1 00:00:00,400 --> 00:00:01,800 Speaker 1: Let Me Tell You a Story. 2 00:00:02,680 --> 00:00:06,040 Speaker 2: Time releases the story behind. 3 00:00:05,720 --> 00:00:09,800 Speaker 3: The song on this day. In nineteen seventy five, the 4 00:00:09,840 --> 00:00:14,480 Speaker 3: Eagles released their fourth album, One of These Nights. Line 5 00:00:14,480 --> 00:00:17,119 Speaker 3: Eyes was the second single off that album. It was 6 00:00:17,120 --> 00:00:19,760 Speaker 3: written by Don Henley and Glen Fry and recorded in 7 00:00:19,840 --> 00:00:24,279 Speaker 3: nineteen seventy five, with Fries singing lead vocals. It was 8 00:00:24,320 --> 00:00:26,920 Speaker 3: the second single from their album One of These Nights. 9 00:00:26,920 --> 00:00:28,960 Speaker 3: It reached number two on the Billboard Hot one hundred 10 00:00:29,040 --> 00:00:31,960 Speaker 3: chart and number eight on the Billboard Country chart. See 11 00:00:31,960 --> 00:00:35,000 Speaker 3: this is what you didn't just invent the crossover post. 12 00:00:34,800 --> 00:00:37,880 Speaker 2: Malone amazing they Where were they? 13 00:00:38,200 --> 00:00:38,360 Speaker 4: No? 14 00:00:38,479 --> 00:00:42,040 Speaker 3: Or Taylor? It remained their only top forty country hit 15 00:00:42,240 --> 00:00:44,959 Speaker 3: until how Long. In two thousand and seven, they got 16 00:00:44,960 --> 00:00:47,880 Speaker 3: a Grammy for Lion Eyes and were nominated for Record 17 00:00:47,920 --> 00:00:51,400 Speaker 3: of the Year. So just what is it about? 18 00:00:51,440 --> 00:00:53,040 Speaker 2: It's all about the song that was kept off the 19 00:00:53,120 --> 00:00:55,240 Speaker 2: number one spot by Ireland Girl by Elton John. Of 20 00:00:55,240 --> 00:00:56,920 Speaker 2: all things, God, I wouldn't have been happy by them 21 00:00:56,960 --> 00:00:57,120 Speaker 2: with that. 22 00:00:57,440 --> 00:00:59,880 Speaker 3: Island Girl's Eyes were a line again. 23 00:01:00,040 --> 00:01:02,040 Speaker 2: I guess they went line, Well, let's dig date, we'll 24 00:01:02,040 --> 00:01:04,280 Speaker 2: stop by hearing from management and you know some of 25 00:01:04,280 --> 00:01:07,360 Speaker 2: the producers who marveled how Glenn Fry and Don Hindley 26 00:01:07,440 --> 00:01:09,319 Speaker 2: worked together as a songwriting team. 27 00:01:09,560 --> 00:01:11,839 Speaker 5: I've watched the creative process with lots of other people, 28 00:01:12,120 --> 00:01:14,280 Speaker 5: but I've never seen it the way it fell in 29 00:01:14,280 --> 00:01:14,960 Speaker 5: place with them. 30 00:01:15,760 --> 00:01:17,640 Speaker 3: I remember watching Lion Eyes written. 31 00:01:18,560 --> 00:01:20,959 Speaker 5: Glenn just had a way of coming up with a phrase. 32 00:01:21,080 --> 00:01:23,000 Speaker 5: You know, he had written some kind of a tune 33 00:01:23,000 --> 00:01:25,680 Speaker 5: and they were sitting in TNA's one night and looking 34 00:01:25,720 --> 00:01:28,440 Speaker 5: at some young girl with an older guy at the bar, 35 00:01:28,560 --> 00:01:32,200 Speaker 5: and Glenn said, look at those lion eyes and just 36 00:01:32,200 --> 00:01:32,560 Speaker 5: just like. 37 00:01:32,560 --> 00:01:33,840 Speaker 4: That, Wow, there's the song. 38 00:01:39,200 --> 00:01:41,360 Speaker 6: It was just about all these girls who'd come down 39 00:01:41,400 --> 00:01:43,800 Speaker 6: to Dan Towna's looking beautiful, and they'd be there from 40 00:01:43,920 --> 00:01:46,760 Speaker 6: eight o'clock to midnight and have dinner and drinks with 41 00:01:46,800 --> 00:01:50,280 Speaker 6: all of us rockers, and then they go home because 42 00:01:50,280 --> 00:01:51,120 Speaker 6: they were kept women. 43 00:01:53,880 --> 00:01:56,880 Speaker 3: When the Dan town is talking about is their favorite 44 00:01:56,960 --> 00:01:59,840 Speaker 3: restaurant slash bar in Los Angeles. And they said that 45 00:02:00,160 --> 00:02:02,120 Speaker 3: down there to perv on beautiful women, of course, but 46 00:02:02,160 --> 00:02:04,520 Speaker 3: they would, you know, see all these women that they 47 00:02:04,640 --> 00:02:08,560 Speaker 3: assumed were cheating on their husbands just you know, just 48 00:02:08,600 --> 00:02:11,440 Speaker 3: because a beautiful woman is with an older, not as 49 00:02:11,480 --> 00:02:14,400 Speaker 3: attractive man, just not and because she didn't want to 50 00:02:14,400 --> 00:02:18,280 Speaker 3: go home with you. This isn't automatically means. 51 00:02:18,080 --> 00:02:19,680 Speaker 2: Didn't say hanging out with us rockers. 52 00:02:19,720 --> 00:02:22,400 Speaker 3: Yeah, it didn't automatically mean she was doing the dirty 53 00:02:22,400 --> 00:02:22,959 Speaker 3: on her hubby. 54 00:02:23,400 --> 00:02:24,760 Speaker 2: Maybe not, but they were. 55 00:02:24,639 --> 00:02:26,200 Speaker 3: Pretty convinced in this case. 56 00:02:25,960 --> 00:02:28,720 Speaker 2: They were maybe she was a gold What did he say? 57 00:02:28,760 --> 00:02:31,679 Speaker 3: What did I believe? One said to the other said 58 00:02:31,680 --> 00:02:33,359 Speaker 3: to Henley, she can't even. 59 00:02:33,360 --> 00:02:36,000 Speaker 2: Hide those lines, and that was the start of the song. 60 00:02:36,120 --> 00:02:37,760 Speaker 3: Yeah, this is about the woman in question, which is 61 00:02:37,840 --> 00:02:40,680 Speaker 3: who was beautiful but with the older less attractive primarily 62 00:02:40,760 --> 00:02:42,600 Speaker 3: man and beauty is in the eye of the behold. 63 00:02:42,560 --> 00:02:44,440 Speaker 2: Really a Glenn Fry song, that's be honest. That Don 64 00:02:44,520 --> 00:02:45,960 Speaker 2: helped out a little bit. Now we're writing a lot 65 00:02:46,000 --> 00:02:48,880 Speaker 2: of songs up there in the spot and the Beverly 66 00:02:49,000 --> 00:02:51,440 Speaker 2: Hills area, which was just incredible. 67 00:02:51,480 --> 00:02:54,560 Speaker 3: Me thinks that he might have been rejected by said 68 00:02:54,560 --> 00:03:00,120 Speaker 3: beautiful occasions rapped to their table. Maybe there's peanuts and drink. 