker 1>since nineteen seventy five it served as the main building

1:01:28.200 --> 1:01:30.160
<v Speaker 1>of the church's chief campus in.

1:01:30.160 --> 1:01:34.640
<v Speaker 2>Clearwater where they do nothing wrong, called flag Land Base.

1:01:34.800 --> 1:01:39.400
<v Speaker 2>It must be said, I don't want them around me

1:01:40.320 --> 1:01:43.160
<v Speaker 2>in my house. Yes, they've done nothing wrong.

1:01:43.520 --> 1:01:46.880
<v Speaker 1>Ever, Clearwater is basically like the Washington d C.

1:01:47.040 --> 1:01:47.920
<v Speaker 2>Of Scientology.

1:01:48.040 --> 1:01:52.280
<v Speaker 1>So this hotel where the Stones wrote Satisfaction is essentially

1:01:52.600 --> 1:01:55.080
<v Speaker 1>the White House of Scientology. I think I have that right.

1:01:55.240 --> 1:01:57.880
<v Speaker 1>If I don't, I'm sure I will hear. Is that weird?

1:01:57.960 --> 1:02:01.240
<v Speaker 2>That is a horrifying thing to you think of as

1:02:01.240 --> 1:02:04.440
<v Speaker 2>something that exists. That's really weird. Washington d C. Of

1:02:04.560 --> 1:02:07.000
<v Speaker 2>Scientology being in Clearwater, Florida.

1:02:07.200 --> 1:02:09.000
<v Speaker 1>I remember seeing It might have been in the Going

1:02:09.040 --> 1:02:12.160
<v Speaker 1>Cleared Alex Gibney documentary on HBO from a maybe I

1:02:12.160 --> 1:02:14.520
<v Speaker 1>don't know, maybe a decade ago now. I think I

1:02:14.560 --> 1:02:17.760
<v Speaker 1>remember hearing that they've basically slowly been buying up real

1:02:17.840 --> 1:02:22.560
<v Speaker 1>estate and clear water for I mean fifty years now. Yeah. Yeah,

1:02:22.600 --> 1:02:24.360
<v Speaker 1>that's been kind of their home base. I'm not really

1:02:24.440 --> 1:02:27.400
<v Speaker 1>sure totally why it might be. I was going to say,

1:02:27.480 --> 1:02:29.600
<v Speaker 1>might be for tax reasons, but they don't need to

1:02:29.600 --> 1:02:34.560
<v Speaker 1>worry about that, per Wikipedia, which for legal reasons I

1:02:34.600 --> 1:02:39.160
<v Speaker 1>want to read from directly. The Fort Harrison Hotel has

1:02:39.200 --> 1:02:42.000
<v Speaker 1>been the site of at least three suspicious deaths since

1:02:42.080 --> 1:02:45.760
<v Speaker 1>nineteen seventy five, when scientology took over the premises, most

1:02:45.880 --> 1:02:49.760
<v Speaker 1>notably the death of Lisa McPherson, who died on December fifth,

1:02:49.840 --> 1:02:53.680
<v Speaker 1>nineteen ninety five, after spending seventeen days in room one

1:02:53.800 --> 1:02:54.680
<v Speaker 1>seven to four of.

1:02:54.640 --> 1:02:56.160
<v Speaker 2>The building, or maybe she didn't.

1:02:56.320 --> 1:02:59.280
<v Speaker 1>The official reported cause of death was a blood clot

1:02:59.640 --> 1:03:02.280
<v Speaker 1>cause by dehydration and bed rest.

1:03:03.160 --> 1:03:07.520
<v Speaker 2>She rested to death. Oh my God, the dream.

1:03:07.680 --> 1:03:10.120
<v Speaker 1>The church later challenged the finding of the autopsy in

1:03:10.200 --> 1:03:15.680
<v Speaker 1>court years before. In February nineteen eighty, a scientologist named

1:03:16.000 --> 1:03:21.120
<v Speaker 1>Josephus A. Havinith was found dead at the Fort Harrison Hotel.

1:03:21.720 --> 1:03:24.400
<v Speaker 1>He was discovered in a bathtub filled with water hot

1:03:24.480 --> 1:03:27.320
<v Speaker 1>enough to have burned his skin off. Oh this is

1:03:27.320 --> 1:03:30.360
<v Speaker 1>still a quote from Wikipedia. By the way, the official

1:03:30.440 --> 1:03:33.640
<v Speaker 1>reported cause of death was drowning, although the coroner noted

1:03:33.640 --> 1:03:37.040
<v Speaker 1>that when he was found Haneth's head was not submerged.

1:03:38.280 --> 1:03:43.400
<v Speaker 1>In August nineteen eighty eight, scientologist Hubert Faff died of

1:03:43.440 --> 1:03:47.120
<v Speaker 1>a seizure in the Fort Harrison Hotel. He had recently

1:03:47.160 --> 1:03:50.840
<v Speaker 1>stopped taking his seizure medication in favor of a vitamin program.

1:03:51.040 --> 1:03:52.480
<v Speaker 2>Oh boy, it's.

1:03:52.360 --> 1:03:54.360
<v Speaker 1>Worth noting that in nineteen ninety seven, this is still

1:03:54.400 --> 1:03:57.760
<v Speaker 1>a quote. Clearwater Police received over one hundred and sixty

1:03:57.760 --> 1:04:00.680
<v Speaker 1>emergency calls from the Fort Harrison Hotel all but they

1:04:00.720 --> 1:04:05.240
<v Speaker 1>were denied entry into the hotel by Scientology security. If

1:04:05.320 --> 1:04:09.920
<v Speaker 1>you want to know more, you all can google it yourselves.

1:04:10.280 --> 1:04:14.200
<v Speaker 2>And get on the same watch list. Jordan is now fascinating.

1:04:15.800 --> 1:04:20.440
<v Speaker 1>Yeah, yeah, the vibes in that place must be rancid,

1:04:20.480 --> 1:04:24.840
<v Speaker 1>because I do believe there is something vaguely satanic about

1:04:24.880 --> 1:04:25.400
<v Speaker 1>the stones.

1:04:26.520 --> 1:04:32.440
<v Speaker 2>Well, you know, like the Robert Johnson continuum. Yeah. Sure, yeah.

1:04:32.480 --> 1:04:37.040
<v Speaker 1>Well, oh yeah, you're gonna have you're gonna have something,

1:04:37.040 --> 1:04:37.960
<v Speaker 1>you have some satan.

1:04:38.080 --> 1:04:40.440
<v Speaker 2>Yeah, I don't know. I don't know, though, I feel

1:04:40.440 --> 1:04:43.800
<v Speaker 2>like I feel like British blues guitarists would be like

1:04:44.000 --> 1:04:46.600
<v Speaker 2>better if they had figured out how to sell their souls.

1:04:46.800 --> 1:04:49.720
<v Speaker 1>You know. I think it's the conversion rate from the

1:04:49.800 --> 1:04:50.920
<v Speaker 1>pounds to souls.

1:04:51.520 --> 1:04:53.440
<v Speaker 2>Oh it just doesn't they get like a yeah, they

1:04:53.440 --> 1:04:57.760
<v Speaker 2>get like a discounted, they get guitar skills. Yeah, yeah, yeah,

1:04:57.920 --> 1:05:01.960
<v Speaker 2>that's the tariffs you know in this economy.

1:05:03.000 --> 1:05:03.800
<v Speaker 1>Selling my soul.

1:05:06.840 --> 1:05:10.800
<v Speaker 2>That's a terrible that's a terrible bit son.

1:05:13.160 --> 1:05:18.440
<v Speaker 1>Oh well, the non Glimmer twin rolling Stones aka the

1:05:18.560 --> 1:05:23.320
<v Speaker 1>not as good ones got their first satisfied. Yes, they

1:05:23.320 --> 1:05:27.720
<v Speaker 1>are very much the rest man. Which one's Gilligan in

1:05:27.720 --> 1:05:30.520
<v Speaker 1>which island's a skipper? I mean, Keith is probably Gilligan

1:05:30.640 --> 1:05:31.880
<v Speaker 1>and the skipper's probably mixed.

1:05:32.280 --> 1:05:38.000
<v Speaker 2>Right, this is your area of expertise. Sure, no it's not, Yes,

1:05:38.040 --> 1:05:38.360
<v Speaker 2>it is.

1:05:39.280 --> 1:05:41.840
<v Speaker 1>Which one seems like more of a dumb ass and

1:05:41.840 --> 1:05:45.640
<v Speaker 1>which one seems more like an uptight control free I mean, oh.

1:05:45.560 --> 1:05:50.000
<v Speaker 2>Yeah, I mean okay, but I think Jagger, honestly, I

1:05:50.000 --> 1:05:54.520
<v Speaker 2>think Jagger by the like certainly in an exile and

1:05:54.560 --> 1:05:56.640
<v Speaker 2>stuff was just flying in to do his vocals.

1:05:56.720 --> 1:05:59.080
<v Speaker 1>Yeah, no, that was Keith's. But that was like the

1:05:59.080 --> 1:06:03.880
<v Speaker 1>one time Keith was in control divers Yeah pretty much. Yeah,

1:06:03.880 --> 1:06:05.240
<v Speaker 1>actually really the only time.

1:06:05.560 --> 1:06:11.280
<v Speaker 2>I think, uh, Mick is mary Anne. Do you know

1:06:11.280 --> 1:06:12.479
<v Speaker 2>thay they used to do the rest of the Stones

1:06:12.560 --> 1:06:15.720
<v Speaker 2>used to call him debor have you ever heard that?

1:06:15.720 --> 1:06:16.880
<v Speaker 2>That sounds familiar?

1:06:16.920 --> 1:06:18.640
<v Speaker 1>But I thought that was like a like an Elton

1:06:18.720 --> 1:06:21.280
<v Speaker 1>John Freddie Mercury, like how they all or Rod Stewart

1:06:21.280 --> 1:06:24.280
<v Speaker 1>where they all called each other like drag names essentially.

1:06:24.680 --> 1:06:26.440
<v Speaker 2>Oh, I'm not sure who was that. I thought they

1:06:26.480 --> 1:06:28.800
<v Speaker 2>were just making fun of him because he was, you know,

1:06:29.000 --> 1:06:32.400
<v Speaker 2>kind of a ponce. That's the perfect word. That's the

1:06:32.560 --> 1:06:33.360
<v Speaker 2>perfect word.

1:06:33.440 --> 1:06:35.840
<v Speaker 1>Yes, Now I should have brushed up on that Rolling

1:06:35.840 --> 1:06:37.920
<v Speaker 1>Stone show. I did, because I remember there were a

1:06:38.000 --> 1:06:42.280
<v Speaker 1>lot of really funny interpersonal dynamics because yeah, they they

1:06:42.320 --> 1:06:46.520
<v Speaker 1>were messy, messy people. They were mesches, yes, yes, yes

1:06:46.560 --> 1:06:46.919
<v Speaker 1>they were.

1:06:47.320 --> 1:06:49.240
<v Speaker 2>Yeah. You gotta put in a proper plug for that show.

1:06:49.880 --> 1:06:52.160
<v Speaker 1>I'll put it in the episode description if anyone's to

1:06:52.240 --> 1:06:57.439
<v Speaker 1>hear fourteen or fifteen hours about a single Rolling Stones tour.

1:06:57.720 --> 1:07:00.120
<v Speaker 1>Although we did do like two episodes about them recording

1:07:00.120 --> 1:07:02.080
<v Speaker 1>exile on Main Street, and those are pretty good, but.

1:07:02.160 --> 1:07:05.480
<v Speaker 2>Yeah they are. Those are the ones I listened to. Yeah, yeah,

1:07:05.520 --> 1:07:06.160
<v Speaker 2>it's okay.

1:07:06.520 --> 1:07:09.400
<v Speaker 1>So yes, the non Glimmer Twins Rolling Stones got their

1:07:09.440 --> 1:07:12.959
<v Speaker 1>first listen to Satisfaction in their hotel rooms at.

1:07:12.880 --> 1:07:15.320
<v Speaker 2>The Fort Harrison Hotel in Clearwater, Florida.

1:07:15.600 --> 1:07:20.240
<v Speaker 1>At this stage, Satisfaction was a folky acoustic dirge. Dirge

1:07:20.280 --> 1:07:22.920
<v Speaker 1>is that inherently like pejorative. There's never it's never like

1:07:22.960 --> 1:07:23.680
<v Speaker 1>a positive I think.

1:07:23.760 --> 1:07:26.040
<v Speaker 2>So there's very many you don't Yeah, you typically don't

1:07:26.040 --> 1:07:29.760
<v Speaker 2>hear about a lot of like upbeat dirges. Yeah, I mean,

1:07:29.760 --> 1:07:32.360
<v Speaker 2>I'm sure technically there are some in like the history

1:07:32.400 --> 1:07:36.680
<v Speaker 2>of Orion, yeah, or just like really slow bock pieces there.

1:07:36.720 --> 1:07:39.840
<v Speaker 2>Even though they were about death, it's probably like considered

1:07:39.880 --> 1:07:42.520
<v Speaker 2>like a laudatory thing, yeah, because it's like, well, we're

1:07:42.520 --> 1:07:46.800
<v Speaker 2>going to be together again. It's a crocish by the way,

1:07:47.000 --> 1:07:48.360
<v Speaker 2>you just were on the ground.

1:07:50.640 --> 1:07:54.600
<v Speaker 1>So neither Mick nor Keith saw much potential in this

1:07:54.720 --> 1:07:58.520
<v Speaker 1>nascent version of Satisfaction as a single, and certainly not

1:07:58.560 --> 1:08:01.400
<v Speaker 1>a hit. Bill Wyman, the bass player for the Stones,

1:08:01.440 --> 1:08:03.959
<v Speaker 1>wrote Keith's instinct must have told him it was worth

1:08:04.040 --> 1:08:06.880
<v Speaker 1>some effort, though, because he kept working on it. On

1:08:06.960 --> 1:08:10.360
<v Speaker 1>May tenth, four days after completing the lyrics, the band

1:08:10.440 --> 1:08:13.800
<v Speaker 1>ventured to Chess Records during their tour stop in Chicago.

1:08:14.720 --> 1:08:17.400
<v Speaker 1>We mentioned this earlier for Blues Officionados from Britain. This

1:08:17.520 --> 1:08:20.040
<v Speaker 1>was very much like visiting the Holy Land. This is

1:08:20.080 --> 1:08:22.880
<v Speaker 1>the room where Muddy Waters had laid down his thunderous riffs.

1:08:23.200 --> 1:08:26.040
<v Speaker 1>Holland Wolf growled into the mic, and Chuck Berry reshaped

1:08:26.120 --> 1:08:29.600
<v Speaker 1>rhythm and blues into something electric and new. And it

1:08:29.640 --> 1:08:33.439
<v Speaker 1>was here, by their idol's ghosts, that The Stones first

1:08:33.439 --> 1:08:37.519
<v Speaker 1>attempted to capture satisfaction on tape and failed, and failed

1:08:37.560 --> 1:08:38.320
<v Speaker 1>failed miserably.

1:08:38.360 --> 1:08:39.160
<v Speaker 2>Yeah, it didn't go well.

1:08:39.680 --> 1:08:41.559
<v Speaker 1>It was at the end of a nine hour session

1:08:41.600 --> 1:08:44.240
<v Speaker 1>where they cut the songs try Me, That's how Strong

1:08:44.280 --> 1:08:47.559
<v Speaker 1>My Love Is, the under Assistant West Coast Promotion Man,

1:08:47.680 --> 1:08:48.960
<v Speaker 1>and Mercy Mercy.

1:08:49.479 --> 1:08:52.719
<v Speaker 2>Which one of those song titles does not belong. Yeah. Yeah,

1:08:52.760 --> 1:08:54.559
<v Speaker 2>what was that other one? Was that like an attempt

1:08:54.560 --> 1:08:55.840
<v Speaker 2>at doing like a Kinks title?

1:08:56.520 --> 1:08:59.639
<v Speaker 1>Yeah, actually pretty much. Yeah, the under Assistant West Coast

1:08:59.680 --> 1:09:03.679
<v Speaker 1>Promotion Man, that's exactly. Yeah, you know, it's a good song,

1:09:03.720 --> 1:09:09.000
<v Speaker 1>though Yeah manager producer Andrew loug Oldham later described this

1:09:09.080 --> 1:09:11.440
<v Speaker 1>early version of Satisfaction as quote.

1:09:11.200 --> 1:09:13.479
<v Speaker 2>Acoustic wayward Harmonica Leyden.

1:09:14.040 --> 1:09:17.520
<v Speaker 1>It just would not do the hook registered as marginal

1:09:18.439 --> 1:09:20.200
<v Speaker 1>to nout What does knaut mean?

1:09:20.360 --> 1:09:23.400
<v Speaker 2>Naw T never seen that word. Oh that's an angler,

1:09:23.479 --> 1:09:28.240
<v Speaker 2>that's like I think that like that like but w

1:09:28.360 --> 1:09:30.799
<v Speaker 2>T I think maybe the it's like Yorkshire dialect.

1:09:30.960 --> 1:09:35.920
<v Speaker 1>Oh interesting, so like non existent basically yes, Ok. Jagger

1:09:35.960 --> 1:09:38.920
<v Speaker 1>and Richards were very nearly ready to abandon the song altogether,

1:09:39.800 --> 1:09:43.519
<v Speaker 1>but Oldham urged them to keep after it. They try

1:09:43.560 --> 1:09:45.160
<v Speaker 1>to get a few days later, when the tour brought

1:09:45.160 --> 1:09:47.599
<v Speaker 1>them to Los Angeles, they were hold up at RCA

1:09:47.720 --> 1:09:51.080
<v Speaker 1>Studios with sound enginior David Hassinger and Phil Spector arranger

1:09:51.160 --> 1:09:54.800
<v Speaker 1>Jack Nasch. Jack would prove crucial for coming up with

1:09:54.840 --> 1:09:56.760
<v Speaker 1>the arrangement of the song that we Know on Love.

1:09:56.800 --> 1:09:58.840
<v Speaker 1>He's kind of a legend in Stone circles. I think

1:09:58.880 --> 1:10:02.599
<v Speaker 1>he did did we do the arrangements for can Always

1:10:02.600 --> 1:10:06.000
<v Speaker 1>Give You One? And maybe a street fighting man. He

1:10:06.280 --> 1:10:08.639
<v Speaker 1>definitely stayed involved with the Stones for a long time.

1:10:09.000 --> 1:10:13.519
<v Speaker 1>In addition to working with Neil Young Yeah on his

1:10:13.560 --> 1:10:16.240
<v Speaker 1>new Young album some of Buffalo Springfield too. I think

1:10:16.360 --> 1:10:20.920
<v Speaker 1>the beautiful strings for Expecting to Fly we're done by him.

1:10:20.920 --> 1:10:23.720
<v Speaker 1>I want to say, real, he's one of the few

1:10:23.760 --> 1:10:27.679
<v Speaker 1>Wall of Sound acolytes that really transcended the early sixties

1:10:27.720 --> 1:10:31.040
<v Speaker 1>girl group phil Spector stuff and actually like did interesting stuff.

1:10:31.080 --> 1:10:33.800
<v Speaker 1>I think he did the soundtrack to one flu of

1:10:33.840 --> 1:10:37.480
<v Speaker 1>the Cougo's Nest too, with the rob of Native American instrumentation.

1:10:38.320 --> 1:10:41.120
<v Speaker 1>And I want to say he wrote low lifts us

1:10:41.200 --> 1:10:45.679
<v Speaker 1>up where we belong? I think hmm. Anyway, So Jack Niche,

1:10:45.720 --> 1:10:48.639
<v Speaker 1>for all of his arrangement prowess, he would prove crucial

1:10:48.680 --> 1:10:51.160
<v Speaker 1>for coming up with the arrangement for satisfaction that made

1:10:51.200 --> 1:10:53.679
<v Speaker 1>it into the song that we now hold So dear

1:10:54.200 --> 1:10:57.439
<v Speaker 1>Jack Niche began the sessions by pounding out a new faster,

1:10:57.640 --> 1:11:03.760
<v Speaker 1>aggressive tempo on the piano. Better faster or stronger, younger, younger, Yeah,

1:11:03.760 --> 1:11:06.880
<v Speaker 1>and it was younger. Though the piano part was removed

1:11:06.920 --> 1:11:09.559
<v Speaker 1>from the final track, Andrew liul Golden, the producer, would

1:11:09.560 --> 1:11:12.920
<v Speaker 1>claim this essentially established the groove of the song. And

1:11:13.040 --> 1:11:15.960
<v Speaker 1>Jack also plays the tambourine, which remained on the final recording,

1:11:16.000 --> 1:11:19.519
<v Speaker 1>which is pretty great. Like as far as tambourine parts go.

1:11:19.720 --> 1:11:21.599
<v Speaker 1>That's a pretty iconic one, you.

1:11:21.560 --> 1:11:25.360
<v Speaker 2>Know, tambourin U tambourine is really a secret weapon. It

1:11:25.479 --> 1:11:28.240
<v Speaker 2>had a lot of great songs. That's why the one

1:11:28.240 --> 1:11:30.439
<v Speaker 2>thing that Brian Jonestown Massacre did right was have a

1:11:30.479 --> 1:11:33.880
<v Speaker 2>guy whose sole job was to play tambourine.

1:11:35.360 --> 1:11:38.920
<v Speaker 1>I mean the Monkeys did too, but no, well it's

1:11:38.920 --> 1:11:41.240
<v Speaker 1>Stevie Diggs play guitar on stage.

1:11:43.080 --> 1:11:45.000
<v Speaker 2>But she did play. I mean she played tambourine, but

1:11:45.040 --> 1:11:51.040
<v Speaker 2>she Okay, greatest tambourinists the guys on town, like any

1:11:51.120 --> 1:11:55.240
<v Speaker 2>black person who grew up in church, not Stevie Nicks.

1:11:55.280 --> 1:11:58.280
<v Speaker 2>I'm sorry. Like great tambourine playing is an art, just

1:11:58.280 --> 1:12:01.040
<v Speaker 2>putting your lead singer out there with something listlessly shake

1:12:01.120 --> 1:12:03.639
<v Speaker 2>because otherwise they feel like they aren't doing anything, which

1:12:03.680 --> 1:12:07.479
<v Speaker 2>is true. That's an entirely different matter. That's a whole

1:12:07.640 --> 1:12:08.200
<v Speaker 2>different color.

1:12:08.600 --> 1:12:11.040
<v Speaker 1>How did your I said that when I was in

1:12:11.080 --> 1:12:12.760
<v Speaker 1>the was it of oz playing in high school?

1:12:12.880 --> 1:12:15.200
<v Speaker 2>Is my line? I know you've told us that. I

1:12:15.200 --> 1:12:16.400
<v Speaker 2>think it's on record. It is.

1:12:17.280 --> 1:12:19.599
<v Speaker 1>You were when we were in your band, there were

1:12:19.600 --> 1:12:21.880
<v Speaker 1>sometimes when you weren't playing guitar up front and you

1:12:21.920 --> 1:12:24.880
<v Speaker 1>were just lead singer. Yeah, how was that like for you?

1:12:24.920 --> 1:12:27.479
<v Speaker 1>Did you have a preference? Seems stressful to like not

1:12:27.520 --> 1:12:28.240
<v Speaker 1>have a thing.

1:12:28.240 --> 1:12:30.160
<v Speaker 2>No, because I was just running around half the time.