69 00:03:00,600 --> 00:03:04,079 Speaker 3: So she can't even hide those. 70 00:03:03,280 --> 00:03:06,320 Speaker 2: Those lying eyes because they were kept women women. 71 00:03:06,560 --> 00:03:08,760 Speaker 3: Yeah, so there you go, this there state, but I'd 72 00:03:08,800 --> 00:03:09,720 Speaker 3: love to be a kept woman. 73 00:03:09,720 --> 00:03:12,839 Speaker 2: A little bit of the story behind. There's nothing wrong. Yeah, 74 00:03:12,880 --> 00:03:18,000 Speaker 2: it is well, there's down there now they'll take you 75 00:03:18,040 --> 00:03:21,359 Speaker 2: to Dan Turner's Yeah, yeah, with the boys from the Eagles, 76 00:03:21,680 --> 00:03:24,280 Speaker 2: the late Glen Frye and he was there was only 77 00:03:24,320 --> 00:03:26,840 Speaker 2: the only song he sang alone on that album all 78 00:03:26,880 --> 00:03:29,280 Speaker 2: those years ago, which was such a huge album. But 79 00:03:29,320 --> 00:03:32,400 Speaker 2: it was pre Hotel California. So I would imagine those 80 00:03:32,919 --> 00:03:36,160 Speaker 2: where those women were well and truly zeroed in on 81 00:03:36,160 --> 00:03:38,040 Speaker 2: the boys because they knew that they had the money, that. 82 00:03:38,080 --> 00:03:42,080 Speaker 3: The Hotel California sounds better than Hotel dan Tana quite possibly. 83 00:03:42,160 --> 00:03:47,480 Speaker 2: Yeah, yeah, the one of them place, one of these nights, 84 00:03:47,480 --> 00:03:48,600 Speaker 2: such a place of rejection. 85 00:03:49,680 --> 00:03:52,320 Speaker 3: They actually recorded the song just a little bit further 86 00:03:52,440 --> 00:03:56,080 Speaker 3: to our behind the song moment there in Dorothy Lemore's 87 00:03:56,080 --> 00:03:56,640 Speaker 3: old house. 88 00:03:56,760 --> 00:03:57,640 Speaker 2: Isn't that amazing? 89 00:03:57,920 --> 00:03:58,160 Speaker 7: Yeah? 90 00:03:58,280 --> 00:04:00,200 Speaker 3: Well she was in the Road Trip movies with Bing 91 00:04:00,280 --> 00:04:02,520 Speaker 3: Crosby and Bosh, wasn't she as she was? 92 00:04:02,640 --> 00:04:05,240 Speaker 2: Yeah, those houses, and so many of those houses had 93 00:04:05,280 --> 00:04:08,320 Speaker 2: so many famous owners in the Beverlee, Yes Hills. 94 00:04:08,440 --> 00:04:13,360 Speaker 3: Absolutely let us tell your story. Burning Down the House 95 00:04:14,240 --> 00:04:18,080 Speaker 3: by Talking Heads, released in July nineteen eighty three as 96 00:04:18,120 --> 00:04:22,000 Speaker 3: the first single from their fifth studio album, Speaking in Tongues, 97 00:04:22,680 --> 00:04:26,080 Speaker 3: It's not David says, it was never a song about 98 00:04:26,160 --> 00:04:28,520 Speaker 3: uson when I wrote the lyrics in eighty two, the 99 00:04:28,560 --> 00:04:31,400 Speaker 3: title phrase was a metaphor for destroying something safe that 100 00:04:31,640 --> 00:04:34,560 Speaker 3: entrapped you. I envisioned the song as an expression of 101 00:04:34,600 --> 00:04:37,800 Speaker 3: liberation to break free from whatever was holding you back. Now. 102 00:04:37,880 --> 00:04:41,760 Speaker 3: Tina Weymouth, the bassist, says, burning down the House is 103 00:04:41,800 --> 00:04:44,200 Speaker 3: a new way funk and art rock song. It started 104 00:04:44,200 --> 00:04:46,800 Speaker 3: from a jam, and it sounds like the title might 105 00:04:46,839 --> 00:04:49,960 Speaker 3: have come from their drama. Chris Franz via a Parliament 106 00:04:50,040 --> 00:04:51,760 Speaker 3: Funkadelic gig in New York. 107 00:04:52,279 --> 00:04:55,239 Speaker 2: Absolutely. David Burn expanding on that right here. 108 00:04:55,200 --> 00:04:58,560 Speaker 7: I thought, let me see if I can make a 109 00:04:58,560 --> 00:05:03,159 Speaker 7: song that is basically a lot of non sequiturs that 110 00:05:03,360 --> 00:05:07,279 Speaker 7: have a kind of some kind of emotional impact, that 111 00:05:07,360 --> 00:05:10,360 Speaker 7: they have some kind of emotional resonance. It doesn't make 112 00:05:10,440 --> 00:05:14,479 Speaker 7: literal sense, but it makes emotional sense. The phrase burning 113 00:05:14,520 --> 00:05:18,640 Speaker 7: down the House i'd heard being used as a chant 114 00:05:19,640 --> 00:05:23,479 Speaker 7: at a Parliament Funkadelic concert that i'd seen. They didn't 115 00:05:23,480 --> 00:05:25,560 Speaker 7: have it in a song. It was just a kind 116 00:05:25,560 --> 00:05:28,400 Speaker 7: of chance that they started chanting and the audience joined 117 00:05:28,400 --> 00:05:31,000 Speaker 7: in and it was coming. It meant like we're going 118 00:05:31,080 --> 00:05:33,600 Speaker 7: to blow the roof off the sucker. We're going to 119 00:05:34,080 --> 00:05:36,159 Speaker 7: set this place on fire. It's going to be you know, 120 00:05:36,160 --> 00:05:40,039 Speaker 7: we're going to have a really amazing time here. Yeah, 121 00:05:40,120 --> 00:05:44,840 Speaker 7: it didn't mean literally, let's set fire to our houses. 122 00:05:45,080 --> 00:05:46,920 Speaker 2: I love that love. They got that from a chant 123 00:05:46,920 --> 00:05:47,800 Speaker 2: from a gig. Yeah. 124 00:05:47,839 --> 00:05:51,720 Speaker 3: Parliament Funkadelic, of course, was the great American music collaborative 125 00:05:52,040 --> 00:05:57,080 Speaker 3: spearheaded by George Clinton, had members like Bootsy Collins is 126 00:05:57,279 --> 00:06:00,359 Speaker 3: huge funk thing and I've very influential you poge in 127 00:06:00,400 --> 00:06:04,200 Speaker 3: the early eighties, and burn the House. Burn the House 128 00:06:04,360 --> 00:06:07,520 Speaker 3: was their audience chant, and it was Chris. It was 129 00:06:07,560 --> 00:06:09,920 Speaker 3: Chris France that was yelling it out evidently at this 130 00:06:09,960 --> 00:06:11,880 Speaker 3: particular show that he and David were at. 131 00:06:12,000 --> 00:06:14,120 Speaker 2: Isn't that funny? We'll only go back here and I'll 132 00:06:14,240 --> 00:06:16,200 Speaker 2: just point out that this was their first to top 133 00:06:16,240 --> 00:06:18,440 Speaker 2: ten hit America on the Billboard charts. 