1:12:31.120 --> 1:12:33.439
<v Speaker 2>I did pick up tambourine because the only thing I

1:12:33.479 --> 1:12:38.679
<v Speaker 2>can do is the double timeline, and I would often

1:12:38.760 --> 1:12:43.439
<v Speaker 2>routinely peel vast swaths of my palm skin. I remember that,

1:12:43.520 --> 1:12:45.960
<v Speaker 2>I do remember well doing that. So it's it's a

1:12:46.040 --> 1:12:48.360
<v Speaker 2>hard it's a it's a get. You've got to beat

1:12:48.360 --> 1:12:50.839
<v Speaker 2>the out of your hand with it. It's a tricky instrument.

1:12:51.240 --> 1:12:53.000
<v Speaker 2>But there's really I mean, like if you listen to

1:12:53.040 --> 1:12:55.639
<v Speaker 2>those early if you find like the stems of those

1:12:55.680 --> 1:13:01.240
<v Speaker 2>Motown recordings, Yeah, here like actual like church gospel inspired

1:13:02.439 --> 1:13:08.040
<v Speaker 2>tambourine playing. That is just truly wonderful. So don't listen

1:13:08.080 --> 1:13:13.120
<v Speaker 2>to Stevie Nicks for your tambo playing. Sorry, I'm sorry,

1:13:13.360 --> 1:13:14.439
<v Speaker 2>young women out there.

1:13:15.760 --> 1:13:18.479
<v Speaker 1>So they finally have the groove established for Satisfaction, Mick

1:13:18.560 --> 1:13:21.400
<v Speaker 1>got his vocals in one take, but the backing track

1:13:21.520 --> 1:13:22.280
<v Speaker 1>took much more.

1:13:22.160 --> 1:13:22.880
<v Speaker 2>Time to evolve.

1:13:23.479 --> 1:13:25.880
<v Speaker 1>Andrew lou Goldham will to compare this early version of

1:13:25.920 --> 1:13:29.040
<v Speaker 1>Satisfaction to the song walk Right In by the folk

1:13:29.080 --> 1:13:31.439
<v Speaker 1>pop collective The rooftop singers.

1:13:32.479 --> 1:13:34.080
<v Speaker 2>It called for striped shirts, he.

1:13:34.040 --> 1:13:39.080
<v Speaker 1>Said, real cream, basketball slacks and a timeout in other words,

1:13:39.760 --> 1:13:43.479
<v Speaker 1>no grit. In the early morning of May twelfth, nineteen

1:13:43.560 --> 1:13:46.639
<v Speaker 1>sixty five, at the end of a fourteen hour session,

1:13:47.280 --> 1:13:52.120
<v Speaker 1>Charlie Watts, drummer for the Stones, switched the tempo. After

1:13:52.120 --> 1:13:54.320
<v Speaker 1>trying all sorts of different rhythmic accompaniments.

1:13:54.479 --> 1:13:57.720
<v Speaker 2>Charlie branded on the simplest one.

1:13:58.000 --> 1:14:01.120
<v Speaker 1>Which he borrowed from Roy Orbison's Pretty Woman.

1:14:10.000 --> 1:14:13.680
<v Speaker 2>And there was another motown song, Uptight Everything's all right,

1:14:13.800 --> 1:14:14.120
<v Speaker 2>no No.

1:14:14.160 --> 1:14:18.000
<v Speaker 1>Stevie Wonder borrowed that from the Stones song Oh interesting, okay,

1:14:18.520 --> 1:14:21.000
<v Speaker 1>which is why when Stevie Wonder went out with the

1:14:21.040 --> 1:14:24.000
<v Speaker 1>Stones on their nineteen seventy two tour as their opening act,

1:14:24.040 --> 1:14:26.120
<v Speaker 1>he would come out on stage when they did Satisfaction

1:14:26.200 --> 1:14:28.439
<v Speaker 1>and sometimes they would do a medley that went between

1:14:28.600 --> 1:14:31.719
<v Speaker 1>Uptight and sa which if you could find his bootlegs

1:14:31.760 --> 1:14:34.240
<v Speaker 1>of that on YouTube, Damn, I mean The Stones with

1:14:34.240 --> 1:14:36.000
<v Speaker 1>Stevie Wonder rules, it's incredible.

1:14:36.080 --> 1:14:37.840
<v Speaker 2>Yeah, Well, didn't he also get booed off stage at a

1:14:37.880 --> 1:14:40.639
<v Speaker 2>lot of those shows because people were racist.

1:14:40.960 --> 1:14:47.160
<v Speaker 1>Not a lot of the shows, actually not really, No,

1:14:47.320 --> 1:14:49.680
<v Speaker 1>it wasn't that he didn't get booed. I think the

1:14:49.720 --> 1:14:53.599
<v Speaker 1>closest that they came was in Boston because the Stones

1:14:53.600 --> 1:14:59.080
<v Speaker 1>had gotten arrested in Rhode Island and like hours before

1:14:59.120 --> 1:15:01.200
<v Speaker 1>the show was supposed to begin, and the show went

1:15:01.439 --> 1:15:04.000
<v Speaker 1>forward thinking that they would get out of jail in time,

1:15:04.080 --> 1:15:07.160
<v Speaker 1>and they weren't, And so they were in jail when

1:15:07.200 --> 1:15:09.799
<v Speaker 1>Stevie Wonder was as their opening act was on stage,

1:15:09.840 --> 1:15:14.559
<v Speaker 1>and they were basically just like stretch, stretch, after god

1:15:14.640 --> 1:15:17.559
<v Speaker 1>knows how long on stage. The audience was like, all right,

1:15:18.080 --> 1:15:19.920
<v Speaker 1>we get it, Now where's the Stones, And then they

1:15:19.960 --> 1:15:21.920
<v Speaker 1>started getting hostile and then see.

1:15:25.360 --> 1:15:27.960
<v Speaker 2>Right before the busing stuff, Yeah, they don't really do

1:15:28.040 --> 1:15:28.600
<v Speaker 2>too well with that.

1:15:28.800 --> 1:15:30.680
<v Speaker 1>No, no, So Stevie was like, I don't need this

1:15:30.720 --> 1:15:34.200
<v Speaker 1>some Stevie Wonder, so he left the stage, and then

1:15:35.000 --> 1:15:37.840
<v Speaker 1>people with Boston just just it was in the summer too.

1:15:37.880 --> 1:15:40.280
<v Speaker 1>They're just cooking in the old garden waiting for the

1:15:40.320 --> 1:15:41.920
<v Speaker 1>Stones to come. They had to get the mayor of

1:15:41.960 --> 1:15:44.200
<v Speaker 1>Boston to put in a personal appeal to the governor

1:15:44.240 --> 1:15:46.639
<v Speaker 1>of Rhode Island. They're like, please, we're gonna have a riot.

1:15:46.680 --> 1:15:51.040
<v Speaker 1>My city's already on fire because of various I forget

1:15:51.240 --> 1:15:55.600
<v Speaker 1>which specific racially motivated riot for at that moment, but

1:15:56.360 --> 1:15:59.120
<v Speaker 1>just too many to keep seriously. Yeah, in the early

1:15:59.160 --> 1:16:01.439
<v Speaker 1>to mid seventies. Yeah, so I think that's kind of

1:16:01.439 --> 1:16:06.719
<v Speaker 1>the closest to Stevie ever being blewed God forbid. So Yeah. Anyway,

1:16:06.880 --> 1:16:11.519
<v Speaker 1>when drummer Charlie Watts hit upon the extremely steady rock Solid,

1:16:12.320 --> 1:16:15.920
<v Speaker 1>he says, hoping that you don't correct him. Uh, pretty woman.

1:16:16.080 --> 1:16:16.280
<v Speaker 2>Rip.

1:16:17.280 --> 1:16:19.280
<v Speaker 1>That's when things began to fall into place.

1:16:19.520 --> 1:16:21.240
<v Speaker 2>Oh, I don't have my phone over here. Oh no

1:16:21.280 --> 1:16:26.400
<v Speaker 2>I do. Let's see. Let's be about No, I'm going

1:16:26.479 --> 1:16:28.400
<v Speaker 2>to see. I'm going to see if the if satisfaction

1:16:28.560 --> 1:16:33.479
<v Speaker 2>ends at the same tempo. Oh, that's interesting. Like every

1:16:33.520 --> 1:16:38.680
<v Speaker 2>other Rolling Stone song, it in fact speeds up by

1:16:38.760 --> 1:16:42.120
<v Speaker 2>anywhere from five to ten clicks. All right, we're starting

1:16:42.120 --> 1:16:45.880
<v Speaker 2>off in between around one thirty four, one thirty six. Yeah,

1:16:46.160 --> 1:16:48.839
<v Speaker 2>I was I was wrong. Good credit to Charlie stays

1:16:48.880 --> 1:16:51.320
<v Speaker 2>within a couple beats the whole time. Good for him,

1:16:51.360 --> 1:16:52.080
<v Speaker 2>do it his job.

1:16:52.720 --> 1:16:58.840
<v Speaker 1>Yeah, there's one job, alrip Charlie.

1:16:59.120 --> 1:17:06.920
<v Speaker 2>Yeah, you would have hated or like ri Ip Charlie,

1:17:06.960 --> 1:17:09.200
<v Speaker 2>you would have hated five year olds who can play

1:17:09.280 --> 1:17:16.000
<v Speaker 2>drums better than your own TikTok oh kim, all these

1:17:16.320 --> 1:17:19.280
<v Speaker 2>British drummers who were like, I'm really jazz drummer? Like,

1:17:19.800 --> 1:17:22.160
<v Speaker 2>are you deaf? Do you hear the difference between what

1:17:22.280 --> 1:17:25.120
<v Speaker 2>you play and what black people play? Like you get

1:17:25.120 --> 1:17:29.160
<v Speaker 2>the out of here. You're not a jazz drummer. You're

1:17:29.200 --> 1:17:33.680
<v Speaker 2>a toddler. You've wandered into a room a conversation. You

1:17:33.680 --> 1:17:37.120
<v Speaker 2>have absolutely no context for claiming that you are. You

1:17:37.160 --> 1:17:40.080
<v Speaker 2>have facility in this fat here?

1:17:41.840 --> 1:17:44.080
<v Speaker 1>Where were we that Walter subject talk?

1:17:45.120 --> 1:17:46.920
<v Speaker 2>Some of it was a bit of big lebousek. Yeah.

1:17:47.080 --> 1:17:50.240
<v Speaker 1>Yeah, it's interesting to note I mentioned this earlier as

1:17:50.240 --> 1:17:56.160
<v Speaker 1>a fourteen hour session that yielded satisfaction off of Stephen Davis,

1:17:56.439 --> 1:17:59.679
<v Speaker 1>who probably most famous for writing the legendary led Zeppelin

1:17:59.720 --> 1:18:02.879
<v Speaker 1>ton Hammer of the Gods. In his book Old Gods

1:18:02.920 --> 1:18:06.480
<v Speaker 1>Almost Dead about the Rolling Stones, says that La Sceinsters

1:18:06.520 --> 1:18:11.200
<v Speaker 1>brought cocaine to the session, a first in Stone's history. Oh,

1:18:11.720 --> 1:18:15.479
<v Speaker 1>he's kind of he's kind of famously sillacious and not

1:18:15.560 --> 1:18:19.439
<v Speaker 1>always the most trustworthy. But if this is true, it

1:18:19.520 --> 1:18:21.840
<v Speaker 1>certainly would not be the last session that cocaine was

1:18:21.920 --> 1:18:22.919
<v Speaker 1>used at for the Stones.

1:18:23.840 --> 1:18:26.439
<v Speaker 2>Yeah, I mean it's quite funny, because I wonder if

1:18:26.439 --> 1:18:30.840
<v Speaker 2>you can then chart Charlie's rushing in real time. Oh

1:18:30.920 --> 1:18:38.639
<v Speaker 2>my god, following the introduction of cocaine into his particular toxology. Yes,

1:18:39.640 --> 1:18:40.280
<v Speaker 2>good for him.

1:18:40.680 --> 1:18:43.040
<v Speaker 1>Well, the thick enough the guitar riff, with Keith already

1:18:43.080 --> 1:18:46.280
<v Speaker 1>knew was the heart of the song. He dispatched ancillary

1:18:46.320 --> 1:18:50.880
<v Speaker 1>Stone Ian Stewart, who honestly deserves an episode of his own,

1:18:51.200 --> 1:18:54.040
<v Speaker 1>to a nearby music store Wallack's Music City to find

1:18:54.080 --> 1:18:56.840
<v Speaker 1>something that could do the trick. We should we should

1:18:56.840 --> 1:18:59.320
<v Speaker 1>talk about Ian Stewart for a second. In Stewart was

1:19:00.200 --> 1:19:03.400
<v Speaker 1>original Rolling Stone. The Rolling Stones originally had six members.

1:19:03.400 --> 1:19:06.400
<v Speaker 1>He was the piano and when Andrew loul Goldham came

1:19:06.439 --> 1:19:08.639
<v Speaker 1>into the picture to be the Stones manager, he basically

1:19:08.720 --> 1:19:11.400
<v Speaker 1>was like, six people's too many for a band. Five

1:19:11.479 --> 1:19:15.200
<v Speaker 1>is already kind of pushing it, and you don't look

1:19:15.320 --> 1:19:17.120
<v Speaker 1>like the others. Ian was like, I want to say,

1:19:17.160 --> 1:19:19.519
<v Speaker 1>like ten years older than the other guys, and like

1:19:20.000 --> 1:19:22.720
<v Speaker 1>very square jawed, and like he just looks like like

1:19:22.760 --> 1:19:25.440
<v Speaker 1>a trucker. Basically, he's like, you don't look the part.

1:19:25.640 --> 1:19:29.120
<v Speaker 1>You are no longer a stone. We're gonna find like

1:19:29.720 --> 1:19:31.840
<v Speaker 1>roady jobs for you to do. He's a big guy

1:19:32.160 --> 1:19:34.920
<v Speaker 1>and you can like back them on stage on piano

1:19:35.000 --> 1:19:37.160
<v Speaker 1>if you want, but like you're not a stone. And

1:19:37.200 --> 1:19:40.920
<v Speaker 1>instead of basically saying go to hell, he was like, Okay, cool,

1:19:41.000 --> 1:19:42.120
<v Speaker 1>I love these guys.

1:19:41.840 --> 1:19:43.400
<v Speaker 2>And like I just went to hang out with my mates.

1:19:43.560 --> 1:19:46.559
<v Speaker 1>Yeah, and like make a not a huge living, but

1:19:46.640 --> 1:19:50.120
<v Speaker 1>a decent living, like lugging their stuff around and like

1:19:50.439 --> 1:19:53.400
<v Speaker 1>sometimes playing ogi wiggie piano on stage from me.

1:19:53.520 --> 1:19:53.880
<v Speaker 2>Yeah.

1:19:53.960 --> 1:19:58.439
<v Speaker 1>Yeah. So he was sent to get something for Keith

1:19:58.479 --> 1:20:01.200
<v Speaker 1>at this music store to make the guitar riffs sound thicker.

1:20:01.280 --> 1:20:04.320
<v Speaker 1>This was the early days of guitar pedals, and he

1:20:04.400 --> 1:20:08.360
<v Speaker 1>came back with something called a Gibson Maestro buzz box,

1:20:08.439 --> 1:20:12.759
<v Speaker 1>which distorted Keith's guitar. Keith later told Guitar Player Magazine

1:20:12.800 --> 1:20:15.480
<v Speaker 1>it was a miracle. I was screaming for more distortion.

1:20:16.120 --> 1:20:18.640
<v Speaker 1>This rift's really got a hang hard and long. That

1:20:18.800 --> 1:20:21.080
<v Speaker 1>was just like constant thing he would say during the session.

1:20:21.240 --> 1:20:24.080
<v Speaker 1>This riffs got a hang hard and long. We burnt

1:20:24.120 --> 1:20:27.200
<v Speaker 1>the amps up and turned everything up, and it still

1:20:27.320 --> 1:20:30.000
<v Speaker 1>wasn't right. And then Ian Stuart ran around the corner

1:20:30.080 --> 1:20:32.760
<v Speaker 1>to Wallack's Music City or something and came around with

1:20:32.800 --> 1:20:36.639
<v Speaker 1>a distortion box. Try this. It was as offhand as that.

1:20:37.240 --> 1:20:39.880
<v Speaker 1>It was just from nowhere. I never really got into

1:20:39.920 --> 1:20:42.519
<v Speaker 1>the thing after that either. It had very limited use,

1:20:42.600 --> 1:20:45.599
<v Speaker 1>but it was just right for the song, and Keith

1:20:45.640 --> 1:20:48.880
<v Speaker 1>initially envisioned redoing the track later with a horn section

1:20:49.040 --> 1:20:51.439
<v Speaker 1>playing this riff. He said, this was just a little

1:20:51.520 --> 1:20:54.400
<v Speaker 1>sketch because to my mind, the fuzz tone was really

1:20:54.400 --> 1:20:57.280
<v Speaker 1>there to denote what the horns would be doing, which

1:20:57.320 --> 1:21:02.040
<v Speaker 1>is really interesting now, Heigel, Yes, I know, I'm looking

1:21:02.040 --> 1:21:04.240
<v Speaker 1>at you like a bo that's been pulled back.

1:21:04.439 --> 1:21:06.080
<v Speaker 2>I've trained my whole life for this.

1:21:06.360 --> 1:21:09.520
<v Speaker 1>Please, I want you to tell us about guitar pedals.

1:21:09.960 --> 1:21:13.400
<v Speaker 2>Well, specifically, we're going to hone in on just the

1:21:13.439 --> 1:21:17.280
<v Speaker 2>overall concept of distortion in general and how that's been

1:21:17.280 --> 1:21:20.639
<v Speaker 2>applied to guitar historically, not only in this song, but

1:21:20.800 --> 1:21:23.320
<v Speaker 2>in many others. I'm giving you a playlist and you

1:21:23.400 --> 1:21:27.479
<v Speaker 2>will learn today. So many people, including Keith himself in

1:21:27.560 --> 1:21:29.960
<v Speaker 2>his own book, which is his right, have claimed that

1:21:30.000 --> 1:21:33.080
<v Speaker 2>his use of the Maestro f Z one fuzz tone

1:21:33.080 --> 1:21:36.880
<v Speaker 2>as the first recorded use of fuzz in history. That

1:21:37.040 --> 1:21:40.840
<v Speaker 2>is incorrect, as we will see. But first let's figure

1:21:40.840 --> 1:21:45.400
<v Speaker 2>out what differentiates fuzz from distortion and overdrive, which are

1:21:45.439 --> 1:21:47.759
<v Speaker 2>three terms that you will constantly hear when you're talking

1:21:47.800 --> 1:21:53.600
<v Speaker 2>about guitar music, specifically recorded electric guitar. So there are

1:21:53.640 --> 1:21:57.160
<v Speaker 2>obviously many ways looking at the concept just distortion, but

1:21:57.200 --> 1:21:59.720
<v Speaker 2>in pure audio terms, a great working definition of it

1:21:59.760 --> 1:22:04.200
<v Speaker 2>is the falsified reproduction of an audio signal caused by

1:22:04.360 --> 1:22:09.759
<v Speaker 2>change in the original signals waveform. So, as is fairly

1:22:09.800 --> 1:22:14.559
<v Speaker 2>common knowledge, sounds travel via waves and in a wave

1:22:14.600 --> 1:22:17.080
<v Speaker 2>when you see this surrendered horizontally over a period of time,

1:22:17.120 --> 1:22:21.120
<v Speaker 2>there are natural peaks and valleys within that waveform. Guitar

1:22:21.200 --> 1:22:25.360
<v Speaker 2>sounds are transformed when either amps just power amps, or

1:22:25.680 --> 1:22:29.840
<v Speaker 2>tubes within those amps, or pedals or pre amps any

1:22:29.920 --> 1:22:33.160
<v Speaker 2>kind of other signal is added to the guitar's original tone,

1:22:33.400 --> 1:22:36.599
<v Speaker 2>and that changes the waveform it pushes them to. Clip

1:22:37.280 --> 1:22:40.240
<v Speaker 2>Clipping is generally considered a negative thing because that means

1:22:40.280 --> 1:22:45.000
<v Speaker 2>you're overloading a particular I guess a particular jack or

1:22:45.200 --> 1:22:50.360
<v Speaker 2>socket or sound sources ability to process sound cleanly. But

1:22:51.360 --> 1:22:54.519
<v Speaker 2>you can use soft and hard clipping before it gets

1:22:54.560 --> 1:22:59.040
<v Speaker 2>truly distorted for a pleasing effect, which people have termed overdrive,

1:22:59.600 --> 1:23:02.680
<v Speaker 2>and then is kind of slightly separate from that, and

1:23:02.680 --> 1:23:07.360
<v Speaker 2>then at the next one is fuzz, and fuzz is

1:23:07.439 --> 1:23:10.920
<v Speaker 2>the hardest form of clipping because what it does is

1:23:11.080 --> 1:23:16.320
<v Speaker 2>just essentially clips off the peaks and the valleys from

1:23:16.320 --> 1:23:20.360
<v Speaker 2>a guitar signal, and it literally turns the waveform into

1:23:20.400 --> 1:23:23.360
<v Speaker 2>a square shape. So that's why you hear a lot

1:23:23.400 --> 1:23:27.280
<v Speaker 2>of fuzz guitar and some synthesizers will sound the same

1:23:27.360 --> 1:23:32.719
<v Speaker 2>because synthesizers also use square wave to give their signals shapes.

1:23:33.240 --> 1:23:37.280
<v Speaker 2>So distortion changes the harmonic content of a note by

1:23:37.320 --> 1:23:41.240
<v Speaker 2>adding new frequencies. Every note has what's called a fundamental,

1:23:41.520 --> 1:23:45.200
<v Speaker 2>or the pure undistorted pitch of whatever the sound is.

1:23:45.760 --> 1:23:49.880
<v Speaker 2>Because the way sound works, you can hear different multiples

1:23:49.880 --> 1:23:54.799
<v Speaker 2>of overtones of any fundamental on different instruments. For example,

1:23:54.840 --> 1:23:58.080
<v Speaker 2>if you go into a piano and jam a C chord,

1:23:58.479 --> 1:24:01.360
<v Speaker 2>you know, you can often hear the with a g

1:24:01.800 --> 1:24:05.560
<v Speaker 2>ringing separately. You can also hear this on stringed instruments

1:24:06.160 --> 1:24:09.280
<v Speaker 2>occasionally even saxophones if people are overblowing and doing and

1:24:09.400 --> 1:24:11.160
<v Speaker 2>generating these these overtones.

1:24:12.479 --> 1:24:15.240
<v Speaker 1>Vocals too, sometimes like people like David Lee Roth and.