134 00:06:18,520 --> 00:06:21,280 Speaker 3: Didn't do so well here four like. 135 00:06:21,279 --> 00:06:22,320 Speaker 2: It's stalled at ninety four. 136 00:06:23,000 --> 00:06:26,840 Speaker 3: I'm embarrassed, stopped making sense, and then people reconsidered it. 137 00:06:26,920 --> 00:06:28,560 Speaker 2: Well, then we got the extended version in me on 138 00:06:28,600 --> 00:06:30,599 Speaker 2: the movie stop making Sense in the soundtrack itself. But 139 00:06:30,720 --> 00:06:32,360 Speaker 2: if you dig a bit deeper, the early days of 140 00:06:32,400 --> 00:06:35,680 Speaker 2: the song's development and the creative process. David Burn being interviewed. 141 00:06:35,360 --> 00:06:38,840 Speaker 4: Here, and generally I get about or an hour is 142 00:06:38,880 --> 00:06:41,960 Speaker 4: worth a tap out of each day, because I'd only 143 00:06:42,000 --> 00:06:44,320 Speaker 4: turn it on when I thought something interesting was happening, 144 00:06:45,360 --> 00:06:49,520 Speaker 4: and then i'd take those home and pick out the 145 00:06:49,560 --> 00:06:52,680 Speaker 4: bits that I thought were interesting. Would you have an 146 00:06:52,720 --> 00:06:54,760 Speaker 4: example of an early jam? 147 00:06:55,400 --> 00:06:56,440 Speaker 7: I bring down the House? 148 00:06:56,920 --> 00:06:57,920 Speaker 4: Yeah, this is pretty early. 149 00:06:58,400 --> 00:06:59,120 Speaker 2: Should I put it on? 150 00:07:19,480 --> 00:07:19,560 Speaker 8: So? 151 00:07:19,800 --> 00:07:21,200 Speaker 7: Is that what we're listening to? 152 00:07:21,400 --> 00:07:24,440 Speaker 9: Is that the very first time that that you came. 153 00:07:24,400 --> 00:07:24,760 Speaker 7: Up with that? 154 00:07:25,520 --> 00:07:27,800 Speaker 4: Well, that's very close to it. That's probably the result 155 00:07:27,920 --> 00:07:30,760 Speaker 4: of me listening to a tape and then bringing it 156 00:07:30,760 --> 00:07:34,120 Speaker 4: in and saying, here is some little accidental thing happening 157 00:07:34,160 --> 00:07:37,760 Speaker 4: here that I think we could improve on, and this 158 00:07:37,840 --> 00:07:38,920 Speaker 4: is probably the result of that. 159 00:07:47,080 --> 00:07:49,600 Speaker 2: I love how he says it's like an accident. It's 160 00:07:49,600 --> 00:07:50,200 Speaker 2: an accident. 161 00:07:50,280 --> 00:07:52,559 Speaker 3: Imagine if your job sitting in a room with David 162 00:07:52,560 --> 00:07:54,800 Speaker 3: Bernie sticking out his old tapes playing you the early 163 00:07:55,720 --> 00:07:57,320 Speaker 3: couldn't you hear the Parliament fun? 164 00:07:57,880 --> 00:08:02,280 Speaker 2: Absolutely? Yeah, definitely had a real love, funky feel to it, 165 00:08:02,360 --> 00:08:05,000 Speaker 2: and you go, oh okay. So they developed it from there, 166 00:08:05,120 --> 00:08:07,560 Speaker 2: and that is very cool. They hear the early incarnation 167 00:08:07,680 --> 00:08:11,640 Speaker 2: absolutely the album was speaking in tongues. But when we 168 00:08:11,680 --> 00:08:13,520 Speaker 2: sat in the cinema and saw the concert film of 169 00:08:13,520 --> 00:08:17,160 Speaker 2: stop making sense, that version, that extented version of burning 170 00:08:17,160 --> 00:08:19,880 Speaker 2: down the House is blew your way amazing, so damn good. 171 00:08:19,920 --> 00:08:24,040 Speaker 3: That was our story behind the song song Today. Horror 172 00:08:24,080 --> 00:08:29,400 Speaker 3: Movie is a song by Skyhooks, released in December nineteen 173 00:08:29,480 --> 00:08:31,680 Speaker 3: seventy four as the second and final single from the 174 00:08:31,680 --> 00:08:35,319 Speaker 3: band's debut studio album Living in the Seventies. It peaked 175 00:08:35,360 --> 00:08:38,400 Speaker 3: at number one in Australia, staying there for two weeks 176 00:08:38,400 --> 00:08:41,160 Speaker 3: in March nineteen seventy five. It's greatly helped along by 177 00:08:41,200 --> 00:08:44,800 Speaker 3: the band's appearance on Countdown. In fact, Countdown made an 178 00:08:44,880 --> 00:08:48,319 Speaker 3: in house video featuring the band at Lunar Park in Melbourne, 179 00:08:48,360 --> 00:08:50,640 Speaker 3: as well as miming the song in front of an audience. 180 00:08:51,040 --> 00:08:54,880 Speaker 3: It was broadcast on the very first day of color 181 00:08:54,920 --> 00:08:59,320 Speaker 3: television on Real They broadcast that video and the nineteen 182 00:08:59,400 --> 00:09:02,920 Speaker 3: seventy five King of Pop Awards Horror Movie one Australian 183 00:09:03,440 --> 00:09:05,800 Speaker 3: Record of the Year. But what is it all about? 184 00:09:05,840 --> 00:09:07,800 Speaker 2: ALFI, Yeah, I know, well. This song was produced to 185 00:09:07,840 --> 00:09:09,680 Speaker 2: This album was produced by Ross Wilson who had so 186 00:09:09,720 --> 00:09:12,800 Speaker 2: much success with Daddy Coole and Latin Wondo Rock. And 187 00:09:12,840 --> 00:09:15,360 Speaker 2: it was written by Greg mccach who wrote so many 188 00:09:15,360 --> 00:09:17,360 Speaker 2: great songs. He was really good at writing really good 189 00:09:17,480 --> 00:09:20,480 Speaker 2: Australian songs, particularly from his beloved Melbourne. He wrote Carlton 190 00:09:20,880 --> 00:09:23,880 Speaker 2: the Old like on Street, Limbo and Baldwin calling So 191 00:09:24,040 --> 00:09:26,959 Speaker 2: talking about the Inn some of the real famous suburbs 192 00:09:26,960 --> 00:09:29,160 Speaker 2: of Melbourne. But Greg, if you want to remember who 193 00:09:29,160 --> 00:09:31,400 Speaker 2: Greg was, look at the video Google today, the video 194 00:09:31,440 --> 00:09:33,400 Speaker 2: of the guy on the bass guitar and John Farnam's 195 00:09:33,400 --> 00:09:36,040 Speaker 2: You're the Voice video. That's him. Okay, he's the man now. 196 00:09:36,040 --> 00:09:38,520 Speaker 2: He wrote this song. And you know, you think about 197 00:09:38,520 --> 00:09:41,160 Speaker 2: the songs that were signature tunes for this band, Skyhook's 198 00:09:41,160 --> 00:09:44,240 Speaker 2: it was Women in Uniform Ego and Horror Movie. But 199 00:09:44,320 --> 00:09:47,680 Speaker 2: he talks here, Greg mccach talking about the influencers and 200 00:09:47,679 --> 00:09:49,120 Speaker 2: some of the inspiration behind the song. 201 00:09:49,240 --> 00:09:53,640 Speaker 10: Well, Horror Movie the song. I remember, there's two songs 202 00:09:53,640 --> 00:09:55,680 Speaker 10: that I sort of attribute to being a bit of 203 00:09:55,679 --> 00:09:58,600 Speaker 10: an influence for that song, and one was a Frank 204 00:09:59,120 --> 00:10:02,559 Speaker 10: Zappa song call Trouble Coming every Day, which is fifteen 205 00:10:02,640 --> 00:10:05,720 Speaker 10: minutes long. I think and it's all about the news 206 00:10:05,920 --> 00:10:09,720 Speaker 10: and the media, so that hadn't had an effect on me, 207 00:10:09,880 --> 00:10:14,760 Speaker 10: but it's it's a different sort of song to horror movie, 208 00:10:14,800 --> 00:10:18,440 Speaker 10: but with similar kind of sentiments, I think. And then 209 00:10:18,480 --> 00:10:20,520 Speaker 10: there was a Spectrum song called the Son of the 210 00:10:20,520 --> 00:10:22,480 Speaker 10: Son of Sitting Bull, which had these great sort of 211 00:10:22,520 --> 00:10:25,920 Speaker 10: tom tom groove in it, and I think subconsciously I 212 00:10:25,960 --> 00:10:29,040 Speaker 10: would have been affected by the Vietnam War because there 213 00:10:29,160 --> 00:10:33,640 Speaker 10: was a lot of footage on television and live footage 214 00:10:33,800 --> 00:10:36,120 Speaker 10: of the war, which was something that never ever happened 215 00:10:36,120 --> 00:10:40,240 Speaker 10: before in human history, I don't think. So once again, 216 00:10:40,280 --> 00:10:44,559 Speaker 10: that must have just bubbled up into my consciousness and 217 00:10:45,640 --> 00:10:48,400 Speaker 10: the words came out, you know, horror movie. It's a 218 00:10:48,440 --> 00:10:52,800 Speaker 10: six thirty news which you try and be as succinct 219 00:10:53,160 --> 00:10:55,800 Speaker 10: as you can and to the point, and people who 220 00:10:55,760 --> 00:10:59,520 Speaker 10: will interpret it however they like. But once again, given 221 00:11:00,160 --> 00:11:05,840 Speaker 10: the blueprint was a live band, one wanted to be 222 00:11:05,960 --> 00:11:08,240 Speaker 10: to the point and leave no doubt about what you 223 00:11:08,280 --> 00:11:09,800 Speaker 10: were talking about. 224 00:11:09,679 --> 00:11:11,960 Speaker 2: The news, like watching a horror movie. Sounds formiliar, doesn't it. 225 00:11:12,480 --> 00:11:13,920 Speaker 2: The trend continues. 226 00:11:13,559 --> 00:11:15,720 Speaker 3: And I remember when the news was on at six thirty. Yeah, 227 00:11:15,840 --> 00:11:18,640 Speaker 3: it now starts at five and it goes on, god 228 00:11:18,679 --> 00:11:19,040 Speaker 3: knows what. 229 00:11:19,160 --> 00:11:22,440 Speaker 2: They sort of reset every half hour, every hour. Yeah, yeah, 230 00:11:22,559 --> 00:11:25,319 Speaker 2: but what a great song, what a history making song. 231 00:11:25,360 --> 00:11:27,160 Speaker 2: As he said, it went to number one in Australia. 232 00:11:27,360 --> 00:11:31,400 Speaker 2: Continued that incredible success though having on Michael Godinsky's Mushroom. 233 00:11:31,160 --> 00:11:36,080 Speaker 3: Records, simple simple song, absolutely and yeah. 234 00:11:35,520 --> 00:11:37,480 Speaker 2: And you can hear Greg jevity of it and talking 235 00:11:37,480 --> 00:11:39,760 Speaker 2: about the influences, you would never have thought Frank zapperwould 236 00:11:40,040 --> 00:11:42,760 Speaker 2: he be an influence on those guys? I certainly were 237 00:11:42,840 --> 00:11:45,080 Speaker 2: so from living in the seventies. The mighty skyhooks of 238 00:11:45,120 --> 00:11:45,920 Speaker 2: this story behind the. 239 00:11:45,880 --> 00:11:52,680 Speaker 3: Song danger Zone ooh needs very little introduction. Recorded by 240 00:11:52,760 --> 00:11:55,760 Speaker 3: American singer songwriter Kenny Loggins in nineteen eighty six, with 241 00:11:55,880 --> 00:11:59,920 Speaker 3: music composed by Georgie Moroder and lyrics written by Tom Whitler, 242 00:12:00,280 --> 00:12:04,040 Speaker 3: it was, of course a huge hit from the soundtrack 243 00:12:04,120 --> 00:12:06,840 Speaker 3: to the nineteen eighty six film Top Gun. It was 244 00:12:06,880 --> 00:12:09,559 Speaker 3: the best selling soundtrack of nineteen eighty six and one 245 00:12:09,600 --> 00:12:11,360 Speaker 3: of the best selling of all time. As a matter 246 00:12:11,360 --> 00:12:14,760 Speaker 3: of fact, according to AllMusic dot Com, the album remains 247 00:12:14,960 --> 00:12:18,679 Speaker 3: a quintessential artifact of the mid eighties. That's I love 248 00:12:18,720 --> 00:12:22,080 Speaker 3: the way they put that quinter central artifact of the 249 00:12:22,120 --> 00:12:26,000 Speaker 3: mid eighties. The song is also featured in the twenty 250 00:12:26,120 --> 00:12:30,000 Speaker 3: twenty two sequel A Top Gun Maverick and its soundtrack, 251 00:12:30,440 --> 00:12:34,280 Speaker 3: using the same original recording. We never we never did 252 00:12:34,280 --> 00:12:35,520 Speaker 3: a Skyworks without it. 253 00:12:35,640 --> 00:12:38,360 Speaker 2: I know. Incredible, wasn't it? Yeah, out there in the 254 00:12:38,440 --> 00:12:39,800 Speaker 2: dangers that everyone would look up. 255 00:12:39,880 --> 00:12:43,040 Speaker 3: So let's get to the story behind the song. 256 00:12:43,120 --> 00:12:44,600 Speaker 2: Soldenly and there was a song list that was knocked 257 00:12:44,640 --> 00:12:47,120 Speaker 2: back by several people. It was originally offered to Jefferson 258 00:12:47,200 --> 00:12:48,280 Speaker 2: Starship and. 259 00:12:48,320 --> 00:12:51,160 Speaker 3: Oh really Deep in the danger Side. 260 00:12:52,320 --> 00:12:54,320 Speaker 2: Canadian Corey Hart knocked it back as well. 261 00:12:56,440 --> 00:12:58,600 Speaker 3: His future was so bright he didn't need danger size. 262 00:12:58,679 --> 00:13:01,160 Speaker 2: Even Kevin Cronin from US speed Wagon said it's a 263 00:13:01,200 --> 00:13:03,080 Speaker 2: bit high for my range, and I went they had 264 00:13:03,080 --> 00:13:06,160 Speaker 2: a pretty hard voice himself. Yeah, so Kenny, he's Kenny Logan. 