1:24:16.080 --> 1:24:21.080
<v Speaker 2>Yeah, yeah, although I'm not sure if his whistle tones

1:24:21.600 --> 1:24:25.160
<v Speaker 2>count as distortion, or as they count as two tones,

1:24:25.439 --> 1:24:29.599
<v Speaker 2>you know. Anyway, So the quick way of getting a

1:24:29.640 --> 1:24:32.080
<v Speaker 2>bunch more overtones onto a signal and thus make it

1:24:32.120 --> 1:24:35.200
<v Speaker 2>sound more pleasing. People talk about it sounding fuller or

1:24:36.400 --> 1:24:42.280
<v Speaker 2>more gleaming and bright. Carl Santana, I think has called it, like,

1:24:42.880 --> 1:24:45.559
<v Speaker 2>you know, the an entire new palette of sounds building

1:24:45.640 --> 1:24:50.320
<v Speaker 2>onto the original in terms of painting colors. So you

1:24:50.360 --> 1:24:53.080
<v Speaker 2>can either turn your stuff up real loud, which is

1:24:53.120 --> 1:24:56.679
<v Speaker 2>why stuff sounds better loud. Stuff does sound better loud always,

1:24:56.760 --> 1:25:00.680
<v Speaker 2>that's the rule. And so there's an invisible space at

1:25:00.680 --> 1:25:05.800
<v Speaker 2>the top and bottom of every waveform between the absolute

1:25:05.920 --> 1:25:08.760
<v Speaker 2>top level that any source is capable of generating in

1:25:08.840 --> 1:25:12.360
<v Speaker 2>terms of volume and those waveforms, and the space in

1:25:12.400 --> 1:25:16.519
<v Speaker 2>between is called headroom. So you have headroom until you

1:25:16.600 --> 1:25:18.760
<v Speaker 2>max out the volume, and then you run out of

1:25:18.760 --> 1:25:21.720
<v Speaker 2>headroom and your thing is running it dimed, is what

1:25:21.920 --> 1:25:25.759
<v Speaker 2>you know. You call it running into the red. Everything's

1:25:25.880 --> 1:25:28.840
<v Speaker 2>turned up to ten. You know, that's the stereotypical like, oh,

1:25:28.920 --> 1:25:30.800
<v Speaker 2>this would turn it up two eleven, Like that's what

1:25:30.840 --> 1:25:34.640
<v Speaker 2>you're talking about. So the bigger you make your waveform

1:25:35.000 --> 1:25:39.639
<v Speaker 2>relative to the headroom the more distorted your signal becomes,

1:25:40.040 --> 1:25:42.799
<v Speaker 2>and lightly if you're pushing it lightly into the headroom,

1:25:42.800 --> 1:25:46.040
<v Speaker 2>you get what's called natural overdrive. You might also hear

1:25:46.080 --> 1:25:49.360
<v Speaker 2>people call this tube overdrive because before it was in pedals,

1:25:49.439 --> 1:25:52.280
<v Speaker 2>it was from actually saturating the power tubes of the

1:25:52.320 --> 1:25:55.559
<v Speaker 2>amp and pushing that through the speaker, and everything from

1:25:55.600 --> 1:25:58.040
<v Speaker 2>speaker cone to the kind of tubes you use in

1:25:58.080 --> 1:26:03.519
<v Speaker 2>the power amp section effect that natural overdrive. So all

1:26:03.560 --> 1:26:07.120
<v Speaker 2>of these sounds, though, were done prior to satisfaction. One

1:26:07.160 --> 1:26:09.920
<v Speaker 2>of the earliest examples of like an overdriven dirty guitar

1:26:10.000 --> 1:26:13.040
<v Speaker 2>is actually from a Western swing record called Bob Will's

1:26:13.080 --> 1:26:16.080
<v Speaker 2>Boogie that is from nineteen forty six, though it is

1:26:16.200 --> 1:26:18.920
<v Speaker 2>more likely that that song, with the studio technology at

1:26:18.960 --> 1:26:21.599
<v Speaker 2>the time, would have been overdriven through a solid state

1:26:21.640 --> 1:26:34.400
<v Speaker 2>amplifier rather than a twoe band. A couple years later,

1:26:34.560 --> 1:26:39.640
<v Speaker 2>nineteen forty nine, Gory Carter recorded Rockaway, which has some

1:26:39.680 --> 1:26:44.080
<v Speaker 2>gnarly disorted guitar tone and also basically the Chuck Berry

1:26:44.200 --> 1:26:46.200
<v Speaker 2>riff no no no no no no no no no

1:26:46.200 --> 1:26:59.080
<v Speaker 2>no no no, years before Chuck Berry played it. However,

1:26:59.479 --> 1:27:02.520
<v Speaker 2>generally agreed upon first rock and roll song ever recorded,

1:27:02.680 --> 1:27:06.160
<v Speaker 2>is Rocket eighty eight in nineteen fifty one that amp

1:27:06.479 --> 1:27:20.240
<v Speaker 2>achieved its tone simply by being damaged in some unspecified way.

1:27:21.360 --> 1:27:24.400
<v Speaker 2>So in nineteen fifty three, James Cotton releases a song

1:27:24.439 --> 1:27:27.240
<v Speaker 2>called Cotton Crop Blues, and the guitarist on there is

1:27:27.240 --> 1:27:29.960
<v Speaker 2>a guy named Pat Hare. You can hear him use

1:27:30.000 --> 1:27:35.439
<v Speaker 2>power chords about when is this fifty three? About five

1:27:35.560 --> 1:27:39.120
<v Speaker 2>years before link Ray is credited with inventing the power

1:27:39.200 --> 1:27:44.439
<v Speaker 2>chord on rumble powerchord on electric guitar anyway. Fun fact

1:27:45.120 --> 1:27:48.000
<v Speaker 2>after this recording Hair, the next thing he recorded in

1:27:48.000 --> 1:27:49.760
<v Speaker 2>the studio was a version of a nineteen forties blues

1:27:49.800 --> 1:27:52.599
<v Speaker 2>song delightfully titled I'm going to Murder my Baby. And

1:27:52.640 --> 1:27:55.840
<v Speaker 2>then nine years later he did just that, shooting his

1:27:55.880 --> 1:27:59.040
<v Speaker 2>girlfriend in Minneapolis, and the policeman who came to investigate

1:27:59.439 --> 1:28:01.760
<v Speaker 2>this was in this Member of nineteen sixty three. He

1:28:01.840 --> 1:28:06.559
<v Speaker 2>pleaded guilty and died in prison in nineteen eighty. The

1:28:06.600 --> 1:28:09.800
<v Speaker 2>next popular song you might have heard destroyed guitar on

1:28:09.960 --> 1:28:12.200
<v Speaker 2>was by Johnny Burnett and the Rock and Roll trios

1:28:12.360 --> 1:28:14.960
<v Speaker 2>Train Kept a Roll in a nineteen fifty six This

1:28:15.000 --> 1:28:18.600
<v Speaker 2>happened when guitarist Paul Burlison deliberately loosened the tubes in

1:28:18.640 --> 1:28:21.559
<v Speaker 2>his amps. When you have your tubes aren't fitted correctly

1:28:21.560 --> 1:28:24.439
<v Speaker 2>into the amp, they will not produce enough power and

1:28:24.479 --> 1:28:27.280
<v Speaker 2>you can get what's called a sag like a sag

1:28:27.360 --> 1:28:30.679
<v Speaker 2>voltage effect. There are pedals that replicate this, this idea

1:28:30.720 --> 1:28:32.920
<v Speaker 2>of like a pedal running out of something running out

1:28:32.960 --> 1:28:34.599
<v Speaker 2>of power, and that's when you get sort of those

1:28:34.640 --> 1:28:36.559
<v Speaker 2>fuzz effects. They just kind of trail off, they kind

1:28:36.600 --> 1:28:41.880
<v Speaker 2>of fizzle out, the idea being that like it's replicating

1:28:41.880 --> 1:28:51.320
<v Speaker 2>the sound of something not having enough power. But there

1:28:51.360 --> 1:28:55.519
<v Speaker 2>were early attempts at making discrete fuzzboxes for this purpose.

1:28:56.360 --> 1:28:59.960
<v Speaker 2>None other than Lee Hazelwood our boy Lee hazel would

1:29:00.080 --> 1:29:06.880
<v Speaker 2>Love commissioned an unnamed radio technician to develop a fuzzbox

1:29:07.200 --> 1:29:10.960
<v Speaker 2>for his use in the studio and Wrecking Crew guitarist

1:29:11.000 --> 1:29:13.320
<v Speaker 2>Al Casey was one of the first guys to be

1:29:13.439 --> 1:29:17.200
<v Speaker 2>recorded using it on a contract record by Sanford Clark.

1:29:17.520 --> 1:29:19.280
<v Speaker 2>Name of that song is go On Home in nineteen

1:29:19.320 --> 1:29:23.479
<v Speaker 2>fifty six. Two years later, Link Ray just jabbed a

1:29:23.479 --> 1:29:26.040
<v Speaker 2>pencil into the speaker cone of his amplifier to achieve

1:29:26.080 --> 1:29:29.840
<v Speaker 2>the sound on Rumble is Menacing nineteen fifty eight. Instrumental.

1:29:37.640 --> 1:29:40.320
<v Speaker 2>Brady Martin, who is the other guitarist on that Johnny

1:29:40.320 --> 1:29:43.479
<v Speaker 2>Burnett session, replicated the trick on a Marty Robins song

1:29:43.600 --> 1:29:46.080
<v Speaker 2>nineteen sixty one's Don't Worry. That's one of those high

1:29:46.120 --> 1:29:49.559
<v Speaker 2>profile songs to use this sound thus far. Martin himself

1:29:49.600 --> 1:29:51.400
<v Speaker 2>was so entranced by the sound that he recorded his

1:29:51.439 --> 1:29:54.160
<v Speaker 2>own instrumental using the trick to record a track that

1:29:54.200 --> 1:29:57.240
<v Speaker 2>he simply called the Fuzz and may have earned its

1:29:57.280 --> 1:30:01.040
<v Speaker 2>popular title that came out in nineteen sixty one. One.

1:30:01.360 --> 1:30:04.479
<v Speaker 2>One of the true stars of the fuzzbox technology at

1:30:04.520 --> 1:30:06.919
<v Speaker 2>this time was a pedal steel player named Red Rhodes.

1:30:06.960 --> 1:30:09.519
<v Speaker 2>This guy's kind of famous in weird circles. He was

1:30:09.560 --> 1:30:14.360
<v Speaker 2>a prime collaborator of is it Mickey? Which monkey hung

1:30:14.400 --> 1:30:15.559
<v Speaker 2>out with him? Nesmyth?

1:30:15.920 --> 1:30:17.880
<v Speaker 1>It must have been Nesmuth because Nesmuth was more of

1:30:17.920 --> 1:30:18.679
<v Speaker 1>a country guy.

1:30:18.960 --> 1:30:22.360
<v Speaker 2>Yeah, So Red Rhodes, also a bit of a tinkerer,

1:30:22.400 --> 1:30:26.160
<v Speaker 2>built his own fuzzbox. Several of them actually loaned one

1:30:26.200 --> 1:30:28.680
<v Speaker 2>out to another wrecking Crew player, Billy Strange, who used

1:30:28.720 --> 1:30:31.320
<v Speaker 2>it on of all things, and Margaret's I Just Don't

1:30:31.400 --> 1:30:35.760
<v Speaker 2>Understand in nineteen sixty one. So Red was he built

1:30:35.800 --> 1:30:38.280
<v Speaker 2>another one of these and sold them to the Ventures.

1:30:38.720 --> 1:30:40.680
<v Speaker 2>They came to him in nineteen sixty two asking for

1:30:40.720 --> 1:30:42.680
<v Speaker 2>one of these fuzzboxes, and then they quickly put its

1:30:42.760 --> 1:30:55.479
<v Speaker 2>use on their song two hundred pounds B Great Size, Yeah,

1:30:56.680 --> 1:31:00.920
<v Speaker 2>sounds like what it is. Perhaps the most enduring a

1:31:01.040 --> 1:31:05.280
<v Speaker 2>proto metal guitar tone came courtesy of The Kinks Dave Davies,

1:31:05.479 --> 1:31:08.240
<v Speaker 2>who copied link Ras approach by slicing up his amp's

1:31:08.240 --> 1:31:10.960
<v Speaker 2>speaker cone with a razorblade for their nineteen sixty four

1:31:11.040 --> 1:31:12.400
<v Speaker 2>hit You Really Got Me.

1:31:16.360 --> 1:31:16.719
<v Speaker 1>Fuzz.

1:31:16.800 --> 1:31:19.720
<v Speaker 2>Of the three distortion types, sounds the gnarliest, and that

1:31:19.800 --> 1:31:23.920
<v Speaker 2>is because most fuzz circuits in pedals utilized transistors that

1:31:23.960 --> 1:31:27.400
<v Speaker 2>have a lower fidelity sound and add more harmonics into

1:31:27.439 --> 1:31:31.240
<v Speaker 2>the signal as the waveform becomes more squared. So not

1:31:31.320 --> 1:31:34.160
<v Speaker 2>only is it reducing and clipping the size of the waveform,

1:31:34.200 --> 1:31:37.160
<v Speaker 2>but it is also adding more and more harmonics into it,

1:31:37.200 --> 1:31:40.000
<v Speaker 2>which is why they sound generally very muddy and disgusting.

1:31:41.280 --> 1:31:46.559
<v Speaker 2>And those transistors are germanium, which, as we noted early

1:31:47.080 --> 1:31:51.600
<v Speaker 2>we're using Keith's Phillips tape recorder. Germanium transistors have a

1:31:51.640 --> 1:31:55.639
<v Speaker 2>smoother tone profile. Silicone transistors are more aggressive and bright,

1:31:55.680 --> 1:31:57.960
<v Speaker 2>and so to this day you will see guitar pedal

1:31:57.960 --> 1:32:02.480
<v Speaker 2>builders differentiating or even providing multiple modes on their pedals

1:32:02.520 --> 1:32:06.200
<v Speaker 2>of which kind of transistor you can use. There is

1:32:06.320 --> 1:32:09.839
<v Speaker 2>little disagreement though, however, over who introduced the first commercially

1:32:09.840 --> 1:32:13.679
<v Speaker 2>available fuzz pedal. That is the venerable guitar maker Gibson,

1:32:14.120 --> 1:32:18.400
<v Speaker 2>who released the aforementioned f Z one fuzz tone in

1:32:18.479 --> 1:32:22.919
<v Speaker 2>nineteen sixty two through their subsidiary Maestro. Now the product

1:32:22.960 --> 1:32:28.040
<v Speaker 2>was an actual invention of recording engineer Glenn Snoddy with

1:32:28.200 --> 1:32:34.040
<v Speaker 2>D's and another radio engineer, Revis V. Hobbes. They sold

1:32:34.040 --> 1:32:36.240
<v Speaker 2>their idea for the circuit to Gibson, but they did

1:32:36.240 --> 1:32:39.320
<v Speaker 2>get the patent on it, I believe, and the FZ

1:32:39.640 --> 1:32:42.559
<v Speaker 2>one fuzz tone dropped in nineteen sixty two, containing a

1:32:42.600 --> 1:32:47.679
<v Speaker 2>three transistor circuit using RCA two N two seven zero

1:32:48.120 --> 1:32:53.160
<v Speaker 2>germanium transistors. This is all germane to guitar nerds, because

1:32:53.200 --> 1:32:56.840
<v Speaker 2>people are literally still looking up dead stock RCA two

1:32:57.000 --> 1:33:00.960
<v Speaker 2>nd two seventy germanium transistors to use in there Maestro

1:33:01.560 --> 1:33:05.839
<v Speaker 2>FZ one fuzz tone copies. But the thing was designed

1:33:05.960 --> 1:33:10.040
<v Speaker 2>multiple times. Funnily enough, a subsequent redesign of this pedal

1:33:10.120 --> 1:33:13.880
<v Speaker 2>was done by Robert mog of all people, so not

1:33:13.920 --> 1:33:16.519
<v Speaker 2>only did he create the most iconic synthesizers of all time,

1:33:16.760 --> 1:33:20.679
<v Speaker 2>he had a hand in redesigning the first commercial fuzz pedal.

1:33:21.160 --> 1:33:24.080
<v Speaker 1>These pedals must be I mean, I'm on eBay right now,

1:33:24.400 --> 1:33:27.360
<v Speaker 1>going for you know, close to one thousand dollars these

1:33:27.400 --> 1:33:28.160
<v Speaker 1>vintage ones.

1:33:28.840 --> 1:33:31.679
<v Speaker 2>It's funny because Seth Applebaum of the Ghost Funk Orchestra,

1:33:31.720 --> 1:33:34.120
<v Speaker 2>who provided our show with its theme song, has a

1:33:34.200 --> 1:33:37.679
<v Speaker 2>tone bender, which was another one of these early fuzz things.

1:33:38.080 --> 1:33:39.840
<v Speaker 2>And not only is it the size of an NBA

1:33:39.920 --> 1:33:43.400
<v Speaker 2>player's shoe, but it is just so finicky that I

1:33:43.400 --> 1:33:45.720
<v Speaker 2>think he played it on like one show and then

1:33:45.800 --> 1:33:47.640
<v Speaker 2>quickly pulled it off the board and replaced it with

1:33:47.640 --> 1:33:52.800
<v Speaker 2>something newer. So early guitar pedals were usually made without

1:33:52.880 --> 1:33:55.960
<v Speaker 2>size as a factor, because nobody could have foreseen that

1:33:56.200 --> 1:33:58.920
<v Speaker 2>one day, thirty years, forty years. However, in the future,

1:33:58.960 --> 1:34:01.879
<v Speaker 2>people were gonna have pedal boards with like twenty pedals

1:34:01.920 --> 1:34:05.880
<v Speaker 2>on them, and silence was also not a virtue with

1:34:05.920 --> 1:34:09.040
<v Speaker 2>the stiff action of these switches. So indeed, Richard's f

1:34:09.200 --> 1:34:14.880
<v Speaker 2>Z one appears on satisfaction in not just its tone,

1:34:15.080 --> 1:34:18.160
<v Speaker 2>but in the audible click that the pedal makes when

1:34:18.160 --> 1:34:20.640
<v Speaker 2>he turns it on. The best part, he turns it

1:34:20.680 --> 1:34:23.080
<v Speaker 2>off for the verse, and right before the chorus backs

1:34:23.120 --> 1:34:25.639
<v Speaker 2>in he turns it on, and around thirty five seconds

1:34:25.680 --> 1:34:28.640
<v Speaker 2>in you can hear a very audible mechanical click on

1:34:28.680 --> 1:34:29.519
<v Speaker 2>the master track.

1:34:35.320 --> 1:34:37.160
<v Speaker 1>I always thought that was like a dead note on

1:34:37.200 --> 1:34:38.960
<v Speaker 1>his guitar that he was doing intentionally.

1:34:39.280 --> 1:34:41.760
<v Speaker 2>That's my favorite part of the song. No, it's one

1:34:41.760 --> 1:34:43.920
<v Speaker 2>of my favorite kind of things that get left in

1:34:43.960 --> 1:34:45.800
<v Speaker 2>and become sort of the grain of the song, Like

1:34:46.640 --> 1:34:49.960
<v Speaker 2>the crazy like kick drum squeak you got on certain

1:34:51.280 --> 1:34:54.280
<v Speaker 2>that's all over certain Zeppelin recordings, That's all over James

1:34:54.360 --> 1:34:57.599
<v Speaker 2>Brown recordings. I think it's the one Ludwig kick pedal

1:34:57.920 --> 1:35:01.799
<v Speaker 2>that's just famous for having this horrible rat like squeak

1:35:01.920 --> 1:35:05.240
<v Speaker 2>to it. Just made it on all his records. Well,

1:35:05.240 --> 1:35:07.880
<v Speaker 2>that was amazing, Thank you, Hagel. Yeah, yeah, I mean

1:35:08.040 --> 1:35:11.960
<v Speaker 2>I think the other big famous one is the fuzz face,

1:35:12.000 --> 1:35:14.560
<v Speaker 2>which was designed by British engineers for Hendrix.

1:35:15.200 --> 1:35:17.559
<v Speaker 1>Are you familiar with I'm afraid that this is going

1:35:17.600 --> 1:35:21.000
<v Speaker 1>to cause your head to explode. The Bobby socks and

1:35:21.080 --> 1:35:24.679
<v Speaker 1>blue jeans. Version of Zippity Doda that Phil Spector produced

1:35:24.720 --> 1:35:27.440
<v Speaker 1>that also has an early version of fuzz.

1:35:28.600 --> 1:35:33.439
<v Speaker 2>No No, I'm not is a you look so sad

1:35:33.560 --> 1:35:34.000
<v Speaker 2>right now?

1:35:41.960 --> 1:35:44.200
<v Speaker 1>This was more of a studio accident as opposed to

1:35:44.439 --> 1:35:48.000
<v Speaker 1>a pedal, but it was late nineteen sixty two. This

1:35:48.120 --> 1:35:50.640
<v Speaker 1>is actually according to George Harrison, who became close to

1:35:50.840 --> 1:35:53.639
<v Speaker 1>Phil Spector. When Phil Spector was making Zippity Doo Dah,

1:35:53.760 --> 1:35:56.360
<v Speaker 1>the engineer who set up the track overloaded the microphone

1:35:56.360 --> 1:35:59.200
<v Speaker 1>on the guitar player and it became very distorted. Phil

1:35:59.240 --> 1:36:01.920
<v Speaker 1>Spector said, leave it like that, it's great. Some years

1:36:02.000 --> 1:36:04.200
<v Speaker 1>later everyone tried to copy that sound, and so they

1:36:04.200 --> 1:36:07.960
<v Speaker 1>invented the fuzz box. H And that would have been

1:36:07.960 --> 1:36:11.760
<v Speaker 1>recorded h yeah, in late nineteen sixty two. So that's

1:36:11.760 --> 1:36:16.320
<v Speaker 1>another early fuzzz example, all right, So it goes without

1:36:16.360 --> 1:36:20.280
<v Speaker 1>saying the Maestra pedal was the MVP of Satisfaction. But

1:36:20.360 --> 1:36:23.960
<v Speaker 1>even after this revamp, Keith Riches was not convinced that

1:36:24.000 --> 1:36:25.839
<v Speaker 1>the song had would it take to be a single?

1:36:26.040 --> 1:36:29.160
<v Speaker 1>Come on, Keith, I know he's really for somebody who's

1:36:29.240 --> 1:36:31.960
<v Speaker 1>usually like pretty down to take a chance on things

1:36:32.720 --> 1:36:36.719
<v Speaker 1>like Heroin this is really he's really being a bummer

1:36:36.760 --> 1:36:37.519
<v Speaker 1>in this episode.

1:36:37.640 --> 1:36:41.240
<v Speaker 2>Yeah, quite a conservatory little boy. Come on now, conservative

1:36:41.280 --> 1:36:42.240
<v Speaker 2>little boy, I should say.

1:36:43.040 --> 1:36:45.280
<v Speaker 1>As Mick would recall, it sounded like a folk song

1:36:45.280 --> 1:36:47.360
<v Speaker 1>when we first started working on it, and Keith didn't

1:36:47.439 --> 1:36:49.400
<v Speaker 1>like it much. He didn't want it to be a single.

1:36:49.720 --> 1:36:52.120
<v Speaker 1>He didn't think he would do very well. That's the

1:36:52.160 --> 1:36:53.960
<v Speaker 1>only time we've had a disagreement.

1:36:55.160 --> 1:36:57.280
<v Speaker 2>I voice it was not.

1:36:58.280 --> 1:36:59.960
<v Speaker 1>I can't figure out if this was like a very

1:37:00.040 --> 1:37:03.599
<v Speaker 1>very early quote or he's being very tongue in cheek.

1:37:03.640 --> 1:37:04.280
<v Speaker 2>I'm not sure.