265 00:13:06,280 --> 00:13:07,280 Speaker 3: I was saying they didn't like it. 266 00:13:07,400 --> 00:13:10,920 Speaker 2: Yeah, that's right. So Kenny Logan's This is him talking 267 00:13:10,960 --> 00:13:13,280 Speaker 2: about getting the gig after he'd had that recent success 268 00:13:13,280 --> 00:13:15,400 Speaker 2: in a number one hit. Of course, with footloots from 269 00:13:15,440 --> 00:13:16,880 Speaker 2: another movie soundtrack. 270 00:13:16,679 --> 00:13:19,760 Speaker 9: They did what's called a Cattle Call That was a 271 00:13:19,800 --> 00:13:23,840 Speaker 9: Bruckheimer Simpson movie and they had every pop act in 272 00:13:23,880 --> 00:13:26,640 Speaker 9: the Business was coming to see a screening of Tom 273 00:13:26,760 --> 00:13:27,960 Speaker 9: Cruise's new movie. 274 00:13:28,360 --> 00:13:29,960 Speaker 6: This was like his second. 275 00:13:29,720 --> 00:13:35,120 Speaker 9: Movie, Risky Business was the breakthrough, right, and so everybody 276 00:13:35,200 --> 00:13:37,480 Speaker 9: knew that Cruise was going to take off, so they 277 00:13:37,480 --> 00:13:41,480 Speaker 9: had a powerful opportunity to get the biggest acts. So 278 00:13:41,880 --> 00:13:46,200 Speaker 9: I went with my writing partner and we saw the 279 00:13:46,240 --> 00:13:50,000 Speaker 9: movie and I said, let's not compete with those opening credits. 280 00:13:50,120 --> 00:13:52,600 Speaker 9: Let's write for the volleyball scene. Nobody's going to write 281 00:13:52,600 --> 00:13:54,920 Speaker 9: for that, so we get a song in the movie. 282 00:13:55,000 --> 00:13:55,480 Speaker 2: So we did. 283 00:13:55,559 --> 00:13:58,720 Speaker 9: We wrote a song called Playing with the Boys, and 284 00:13:58,920 --> 00:14:01,040 Speaker 9: I was in the studio record faring Playing with the Boys, 285 00:14:01,040 --> 00:14:04,319 Speaker 9: when I got a call from Georgio Moroder, who had 286 00:14:04,360 --> 00:14:08,040 Speaker 9: written the bulk of danger Zone and quite a few 287 00:14:08,040 --> 00:14:13,040 Speaker 9: of the songs in Top Gun, and he said, I've 288 00:14:13,040 --> 00:14:15,000 Speaker 9: got to put a voice on this song, and the 289 00:14:15,000 --> 00:14:18,320 Speaker 9: band I had the lawyers killed the deal, so I 290 00:14:18,400 --> 00:14:19,760 Speaker 9: have no singer for this song. 291 00:14:20,000 --> 00:14:22,920 Speaker 2: So he has danger Zone now, but he needs a singer. 292 00:14:22,960 --> 00:14:25,440 Speaker 9: He needs a singer an Internet and it wasn't supposed 293 00:14:25,480 --> 00:14:27,479 Speaker 9: to be me. It was supposed to be Jefferson Starship, 294 00:14:28,160 --> 00:14:33,160 Speaker 9: but they got pulled out of the project, so he 295 00:14:33,240 --> 00:14:35,840 Speaker 9: knew I was in the studio down the street. So 296 00:14:36,120 --> 00:14:38,080 Speaker 9: this is how it works, right you think this is 297 00:14:38,120 --> 00:14:42,000 Speaker 9: like somebody thought about this. Now I'm in the studio 298 00:14:42,640 --> 00:14:45,600 Speaker 9: and he says, do you want to sing my song? 299 00:14:45,840 --> 00:14:46,000 Speaker 10: Well? 300 00:14:46,080 --> 00:14:49,400 Speaker 9: Is it up tempo? Because I've been writing nothing but 301 00:14:49,480 --> 00:14:51,160 Speaker 9: ballads and I need something up tempo. 302 00:14:51,240 --> 00:14:53,160 Speaker 3: He says, yeah, Rocks, Okay, I'll. 303 00:14:52,960 --> 00:14:55,280 Speaker 2: Be right there. You have the business books. Isn't it 304 00:14:55,400 --> 00:14:55,880 Speaker 2: pretty foot? 305 00:14:55,880 --> 00:14:59,160 Speaker 3: Shore is just because imagine being the person behind a 306 00:14:59,160 --> 00:15:03,520 Speaker 3: song that now is pretty much associated with any time 307 00:15:03,560 --> 00:15:05,960 Speaker 3: you see a plane going true, you know, sometimes the 308 00:15:06,040 --> 00:15:08,280 Speaker 3: RAF guys are doing stuff and they go over your 309 00:15:08,320 --> 00:15:10,480 Speaker 3: house and as soon as they go O my house, 310 00:15:10,480 --> 00:15:12,520 Speaker 3: I hear dangerous. 311 00:15:12,600 --> 00:15:16,080 Speaker 2: Yeah, it comes to mind. And Kenny was being honest 312 00:15:16,120 --> 00:15:17,800 Speaker 2: there and a lot of his stuff had been you know, 313 00:15:17,840 --> 00:15:19,840 Speaker 2: with Logins and seen or had been feeling. Mellow foot 314 00:15:19,840 --> 00:15:22,120 Speaker 2: Looks was a little bit different, and probably his ladest 315 00:15:22,120 --> 00:15:23,760 Speaker 2: thing before that was a hit called I'm all Right. 316 00:15:23,840 --> 00:15:26,880 Speaker 2: But this is him talking Kenny Logins again, talking about 317 00:15:27,000 --> 00:15:29,600 Speaker 2: his inspiration behind the vocal style, and at first he 318 00:15:29,640 --> 00:15:31,320 Speaker 2: wasn't impressed with the song itself. 319 00:15:31,360 --> 00:15:33,760 Speaker 9: Well, when I initially heard the song, I did have 320 00:15:33,840 --> 00:15:37,400 Speaker 9: some reservations about it, and I sat with Tom, the 321 00:15:37,480 --> 00:15:42,720 Speaker 9: co writer with Giorgio, and I added some chord substitutions 322 00:15:42,760 --> 00:15:46,280 Speaker 9: and changes in the bridge because to me, it was 323 00:15:46,760 --> 00:15:48,920 Speaker 9: the same thing over and over and over again, and 324 00:15:48,960 --> 00:15:50,920 Speaker 9: so I wanted to just mix it up, make it 325 00:15:50,920 --> 00:15:53,560 Speaker 9: a little more interesting, and so I messed with it, 326 00:15:53,600 --> 00:15:56,280 Speaker 9: and then I really liked it, and it gave me 327 00:15:56,320 --> 00:15:59,440 Speaker 9: an opportunity to use a voice that I hadn't used. 328 00:15:59,480 --> 00:16:03,280 Speaker 9: You know, my own material had been softer. The most 329 00:16:03,360 --> 00:16:06,920 Speaker 9: rock and thing I'd done was Footloose. During a period 330 00:16:07,000 --> 00:16:09,320 Speaker 9: of when I got a call from Georgio and then 331 00:16:09,360 --> 00:16:12,520 Speaker 9: I went into a studio, I was deep into the 332 00:16:12,560 --> 00:16:16,880 Speaker 9: Tina Turner Private Dancer album and so I sort of 333 00:16:17,000 --> 00:16:20,680 Speaker 9: imitated her in where I was putting my voice and 334 00:16:21,760 --> 00:16:25,080 Speaker 9: enunciations of the things. You know, Danger's own that kind 335 00:16:25,120 --> 00:16:27,680 Speaker 9: of thing was very much her R and B interpretation 336 00:16:27,800 --> 00:16:29,960 Speaker 9: of her version of rock and roll. So I just 337 00:16:30,000 --> 00:16:31,640 Speaker 9: took that and took it another place. 