1:37:05.160 --> 1:37:08.040
<v Speaker 1>Keith elaborated, saying that the version of satisfaction that we

1:37:08.080 --> 1:37:11.080
<v Speaker 1>know in love always felt incomplete to him. He said

1:37:11.120 --> 1:37:12.719
<v Speaker 1>it sounded like a dub or a demo.

1:37:12.840 --> 1:37:13.080
<v Speaker 2>To me.

1:37:13.640 --> 1:37:16.120
<v Speaker 1>I couldn't get excited about it. I really dug it

1:37:16.160 --> 1:37:18.120
<v Speaker 1>that night. I wrote it in the motel, but I'd

1:37:18.160 --> 1:37:21.040
<v Speaker 1>gone past it. I didn't want it out. It sounded

1:37:21.080 --> 1:37:23.280
<v Speaker 1>all right, but I didn't really like that fuzz guitar.

1:37:23.720 --> 1:37:26.800
<v Speaker 1>I wanted to make that thing different. You needed either

1:37:26.840 --> 1:37:29.080
<v Speaker 1>horns or something else that could knock that riff out.

1:37:29.439 --> 1:37:31.400
<v Speaker 1>The riff was gonna make the song or break it.

1:37:31.680 --> 1:37:34.960
<v Speaker 1>He was correct, and it wasn't meant for guitar. Just

1:37:34.960 --> 1:37:37.840
<v Speaker 1>as there are multiple conflicting versions of the song's genesis,

1:37:37.960 --> 1:37:41.879
<v Speaker 1>there are also multiple versions concerning the song's release. According

1:37:41.920 --> 1:37:44.559
<v Speaker 1>to one manager, Andrew lug Oldham decided to put the

1:37:44.600 --> 1:37:47.519
<v Speaker 1>decision to a band vote, which feels like something out

1:37:47.560 --> 1:37:51.080
<v Speaker 1>of Flight of the Concords. That's oddly adorable. According to

1:37:51.080 --> 1:37:54.719
<v Speaker 1>Bill Wyman, the vote was close, with Charlie Watts the drummer,

1:37:54.760 --> 1:37:58.320
<v Speaker 1>Bill Wyman, bass player, and Brian Jones, the guitarist, voting yes,

1:37:58.360 --> 1:38:02.120
<v Speaker 1>put it out, which is prizing considering the pop hating

1:38:02.120 --> 1:38:04.960
<v Speaker 1>blues purist. Brian Jones actually went for it, but we'll

1:38:05.000 --> 1:38:06.040
<v Speaker 1>talk more about that later.

1:38:06.800 --> 1:38:09.679
<v Speaker 2>Mcking Keith meanwhile opposed.

1:38:09.160 --> 1:38:13.000
<v Speaker 1>The choice of releasing it as a single. Mick Meanwhile

1:38:13.160 --> 1:38:15.719
<v Speaker 1>has been asked about this and says he doesn't remember voting,

1:38:16.040 --> 1:38:17.680
<v Speaker 1>which I guess it's probably done a good look for

1:38:17.720 --> 1:38:19.759
<v Speaker 1>him to say, yeah, I didn't think we should put.

1:38:19.600 --> 1:38:20.680
<v Speaker 2>Our most sign up.

1:38:20.800 --> 1:38:23.439
<v Speaker 1>Yeah, A lot of people are charmed by those stories.

1:38:23.520 --> 1:38:24.400
<v Speaker 1>There's a lot of stories.

1:38:24.640 --> 1:38:28.719
<v Speaker 2>Yeah, I guess he just he probably is incapable of bending.

1:38:28.720 --> 1:38:31.200
<v Speaker 2>He was wrong, right, And yeah, no, that's true. That's

1:38:31.200 --> 1:38:32.879
<v Speaker 2>the hold up there that's very true.

1:38:33.400 --> 1:38:35.559
<v Speaker 1>Keith would say over the years that he only discovered

1:38:35.560 --> 1:38:38.600
<v Speaker 1>that the song was released when driving through the United States.

1:38:39.360 --> 1:38:41.160
<v Speaker 1>He said, we left the track and went back out

1:38:41.160 --> 1:38:43.240
<v Speaker 1>on the road, and two weeks later I heard it

1:38:43.280 --> 1:38:46.040
<v Speaker 1>on the radio. I said, no, that was just a demo.

1:38:47.200 --> 1:38:50.200
<v Speaker 1>The timeline of that doesn't fully line up, because the

1:38:50.320 --> 1:38:52.560
<v Speaker 1>US tour had rapped by the time the song was

1:38:52.600 --> 1:38:55.000
<v Speaker 1>available in Chops. But it could have been a promo

1:38:55.160 --> 1:38:58.519
<v Speaker 1>that Andrew Logodam leaked the radio stations because a favorite

1:38:58.520 --> 1:39:01.479
<v Speaker 1>way of putting the muscle on record companies or bands

1:39:01.479 --> 1:39:03.840
<v Speaker 1>who didn't want to release a song or were giving

1:39:04.040 --> 1:39:06.400
<v Speaker 1>promos or tapes to radio networks and trying to get

1:39:06.400 --> 1:39:09.400
<v Speaker 1>a ground swell of listeners to request it often enough

1:39:09.439 --> 1:39:12.200
<v Speaker 1>that basically forced the label's hand to put it out,

1:39:12.200 --> 1:39:15.160
<v Speaker 1>So maybe that was what he was doing. In any event,

1:39:15.280 --> 1:39:18.280
<v Speaker 1>Satisfaction was released in the US on June fourth, nineteen

1:39:18.320 --> 1:39:21.679
<v Speaker 1>sixty five, barely a month after Mike it first put

1:39:21.720 --> 1:39:25.080
<v Speaker 1>words to Keith's riff by a Florida swimming pool. The

1:39:25.080 --> 1:39:27.360
<v Speaker 1>song answered the Billboard Hot one hundred the week ending

1:39:27.439 --> 1:39:30.679
<v Speaker 1>June twelfth, and by July tenth, the song was number

1:39:30.680 --> 1:39:34.639
<v Speaker 1>one toppling the four tops. I can't help myself, sugar Pie,

1:39:34.680 --> 1:39:37.680
<v Speaker 1>Honey Bunch that song wise, Yeah, a great song. It

1:39:37.720 --> 1:39:39.960
<v Speaker 1>held the top spot for four weeks before the band

1:39:40.040 --> 1:39:43.720
<v Speaker 1>was supplanted by their own nemesis, Hermit's Hermits and their

1:39:43.760 --> 1:39:47.680
<v Speaker 1>truly dreadful song I'm Enery the Eighth I Am That

1:39:47.800 --> 1:39:48.559
<v Speaker 1>song blows.

1:39:48.640 --> 1:39:51.240
<v Speaker 2>Oh god, I forgot they also did that, Hey, I

1:39:51.320 --> 1:39:56.240
<v Speaker 2>told yeah, yeah a song yeah sus sucks. Oh Menory

1:39:56.320 --> 1:40:00.559
<v Speaker 2>the eight Menory the I Done. You would gain some

1:40:00.640 --> 1:40:04.320
<v Speaker 2>kind of a perverse No, no, I hate that song now.

1:40:04.800 --> 1:40:09.120
<v Speaker 1>That and Winchester Cathedral by the New Christy Minstrels. No, yeah,

1:40:09.160 --> 1:40:11.720
<v Speaker 1>there's there's a there's a level of kitch that even

1:40:11.800 --> 1:40:15.400
<v Speaker 1>I don't mess with. In the sixties, Yeah, no, I

1:40:15.400 --> 1:40:18.200
<v Speaker 1>can't deal with that. Do the Freddy by Freddie and

1:40:18.200 --> 1:40:19.560
<v Speaker 1>the Dreamers also blows.

1:40:19.960 --> 1:40:23.280
<v Speaker 2>Yeah, I don't. You're already talking about you passed into

1:40:23.640 --> 1:40:25.599
<v Speaker 2>I don't know or care about and leave it. Keep

1:40:25.600 --> 1:40:26.640
<v Speaker 2>it that way.

1:40:27.400 --> 1:40:31.439
<v Speaker 1>In the UK, Satisfaction wasn't issued until August twentieth, so

1:40:31.520 --> 1:40:34.160
<v Speaker 1>the Stones could promote it in person. Hit number one

1:40:34.200 --> 1:40:37.960
<v Speaker 1>there on September fifteenth, and stayed for two weeks. Interesting

1:40:38.000 --> 1:40:39.800
<v Speaker 1>that it was a number one in September because it's

1:40:39.800 --> 1:40:43.720
<v Speaker 1>such a summer song. To me, it was interesting, classic

1:40:44.760 --> 1:40:48.760
<v Speaker 1>classic song of the summer. I would argue, maybe there's

1:40:48.760 --> 1:40:51.479
<v Speaker 1>something in the fifties I'm forgetting, but like that seems

1:40:51.520 --> 1:40:54.120
<v Speaker 1>like the prototypical summer song to me.

1:40:54.560 --> 1:40:58.080
<v Speaker 2>Interesting. What about Mungo Jerry.

1:40:57.960 --> 1:40:58.680
<v Speaker 1>That was later though?

1:40:58.680 --> 1:41:01.200
<v Speaker 2>That was seventy Oh so you think it's the first

1:41:01.240 --> 1:41:01.920
<v Speaker 2>song of the summer.

1:41:01.960 --> 1:41:04.840
<v Speaker 1>Yeah, I would say Satisfaction is the first song of

1:41:04.880 --> 1:41:06.360
<v Speaker 1>the summer in all caps.

1:41:07.000 --> 1:41:09.639
<v Speaker 2>I don't care to debate you with this, okay at

1:41:09.640 --> 1:41:12.200
<v Speaker 2>this point, but I don't think that's true. And we

1:41:12.240 --> 1:41:15.840
<v Speaker 2>will revisit this, Okay, think about this.

1:41:16.360 --> 1:41:20.000
<v Speaker 1>I am think real hard. You're messing with the I am.

1:41:20.840 --> 1:41:23.120
<v Speaker 2>I sure will, Okay, all.

1:41:23.080 --> 1:41:25.800
<v Speaker 1>Right, okay, Okay, you know what Percy Face theme from

1:41:25.800 --> 1:41:28.599
<v Speaker 1>a summer place in nineteen sixty did really well?

1:41:28.800 --> 1:41:30.680
<v Speaker 2>Okay, I mean, I'm gonna come at this with my

1:41:30.760 --> 1:41:35.439
<v Speaker 2>own kind of standards. But we'll talk. We'll cut. Get

1:41:35.479 --> 1:41:37.479
<v Speaker 2>everyone caught up on this at some point, right.

1:41:38.120 --> 1:41:40.439
<v Speaker 1>Think about it, worry about it, put in an email,

1:41:40.520 --> 1:41:41.160
<v Speaker 1>don't send it.

1:41:41.680 --> 1:41:44.200
<v Speaker 2>Yeah, you know, find any gods you hold dear?

1:41:44.320 --> 1:41:48.760
<v Speaker 1>Yeah, more than their first American number one. Satisfaction was

1:41:48.800 --> 1:41:51.920
<v Speaker 1>a quantum leak beyond anything the Stones had ever achieved.

1:41:52.720 --> 1:41:55.280
<v Speaker 1>Mick is a cherished memory of driving up La Specific

1:41:55.320 --> 1:41:57.680
<v Speaker 1>Coast Highway with Andrew lug Oldham that summer and a

1:41:57.720 --> 1:42:01.920
<v Speaker 1>red Ford Mustang, pouching the Radi buttons and hearing satisfaction

1:42:02.080 --> 1:42:07.599
<v Speaker 1>on each station. That is a top five memory for anybody, really, YEA.

1:42:08.000 --> 1:42:10.760
<v Speaker 1>In order to understand the song's popularity, it's important to

1:42:10.800 --> 1:42:13.160
<v Speaker 1>compare the song to other songs in the chart at

1:42:13.200 --> 1:42:16.280
<v Speaker 1>the time, polished pop tunes like The Birds and the

1:42:16.320 --> 1:42:19.759
<v Speaker 1>Bees by Joeykins, The Song Also Blows, or This Diamond

1:42:19.840 --> 1:42:22.400
<v Speaker 1>Ring by Gary Lewis and the Playboys. That song's Okay

1:42:22.640 --> 1:42:27.320
<v Speaker 1>satisfaction sounded raw and rebellious, even just sonically. As you mentioned,

1:42:27.360 --> 1:42:29.759
<v Speaker 1>it was the first big hit to feature fuzzbox distortion,

1:42:30.240 --> 1:42:32.800
<v Speaker 1>a sound the Beatles themselves would borrow a year later

1:42:32.840 --> 1:42:36.320
<v Speaker 1>for Paul's base on Think for Yourself, a rare example

1:42:36.720 --> 1:42:42.720
<v Speaker 1>of the Stones doing something before the Beatles. Speaking of

1:42:42.720 --> 1:42:47.160
<v Speaker 1>the Beatles, Satisfaction truly clarified Andrew lou Goldham's goal positioning

1:42:47.200 --> 1:42:50.839
<v Speaker 1>the Stones as the anti Fab four in a pop.

1:42:50.640 --> 1:42:53.000
<v Speaker 2>Culture ruled by either oars.

1:42:53.040 --> 1:42:56.760
<v Speaker 1>Pepsi or Coke Marlborough or Cool. Rock and Roll would

1:42:56.760 --> 1:43:01.120
<v Speaker 1>now be either the Beatles or the Stones. It's interesting

1:43:01.160 --> 1:43:03.280
<v Speaker 1>to note that the summer sixty five, the summer that

1:43:03.400 --> 1:43:07.080
<v Speaker 1>Satisfaction hit number one and established the Stones as the

1:43:07.160 --> 1:43:09.840
<v Speaker 1>bad boys of rock. The Beatles were included on the

1:43:09.920 --> 1:43:14.479
<v Speaker 1>Queen's birthday honors list as mbes or members of the

1:43:14.479 --> 1:43:16.760
<v Speaker 1>British Empire, and later that year they would come the

1:43:16.760 --> 1:43:19.720
<v Speaker 1>Buckingham Palace and be given the honor in person by

1:43:19.760 --> 1:43:20.440
<v Speaker 1>the Queen.

1:43:20.600 --> 1:43:22.639
<v Speaker 2>Because there was such nice boys, I know.

1:43:22.760 --> 1:43:25.679
<v Speaker 1>But it's just interesting that in the same month, June

1:43:25.760 --> 1:43:29.519
<v Speaker 1>nineteen sixty five, that the Beatles were quite literally welcomed

1:43:29.520 --> 1:43:32.879
<v Speaker 1>into the British establishment with the capitol eed, the Stones

1:43:32.960 --> 1:43:35.440
<v Speaker 1>were scandalizing the populace with Satisfaction.

1:43:35.680 --> 1:43:38.720
<v Speaker 2>Did John Lennon like send it back? No? But I mean,

1:43:38.760 --> 1:43:41.600
<v Speaker 2>do you think did he like privately agonize over the

1:43:41.640 --> 1:43:44.120
<v Speaker 2>fact that he was just, by association with Paul like

1:43:44.240 --> 1:43:48.360
<v Speaker 2>suddenly thought to be like not as dangerous as the

1:43:48.400 --> 1:43:50.839
<v Speaker 2>Stone Like? Did he worry about his bad boy image

1:43:50.880 --> 1:43:52.559
<v Speaker 2>being supplanted by the Stones?

1:43:52.720 --> 1:43:54.760
<v Speaker 1>I don't think at that time, No, I don't think

1:43:54.760 --> 1:43:57.640
<v Speaker 1>he cared much that at that time he got as

1:43:57.720 --> 1:44:00.680
<v Speaker 1>he got the little medal or badge they gave him

1:44:00.680 --> 1:44:02.800
<v Speaker 1>and gave he gave it to his auntie Mimi. He

1:44:02.880 --> 1:44:04.479
<v Speaker 1>was the woman who raised him, and she kept it

1:44:04.560 --> 1:44:06.080
<v Speaker 1>on top of her television set.

1:44:06.560 --> 1:44:07.280
<v Speaker 2>I didn't ask all that.

1:44:08.320 --> 1:44:10.600
<v Speaker 1>And then in like nineteen sixty nine he asked for

1:44:10.640 --> 1:44:12.559
<v Speaker 1>it back and he sent it back to the queen

1:44:12.960 --> 1:44:18.800
<v Speaker 1>as a protest against a taxes that was some kind

1:44:18.800 --> 1:44:20.080
<v Speaker 1>of massacre in Biafra.

1:44:21.040 --> 1:44:22.799
<v Speaker 2>Oh well, okay, I saying corrected.

1:44:22.880 --> 1:44:25.200
<v Speaker 1>That was cool with him, It was, yeah, So yeah,

1:44:25.200 --> 1:44:28.559
<v Speaker 1>I don't think he actually in sixty five, I think

1:44:28.560 --> 1:44:30.040
<v Speaker 1>he was perfectly happy.

1:44:31.640 --> 1:44:36.120
<v Speaker 2>Yeah, I vet him up, I ve him up, na na.

1:44:36.520 --> 1:44:38.880
<v Speaker 1>I mean that was the summer that help came out,

1:44:39.160 --> 1:44:41.439
<v Speaker 1>which was a literal cry for help from him. So

1:44:41.479 --> 1:44:44.400
<v Speaker 1>he was dealing with certain demons, but I don't think

1:44:44.439 --> 1:44:46.400
<v Speaker 1>they really had much to do with Uh.

1:44:46.560 --> 1:44:48.360
<v Speaker 2>Whether or not he was perceived as cool as the

1:44:48.479 --> 1:44:52.719
<v Speaker 2>rolling Stones, Yeah, he definitely wasn't. So it definitely bothered him.

1:44:53.800 --> 1:44:56.639
<v Speaker 2>I'm just trying to sell this so hard to you

1:44:57.680 --> 1:45:01.560
<v Speaker 2>and just sitting at home clenching his tiny fits, seething.

1:45:02.240 --> 1:45:05.960
<v Speaker 2>He throws his dumb little scally Greek fisherman's hat.

1:45:05.840 --> 1:45:09.960
<v Speaker 1>Away that that was dumb. Even I admit that was bad.

1:45:10.600 --> 1:45:11.440
<v Speaker 2>Yeah.

1:45:11.520 --> 1:45:13.920
<v Speaker 1>The woman who like introduced him to that hat was

1:45:13.920 --> 1:45:17.559
<v Speaker 1>like an art school Greek and uh no, but my

1:45:17.560 --> 1:45:20.479
<v Speaker 1>Greek friend just texted me the moment you just said Greek,

1:45:20.520 --> 1:45:23.559
<v Speaker 1>that was weird. Uh No, she was not Greek. She

1:45:23.720 --> 1:45:25.200
<v Speaker 1>was just a friend from art school. And now she

1:45:25.240 --> 1:45:28.639
<v Speaker 1>sells those caps. She makes them herself, so you can

1:45:28.720 --> 1:45:32.519
<v Speaker 1>have an authentic John Lennon terrible cap. The other Beatles

1:45:32.600 --> 1:45:40.479
<v Speaker 1>used to call it caps. Yeah, yeah, Anyway. Much of

1:45:40.520 --> 1:45:43.680
<v Speaker 1>the public perception of the Stones as bad boys was

1:45:43.720 --> 1:45:47.120
<v Speaker 1>down to the lyrics of Satisfaction. At the time of

1:45:47.160 --> 1:45:49.800
<v Speaker 1>its release, the song was seen as provocative, not just

1:45:49.840 --> 1:45:52.720
<v Speaker 1>for its sexual undertones, but for its scathing take on

1:45:52.800 --> 1:45:56.920
<v Speaker 1>consumer culture in the modern world. Music critic Paul Gambuccini

1:45:57.040 --> 1:45:59.240
<v Speaker 1>my interviewed once He's wonderful. He's a really interesting guy's

1:45:59.240 --> 1:46:02.360
<v Speaker 1>written some great stuff. He noted the lyrics to this

1:46:02.400 --> 1:46:05.320
<v Speaker 1>were truly threatening to an older audience. This song was

1:46:05.360 --> 1:46:08.200
<v Speaker 1>perceived as an attack on the status quo, and in

1:46:08.240 --> 1:46:11.000
<v Speaker 1>his BC Jagger biography God Awful Rock, His Story and

1:46:11.040 --> 1:46:13.080
<v Speaker 1>Philip Norman, who wrote a not great book about the

1:46:13.080 --> 1:46:17.240
<v Speaker 1>Beatles called Shout proclaims this the first pop song to

1:46:17.360 --> 1:46:23.600
<v Speaker 1>directly reference sex, which feels both incorrect and deliberately obscure

1:46:23.760 --> 1:46:27.960
<v Speaker 1>with the whole pop qualifier. But I just want to

1:46:27.960 --> 1:46:30.360
<v Speaker 1>reference that as red meat to you and see.

1:46:30.160 --> 1:46:34.719
<v Speaker 2>What you do with that. I'm gonna leave it alone, okay,

1:46:35.520 --> 1:46:36.960
<v Speaker 2>which you didn't think I was gonna do.

1:46:37.200 --> 1:46:40.599
<v Speaker 1>No, Well, I already took the fun out of it.

1:46:40.840 --> 1:46:42.400
<v Speaker 2>Yeah, I also disagree.

1:46:44.120 --> 1:46:47.880
<v Speaker 1>From the very start, producer manager Andrew lug Oldham knew

1:46:47.880 --> 1:46:51.799
<v Speaker 1>that the lyrics of Satisfaction would cause some issues, particularly

1:46:51.880 --> 1:46:55.040
<v Speaker 1>in the States. As a result, when mixing the song,

1:46:55.160 --> 1:46:59.040
<v Speaker 1>he ordered engineer Dave Hessinger to bury the vocals. Dave

1:46:59.040 --> 1:47:01.800
<v Speaker 1>Hessinger would later say, I never heard the damn lyrics

1:47:01.840 --> 1:47:04.760
<v Speaker 1>of satisfaction for years. They kept telling me to bring

1:47:04.760 --> 1:47:07.400
<v Speaker 1>the voice down in the track. I thought they were crazy.

1:47:07.720 --> 1:47:09.280
<v Speaker 1>I didn't know it had to do with the lyrics

1:47:09.280 --> 1:47:12.519
<v Speaker 1>and getting radio play. The most defensive line at the

1:47:12.560 --> 1:47:15.160
<v Speaker 1>time was the bit about Jagger quote trying to make

1:47:15.240 --> 1:47:18.600
<v Speaker 1>some girl, which I always heard until working on this

1:47:18.680 --> 1:47:22.880
<v Speaker 1>episode as trying to meet some girl, which says more

1:47:22.920 --> 1:47:25.040
<v Speaker 1>about me than it does about Mick Jagger or America

1:47:25.040 --> 1:47:28.599
<v Speaker 1>in the sixties. Even though it was buried in the mix,

1:47:28.680 --> 1:47:32.080
<v Speaker 1>this line was too much for WABC, the New York

1:47:32.120 --> 1:47:36.200
<v Speaker 1>City Broadcasting powerhouse, made their own edit of Satisfaction, cutting

1:47:36.240 --> 1:47:40.320
<v Speaker 1>the verse entirely. I've seen multiple reports that the line

1:47:40.360 --> 1:47:43.400
<v Speaker 1>was beeped during the band's February nineteen sixty six performance

1:47:43.439 --> 1:47:46.400
<v Speaker 1>on The All Important and Sullivan Show, but the versions

1:47:46.400 --> 1:47:50.360
<v Speaker 1>available online have the line intact. However, the following year,

1:47:50.760 --> 1:47:53.240
<v Speaker 1>when the Stones performed on Ed Sullivan, they had to

1:47:53.320 --> 1:47:55.960
<v Speaker 1>change the title of Let's Spend the Night Together to

1:47:56.800 --> 1:47:59.920
<v Speaker 1>Let's spend some time together. And it's really funny to

1:48:00.040 --> 1:48:02.120
<v Speaker 1>watch because Mick rolls his eyes every time he gets

1:48:02.120 --> 1:48:04.240
<v Speaker 1>to the chorus good.

1:48:04.040 --> 1:48:06.679
<v Speaker 2>For him with a bitch yeah.

1:48:06.880 --> 1:48:09.760
<v Speaker 1>Jagger would later claim that the Pearl Clutchers always missed

1:48:09.800 --> 1:48:12.439
<v Speaker 1>what he considered quote the dirtiest line of the song.

1:48:13.600 --> 1:48:16.000
<v Speaker 1>This is the one where the girl pleads baby better

1:48:16.040 --> 1:48:18.680
<v Speaker 1>come back later next week because you see, I'm on

1:48:18.800 --> 1:48:22.320
<v Speaker 1>a losing streak. I never really thought much about what

1:48:22.320 --> 1:48:23.720
<v Speaker 1>that line meant, did you.

1:48:24.360 --> 1:48:27.600
<v Speaker 2>I never even understood what he said. It's also mushmouthy.

1:48:27.800 --> 1:48:28.240
<v Speaker 2>That's true.

1:48:28.320 --> 1:48:31.800
<v Speaker 1>Yes, apparently, according to Mick, he intended this line to

1:48:31.840 --> 1:48:33.720
<v Speaker 1>mean that the girl was on her period.

1:48:38.200 --> 1:48:38.599
<v Speaker 2>Streak.

1:48:38.960 --> 1:48:42.519
<v Speaker 1>That's not nice, but Jagger later elaborated, it's just life.

1:48:42.720 --> 1:48:45.880
<v Speaker 1>That's what really happens to girls. Why shouldn't people write

1:48:45.920 --> 1:48:47.320
<v Speaker 1>about it?

1:48:47.479 --> 1:48:54.599
<v Speaker 2>Charming? He's so gross. I think, I don't know.

1:48:54.360 --> 1:48:56.280
<v Speaker 1>I think he was young when he gave that quote.

1:48:56.920 --> 1:48:58.559
<v Speaker 2>He was, no, but he was one of those young

1:48:58.600 --> 1:49:01.240
<v Speaker 2>old people. Like even when he's like young and very pretty,

1:49:01.280 --> 1:49:05.519
<v Speaker 2>he looks old, maybe just because he's English. Yeah yeah,

1:49:06.200 --> 1:49:10.680
<v Speaker 2>English friends. Yeah, I'm sorry, guys born old. Nothing you

1:49:10.720 --> 1:49:14.000
<v Speaker 2>can do about that. Yeah, since since for the Empire,

1:49:14.120 --> 1:49:14.599
<v Speaker 2>it's such.

1:49:14.880 --> 1:49:18.080
<v Speaker 1>A tough period being between young man and like daddy.

1:49:18.320 --> 1:49:20.800
<v Speaker 1>I was thinking about that today, something that haunts here

1:49:20.800 --> 1:49:22.360
<v Speaker 1>because I'm in the mid period now.

1:49:22.560 --> 1:49:27.040
<v Speaker 2>Yeah. Yeah, I'm not a young man. No, that's just

1:49:28.280 --> 1:49:30.600
<v Speaker 2>oh okay, so just no point in me continuing that.

1:49:38.640 --> 1:49:40.360
<v Speaker 1>Okay, all right, what.

1:49:40.200 --> 1:49:42.120
<v Speaker 2>Was your what was your contender for the first song

1:49:42.160 --> 1:49:47.439
<v Speaker 2>of the summer Satisfaction? Okay? Yeah, what was your other one?

1:49:48.360 --> 1:49:51.400
<v Speaker 1>Maybe theme from a Summer Place by Percy Faith, which

1:49:51.439 --> 1:49:54.479
<v Speaker 1>I want to see in sixty or sixty one.

1:49:55.520 --> 1:49:57.880
<v Speaker 2>Okay. I have the actual Billboard list up here.

1:49:58.439 --> 1:50:01.160
<v Speaker 1>Well, I mean, there were big songs in summers, but

1:50:01.560 --> 1:50:04.280
<v Speaker 1>that's different than Song of the Summer, which is like

1:50:04.360 --> 1:50:08.840
<v Speaker 1>a you know, like Umbrella was two thousand and eight,

1:50:08.880 --> 1:50:10.360
<v Speaker 1>I want to say, or seven that might have been

1:50:10.360 --> 1:50:13.080
<v Speaker 1>two thousand and seven, like the huge songs that just

1:50:13.120 --> 1:50:17.200
<v Speaker 1>define the summer. Satisfaction was argued defined the summer sixty five.

1:50:17.400 --> 1:50:23.320
<v Speaker 2>Well, according to Billboard, you're wrong that whatever you just said,

1:50:23.560 --> 1:50:26.880
<v Speaker 2>Percy Faith did not appear. It doesn't even appear on

1:50:26.920 --> 1:50:30.680
<v Speaker 2>their list of top ten songs of the year. In

1:50:30.760 --> 1:50:35.120
<v Speaker 2>nineteen sixty was I'm Sorry by Brenda Lee. Nope, number

1:50:35.120 --> 1:50:39.120
<v Speaker 2>two summer It's Gonna be uplifting? Oh well, Ali Oop

1:50:39.479 --> 1:50:43.120
<v Speaker 2>by the Hollywood Argyles, making its second appearance on this podcast,

1:50:43.479 --> 1:50:46.720
<v Speaker 2>and followed by the actual song of the Summer of

1:50:46.880 --> 1:50:51.560
<v Speaker 2>nineteen sixty it'sy Bitsy Tina Weeny yellow polka dot Bikini.

1:50:51.320 --> 1:50:53.120
<v Speaker 1>Just qualified for being a novelty song.

1:50:53.680 --> 1:50:55.280
<v Speaker 2>Walk Don't Run by the Ventures.

1:50:55.320 --> 1:50:59.479
<v Speaker 1>Oh damn. I would say that transcends Song of Summer

1:50:59.800 --> 1:51:01.439
<v Speaker 1>just being a killer song.

1:51:01.960 --> 1:51:04.160
<v Speaker 2>All right, Well, if you're just gonna make up different rules,

1:51:04.160 --> 1:51:07.080
<v Speaker 2>then let's go to nineteen sixty one. Okay, okay, sure,

1:51:07.680 --> 1:51:09.360
<v Speaker 2>tossing and Turning by Bobby Lewis.

1:51:09.439 --> 1:51:13.880
<v Speaker 1>That song goes, but it doesn't have the abiquity. I

1:51:13.960 --> 1:51:16.800
<v Speaker 1>was there quarter to three by us Oh, that was

1:51:16.960 --> 1:51:20.200
<v Speaker 1>also a great song. That's too it's too nebulous. It's

1:51:20.320 --> 1:51:22.920
<v Speaker 1>not like it's no a real melody to that song.

1:51:22.960 --> 1:51:25.120
<v Speaker 1>It's just like a party song. So it was recorded

1:51:25.160 --> 1:51:25.759
<v Speaker 1>at a party.

1:51:26.439 --> 1:51:30.439
<v Speaker 2>The ball Weavil Song by Book Brenton. No Michael by

1:51:30.439 --> 1:51:33.200
<v Speaker 2>the Highwayman. Oh god, no, it's like a folk song.

1:51:34.320 --> 1:51:38.800
<v Speaker 2>Rain Drops d Clark. No Moody River by Pat Boone.

1:51:39.000 --> 1:51:39.760
<v Speaker 1>Not moon River.

1:51:40.520 --> 1:51:44.599
<v Speaker 2>No. No. Well, then by virtue of elimination, we're gonna

1:51:44.640 --> 1:51:46.320
<v Speaker 2>have to go with last Night by the Marquis.

1:51:47.320 --> 1:51:50.840
<v Speaker 1>That song goes, but that's another like garage rock, like

1:51:50.880 --> 1:51:52.920
<v Speaker 1>it's not a song of the summer. Has to be

1:51:52.920 --> 1:51:55.000
<v Speaker 1>almost cinematic, you know what I mean?

1:51:55.400 --> 1:52:00.320
<v Speaker 2>Billboard clearly doesn't. Nineteen sixty two. Okay, I Can't Stop

1:52:00.360 --> 1:52:02.920
<v Speaker 2>Loving You by Ray Charles. It has to be upbeat,

1:52:03.320 --> 1:52:06.959
<v Speaker 2>the locomotion. Okay, we're getting closer, getting closer.

1:52:07.240 --> 1:52:08.880
<v Speaker 1>That's the closest one we have so far.

1:52:09.600 --> 1:52:12.960
<v Speaker 2>What's that in the whah WAHTUSI in nineteen sixty two?

1:52:13.120 --> 1:52:14.280
<v Speaker 2>So I'm gonna go ahead and give it to one

1:52:14.280 --> 1:52:19.000
<v Speaker 2>of them. Okay. Nineteen sixty three, Yeah, pretty easy. It's

1:52:19.120 --> 1:52:22.920
<v Speaker 2>Wipe Out by the Sufaris, or Surf City by Jan

1:52:23.040 --> 1:52:25.599
<v Speaker 2>and Deine, or Fingertips Part two by Little Stevie.

1:52:25.680 --> 1:52:25.880
<v Speaker 1>Wow.

1:52:26.280 --> 1:52:28.960
<v Speaker 2>Okay, any of those I think could have qualified? I

1:52:29.400 --> 1:52:31.880
<v Speaker 2>would are you never mind? But go ahead?

1:52:31.960 --> 1:52:36.880
<v Speaker 1>Nothing nothing. It's not a melody based thing, are you

1:52:37.040 --> 1:52:40.240
<v Speaker 1>talking about, charl Summer should be like the theme song

1:52:40.320 --> 1:52:41.840
<v Speaker 1>to the greatest movie you've ever seen.

1:52:42.800 --> 1:52:47.000
<v Speaker 2>Okay, it should paint pictures in your mind. Man, something

1:52:47.040 --> 1:52:49.360
<v Speaker 2>called the bowl Weavil Summer doesn't do that for you.

1:52:49.920 --> 1:52:53.439
<v Speaker 2>No bull Weavil song? Okay. Nineteen sixty four, Where did

1:52:53.479 --> 1:52:57.200
<v Speaker 2>I Love Go? By the Supremes? I Get Around by

1:52:57.240 --> 1:52:57.920
<v Speaker 2>the Beach Boys?

1:52:58.760 --> 1:53:00.840
<v Speaker 1>Okay, getting Closer that's also good.

1:53:01.479 --> 1:53:02.920
<v Speaker 2>Under the Boardwalk by the Drift.

1:53:03.120 --> 1:53:06.360
<v Speaker 1>Oh, that's also really good. Okay, so we've glad we've

1:53:06.360 --> 1:53:11.000
<v Speaker 1>settled it. I question the ubiquity of those songs, whereas.

1:53:10.880 --> 1:53:13.920
<v Speaker 2>I'm getting this, I'm getting this right from Billboard.

1:53:14.600 --> 1:53:17.760
<v Speaker 1>No, those are popular songs in the summer of blank year,

1:53:18.080 --> 1:53:20.280
<v Speaker 1>as opposed to be the song of the summer.

1:53:21.840 --> 1:53:25.000
<v Speaker 2>Okay. The tunes below a rank based on each track's

1:53:25.040 --> 1:53:27.479
<v Speaker 2>performance on the Billboard Hot one hundred chart during the

1:53:27.560 --> 1:53:31.479
<v Speaker 2>summer for the period through nineteen ninety one, prior to

1:53:31.520 --> 1:53:34.360
<v Speaker 2>the advent of illuminate radio monitoring point of sales data.

1:53:34.439 --> 1:53:37.560
<v Speaker 2>The rankings are based on an inverse point system, with

1:53:37.760 --> 1:53:41.720
<v Speaker 2>weeks at number one earning the greatest point value and

1:53:41.840 --> 1:53:46.240
<v Speaker 2>weeks at lower ranks earning less. So off, every single

1:53:46.280 --> 1:53:48.920
<v Speaker 2>one of those I listed first was actually the thing

1:53:49.000 --> 1:53:50.719
<v Speaker 2>that sold the most during the summer.

1:53:50.960 --> 1:53:51.640
<v Speaker 1>I'm picturing it.

1:53:51.800 --> 1:53:55.040
<v Speaker 2>Is coming out of every car speakers in the way

1:53:55.120 --> 1:53:57.959
<v Speaker 2>that we were talking about. I'm telling you that, according

1:53:58.080 --> 1:54:01.320
<v Speaker 2>to the people who ran the chart, those songs I

1:54:01.520 --> 1:54:05.840
<v Speaker 2>named wore that song Okay, okay, must have been really

1:54:05.880 --> 1:54:07.599
<v Speaker 2>depressing to be a live in nineteen fifty nine when

1:54:07.600 --> 1:54:09.840
<v Speaker 2>it was Lonely Boy by Paul Anka.

1:54:09.760 --> 1:54:12.439
<v Speaker 1>Oh my friend, Paul Anka. How was the song of

1:54:12.439 --> 1:54:12.840
<v Speaker 1>the summer?

1:54:13.000 --> 1:54:15.800
<v Speaker 2>Yeah, in nineteen sixty it was I'm Sorry by Brenda Lee.

1:54:16.360 --> 1:54:18.479
<v Speaker 2>Oh my friend Brenda. Oh Jesus Christ.

1:54:20.880 --> 1:54:23.080
<v Speaker 1>We're gonna take a quick break, but we'll be right

1:54:23.160 --> 1:54:25.719
<v Speaker 1>back with more. Too much information in just a moment.

1:54:31.280 --> 1:54:40.320
<v Speaker 2>Wow, wow, Wow, where were you dragging this out?

1:54:41.160 --> 1:54:44.080
<v Speaker 1>Well, there were all sorts of stupid interpretations about the

1:54:44.200 --> 1:54:48.080
<v Speaker 1>lyrics Dissatisfaction. Apparently, a woman stopped the Stones at the

1:54:48.120 --> 1:54:50.800
<v Speaker 1>airport and quized them about the line hey hey Hey,

1:54:51.640 --> 1:54:54.600
<v Speaker 1>which she assumed meant hey hey hey as an h

1:54:54.720 --> 1:55:01.840
<v Speaker 1>a y wow yeh grass, which is uniquely dumb, more dumb,

1:55:01.880 --> 1:55:04.640
<v Speaker 1>in fact, than Bob Dylan thinking that the Beatles smoked

1:55:04.720 --> 1:55:06.600
<v Speaker 1>pot after hearing the line on I want to hold

1:55:06.640 --> 1:55:09.920
<v Speaker 1>your hand, it's such a feeling that my love I

1:55:10.040 --> 1:55:12.760
<v Speaker 1>can't hide, which he thought was it's such a feeling

1:55:12.800 --> 1:55:16.280
<v Speaker 1>that my love I get high, Yeah yeah, which would

1:55:16.280 --> 1:55:18.240
<v Speaker 1>have been advanced for that song was released in like

1:55:18.280 --> 1:55:20.720
<v Speaker 1>December sixty three, so that's it would have been pretty

1:55:20.760 --> 1:55:24.480
<v Speaker 1>daring had they actually meant that. Amusingly, forty years after

1:55:24.600 --> 1:55:28.320
<v Speaker 1>Satisfaction was released, the Stones performed three songs during Super

1:55:28.320 --> 1:55:32.400
<v Speaker 1>Bowl XCEL in February two thousand and six. Satisfaction was

1:55:32.440 --> 1:55:34.919
<v Speaker 1>the only one of the three songs that wasn't censored

1:55:35.440 --> 1:55:38.840
<v Speaker 1>when it was broadcast. They censored Start Me Up for

1:55:39.000 --> 1:55:43.480
<v Speaker 1>the Grown Man, Come of It All, and the song

1:55:43.640 --> 1:55:46.120
<v Speaker 1>rough Justice, which I don't know is a new song

1:55:46.160 --> 1:55:49.080
<v Speaker 1>of Theirs that I don't remember what the lines.

1:55:48.840 --> 1:55:52.400
<v Speaker 2>Are, man, it doesn't sound very good. No rough justice,

1:55:53.040 --> 1:55:55.680
<v Speaker 2>you guys doling out or at the receiving end of

1:55:55.720 --> 1:55:57.280
<v Speaker 2>a lot of rough justice these days.

1:55:57.360 --> 1:55:59.600
<v Speaker 1>Well, as we'll talk about, the Stones kind of had

1:55:59.640 --> 1:56:02.840
<v Speaker 1>their own like self policing unit when they were on

1:56:02.920 --> 1:56:05.320
<v Speaker 1>the road, Like whenever there were things that they had

1:56:05.400 --> 1:56:09.160
<v Speaker 1>to like settle amongst themselves, they usually locked themselves in

1:56:09.200 --> 1:56:13.360
<v Speaker 1>a hotel room and had like a little utofficial judicial committee. Well,

1:56:13.400 --> 1:56:15.920
<v Speaker 1>we'll talk more about that in a little bit, but

1:56:16.040 --> 1:56:18.080
<v Speaker 1>it's interesting. They had this in nineteen sixty five in

1:56:18.120 --> 1:56:20.440
<v Speaker 1>the American tour, and they had this seven years later

1:56:20.520 --> 1:56:22.960
<v Speaker 1>in the nineteen seventy two tour of the United States

1:56:23.920 --> 1:56:25.880
<v Speaker 1>and people got messed up.

1:56:28.800 --> 1:56:31.080
<v Speaker 2>The make some Girl line was in fact bleeped out

1:56:31.120 --> 1:56:33.800
<v Speaker 2>during the band's appearance on the ABC variety show Shindig

1:56:34.000 --> 1:56:38.160
<v Speaker 2>on May twentieth, nineteen sixty five. Jordan's mother was ten

1:56:38.520 --> 1:56:39.280
<v Speaker 2>on that day.

1:56:39.400 --> 1:56:42.080
<v Speaker 1>Yes, turn ten that day, Yes, Friend of the Pod Shindig,

1:56:42.760 --> 1:56:44.680
<v Speaker 1>Front of the Pod, Chris Runtalk and Friend of the

1:56:44.720 --> 1:56:45.800
<v Speaker 1>Pod Shindig.

1:56:46.800 --> 1:56:49.680
<v Speaker 2>This is weeks before Satisfaction had actually been released, and

1:56:49.800 --> 1:56:52.160
<v Speaker 2>it is thought to be the television premiere of the song.

1:56:52.720 --> 1:56:57.000
<v Speaker 2>It is performed, However, without the fuzzbox. As previously mentioned,

1:56:57.040 --> 1:56:59.560
<v Speaker 2>Keith had only intended that to be a placeholder for horns,

1:56:59.640 --> 1:57:01.880
<v Speaker 2>and still had not accepted that it was a crucial

1:57:01.960 --> 1:57:02.960
<v Speaker 2>part of the song.

1:57:03.280 --> 1:57:05.440
<v Speaker 1>He had not accepted the fuzzbox into his heart as

1:57:05.480 --> 1:57:06.320
<v Speaker 1>his Lord and savior.

1:57:06.640 --> 1:57:09.520
<v Speaker 2>He had non As part of their agreement for appearing

1:57:09.560 --> 1:57:12.320
<v Speaker 2>on the program, the band insisted to producers that formative

1:57:12.360 --> 1:57:15.640
<v Speaker 2>Delta Blues icon Howland Wolf be a guest among them

1:57:15.960 --> 1:57:19.080
<v Speaker 2>one of the coolest things that they ever did. Brian

1:57:19.160 --> 1:57:22.160
<v Speaker 2>Jones introduced his performance of how Many More Years, which

1:57:22.280 --> 1:57:25.480
<v Speaker 2>is one of the most fascinating crossovers and mid sixties

1:57:25.560 --> 1:57:28.040
<v Speaker 2>television this side of the j justins meeting the Flintstones

1:57:28.920 --> 1:57:31.600
<v Speaker 2>during the rehearsals, though, Holene Wolf took Mick aside and said,

1:57:31.600 --> 1:57:33.680
<v Speaker 2>I want you to meet someone. He took him into

1:57:33.680 --> 1:57:36.560
<v Speaker 2>the audience and introduced him to Son House, the man

1:57:36.600 --> 1:57:39.200
<v Speaker 2>who had done the original version of Little Red Rooster,

1:57:39.760 --> 1:57:41.600
<v Speaker 2>which is the blue standard that the Stones had taken

1:57:41.600 --> 1:57:44.760
<v Speaker 2>to number one in England a few months before. Howland

1:57:44.840 --> 1:57:48.080
<v Speaker 2>Wolf introduced Mick to sun House by saying, this is

1:57:48.120 --> 1:57:51.480
<v Speaker 2>the man who did the original Little Red Rooster. Mayck

1:57:51.520 --> 1:57:54.560
<v Speaker 2>had enough wherewithal to fear that son House might have

1:57:54.600 --> 1:57:57.720
<v Speaker 2>been pissed, and was probably pissed in both senses of

1:57:57.800 --> 1:58:02.000
<v Speaker 2>the word. I think this is into his wet brain era.

1:58:03.720 --> 1:58:07.560
<v Speaker 2>Sun House was reportedly very gracious about this, though he says,

1:58:07.600 --> 1:58:10.040
<v Speaker 2>don't you worry about copy and Little Red Rooster because

1:58:10.040 --> 1:58:12.480
<v Speaker 2>I wasn't the first one to do it, which might

1:58:12.560 --> 1:58:16.360
<v Speaker 2>actually be true because Sunhouse, I think was Charlie Patten's

1:58:16.960 --> 1:58:22.040
<v Speaker 2>protege or contemporary, so he might have gotten it from

1:58:23.000 --> 1:58:25.480
<v Speaker 2>sun House, which is one of the ways that people

1:58:25.840 --> 1:58:27.920
<v Speaker 2>got songs associated with them. They just learned them from

1:58:27.960 --> 1:58:31.280
<v Speaker 2>other guys. But despite its global success, Satisfaction did not

1:58:31.440 --> 1:58:34.200
<v Speaker 2>earn the band praise from his circle of British blues

1:58:34.360 --> 1:58:38.040
<v Speaker 2>purists who with their peers in the early sixties. Chris Barber,

1:58:38.200 --> 1:58:40.800
<v Speaker 2>a major figure in that scene, expressed his displeasure about

1:58:40.800 --> 1:58:42.880
<v Speaker 2>the song when speaking to author Rich Cohen in the

1:58:43.000 --> 1:58:47.000
<v Speaker 2>aforementioned Sun Moon and Rolling Stones book It's Not Real.