338 00:16:32,080 --> 00:16:36,320 Speaker 2: Tina amazing further inspirational. But I think that's a great story. 339 00:16:36,320 --> 00:16:36,560 Speaker 11: I love it. 340 00:16:36,880 --> 00:16:37,880 Speaker 3: She inspired that one. 341 00:16:38,120 --> 00:16:40,240 Speaker 2: Yeah, well, we're up. They were the best of the 342 00:16:40,240 --> 00:16:41,480 Speaker 2: best this Morning from the eighties. 343 00:16:41,640 --> 00:16:44,040 Speaker 3: Loved that. That was Today's story behind the. 344 00:16:44,040 --> 00:16:48,200 Speaker 2: Song can You Be My Wing? One? Solid Rock, written. 345 00:16:47,880 --> 00:16:51,160 Speaker 3: By Shane Howard for his band Goenna I, was released 346 00:16:51,160 --> 00:16:54,160 Speaker 3: in September nineteen eighty two, was the lead single from 347 00:16:54,200 --> 00:16:57,760 Speaker 3: the band's debut studio album, Spirit of Place. Solid Rock 348 00:16:57,800 --> 00:17:00,920 Speaker 3: peaked at number three on the Australian Kent Music Reports 349 00:17:01,200 --> 00:17:04,560 Speaker 3: a report at the nineteen eighty two Countdown Awards Solid 350 00:17:04,640 --> 00:17:09,200 Speaker 3: Rock one best Debut Single. In twenty twenty one, MTV 351 00:17:09,320 --> 00:17:13,399 Speaker 3: Classic ranked the song tenth during a special Top one 352 00:17:13,520 --> 00:17:15,760 Speaker 3: hundred Big in the Eighties Countdown ten. 353 00:17:15,760 --> 00:17:16,919 Speaker 2: Very successful, wasn't it? 354 00:17:17,000 --> 00:17:20,840 Speaker 3: That's very high up on that countdown? The title says 355 00:17:20,880 --> 00:17:24,119 Speaker 3: a lot, But what's the whole story? 356 00:17:24,240 --> 00:17:26,320 Speaker 2: Okay? Well, the feature did redo from a guy called 357 00:17:26,320 --> 00:17:28,360 Speaker 2: Billy Indo, who was part of No Fixed Address, who 358 00:17:28,359 --> 00:17:31,400 Speaker 2: was the indigenous rock reggae band from parts of South Australia. 359 00:17:31,840 --> 00:17:35,399 Speaker 2: But Shane Howard tells the story and it included a 360 00:17:35,440 --> 00:17:37,040 Speaker 2: bit of a life changing journey for. 361 00:17:37,000 --> 00:17:38,919 Speaker 11: It wasn't raive about what was going on in this 362 00:17:39,040 --> 00:17:43,080 Speaker 11: country and how difficult it was for some people, and 363 00:17:43,119 --> 00:17:46,879 Speaker 11: how incredibly difficult it was for Aboriginal people. You know, 364 00:17:47,280 --> 00:17:51,159 Speaker 11: I was busking in in the park in Brisbane with 365 00:17:51,920 --> 00:17:56,000 Speaker 11: Aboriginal fellers, you know, and trading songs on trains and 366 00:17:56,880 --> 00:17:59,960 Speaker 11: everywhere I went, and growing up right did in southwest Victoria. 367 00:18:00,080 --> 00:18:02,840 Speaker 11: Original people were a fact of life, and we knew 368 00:18:02,880 --> 00:18:05,400 Speaker 11: that they were discriminated against. We knew that their lot 369 00:18:05,480 --> 00:18:08,800 Speaker 11: was a hard one. But I really want to go. 370 00:18:08,880 --> 00:18:10,920 Speaker 11: In eighty one, I got run down there very sick, 371 00:18:10,960 --> 00:18:13,360 Speaker 11: and the doctor said, you need a break, and I went. 372 00:18:13,800 --> 00:18:16,639 Speaker 11: I'd always wanted to go to lau On to see 373 00:18:17,000 --> 00:18:20,359 Speaker 11: was Aboriginal culture still alive? Was still practice? Was the 374 00:18:20,480 --> 00:18:24,000 Speaker 11: language still spoken? Where the dancers still danced? Was it 375 00:18:24,119 --> 00:18:26,680 Speaker 11: still a thing? And I went to Laru on the 376 00:18:26,760 --> 00:18:29,240 Speaker 11: gand was a little tents in those days. There was 377 00:18:29,280 --> 00:18:31,720 Speaker 11: no ula resort. It was very basic and I got 378 00:18:31,760 --> 00:18:35,119 Speaker 11: to touch something very rare and very precious, and I 379 00:18:35,200 --> 00:18:37,520 Speaker 11: got to have a remarkable experience. It was a long 380 00:18:37,560 --> 00:18:40,040 Speaker 11: way back to the camp to walk back in the darkness. 381 00:18:40,160 --> 00:18:42,479 Speaker 11: They said, look camp tonight, so I need them camping 382 00:18:42,480 --> 00:18:46,679 Speaker 11: out under the stars in that country with the huge 383 00:18:46,760 --> 00:18:49,680 Speaker 11: sworded form was u Laaroo the fullman and rising over 384 00:18:49,760 --> 00:18:53,639 Speaker 11: the back the stars as bright as crystal. Come a 385 00:18:53,640 --> 00:18:56,639 Speaker 11: little bit closer in that country because it's so clear, 386 00:18:57,560 --> 00:19:00,240 Speaker 11: and the soft wash of pining jar of voices, the 387 00:19:00,280 --> 00:19:04,399 Speaker 11: country it impacted only powerfully. I realized that I was 388 00:19:04,440 --> 00:19:08,680 Speaker 11: in someone else's country and that song solid Rock grew 389 00:19:08,720 --> 00:19:11,600 Speaker 11: out of that experience, really, and it was a It 390 00:19:11,640 --> 00:19:14,680 Speaker 11: was a powerful time. I got to see a really 391 00:19:15,560 --> 00:19:18,720 Speaker 11: there was a deep intelligence work, a deep cultural history, 392 00:19:18,760 --> 00:19:21,560 Speaker 11: something very precious. It deserved to be honored and not 393 00:19:21,600 --> 00:19:23,639 Speaker 11: discriminators against the feeling. 