1:58:47.200 --> 1:58:50.480
<v Speaker 2>He said of Mick and Keith's music, specifically Satisfaction, and

1:58:50.600 --> 1:58:52.800
<v Speaker 2>the sad thing is they were capable of the real thing,

1:58:53.120 --> 1:58:54.960
<v Speaker 2>but they found something else which is not real but

1:58:55.040 --> 1:58:57.600
<v Speaker 2>makes them an awful lot of money, and everybody else

1:58:57.680 --> 1:58:59.640
<v Speaker 2>makes a lot of money on it too, so everybody

1:58:59.720 --> 1:59:02.000
<v Speaker 2>likes it, but it's not real, and if you are

1:59:02.000 --> 1:59:05.240
<v Speaker 2>a serious musician, you know it's not real. I've always

1:59:05.280 --> 1:59:08.280
<v Speaker 2>found that annoying. Calling an original song not real when

1:59:08.560 --> 1:59:11.960
<v Speaker 2>you are a cover artist kind of stupid. Another person

1:59:12.040 --> 1:59:14.000
<v Speaker 2>who apparently hated the song was one of Mick and

1:59:14.080 --> 1:59:17.160
<v Speaker 2>Keith's own band mates. As you mentioned at the top

1:59:17.200 --> 1:59:19.880
<v Speaker 2>of the episode, the Rolling Stones had been originally been

1:59:20.600 --> 1:59:25.840
<v Speaker 2>the tiny, furious, well dressed father of a thousand Bastards,

1:59:26.000 --> 1:59:30.080
<v Speaker 2>Brian Jones. From the group's earliest days, he was the star.

1:59:30.760 --> 1:59:32.480
<v Speaker 2>He had been mentored by one of the biggest blues

1:59:32.520 --> 1:59:36.400
<v Speaker 2>figures in London, Alexis Corner. But Jones's inability to write

1:59:36.440 --> 1:59:38.960
<v Speaker 2>his own songs, which was deemed crucial following the rise

1:59:38.960 --> 1:59:41.360
<v Speaker 2>of Lennon McCartney the British music scene, led to a

1:59:41.440 --> 1:59:44.800
<v Speaker 2>power shift within the band from him to Jagger and

1:59:44.920 --> 1:59:50.560
<v Speaker 2>Richard's engineered As previously mentioned by Andrew lug e Oldham,

1:59:51.520 --> 1:59:53.640
<v Speaker 2>the material that the Glimmer Twins were turning out of

1:59:53.680 --> 1:59:55.920
<v Speaker 2>this point were more poppy than what Brian Jones would

1:59:55.920 --> 1:59:59.120
<v Speaker 2>have liked. Brian never felt right about it, Barbara continued

1:59:59.160 --> 2:00:01.200
<v Speaker 2>in Cohen's book, it was clear to anyone who knew

2:00:01.280 --> 2:00:04.760
<v Speaker 2>him has led to a serious schism within the band,

2:00:04.840 --> 2:00:06.840
<v Speaker 2>with Brian on one side and making Keith on the other.

2:00:07.760 --> 2:00:10.240
<v Speaker 2>No one knows how Charlie and Bill felt, because they

2:00:10.280 --> 2:00:12.600
<v Speaker 2>were the rhythm section and asleep most of the time,

2:00:13.840 --> 2:00:17.080
<v Speaker 2>often on stage. Brian's discomfort over this dynamic, not to

2:00:17.120 --> 2:00:19.160
<v Speaker 2>mention the depression that resulted from feeling though, as his

2:00:19.280 --> 2:00:21.560
<v Speaker 2>band had been taken out from under him, led Brian

2:00:21.640 --> 2:00:24.880
<v Speaker 2>to abuse drugs and alcohol in great quantities, and women,

2:00:25.200 --> 2:00:26.960
<v Speaker 2>and he was apparently not a great guy, even at

2:00:27.000 --> 2:00:30.280
<v Speaker 2>the best of the situations. Keith himself would bluntly say

2:00:30.560 --> 2:00:33.920
<v Speaker 2>he was not a good man, and Charlie Watts roused

2:00:34.000 --> 2:00:37.680
<v Speaker 2>himself to offer an even less varnish take he was

2:00:37.760 --> 2:00:41.640
<v Speaker 2>a little prick. Brian Jones father at least four children

2:00:41.680 --> 2:00:44.040
<v Speaker 2>with four different women, though some estimates put this number

2:00:44.040 --> 2:00:46.720
<v Speaker 2>as high as six, and rejected all of the children

2:00:46.760 --> 2:00:49.640
<v Speaker 2>that he knew about, although he did make poultry financial

2:00:49.680 --> 2:00:53.520
<v Speaker 2>settlements in some cases. One former girlfriend, Valerie Corbett, gave

2:00:53.520 --> 2:00:55.960
<v Speaker 2>birth to a son in nineteen sixty one named Julian

2:00:56.000 --> 2:01:01.160
<v Speaker 2>Mark Andrews Jones acknowledged him but never supported the son financially.

2:01:01.880 --> 2:01:05.880
<v Speaker 2>Another girlfriend, Linda Lawrence, had Jones's son, also named Julian,

2:01:05.920 --> 2:01:08.880
<v Speaker 2>in nineteen sixty four. That child was later adopted by

2:01:08.920 --> 2:01:13.280
<v Speaker 2>the singer Donovan, whom Linda Lawrence married. Then, in nineteen

2:01:13.320 --> 2:01:15.720
<v Speaker 2>sixty five, Jones reportedly paid a lump sum of seven

2:01:15.800 --> 2:01:18.640
<v Speaker 2>hundred pounds to sell a paternity suit with a teenage girlfriend,

2:01:18.680 --> 2:01:20.800
<v Speaker 2>with the condition that he have no contact with a child.

2:01:21.600 --> 2:01:24.720
<v Speaker 2>Yet another alleged son, Simon Jones, has since spoken out

2:01:24.720 --> 2:01:28.400
<v Speaker 2>about the emotional toll of being kept a secret. Jones's

2:01:28.400 --> 2:01:30.960
<v Speaker 2>wild lifestyle and reluctance to face fatherhood meant that many

2:01:31.000 --> 2:01:34.200
<v Speaker 2>of his relationships ended in estrangement or private legal wrangling.

2:01:34.880 --> 2:01:37.680
<v Speaker 2>Decades later, The mystery of how many children he truly

2:01:37.760 --> 2:01:40.600
<v Speaker 2>fathered and how many were quietly paid off still lingers

2:01:40.680 --> 2:01:43.360
<v Speaker 2>as part of his so so stupid legacy.

2:01:45.160 --> 2:01:48.400
<v Speaker 1>So yeah, I'm not exactly an A plus human, but uh,

2:01:48.440 --> 2:01:51.600
<v Speaker 1>don't take my word for it. Let's hear what three

2:01:51.680 --> 2:01:54.320
<v Speaker 1>of the four Beatles had to say about Brian Jones.

2:01:54.400 --> 2:01:55.720
<v Speaker 2>Shall we get his ass?

2:01:56.200 --> 2:02:00.480
<v Speaker 1>Yes, it's George Harrison, per the Beatles' anthology book. I

2:02:00.640 --> 2:02:02.480
<v Speaker 1>used to see Brian in the clubs and hang out

2:02:02.520 --> 2:02:05.120
<v Speaker 1>with him. In the mid sixties, he used to come

2:02:05.160 --> 2:02:08.880
<v Speaker 1>to my house, particularly when he got the fear when

2:02:08.960 --> 2:02:11.040
<v Speaker 1>he mixed too many weird things together.

2:02:12.160 --> 2:02:14.680
<v Speaker 2>I love George so much. I mean, that's a have

2:02:14.800 --> 2:02:19.200
<v Speaker 2>you night, no, but that's a very real concern. I'd

2:02:19.240 --> 2:02:23.000
<v Speaker 2>hear his voice shouting to me from out in the garden, George, George.

2:02:23.560 --> 2:02:25.120
<v Speaker 1>I'd let him in. He was a good mate.

2:02:25.720 --> 2:02:27.240
<v Speaker 2>He would always come around to my house.

2:02:27.320 --> 2:02:30.240
<v Speaker 1>In the Setar period. We talked about Painted Black and

2:02:30.320 --> 2:02:32.280
<v Speaker 1>he picked up my star and tried to play it.

2:02:32.720 --> 2:02:35.120
<v Speaker 1>And the next thing was he did that track. We

2:02:35.240 --> 2:02:36.920
<v Speaker 1>had a lot in common when I think about it.

2:02:37.360 --> 2:02:39.880
<v Speaker 1>We shared the same date of birth or nearly so

2:02:40.000 --> 2:02:42.480
<v Speaker 1>he must have been a Pisces as well. We also

2:02:42.520 --> 2:02:44.960
<v Speaker 1>share the same positions in the most prominent bands in

2:02:45.000 --> 2:02:47.880
<v Speaker 1>the universe, him with Mick and Keith and me with

2:02:47.960 --> 2:02:50.480
<v Speaker 1>Paul and John. I think he related to me a lot,

2:02:50.520 --> 2:02:53.160
<v Speaker 1>and I liked him. Some people didn't have time for him,

2:02:53.240 --> 2:02:55.200
<v Speaker 1>but I thought he was one of the most interesting ones.

2:02:56.320 --> 2:02:59.160
<v Speaker 1>And then Paul per the anthology book. Brian was a

2:02:59.240 --> 2:03:03.040
<v Speaker 1>nervous guy, very shy, quite serious and maybe into drugs

2:03:03.080 --> 2:03:04.720
<v Speaker 1>a little more than he should have been, because he

2:03:04.800 --> 2:03:07.480
<v Speaker 1>used to shake a bit. We knew he was on heroin.

2:03:08.120 --> 2:03:12.120
<v Speaker 1>He was lovely though, and John, speaking the Rolling Stone

2:03:12.200 --> 2:03:15.400
<v Speaker 1>magazine in nineteen seventy, said Brian was different over the

2:03:15.480 --> 2:03:18.240
<v Speaker 1>years as he disintegrated. He ended up the kind of

2:03:18.320 --> 2:03:20.640
<v Speaker 1>guy that you dread he'd come on the phone because

2:03:20.680 --> 2:03:22.800
<v Speaker 1>he knew it was trouble. He was in a lot

2:03:22.840 --> 2:03:25.240
<v Speaker 1>of pain. But in the early days he was all

2:03:25.360 --> 2:03:28.040
<v Speaker 1>right because he was young and confident. He was one

2:03:28.080 --> 2:03:30.920
<v Speaker 1>of those guys that disintegrates in front of you. He

2:03:31.080 --> 2:03:34.120
<v Speaker 1>was all right, not brilliant or anything, just a nice

2:03:34.160 --> 2:03:37.920
<v Speaker 1>guy narrator voice. That's not what his bandmate said.

2:03:38.360 --> 2:03:41.200
<v Speaker 2>Yeah, I was gonna say. I was hoping for more savagery.

2:03:41.360 --> 2:03:44.320
<v Speaker 1>Yeah. He just died like less than a year or

2:03:44.400 --> 2:03:47.320
<v Speaker 1>about a year before that. And John was in his

2:03:48.200 --> 2:03:50.840
<v Speaker 1>primal scream era, so he probably saw somebody else who

2:03:50.880 --> 2:03:52.840
<v Speaker 1>was in a ton of pain and them like maybe

2:03:52.880 --> 2:03:55.920
<v Speaker 1>took more of a more sympathy towards him than he

2:03:56.000 --> 2:03:56.720
<v Speaker 1>ordinarily would have.

2:03:57.200 --> 2:04:00.720
<v Speaker 2>Well, recognizing that Brian was clearly in some kind of psychological, spiritual,

2:04:00.840 --> 2:04:03.320
<v Speaker 2>or chemical distress, the Beatles reacted the way that most

2:04:03.400 --> 2:04:05.960
<v Speaker 2>men in their early twenties would do. They started to

2:04:06.080 --> 2:04:10.520
<v Speaker 2>feed Brian Yeah. John Lennon had a PA system installed

2:04:10.560 --> 2:04:12.400
<v Speaker 2>in his Rolls Royce the mid sixties, which he would

2:04:12.480 --> 2:04:15.879
<v Speaker 2>use primarily for his own amusement. Keith Moon, as an example,

2:04:16.560 --> 2:04:19.520
<v Speaker 2>did something similar. Paul says that in this period he

2:04:19.600 --> 2:04:22.160
<v Speaker 2>and John would leave late night recording sessions in John's

2:04:22.280 --> 2:04:24.720
<v Speaker 2>rolls and speed through the London suburbs at two or

2:04:24.760 --> 2:04:27.280
<v Speaker 2>three in the morning. They would be tailing George, a

2:04:27.440 --> 2:04:31.320
<v Speaker 2>future Formula one enthusiast who loved driving his Ferraris at

2:04:31.360 --> 2:04:33.880
<v Speaker 2>high speeds. John would then get on the mic and

2:04:33.880 --> 2:04:36.320
<v Speaker 2>adopt the tone of a constable driving a police chase.

2:04:36.680 --> 2:04:39.200
<v Speaker 2>It is foolish to resist. It is foolish to resist

2:04:39.440 --> 2:04:43.240
<v Speaker 2>pull over. As Paul remembered it in Anthology, it was insane.

2:04:43.600 --> 2:04:45.680
<v Speaker 2>All the lights would go on in the houses went past.

2:04:45.880 --> 2:04:48.600
<v Speaker 2>Must have freaked everybody out, and more to the point,

2:04:49.000 --> 2:04:51.000
<v Speaker 2>one day they used this tricked out roles to terrify

2:04:51.080 --> 2:04:53.760
<v Speaker 2>Brian Jones. As we were going through Regent's Park and

2:04:53.800 --> 2:04:55.400
<v Speaker 2>a way to North London to do a session. We

2:04:55.480 --> 2:04:58.520
<v Speaker 2>were in John's roles. Suddenly we pulled up behind Brian Jones,

2:04:58.520 --> 2:05:00.839
<v Speaker 2>who was sitting quietly in the back of his Austin Princess.

2:05:01.880 --> 2:05:04.120
<v Speaker 2>John had been a very funny guy, and he shouted

2:05:04.160 --> 2:05:06.960
<v Speaker 2>through the microphone, Brian Jones, do not move. You have

2:05:07.040 --> 2:05:10.560
<v Speaker 2>been under surveillance. You are under arrest. Brian leaped up

2:05:10.560 --> 2:05:12.800
<v Speaker 2>about eight feet and went as white as a sheet, going,

2:05:12.880 --> 2:05:15.040
<v Speaker 2>oh my god, Oh my god. Then he saw it

2:05:15.160 --> 2:05:18.640
<v Speaker 2>was us, you bunch of bastards. It nearly killed him

2:05:18.680 --> 2:05:22.480
<v Speaker 2>that day. John was so official sounding. That's pretty funn

2:05:22.680 --> 2:05:25.200
<v Speaker 2>So yes, Brian Jones was a man in crisis, and

2:05:25.240 --> 2:05:27.000
<v Speaker 2>it was sparked in large part by the success. And

2:05:27.080 --> 2:05:30.760
<v Speaker 2>I can't get no satisfaction. One illustrated example set into

2:05:30.760 --> 2:05:33.640
<v Speaker 2>the aforementioned book by Stephen Davis, Old God's Almost Dead

2:05:33.920 --> 2:05:36.000
<v Speaker 2>supposedly went down on the same day Mick and Keith

2:05:36.040 --> 2:05:39.520
<v Speaker 2>were finalizing the lyrics to satisfaction by that Florida swimming

2:05:39.560 --> 2:05:42.280
<v Speaker 2>pool feels a little too on the nose, but print

2:05:42.360 --> 2:05:45.640
<v Speaker 2>the legend. That night, Brian apparently met a model at

2:05:45.640 --> 2:05:47.520
<v Speaker 2>the hotel bar and brought her back to his room.

2:05:48.160 --> 2:05:50.880
<v Speaker 2>The following morning, she emerged covered in bruises with both

2:05:50.960 --> 2:05:54.560
<v Speaker 2>eyes blackened. She told her girlfriend, who had spent the

2:05:54.680 --> 2:05:56.960
<v Speaker 2>night with Bill Wyman that Brian beat her up and

2:05:57.080 --> 2:06:00.240
<v Speaker 2>raped her. She was dissuaded from calling the cops. But

2:06:00.360 --> 2:06:03.360
<v Speaker 2>on this tour, the stones Coterie had their own internal

2:06:03.520 --> 2:06:04.080
<v Speaker 2>justice system.

2:06:04.320 --> 2:06:06.320
<v Speaker 1>Yeah, this has been confirmed to me by people who

2:06:06.400 --> 2:06:09.440
<v Speaker 1>toured with the Stones. They did not bring police into things.

2:06:09.520 --> 2:06:12.320
<v Speaker 1>They handled things among themselves, not unlike the mafia.

2:06:12.520 --> 2:06:15.240
<v Speaker 2>So after this incident, one of the Stones roadies stormed

2:06:15.280 --> 2:06:18.280
<v Speaker 2>into Brian's room and, according to Davis, broke two of

2:06:18.320 --> 2:06:21.400
<v Speaker 2>his ribs. Jones was taken to a nearby hospital where

2:06:21.400 --> 2:06:24.160
<v Speaker 2>he was taped up and given painkillers, and the band

2:06:24.240 --> 2:06:26.520
<v Speaker 2>made up a story that he'd fallen while practicing karate

2:06:26.640 --> 2:06:30.120
<v Speaker 2>by the hotel swimming pool. To quote Davis, he spent

2:06:30.160 --> 2:06:32.760
<v Speaker 2>the rest of the tour depressed and isolated, whacked out

2:06:32.840 --> 2:06:34.200
<v Speaker 2>on pills and booze.

2:06:35.800 --> 2:06:38.920
<v Speaker 1>Because of this, it seems unlikely that Brian Jones actually

2:06:39.000 --> 2:06:42.680
<v Speaker 1>played on the track Satisfaction. Producer Andrew lou Goldham isn't

2:06:42.680 --> 2:06:46.000
<v Speaker 1>sure himself, but it wasn't just the track that marked

2:06:46.000 --> 2:06:48.720
<v Speaker 1>the turning point. It was the scale of the song's success.

2:06:49.520 --> 2:06:52.680
<v Speaker 1>When Satisfaction hit number one, it signals seismic shift in

2:06:52.720 --> 2:06:55.720
<v Speaker 1>the Rolling Stones power structure. Mick and Keith were now

2:06:55.800 --> 2:06:59.760
<v Speaker 1>firmly in control, and Brian had been sidelined. He would

2:06:59.800 --> 2:07:02.440
<v Speaker 1>never again lead the band or occupy center stage, and

2:07:02.520 --> 2:07:06.840
<v Speaker 1>the loss devastated him. That summer, his behavior became increasingly erratic.

2:07:07.360 --> 2:07:10.720
<v Speaker 1>He drank heavily, turned violent and sullen, and often lashed

2:07:10.760 --> 2:07:13.960
<v Speaker 1>out or disappeared entirely. During the La stop of their

2:07:14.000 --> 2:07:16.880
<v Speaker 1>spring tour in the United States, Brian was given orange

2:07:16.920 --> 2:07:20.760
<v Speaker 1>Sunshine acid by Ken Keasey's Mary Pranksters, who came down

2:07:20.840 --> 2:07:24.240
<v Speaker 1>from San Francisco to party with the Stones. Brian went

2:07:24.320 --> 2:07:26.720
<v Speaker 1>missing for so long that they nearly missed the next

2:07:26.760 --> 2:07:30.240
<v Speaker 1>gig in San Diego. The next day, the Birds, their

2:07:30.280 --> 2:07:34.200
<v Speaker 1>opening act, played Stone songs to prevent a riot whenever

2:07:34.280 --> 2:07:37.000
<v Speaker 1>the band performed Satisfaction. After to become a massive hit,

2:07:37.480 --> 2:07:40.960
<v Speaker 1>Brian mockingly vamped on the theme to Popeye the Sailor Man,

2:07:41.080 --> 2:07:43.800
<v Speaker 1>which he was convinced the song sounded like. It was

2:07:43.840 --> 2:07:46.920
<v Speaker 1>a move that provoked at least one furious backstage fight.

2:07:47.840 --> 2:07:50.480
<v Speaker 1>To Brian, it wasn't just a joke, it was a protest.

2:07:51.160 --> 2:07:54.760
<v Speaker 1>He saw Mick and Keith's growing creative dominance, encouraged by

2:07:54.960 --> 2:07:57.720
<v Speaker 1>their manager Andrew Lou Goldham as a direct threat to

2:07:57.840 --> 2:08:01.200
<v Speaker 1>his identity as the band's original leader, and now pushed

2:08:01.280 --> 2:08:05.640
<v Speaker 1>the sidelines. He felt the cold edge of exclusion, and

2:08:05.720 --> 2:08:08.480
<v Speaker 1>this would get worse in the case of Keith Richards, who,

2:08:08.560 --> 2:08:12.600
<v Speaker 1>after stealing Brian's band, stole his girlfriend, Anita Pallenberg.

2:08:13.080 --> 2:08:16.520
<v Speaker 2>You know the story, Yeah, I've heard some of it.

2:08:16.840 --> 2:08:17.040
<v Speaker 5>Yeah.

2:08:18.080 --> 2:08:20.840
<v Speaker 1>So Anita Pallenberg first crossed pass with the Rolling Stones

2:08:20.880 --> 2:08:23.080
<v Speaker 1>in nineteen sixty five when she snuck into one of

2:08:23.120 --> 2:08:27.320
<v Speaker 1>the band's concerts in Munich, Germany. This exquisitely beautiful twenty

2:08:27.360 --> 2:08:29.880
<v Speaker 1>one year old model was able to talk her way backstage,

2:08:29.920 --> 2:08:33.080
<v Speaker 1>where she quickly hit it off with Jones. The fact

2:08:33.120 --> 2:08:36.920
<v Speaker 1>that Jones spoke German certainly helped Ooh, when you're that

2:08:37.040 --> 2:08:38.800
<v Speaker 1>blonde and you speak germanly, you don't.

2:08:38.640 --> 2:08:39.760
<v Speaker 2>Have to that's interesting.

2:08:42.600 --> 2:08:45.400
<v Speaker 1>I needed produced Amle nitrates or Amle poppers from her

2:08:45.480 --> 2:08:48.200
<v Speaker 1>purse and offered them around. Jones was the only one

2:08:48.240 --> 2:08:51.040
<v Speaker 1>who accepted. I don't know who you are, but I

2:08:51.200 --> 2:08:54.520
<v Speaker 1>need you the beasatted guitarist told her, that's a good line.

2:08:54.840 --> 2:08:57.200
<v Speaker 2>That's a good line. We look at Brian Jones at least. Yeah,

2:08:57.440 --> 2:09:00.320
<v Speaker 2>somewhat diffused by the fact that he was four feet tall. Yeah,

2:09:01.600 --> 2:09:02.080
<v Speaker 2>but anyway.

2:09:02.080 --> 2:09:05.320
<v Speaker 1>After meeting Anita Pallenberg, the returned to his hotel, but

2:09:05.440 --> 2:09:09.640
<v Speaker 1>instead of a night of torrid passion, Pallenberg held Jones

2:09:09.800 --> 2:09:13.480
<v Speaker 1>while he apparently sobbed hurt by a perceived slight by

2:09:13.520 --> 2:09:18.200
<v Speaker 1>his bandmates. The rift between Jones and the Two Stones

2:09:18.240 --> 2:09:23.040
<v Speaker 1>front man would intensify. Pallenberg and Jones quickly became an item, or,

2:09:23.080 --> 2:09:26.840
<v Speaker 1>as she later recalled, I decided to kidnap Brian. Brian

2:09:26.960 --> 2:09:31.160
<v Speaker 1>seems sexually the most flexible. Now, there's a couple ways

2:09:31.200 --> 2:09:31.920
<v Speaker 1>that could be read.