394 00:19:23,720 --> 00:19:25,200 Speaker 2: The trip changed him forever, don't you. 395 00:19:25,359 --> 00:19:27,760 Speaker 3: I absolutely ordered the g I suppose back then the 396 00:19:27,800 --> 00:19:30,720 Speaker 3: Ganan was just the train that went there, not the 397 00:19:30,800 --> 00:19:32,320 Speaker 3: luxury you orient. 398 00:19:32,080 --> 00:19:36,159 Speaker 2: Express was experience what it is today, pretty basic, eudimentary, 399 00:19:36,160 --> 00:19:37,920 Speaker 2: and that Spirit of Place album from which the album 400 00:19:37,960 --> 00:19:40,479 Speaker 2: came was one of the most successful Ossie debut albums 401 00:19:40,560 --> 00:19:42,960 Speaker 2: ever at that point in time. Its passed later by 402 00:19:43,000 --> 00:19:46,000 Speaker 2: a frog Stump from Silverchair and Get Born from Jet 403 00:19:46,000 --> 00:19:48,119 Speaker 2: of course, which solved millions. But it was a beauty 404 00:19:48,119 --> 00:19:50,199 Speaker 2: and it was a real point in time, wasn't it. 405 00:19:50,240 --> 00:19:50,400 Speaker 10: Really? 406 00:19:51,640 --> 00:19:54,480 Speaker 3: I still can't believe it was tenth during the top 407 00:19:54,520 --> 00:19:56,399 Speaker 3: one hundred big in the eighties Countdown that's. 408 00:19:56,280 --> 00:19:57,960 Speaker 2: Right, And like you said, they cleaned up those eighty 409 00:19:57,960 --> 00:20:00,680 Speaker 2: two Countdown music Awards. They won three awards, but Solid 410 00:20:00,760 --> 00:20:02,840 Speaker 2: Rock was well and truly up there. The story behind 411 00:20:02,840 --> 00:20:05,040 Speaker 2: the song at ninety six a am co Ana Solid. 412 00:20:04,840 --> 00:20:09,439 Speaker 3: Rock Who Made Who? Ac DC, taken from their nineteen 413 00:20:09,480 --> 00:20:13,120 Speaker 3: eighty six album Who Made Who? It was only one. 414 00:20:13,359 --> 00:20:15,400 Speaker 3: It was one of only three new tracks on Who 415 00:20:15,400 --> 00:20:17,680 Speaker 3: Made Who? Because the album is not only a soundtrack 416 00:20:18,000 --> 00:20:21,560 Speaker 3: to Stephen King's movie Maximum Overdrivet Yes, but a compilation 417 00:20:21,720 --> 00:20:26,080 Speaker 3: album featuring tracks from previous albums. The video was directed 418 00:20:26,119 --> 00:20:28,879 Speaker 3: by David Mallett, filmed in the lobby of and on 419 00:20:29,000 --> 00:20:32,160 Speaker 3: stage at the Brixton Academy Music venue in London. Fans 420 00:20:32,240 --> 00:20:35,600 Speaker 3: and radio contest winners were dressed like Angus Young and 421 00:20:35,680 --> 00:20:40,640 Speaker 3: carried red cardboard guitars like Anguss Gibson SG. So let's 422 00:20:40,640 --> 00:20:41,840 Speaker 3: get the whole story. 423 00:20:41,600 --> 00:20:44,240 Speaker 2: Thank you absolutely, and let's be honest list. By nineteen 424 00:20:44,280 --> 00:20:46,720 Speaker 2: eighty five, Fly on the Wall, the ACDC story that 425 00:20:46,800 --> 00:20:48,520 Speaker 2: was starting to struggle a little bit. Flying the Wall 426 00:20:48,560 --> 00:20:50,840 Speaker 2: was not received well by critics and didn't sell well. 427 00:20:50,880 --> 00:20:52,439 Speaker 2: And this is only three or four years after the 428 00:20:52,480 --> 00:20:55,000 Speaker 2: incredible success of Back in Black. And then for those 429 00:20:55,040 --> 00:20:57,080 Speaker 2: about the rock, we salute you. So they needed a 430 00:20:57,160 --> 00:21:00,920 Speaker 2: hit and Angus got an approach from one and only 431 00:21:00,920 --> 00:21:01,520 Speaker 2: Stephen King. 432 00:21:01,840 --> 00:21:05,560 Speaker 12: He got in contact with his. My brother and myself 433 00:21:05,880 --> 00:21:08,600 Speaker 12: were in New York and he he was very much 434 00:21:08,640 --> 00:21:10,840 Speaker 12: a fan of our music, and he asked us if 435 00:21:10,880 --> 00:21:14,120 Speaker 12: we would like to write some songs for his He 436 00:21:14,200 --> 00:21:18,040 Speaker 12: was making a movie called Maximum Overdrive, and he said 437 00:21:18,800 --> 00:21:21,680 Speaker 12: it would be very good if you know, you guys 438 00:21:21,720 --> 00:21:24,840 Speaker 12: were interested, and would you write some songs for it? 439 00:21:25,720 --> 00:21:29,119 Speaker 12: So that's where who made Who came from. It was 440 00:21:29,119 --> 00:21:33,320 Speaker 12: mainly about machines and order the new machines. And you 441 00:21:33,359 --> 00:21:35,960 Speaker 12: know they say the computer doesn't mess up now you 442 00:21:36,000 --> 00:21:39,280 Speaker 12: know which is we all know that they do know 443 00:21:40,240 --> 00:21:41,480 Speaker 12: numbers can go wrong. 444 00:21:42,920 --> 00:21:44,720 Speaker 3: That's why in the video they were they were making 445 00:21:44,720 --> 00:21:45,240 Speaker 3: an Angus. 446 00:21:45,520 --> 00:21:50,200 Speaker 2: Yes, they were made earlier. And have you have you 447 00:21:50,240 --> 00:21:55,240 Speaker 2: ever seen the movie Maximum Overdrive? No, it don't waste 448 00:21:55,280 --> 00:21:58,600 Speaker 2: two hours. It's a really bad Amelia West movie. 449 00:21:58,680 --> 00:22:00,080 Speaker 3: I have never heard of it. 450 00:22:00,200 --> 00:22:02,159 Speaker 2: Yeah, it was at all today. It was pretty it 451 00:22:02,200 --> 00:22:05,119 Speaker 2: was pretty bad. Look the song sold five million copies. 