2:09:32.360 --> 2:09:38.120
<v Speaker 5>Yeah, yeah, picking on that now, the fashionista would have

2:09:38.160 --> 2:09:41.160
<v Speaker 5>a marked effect on the reticent Jones' style, cutting his

2:09:41.240 --> 2:09:44.280
<v Speaker 5>hair into a delicate blonde bob and encouraging him to

2:09:44.400 --> 2:09:46.560
<v Speaker 5>dawn flamboyant androgynous attire.

2:09:47.480 --> 2:09:50.720
<v Speaker 1>They swapped outfits and jewelry on a regular basis, setting

2:09:50.800 --> 2:09:53.360
<v Speaker 1>trends in the hit fashion districts of Carnaby Street and

2:09:53.480 --> 2:09:57.400
<v Speaker 1>King's Road. She once summed up her style as boots, belts,

2:09:57.720 --> 2:10:01.160
<v Speaker 1>cashmere hats, sunglasses and furs as well.

2:10:01.480 --> 2:10:04.600
<v Speaker 2>It's kind of mine too, Yeah, for all the.

2:10:04.640 --> 2:10:07.720
<v Speaker 1>Color for clothes, she introduced a dark edge to the band,

2:10:07.920 --> 2:10:11.600
<v Speaker 1>turning them onto a cult imagery and encouraging them to embrace.

2:10:11.320 --> 2:10:15.720
<v Speaker 2>Quote evil as a subject matter. Yes, the Rolling.

2:10:15.480 --> 2:10:18.400
<v Speaker 1>Stones nineteen sixty eight hit Simpathy for the Devil is

2:10:18.520 --> 2:10:21.680
<v Speaker 1>largely her inspiration. She lends her voice to the who

2:10:21.960 --> 2:10:27.000
<v Speaker 1>who on the backing vocals. Filmmaker Kenneth Anger no stranger

2:10:27.040 --> 2:10:30.360
<v Speaker 1>to the demonic himself. The film Lucifer Rising is arguably

2:10:30.440 --> 2:10:33.240
<v Speaker 1>his most famous work. Once said, I believe Anita is,

2:10:33.400 --> 2:10:37.080
<v Speaker 1>for want of a better word, a witch. Photographer Tony Sanchez,

2:10:37.880 --> 2:10:40.040
<v Speaker 1>a longtime assistant to the band that he was known

2:10:40.040 --> 2:10:45.000
<v Speaker 1>as Spanish Tony agreed. She was obsessed with black magic

2:10:45.080 --> 2:10:47.720
<v Speaker 1>and began carrying a string of garlic with her everywhere,

2:10:47.840 --> 2:10:50.520
<v Speaker 1>even to bed to word off vampires. He wrote in

2:10:50.640 --> 2:10:56.720
<v Speaker 1>his largely debunked memoir. She also had a strange, mysterious

2:10:56.760 --> 2:10:59.680
<v Speaker 1>old shaker for holy water, which she used for some

2:10:59.720 --> 2:11:03.840
<v Speaker 1>of her rituals. Her ceremonies became increasingly secret, and she

2:11:03.960 --> 2:11:07.080
<v Speaker 1>warned me never to rupt her when she was working.

2:11:06.840 --> 2:11:09.640
<v Speaker 2>On a spell. I mean, come on, that's it just

2:11:09.880 --> 2:11:17.280
<v Speaker 2>sounds like a woman in Bushwick. We've all dealt with

2:11:17.440 --> 2:11:21.720
<v Speaker 2>witchy women in one way or another. Yeah we have yeah, Yeah,

2:11:21.760 --> 2:11:28.880
<v Speaker 2>we have yeah, to varying degrees of success. By nineteen

2:11:28.920 --> 2:11:31.400
<v Speaker 2>sixty seven, Jones and Pallenberg were one of the hottest

2:11:31.480 --> 2:11:33.480
<v Speaker 2>couples in London, but their drug use took a toll

2:11:33.560 --> 2:11:36.920
<v Speaker 2>on the relationship. They began to experiment with LSD, which

2:11:36.920 --> 2:11:40.120
<v Speaker 2>had a disastrous effect on Joan's tenuous mental state, giving

2:11:40.200 --> 2:11:43.360
<v Speaker 2>him horrible nightmares. He was also prone to jealous rages

2:11:43.400 --> 2:11:46.640
<v Speaker 2>that often turned violent. He was short but very strong,

2:11:46.760 --> 2:11:49.839
<v Speaker 2>and his assaults were terrible. She later said, for days afterwards,

2:11:49.880 --> 2:11:52.760
<v Speaker 2>I'd have lumps and bruises all over me. In his tantrums,

2:11:52.760 --> 2:11:56.680
<v Speaker 2>he would throw things at me whatever he could pick up, lamps, clocks, chairs,

2:11:56.920 --> 2:11:58.880
<v Speaker 2>a plate of food, and when the storm inside him

2:11:58.920 --> 2:12:01.320
<v Speaker 2>died down, he'd feel guilty. He begged me to forgive him.

2:12:01.840 --> 2:12:04.400
<v Speaker 2>At one point he punched her in the face so

2:12:04.600 --> 2:12:07.400
<v Speaker 2>hard that he broke his own hand. Keith Richards then

2:12:07.440 --> 2:12:09.920
<v Speaker 2>moved into the South Kensington home that Jones shared with

2:12:10.040 --> 2:12:13.120
<v Speaker 2>Pallenberg that spring while his own estate was being renovated.

2:12:13.840 --> 2:12:17.240
<v Speaker 2>Richards also found himself drawn to the enigmatic model's worldly nature.

2:12:17.840 --> 2:12:20.080
<v Speaker 2>She knew everything, and she could say it in five languages.

2:12:20.320 --> 2:12:23.400
<v Speaker 2>He once marveled. She scared the pants off me. He

2:12:23.520 --> 2:12:26.640
<v Speaker 2>began to question, though, whether she was with the right man.

2:12:27.080 --> 2:12:29.480
<v Speaker 2>The first time I saw Anita, my obvious reaction was,

2:12:29.720 --> 2:12:31.960
<v Speaker 2>what the fuck is a chick like that doing with Brian.

2:12:33.800 --> 2:12:37.040
<v Speaker 2>Anita is an incredibly strong a much stronger personality than Brian,

2:12:37.240 --> 2:12:40.520
<v Speaker 2>more confident, with no reservations, whereas Brian was full of doubts.

2:12:41.240 --> 2:12:43.200
<v Speaker 2>That March, the three of them decided to take a

2:12:43.280 --> 2:12:46.000
<v Speaker 2>trip to Morocco, where Jones had previously fallen in love

2:12:46.040 --> 2:12:50.120
<v Speaker 2>with the music, food and laid back lifestyle. Unfortunately, on

2:12:50.240 --> 2:12:53.640
<v Speaker 2>this trip, Richards fell in love with Pallenberg. We went

2:12:53.720 --> 2:12:56.320
<v Speaker 2>by car a Bentley with the driver and Brian got

2:12:56.440 --> 2:12:59.840
<v Speaker 2>sick and ended up in the hospital. Pallenberg remembered, as

2:13:00.600 --> 2:13:03.560
<v Speaker 2>he was very sickly fragile, So Keith and I drove

2:13:03.640 --> 2:13:05.600
<v Speaker 2>on and left him there, and that was when we

2:13:05.720 --> 2:13:10.000
<v Speaker 2>had a physical relationship. Richard says. The affair began in

2:13:10.040 --> 2:13:12.000
<v Speaker 2>the back seat of his luxury car as it cruised

2:13:12.040 --> 2:13:14.680
<v Speaker 2>through southern Europe. I still remember the smell of the

2:13:14.720 --> 2:13:17.800
<v Speaker 2>orange trees in Valencia. When you get laid with Anita

2:13:17.840 --> 2:13:22.880
<v Speaker 2>Pallenberg for the first time you remember things. What a

2:13:22.960 --> 2:13:23.880
<v Speaker 2>quote machine he is.

2:13:24.200 --> 2:13:25.960
<v Speaker 1>He's a romantic in his own unique way.

2:13:26.520 --> 2:13:29.520
<v Speaker 2>That's true. The songs were very weird, it must be said,

2:13:29.520 --> 2:13:31.960
<v Speaker 2>when it came to sleeping with each other's girlfriends, or

2:13:32.040 --> 2:13:35.440
<v Speaker 2>basically anyone that any of the others said previously slept with.

2:13:36.040 --> 2:13:39.280
<v Speaker 2>Apparently in the early nineteen sixty five tour basis Bill

2:13:39.320 --> 2:13:41.640
<v Speaker 2>Wyman and Brian Jones being a sport out of stealing

2:13:41.640 --> 2:13:46.360
<v Speaker 2>each other's sexual partners, sometimes multiples in a day. At

2:13:46.360 --> 2:13:51.040
<v Speaker 2>a barbecue in Melbourne famously semi famously slept with both

2:13:51.120 --> 2:13:53.800
<v Speaker 2>the hostess and her daughter. This is all per the

2:13:53.880 --> 2:13:56.920
<v Speaker 2>Old God's Almost Dead book, which you know was a

2:13:57.000 --> 2:13:59.880
<v Speaker 2>trashy book. Yeah, and it's written by a guy who

2:14:00.080 --> 2:14:03.840
<v Speaker 2>wrote another trashy book that was largely discredited. So do

2:14:04.160 --> 2:14:06.560
<v Speaker 2>with that what you will. I need a Pallenberg for

2:14:06.600 --> 2:14:09.200
<v Speaker 2>her part split with Jones for good as soon after

2:14:09.240 --> 2:14:12.760
<v Speaker 2>her affair with Keith began. Obviously, this further strained relations

2:14:12.800 --> 2:14:15.400
<v Speaker 2>within the band. Jones, who was alienated from Richard and

2:14:15.480 --> 2:14:18.920
<v Speaker 2>Jagger already saw it, stole some drugs and alcohol, wreaking

2:14:18.960 --> 2:14:21.560
<v Speaker 2>havoc on his health. By the following year, he was

2:14:21.600 --> 2:14:24.080
<v Speaker 2>a shadow of his former self, abdicating his role as

2:14:24.120 --> 2:14:27.720
<v Speaker 2>co creator and the Rolling Stones. His musical contributions had

2:14:27.760 --> 2:14:29.880
<v Speaker 2>dwindled by the time they recorded nineteen sixty nine to

2:14:29.960 --> 2:14:31.760
<v Speaker 2>Let It Bleed, and he was asked to leave the

2:14:31.840 --> 2:14:34.800
<v Speaker 2>band that June. Within a month, he was found dead

2:14:34.840 --> 2:14:37.480
<v Speaker 2>in the swimming pool of his East Sussex estate, a

2:14:37.600 --> 2:14:40.640
<v Speaker 2>farm formerly owned by Winnie the Pooh author A. A. Milne.

2:14:41.200 --> 2:14:43.760
<v Speaker 2>Jones was an early entry into the infamous twenty seven Club,

2:14:45.000 --> 2:14:47.720
<v Speaker 2>having to deal with his jealousy. Keith would later say,

2:14:47.880 --> 2:14:50.840
<v Speaker 2>it becomes intolerable and you can really get nasty about it.

2:14:51.480 --> 2:14:53.520
<v Speaker 2>I tried to be fair to him, but to be honest,

2:14:53.840 --> 2:14:55.920
<v Speaker 2>he was a bit of a bastard and it doesn't

2:14:55.920 --> 2:15:00.160
<v Speaker 2>surprise me that he came to a sticky end a stick.

2:15:00.080 --> 2:15:01.960
<v Speaker 5>He d.

2:15:03.720 --> 2:15:08.200
<v Speaker 1>Damn And for those of you who don't know, Brian

2:15:08.320 --> 2:15:11.080
<v Speaker 1>Jones's death is somewhat controversial.

2:15:11.920 --> 2:15:14.520
<v Speaker 2>That's a whole other episode, but look that up.

2:15:16.200 --> 2:15:19.800
<v Speaker 1>The other way Satisfaction disrupted The stones interpersonal dynamics was

2:15:19.800 --> 2:15:23.280
<v Speaker 1>that it introduced notorious rock villain Alan Klein into the

2:15:23.280 --> 2:15:26.680
<v Speaker 1>group's orbit. Their manager at the time, Andrew lug Oldham,

2:15:26.920 --> 2:15:29.880
<v Speaker 1>was more or less a young pr hustler rather than

2:15:29.920 --> 2:15:33.320
<v Speaker 1>a proper entertainment in Pasario. He was the band's age

2:15:33.360 --> 2:15:35.000
<v Speaker 1>and had his finger on what was happening in the

2:15:35.040 --> 2:15:37.400
<v Speaker 1>music world, but he was not much of a business figure.

2:15:38.040 --> 2:15:41.400
<v Speaker 1>With a gargantuan global success of satisfaction, he found himself

2:15:41.520 --> 2:15:46.120
<v Speaker 1>in way too far over his head. Enter Alan Klein,

2:15:46.640 --> 2:15:51.120
<v Speaker 1>a prototypical cigar chopping executive up there with Louis B.

2:15:51.280 --> 2:15:56.240
<v Speaker 1>Mayer and Jeffrey Katzenberg. Really the primo music industry shark.

2:15:56.880 --> 2:15:59.640
<v Speaker 1>Please enjoy this quote from his own nephew, Ronnie Schneider,

2:15:59.760 --> 2:16:02.120
<v Speaker 1>who worked as the Stones tour manager for a time.

2:16:02.840 --> 2:16:08.320
<v Speaker 1>Was Klein villified absolutely, But vilification works two ways. Saddam

2:16:08.400 --> 2:16:13.120
<v Speaker 1>Hussein used vilification to keep himself safe for many years. Yes,

2:16:13.720 --> 2:16:18.680
<v Speaker 1>Alan Klin's own nephew compared him to Saddam Hussein. Before

2:16:18.760 --> 2:16:21.000
<v Speaker 1>managing the Rolling Stones, Klein had made a name for

2:16:21.120 --> 2:16:24.000
<v Speaker 1>himself as one of the most aggressive and controversial figures

2:16:24.040 --> 2:16:27.120
<v Speaker 1>in the music business. Raised in a New Jersey orphanage,

2:16:27.160 --> 2:16:30.480
<v Speaker 1>he began his career as an accountant, specializing in auditing

2:16:30.520 --> 2:16:33.959
<v Speaker 1>the royalty statements of record labels. In the late fifties,

2:16:34.080 --> 2:16:37.680
<v Speaker 1>he gained notoriety for recovering unpaid royalties for artists like

2:16:37.800 --> 2:16:42.800
<v Speaker 1>Bobby Darren and Connie Francis, often exposing shady record industry

2:16:42.879 --> 2:16:46.640
<v Speaker 1>practices in the process. It's worth noting that Klein would

2:16:46.680 --> 2:16:49.880
<v Speaker 1>often pocket at least half of these recovered royalties for

2:16:50.000 --> 2:16:54.760
<v Speaker 1>his troubles. Klein soon expanded into artist management, quickly earning

2:16:54.800 --> 2:16:57.560
<v Speaker 1>a reputation as a tough negotiator who could bring better

2:16:57.680 --> 2:17:00.800
<v Speaker 1>contracts out of labels. He's big breakthrough came in the

2:17:00.840 --> 2:17:03.200
<v Speaker 1>early sixties when he took over the business affairs of

2:17:03.320 --> 2:17:07.119
<v Speaker 1>Sam Cook, legendary soul singer, helping him take the hundreds

2:17:07.160 --> 2:17:09.039
<v Speaker 1>of thousands of dollars he recovered.

2:17:08.680 --> 2:17:11.000
<v Speaker 2>Through royalty statement audience, which again.

2:17:11.000 --> 2:17:14.400
<v Speaker 1>Was Clin's specialty, and using the proceeds to establish Cook's

2:17:14.440 --> 2:17:17.359
<v Speaker 1>own label and publishing company, which I feel.

2:17:17.160 --> 2:17:19.960
<v Speaker 2>Is very, very overlooked in sort of the legend and

2:17:20.080 --> 2:17:23.560
<v Speaker 2>history of black music in the United States, So that

2:17:23.879 --> 2:17:26.240
<v Speaker 2>Sam Cook was a label owner, Yeah.

2:17:26.160 --> 2:17:28.480
<v Speaker 1>Oh, extremely, I mean it kind of got overshadowed, and

2:17:28.520 --> 2:17:30.720
<v Speaker 1>I'm not trying to flip it by him getting murdered

2:17:30.959 --> 2:17:33.240
<v Speaker 1>like with the yeah and a half of that happening.

2:17:33.920 --> 2:17:36.840
<v Speaker 1>Client success with Cook cemented his status as a savvy

2:17:36.920 --> 2:17:40.520
<v Speaker 1>if ruthless power player, drawing the attention of major artists.

2:17:41.080 --> 2:17:42.879
<v Speaker 2>By the mid sixties, Client had hitched.

2:17:42.760 --> 2:17:45.840
<v Speaker 1>Himself to the British Invasion bandwagon, doing deals with people

2:17:45.959 --> 2:17:49.800
<v Speaker 1>like The Day Clark Five and The Stones, Nemesis Hermit's Sermits,

2:17:51.360 --> 2:17:53.320
<v Speaker 1>Enemy the Pod Hermit's Ermitts.

2:17:53.840 --> 2:17:56.120
<v Speaker 2>I just loved how much they pop up unless they

2:17:56.680 --> 2:17:58.959
<v Speaker 2>annoy both you and the Rolling Stones.

2:17:59.360 --> 2:18:03.160
<v Speaker 1>Actually though, I me there's a kind of hush show

2:18:03.280 --> 2:18:05.680
<v Speaker 1>over the world that sounds good tonight.

2:18:06.720 --> 2:18:08.320
<v Speaker 2>I like that song? Okay.

2:18:09.760 --> 2:18:12.080
<v Speaker 1>So by working with these British Invasion bands that brought

2:18:12.160 --> 2:18:16.360
<v Speaker 1>him into the Stone's orbit. Andelou Goldham, the Stone's nominal manager,

2:18:16.520 --> 2:18:19.200
<v Speaker 1>was attracted by his tough guy persona, the way he

2:18:19.360 --> 2:18:22.640
<v Speaker 1>eschewed suits for turtlenecks and swinged whiskey from the bottle

2:18:22.720 --> 2:18:24.440
<v Speaker 1>and carried rolls of cash.

2:18:25.360 --> 2:18:25.840
<v Speaker 2>Oh yeah.

2:18:26.080 --> 2:18:29.000
<v Speaker 1>Ultimately, he brought Klein into the business organization in the

2:18:29.040 --> 2:18:31.920
<v Speaker 1>summer of nineteen sixty five to help negotiate a new

2:18:32.000 --> 2:18:35.280
<v Speaker 1>record deal between The Stones and their label, Decca following

2:18:35.320 --> 2:18:39.360
<v Speaker 1>the global Successive Satisfaction. Klein's famous line at the time

2:18:39.640 --> 2:18:41.600
<v Speaker 1>was that he promised to get the Stones more money

2:18:41.680 --> 2:18:46.640
<v Speaker 1>than their friendly rivals, the Beatles. This he did on paper,

2:18:47.400 --> 2:18:50.960
<v Speaker 1>where the money actually went is a little more complicated.

2:18:51.920 --> 2:18:54.280
<v Speaker 1>Once Klein got his hooks into the Stones, it would

2:18:54.320 --> 2:18:58.000
<v Speaker 1>prove next to impossible to get them out. Odum's role

2:18:58.040 --> 2:18:59.920
<v Speaker 1>in the band quickly diminished as he sunk for the

2:19:00.360 --> 2:19:03.680
<v Speaker 1>drug use. To quote Wikipedia, when Jagger and Richards were

2:19:03.840 --> 2:19:06.760
<v Speaker 1>arrested for drug possession in nineteen sixty seven, instead of

2:19:06.800 --> 2:19:09.720
<v Speaker 1>devising a strategy for their legal defense and public relations,

2:19:10.200 --> 2:19:13.320
<v Speaker 1>Oldham fled to the United States, leaving Klein to deal.

2:19:13.200 --> 2:19:16.560
<v Speaker 2>With the problem. Nah well, who among us? Yeah, yeah,

2:19:17.080 --> 2:19:19.200
<v Speaker 2>I'm out of here. Sorry, guys, I haven't just getting

2:19:19.200 --> 2:19:24.040
<v Speaker 2>way too heavy for old old loogie. Oldham sold his

2:19:24.240 --> 2:19:26.640
<v Speaker 2>rights to the band to Klein later that year, effectively

2:19:26.680 --> 2:19:29.879
<v Speaker 2>making him their sole manager. This was generally considered bad

2:19:30.000 --> 2:19:33.200
<v Speaker 2>news for the Stones, considering that Klein generally operated under

2:19:33.200 --> 2:19:35.959
<v Speaker 2>the mantra, why take twenty percent of my clients when

2:19:36.000 --> 2:19:39.120
<v Speaker 2>I can have it all, although, as author Rich Cohen noted,

2:19:39.200 --> 2:19:41.800
<v Speaker 2>it was fitting that a bunch of blues obsessed Brits

2:19:41.840 --> 2:19:45.840
<v Speaker 2>got robbed blind by an scrupulous industry heavy giving them

2:19:45.879 --> 2:19:48.080
<v Speaker 2>an authentic taste of what it was like for their

2:19:48.120 --> 2:19:51.680
<v Speaker 2>black musical heroes. Klein died in two thousand and nine,

2:19:51.760 --> 2:19:54.920
<v Speaker 2>but Jordan is still afraid of him, so for legal reasons,

2:19:55.120 --> 2:19:58.840
<v Speaker 2>we'll phrase this next section as such. Klein has been

2:19:58.879 --> 2:20:01.880
<v Speaker 2>accused of such a fences as pocketing the Rolling Stones

2:20:01.920 --> 2:20:05.840
<v Speaker 2>one point twenty five million label advance, with holding royalty payments,

2:20:06.040 --> 2:20:08.840
<v Speaker 2>stealing publishing rights to their songs, and neglecting to pay

2:20:08.920 --> 2:20:12.360
<v Speaker 2>taxes for five years, which ultimately led to their famous

2:20:12.400 --> 2:20:15.840
<v Speaker 2>taxile in France in nineteen seventy one, yielding their epic

2:20:16.080 --> 2:20:20.119
<v Speaker 2>double album Exile on Main Street. So all things considered,

2:20:20.879 --> 2:20:25.480
<v Speaker 2>it was a why. For more on this, please listen

2:20:25.560 --> 2:20:30.640
<v Speaker 2>to Jordan's aforementioned Stone's Touring Party podcast. Klein is most

2:20:30.720 --> 2:20:32.720
<v Speaker 2>famous these days as the management figure. He came in

2:20:32.760 --> 2:20:35.480
<v Speaker 2>to oversee the Beatles during their death throws in nineteen

2:20:35.520 --> 2:20:38.720
<v Speaker 2>sixty nine, following the death of their original manager Brian Epstein.

2:20:39.400 --> 2:20:42.160
<v Speaker 2>Paul McCartney famously hated Climb while the other three Beatles

2:20:42.200 --> 2:20:45.200
<v Speaker 2>loved him, and the followout from that disagreement did much

2:20:45.240 --> 2:20:47.200
<v Speaker 2>more to break up the band than Yoko Ono ever did.

2:20:47.720 --> 2:20:50.480
<v Speaker 2>Paul hated Klein because he'd heard bad things about him

2:20:50.480 --> 2:20:53.199
<v Speaker 2>from his new in laws, Lynda Eastman's father and brother,

2:20:53.320 --> 2:20:56.280
<v Speaker 2>who were both New York entertainment attorneys, and Paul's friends,

2:20:56.320 --> 2:20:58.880
<v Speaker 2>and the Stones. The Beatles actually called a meeting with

2:20:58.920 --> 2:21:02.160
<v Speaker 2>Mick Jaggert asking about his experience with Klein, but unfortunately

2:21:02.240 --> 2:21:05.039
<v Speaker 2>Clin was also invited to that meeting and Mick pussied out.

2:21:06.240 --> 2:21:08.800
<v Speaker 2>Paul would say, we the Beatles were all gathered in

2:21:08.879 --> 2:21:10.960
<v Speaker 2>the big boardroom there. We asked Mick how Klein was,

2:21:11.120 --> 2:21:12.720
<v Speaker 2>and he said, well, he's all right if you like

2:21:12.800 --> 2:21:15.400
<v Speaker 2>that kind of thing. He didn't say he's a robber,

2:21:15.520 --> 2:21:18.600
<v Speaker 2>even though Klein had already taken all those copyrights off

2:21:18.640 --> 2:21:21.640
<v Speaker 2>them by that time. Nick did approach John Lennon privately

2:21:21.680 --> 2:21:23.640
<v Speaker 2>after the meeting and offered a much more dire warning,

2:21:23.720 --> 2:21:25.959
<v Speaker 2>saying that signing with Clein would be quote the biggest

2:21:26.000 --> 2:21:30.039
<v Speaker 2>mistake of your life. Lenin ignored the warning, and support

2:21:30.080 --> 2:21:32.920
<v Speaker 2>for Clein jeopardized the band's entire business future and played

2:21:32.920 --> 2:21:36.520
<v Speaker 2>a key role in their eventual breakup. Meanwhile, McCartney, taking

2:21:36.600 --> 2:21:40.120
<v Speaker 2>Jagger's concerns to Hart, filed lawsuit against his fellow Beatles

2:21:40.200 --> 2:21:43.440
<v Speaker 2>to formally dissolve the group, a move that ultimately protected

2:21:43.440 --> 2:21:47.000
<v Speaker 2>their catalog from falling under Cline's control. Lenin would later

2:21:47.040 --> 2:21:49.760
<v Speaker 2>admit that Paul and Mick had been right, but by

2:21:49.800 --> 2:21:51.920
<v Speaker 2>that point it was too late and the Beatles were

2:21:51.959 --> 2:21:57.080
<v Speaker 2>legally dissolved. So by the transitive property, Alan Klein used

2:21:57.120 --> 2:22:00.879
<v Speaker 2>the Scrolling Stones to get to the Beatles, so descent

2:22:01.000 --> 2:22:03.119
<v Speaker 2>in the ranks of the Beatles which led to their split.

2:22:03.720 --> 2:22:06.800
<v Speaker 2>Klein had been brought into the Stones organization following the

2:22:06.879 --> 2:22:13.000
<v Speaker 2>success Satisfaction. Therefore, Satisfaction led to the breakup of the Beatles.

2:22:15.560 --> 2:22:22.000
<v Speaker 2>I mean, I mean, yeah, it's plausible. I mean so,

2:22:22.280 --> 2:22:25.240
<v Speaker 2>I guess in the end the Rolling Stones did win.

2:22:27.840 --> 2:22:30.119
<v Speaker 2>I'm still kind of that as Rolling Stones won Beatles zero.

2:22:31.280 --> 2:22:35.959
<v Speaker 2>Go ahead though, okay if I must.

2:22:37.400 --> 2:22:40.320
<v Speaker 1>According to whosample dot com, there are one hundred and

2:22:40.400 --> 2:22:43.840
<v Speaker 1>forty four covers of Satisfaction, ranging from Everyone to Aretha

2:22:43.879 --> 2:22:47.840
<v Speaker 1>Franklin to Devo, Phillis Diller to Cat Power and Britney

2:22:47.879 --> 2:22:51.280
<v Speaker 1>Spears to the Grateful Dead, But as far as Keith

2:22:51.360 --> 2:22:55.440
<v Speaker 1>Riches is concerned, the definitive version was Otis Reddings. Reddings

2:22:55.480 --> 2:22:58.280
<v Speaker 1>recorded his version of Satisfaction a year after The Stones

2:22:58.280 --> 2:23:01.720
<v Speaker 1>in nineteen sixty six, encouraged by stack spand mats, Steve

2:23:01.840 --> 2:23:03.040
<v Speaker 1>Cropper and Booker T.

2:23:03.280 --> 2:23:03.640
<v Speaker 2>Jones.

2:23:04.600 --> 2:23:06.880
<v Speaker 1>At first reading wasn't familiar with the song, and once

2:23:06.920 --> 2:23:09.560
<v Speaker 1>he heard it he really wasn't a fan. So he

2:23:09.680 --> 2:23:13.200
<v Speaker 1>imagined it entirely, swapping out the iconic guitar riff for

2:23:13.320 --> 2:23:18.440
<v Speaker 1>a brassy horn section and taking major liberties with the lyrics. Ironically,

2:23:18.600 --> 2:23:20.920
<v Speaker 1>this was closer to what Keith Riches had originally envisioned

2:23:20.959 --> 2:23:25.240
<v Speaker 1>for the track, and he praised Redding's bold interpretation. The

2:23:25.320 --> 2:23:27.720
<v Speaker 1>way Otis ended up doing it is probably closer to

2:23:27.800 --> 2:23:30.800
<v Speaker 1>my original conception for the song. He later said, it's

2:23:30.800 --> 2:23:34.760
<v Speaker 1>an obvious horn riff. Otis got it right. Our version

2:23:35.040 --> 2:23:38.000
<v Speaker 1>was a demo for Otis. That's a nice thing to say,

2:23:38.720 --> 2:23:39.040
<v Speaker 1>it is.

2:23:39.240 --> 2:23:39.440
<v Speaker 2>Yeah.

2:23:40.480 --> 2:23:42.960
<v Speaker 1>At a time when British bands were regularly covering black

2:23:43.000 --> 2:23:47.040
<v Speaker 1>American artists, Redding's take flipped the script. It became one

2:23:47.040 --> 2:23:50.439
<v Speaker 1>of the first notable examples of a black artist reworking

2:23:50.520 --> 2:23:54.280
<v Speaker 1>a British rock song. Otis's version reached number thirty one

2:23:54.480 --> 2:23:58.520
<v Speaker 1>on the US charts. According to Setless FM, the Stone's

2:23:58.560 --> 2:24:00.960
<v Speaker 1>a play it. I Can't get No status faction one

2:24:01.080 --> 2:24:05.360
<v Speaker 1>thousand and seven times to date during concerts which must

2:24:05.440 --> 2:24:07.880
<v Speaker 1>mean they've done one thousand and seven concerts, because there's

2:24:07.879 --> 2:24:10.520
<v Speaker 1>no way they didn't play that song after it became

2:24:10.560 --> 2:24:14.240
<v Speaker 1>a hit. Also, Peter Noon of Hermas Hermit's has performed

2:24:14.280 --> 2:24:19.480
<v Speaker 1>at six times. I have not heard it.

2:24:21.400 --> 2:24:23.600
<v Speaker 2>So, as we mentioned earlier, one of Jagger's most famous

2:24:23.680 --> 2:24:26.240
<v Speaker 2>quotes is I'd rather be dead than singing Satisfaction when

2:24:26.280 --> 2:24:29.360
<v Speaker 2>I'm sixty five. So he turned sixty five years old

2:24:29.400 --> 2:24:31.879
<v Speaker 2>on July twenty six, two thousand and eight, and since

2:24:31.959 --> 2:24:35.160
<v Speaker 2>then they have played Satisfaction another one hundred and ninety

2:24:35.200 --> 2:24:39.200
<v Speaker 2>eight times. So if anything about Big Jagger bothers, you

2:24:39.600 --> 2:24:43.480
<v Speaker 2>know that since two thousand and eight he has privately

2:24:43.600 --> 2:24:46.840
<v Speaker 2>wished for death on stage on some of the world's

2:24:46.879 --> 2:24:49.960
<v Speaker 2>biggest stages in front of the world's biggest crowds at

2:24:50.080 --> 2:24:51.760
<v Speaker 2>least one hundred and ninety eight times.

2:24:52.120 --> 2:24:54.360
<v Speaker 1>This may be true, but Mick also said this in

2:24:54.480 --> 2:24:58.360
<v Speaker 1>nineteen ninety five. People get very blase about their big hit.

2:24:58.680 --> 2:25:01.600
<v Speaker 1>This was the song that really made Rolling Stones changed

2:25:01.680 --> 2:25:04.760
<v Speaker 1>us from just another band into a huge monster band.

2:25:05.440 --> 2:25:08.959
<v Speaker 1>You always need one song. We weren't American, and America

2:25:09.120 --> 2:25:11.200
<v Speaker 1>was a big thing and we always wanted to make

2:25:11.280 --> 2:25:14.280
<v Speaker 1>it here. It was very impressive the way that song

2:25:14.400 --> 2:25:16.800
<v Speaker 1>and the popularity of the band became a worldwide thing.

2:25:17.440 --> 2:25:20.920
<v Speaker 1>It's a signature tune really, rather than a great classic painting,

2:25:21.080 --> 2:25:24.080
<v Speaker 1>because it's only like one thing, a kind of signature

2:25:24.160 --> 2:25:27.360
<v Speaker 1>that everyone knows. Its a very catchy title, as a

2:25:27.480 --> 2:25:30.360
<v Speaker 1>very catchy guitar riff, as a great guitar sound, which

2:25:30.440 --> 2:25:33.119
<v Speaker 1>was original at the time, and it captures the spirit

2:25:33.200 --> 2:25:35.800
<v Speaker 1>of the times, which is very important in those kinds

2:25:35.840 --> 2:25:42.080
<v Speaker 1>of songs. Decades later, Satisfactions steal pulses with the urgency

2:25:42.160 --> 2:25:46.000
<v Speaker 1>and frustration that first electrified the airwaves in nineteen sixty five.

2:25:46.680 --> 2:25:49.640
<v Speaker 1>It wasn't just a hit. It was a howl of discontent,

2:25:50.240 --> 2:25:53.119
<v Speaker 1>a declaration of identity in a world that felt increasingly

2:25:53.280 --> 2:25:57.879
<v Speaker 1>hollow and overpackaged. With one slashing riff, the Rolling Stones

2:25:57.920 --> 2:26:01.320
<v Speaker 1>gave voice to a generation that didn't see itself reflected

2:26:01.360 --> 2:26:04.520
<v Speaker 1>in the polish smiles of TV ads or the promises

2:26:04.560 --> 2:26:08.040
<v Speaker 1>of the post war dream. It was raw, restless, and

2:26:08.200 --> 2:26:12.280
<v Speaker 1>unapologetically alive. It continues to rank high on lists of

2:26:12.360 --> 2:26:15.320
<v Speaker 1>so called greatest rock and roll songs, but those lists

2:26:15.360 --> 2:26:20.360
<v Speaker 1>are subjective and stupid. Nothing else Satisfaction represents the moment

2:26:20.520 --> 2:26:22.920
<v Speaker 1>rock and roll stopped asking for permission.

2:26:24.440 --> 2:26:27.280
<v Speaker 2>I'm gonna think about that for a while. What do

2:26:27.320 --> 2:26:28.200
<v Speaker 2>you think you got another one?

2:26:28.560 --> 2:26:30.360
<v Speaker 1>You got another song of the summer and another song

2:26:30.440 --> 2:26:31.760
<v Speaker 1>that stopped asking for permission?

2:26:32.600 --> 2:26:35.560
<v Speaker 2>Which is which proto rock and roll song didn't ask

2:26:35.680 --> 2:26:36.320
<v Speaker 2>for permission?

2:26:36.920 --> 2:26:39.520
<v Speaker 1>I think scale is crucial. I think something that was

2:26:39.600 --> 2:26:41.920
<v Speaker 1>aimed this high on the charts.

2:26:42.200 --> 2:26:44.320
<v Speaker 2>And probably the song that that blues guy, the blues

2:26:44.360 --> 2:26:47.400
<v Speaker 2>guitarist I mentioned earlier cut called I'm Gonna Murder that woman.

2:26:48.680 --> 2:26:51.880
<v Speaker 1>Okay, maybe the moment pop stopped asking for permission there?

2:26:51.959 --> 2:26:52.680
<v Speaker 2>Are you happy with that?

2:26:53.640 --> 2:26:53.800
<v Speaker 3>Yeah?

2:26:53.879 --> 2:26:55.600
<v Speaker 2>Yeah, I mean there's a lot of murder ballads where

2:26:55.640 --> 2:26:57.560
<v Speaker 2>they just talk about it. I murdered this I heard

2:26:57.640 --> 2:26:58.600
<v Speaker 2>I didn't ask so.

2:27:00.040 --> 2:27:02.840
<v Speaker 1>Yeah, Eminem kind of like that Unlocked in the top forty.

2:27:03.800 --> 2:27:06.920
<v Speaker 2>Yeah, possibly the most famous songs about murdering in the

2:27:07.000 --> 2:27:09.879
<v Speaker 2>top twenty, I guess. Yeah, hang down your head, Tom.

2:27:09.800 --> 2:27:12.400
<v Speaker 1>Juelas, Oh wow, that's good. All right, songs about murder,

2:27:13.160 --> 2:27:15.560
<v Speaker 1>hit songs about murder, hit songs about murder.

2:27:15.640 --> 2:27:17.240
<v Speaker 2>Let's look no, because now you have to go into

2:27:17.280 --> 2:27:19.200
<v Speaker 2>like the whole history of the child ballads and everything

2:27:19.200 --> 2:27:22.160
<v Speaker 2>through Appalaysia which are like you know, I mean, because

2:27:22.200 --> 2:27:25.320
<v Speaker 2>then you have Hey Joe, well, yeah, hey Joe.

2:27:26.000 --> 2:27:28.680
<v Speaker 1>Oh goodbye Earl. Did you actually kill him or was

2:27:28.720 --> 2:27:29.400
<v Speaker 1>it just the plan?

2:27:30.560 --> 2:27:34.360
<v Speaker 2>I forget, I remember the specifics in there. There's a

2:27:34.440 --> 2:27:41.320
<v Speaker 2>Nick Cave for Cobby. That one my name was Las

2:27:41.800 --> 2:27:46.640
<v Speaker 2>Jane Mac the knife, Mack the knife badly Roy Brown.

2:27:47.040 --> 2:27:49.160
<v Speaker 2>I thought that was just cutting people up in barrooms?

2:27:49.280 --> 2:27:50.160
<v Speaker 2>Is it about killing people?

2:27:50.160 --> 2:27:52.400
<v Speaker 1>What's the other one? Then, don't mess around with Jim?

2:27:52.440 --> 2:27:54.600
<v Speaker 1>Which I always thought was one was a sequel song

2:27:54.720 --> 2:27:55.000
<v Speaker 1>or the other?

2:27:55.040 --> 2:27:58.360
<v Speaker 2>I forget? Yeah, yeah, has that been disproven that? I

2:27:58.440 --> 2:27:58.720
<v Speaker 2>don't know.

2:28:00.160 --> 2:28:03.280
<v Speaker 1>We came along this road Nick Cave, Yeah, oh.

2:28:03.400 --> 2:28:05.480
<v Speaker 2>Nick Cave has dozens of songs about murder. But I'm

2:28:05.560 --> 2:28:09.160
<v Speaker 2>I'm I'm speaking. The wild Rose is like an old English.

2:28:09.160 --> 2:28:12.640
<v Speaker 2>It's one of those old English ones. God, he's got

2:28:12.680 --> 2:28:15.440
<v Speaker 2>so many songs about murder. Actually, one of my favorite

2:28:15.480 --> 2:28:17.560
<v Speaker 2>songs that the Dead do from around this time is

2:28:17.680 --> 2:28:23.320
<v Speaker 2>called Me and My Uncle, which is actually written by

2:28:25.320 --> 2:28:29.560
<v Speaker 2>John Phillips of all people, and I can't give away

2:28:29.600 --> 2:28:32.440
<v Speaker 2>the twist, but it does involve murder.

2:28:32.920 --> 2:28:33.040
<v Speaker 3>Hm.

2:28:35.440 --> 2:28:37.440
<v Speaker 2>This feels like kind of a fool's game. A lot

2:28:37.480 --> 2:28:40.440
<v Speaker 2>of songs about murder. I've ruined your nice kicker with it, though, so.

2:28:41.959 --> 2:28:42.960
<v Speaker 1>See cat that as a win.

2:28:43.840 --> 2:28:49.640
<v Speaker 2>I shot the sheriff, rolling stones too, beetles zero, oh

2:28:49.760 --> 2:28:51.320
<v Speaker 2>Maxwell silver hammer, forgot about that?

2:28:51.480 --> 2:29:00.600
<v Speaker 1>Oh yeah, Delilah, Delilah. I shot the sheriff psycho killer yeah,

2:29:00.840 --> 2:29:05.360
<v Speaker 1>fullsome prison blues of course, of course, of course, excitable boy,

2:29:06.959 --> 2:29:08.800
<v Speaker 1>but he bean raps it, man downs Rihanna.

2:29:09.680 --> 2:29:13.000
<v Speaker 2>Oh well. The Kicks is also about by Foster. The

2:29:13.040 --> 2:29:16.200
<v Speaker 2>People is also about murder. Oh, pumped up kicks. Yeah,

2:29:16.959 --> 2:29:20.200
<v Speaker 2>school shooting, right, all the little kids with pumped up kicks,

2:29:20.240 --> 2:29:25.800
<v Speaker 2>better run and run. Yes, somebody's gun. Yeah yeah, I

2:29:25.879 --> 2:29:28.440
<v Speaker 2>don't like that. I don't like that. Man, don't do

2:29:28.840 --> 2:29:31.160
<v Speaker 2>I don't It's in poor taste, not like all of

2:29:31.200 --> 2:29:34.320
<v Speaker 2>our jokes. Uh sorry, why don't you just cut all

2:29:34.360 --> 2:29:37.480
<v Speaker 2>this out of it? The stop messing for permission, and

2:29:37.560 --> 2:29:42.960
<v Speaker 2>I'll say, And they never would again until LMFAO cut

2:29:43.080 --> 2:29:48.840
<v Speaker 2>their song Sorry for Party Rocking, which threw the nation

2:29:49.200 --> 2:29:54.000
<v Speaker 2>into a tizzy because once again rock had saw well, actually,

2:29:54.920 --> 2:29:58.040
<v Speaker 2>in the maximum of Church Hill, it's always easier to

2:29:58.120 --> 2:30:00.600
<v Speaker 2>ask for forgiveness than beg for permission. So that was

2:30:00.959 --> 2:30:03.880
<v Speaker 2>suppose now I don't know, I don't know, I'm making

2:30:03.959 --> 2:30:10.080
<v Speaker 2>that up. So in a sense, LMFAO embodied this for

2:30:10.200 --> 2:30:15.560
<v Speaker 2>a troubled new millennium torn asunder by wars, on terrors, drugs,

2:30:16.680 --> 2:30:20.440
<v Speaker 2>facing the Great Recession two thousand and eight, and so

2:30:20.520 --> 2:30:25.480
<v Speaker 2>when they released Sorry for Party Rocking, not only were

2:30:25.520 --> 2:30:28.920
<v Speaker 2>they asking for forgiveness instead of permission, but they were

2:30:28.959 --> 2:30:32.840
<v Speaker 2>apologizing on behalf of the elders of that country. Because

2:30:32.840 --> 2:30:35.879
<v Speaker 2>you remember, one of those men is like forty seven, yeah, yeah.

2:30:36.160 --> 2:30:39.160
<v Speaker 1>And he's er Barry Gordy's kid, right or nephew or something.

2:30:39.760 --> 2:30:42.440
<v Speaker 2>Yes, yes, So you have a member of the older

2:30:44.000 --> 2:30:49.800
<v Speaker 2>landed gentry apologizing in song to the younger millennials. And

2:30:49.959 --> 2:30:54.280
<v Speaker 2>in that way you have a baby boomer apologizing and

2:30:54.400 --> 2:30:57.480
<v Speaker 2>it fits right in the grand tradition of satisfaction. I'm

2:30:57.640 --> 2:31:01.920
<v Speaker 2>tying it all together in a kicker right now. Sorry

2:31:01.959 --> 2:31:08.040
<v Speaker 2>for Satisfaction Rocking. This has been too much information. Sorry

2:31:08.120 --> 2:31:11.960
<v Speaker 2>for Satisfaction Rocking. I'm Alex Heigelan. This is my co host,

2:31:12.000 --> 2:31:15.640
<v Speaker 2>Clinton Halen. Sorry, what's your name again? And I'm Jordan

2:31:15.760 --> 2:31:21.680
<v Speaker 2>Roun talk. That's right, Okay, we'll see next time, folks.

2:31:24.040 --> 2:31:28.240
<v Speaker 2>We'll do it. We're gonna, we're gonna, we're gonna catch

2:31:28.280 --> 2:31:30.000
<v Speaker 2>you if it just will catch you.

2:31:32.480 --> 2:31:35.200
<v Speaker 1>Said it like the family guy, creepy old man voice.

2:31:35.480 --> 2:31:38.560
<v Speaker 2>I'm gonna catch you. This has been this has been

2:31:38.600 --> 2:31:42.560
<v Speaker 2>too much information and uh, we'll catch you, you little

2:31:42.560 --> 2:31:43.440
<v Speaker 2>pig with some bitch.

2:31:43.640 --> 2:31:45.400
<v Speaker 1>No, no, no, This is how we're gonna sign off

2:31:45.440 --> 2:31:48.720
<v Speaker 1>that we forgot to after Galaxy Quest and Tim Allen

2:31:48.720 --> 2:31:51.959
<v Speaker 1>would leave set he just was say leaving, that's where

2:31:52.000 --> 2:32:00.480
<v Speaker 1>we ended, okay, leaving leaving too much information was a

2:32:00.520 --> 2:32:01.880
<v Speaker 1>production of iHeart Radio.

2:32:02.120 --> 2:32:05.359
<v Speaker 2>The show's executive producers are Noel Brown and Jordan Runtog.

2:32:05.560 --> 2:32:08.360
<v Speaker 1>The show's supervising producer is Michael Alder June.

2:32:08.680 --> 2:32:11.760
<v Speaker 2>The show was researched, written and hosted by Jordan Runtog

2:32:11.840 --> 2:32:12.920
<v Speaker 2>and Alex Heigel.

2:32:12.760 --> 2:32:15.959
<v Speaker 1>With original music by Seth Applebaum and the Ghost Funk Orchestra.

2:32:16.320 --> 2:32:18.360
<v Speaker 1>If you like what you heard, please subscribe and leave

2:32:18.440 --> 2:32:21.360
<v Speaker 1>us a review. For more podcasts on iHeartRadio, visit the

2:32:21.400 --> 2:32:24.680
<v Speaker 1>iHeartRadio app, Apple Podcasts, or wherever you listen to your

2:32:24.720 --> 2:32:25.440
<v Speaker 1>favorite shows