452 00:22:05,119 --> 00:22:08,840 Speaker 2: But the yeah, but let's be honest. Malcolm Young there 453 00:22:08,880 --> 00:22:11,560 Speaker 2: now late great Malcolm Young, that wonderful rhythm guitarist from band, 454 00:22:11,720 --> 00:22:14,439 Speaker 2: talked about you know the initial feeling of Stephen King 455 00:22:14,480 --> 00:22:15,359 Speaker 2: about the song who made? 456 00:22:15,359 --> 00:22:15,560 Speaker 11: Who? 457 00:22:15,680 --> 00:22:18,160 Speaker 13: Did you know? We came up with that track and 458 00:22:18,640 --> 00:22:24,320 Speaker 13: Stephen King hated it, but he ended up he heard 459 00:22:24,359 --> 00:22:26,159 Speaker 13: it a couple of times. He said, I've listened to 460 00:22:26,160 --> 00:22:28,520 Speaker 13: it on where it listened to it and it does 461 00:22:28,600 --> 00:22:31,400 Speaker 13: it's it's actually I can see it more now. Who made? 462 00:22:31,440 --> 00:22:33,600 Speaker 13: He didn't know what we were talking about. But when 463 00:22:33,640 --> 00:22:36,160 Speaker 13: you watch it that you watch the film, we thought 464 00:22:36,200 --> 00:22:38,520 Speaker 13: it should have been made into a comedy, to be honest, 465 00:22:38,760 --> 00:22:43,159 Speaker 13: you know. Did he come to see its later on 466 00:22:43,320 --> 00:22:46,679 Speaker 13: after he came up in wherever is his main mainly 467 00:22:46,760 --> 00:22:49,240 Speaker 13: came to his play and then he came backstage with 468 00:22:49,320 --> 00:22:53,159 Speaker 13: his six packs, you know, and he sat down and 469 00:22:53,320 --> 00:22:55,720 Speaker 13: had a beer with us all and he said, well, well, 470 00:22:55,800 --> 00:22:58,280 Speaker 13: the only thing that was in that movie was the. 471 00:23:01,200 --> 00:23:02,560 Speaker 2: Movie was crapy thought it? 472 00:23:02,760 --> 00:23:05,560 Speaker 13: He says, I'll never direct another movie in my life. 473 00:23:05,680 --> 00:23:10,119 Speaker 2: He hasn't, He stuck to out. I think, yeah, it 474 00:23:10,119 --> 00:23:11,000 Speaker 2: was a pretty bad film. 475 00:23:11,040 --> 00:23:11,920 Speaker 3: It was no misery. 476 00:23:12,840 --> 00:23:16,480 Speaker 2: Misery, Oh stop it, my leg's hurting. What I also 477 00:23:16,520 --> 00:23:18,320 Speaker 2: find had to believe lace. I mean, this was a hit. 478 00:23:18,400 --> 00:23:20,880 Speaker 2: Five million copies of single sold in nineteen eighty six 479 00:23:21,200 --> 00:23:23,760 Speaker 2: is it ac DC with Bran out front, Mangus on guitar. 480 00:23:24,119 --> 00:23:26,640 Speaker 2: Despite the loss of Malcolm is still on the road. 481 00:23:26,680 --> 00:23:29,600 Speaker 2: They're back touring again. Thirty eight years later. There you go, 482 00:23:29,760 --> 00:23:32,679 Speaker 2: It does unreal? He made who ac DC the story 483 00:23:32,680 --> 00:23:34,200 Speaker 2: behind the song at ninety six a m. 484 00:23:35,119 --> 00:23:39,280 Speaker 3: Moving Out, also known as Anthony's Song by Billy Joel, 485 00:23:39,600 --> 00:23:42,960 Speaker 3: is from his nineteen seventy seven album The Stranger. It's 486 00:23:43,000 --> 00:23:47,040 Speaker 3: the opening track. Billboard described Moving Out as an upbeat 487 00:23:47,119 --> 00:23:50,320 Speaker 3: narrative that is sort of a commentary on upward mobility. 488 00:23:50,720 --> 00:23:54,240 Speaker 3: Cash Box said that growling cellos and a pulsating rhythm 489 00:23:54,240 --> 00:23:57,679 Speaker 3: section set the mood for Joel's threatening indictment of middle 490 00:23:57,680 --> 00:24:00,640 Speaker 3: class values, and that it has one of the best 491 00:24:00,720 --> 00:24:04,879 Speaker 3: choruses he's written, combined with unusual echo effects. It is 492 00:24:05,119 --> 00:24:08,760 Speaker 3: typically jol with New York City references and an unusual 493 00:24:08,840 --> 00:24:12,680 Speaker 3: piano dominated structure. So what's the story behind the song? 494 00:24:12,920 --> 00:24:13,120 Speaker 14: Real? 495 00:24:13,160 --> 00:24:15,080 Speaker 2: And like you said, the Stranger album, which we both 496 00:24:15,119 --> 00:24:16,720 Speaker 2: were talking about, had such a wonderful album. 497 00:24:16,760 --> 00:24:18,400 Speaker 3: I have to admit it is my favorite. 498 00:24:18,160 --> 00:24:20,639 Speaker 2: And Billy after Turnstiles the previous album, was in a 499 00:24:20,680 --> 00:24:22,560 Speaker 2: bit of strife with his career because it wasn't selling 500 00:24:22,600 --> 00:24:24,639 Speaker 2: that well and he needed a hit, and this, in 501 00:24:24,680 --> 00:24:26,600 Speaker 2: a way didn't sell as many copies. But this album 502 00:24:26,680 --> 00:24:30,320 Speaker 2: was Billy's rumors really of the fluid, that kind of thing, 503 00:24:30,320 --> 00:24:32,240 Speaker 2: and this kicked him off on that incredible run lease 504 00:24:32,320 --> 00:24:35,520 Speaker 2: with fifty second Street, Glasshouses and nine on Curtain, the 505 00:24:35,560 --> 00:24:39,159 Speaker 2: classic Billy Joel era. But this song started out almost 506 00:24:39,200 --> 00:24:41,399 Speaker 2: as well. It was almost like a little bit of 507 00:24:41,440 --> 00:24:44,199 Speaker 2: peril for Billy as well. He explains with radio man 508 00:24:44,240 --> 00:24:45,399 Speaker 2: Howard Stern what happened. 509 00:24:45,440 --> 00:24:50,840 Speaker 1: I wrote a different melody and different chords originally, and 510 00:24:51,280 --> 00:24:54,159 Speaker 1: so I always wrote the music first, okay, right, So 511 00:24:54,320 --> 00:24:55,560 Speaker 1: the music was. 512 00:25:02,800 --> 00:25:05,480 Speaker 15: It sounded too much like Neil Sedaka. 513 00:25:05,600 --> 00:25:08,600 Speaker 1: Yeah, laughter in the Rain. So I'm coming to the studio. 514 00:25:08,680 --> 00:25:12,119 Speaker 1: The band is there and they and here it goes 515 00:25:12,400 --> 00:25:15,440 Speaker 1: after he works in the gros ciisto and they're looking 516 00:25:15,480 --> 00:25:18,040 Speaker 1: at me like I got ten heads. They said, that's 517 00:25:18,160 --> 00:25:20,000 Speaker 1: laughter in the Rain by Neil Sadaka. 518 00:25:20,880 --> 00:25:23,880 Speaker 2: Oh crap. And I wrote all the lyrics. 519 00:25:24,359 --> 00:25:26,560 Speaker 1: I wrote all the lyrics based on that original mel 520 00:25:26,640 --> 00:25:27,560 Speaker 1: What did that sound like? 521 00:25:27,560 --> 00:25:29,760 Speaker 15: In other words, if you were singing the lyrics to 522 00:25:29,800 --> 00:25:31,800 Speaker 15: the Neil Sadaka thing, what would that sound. 523 00:25:31,640 --> 00:25:36,320 Speaker 16: Like aftern he works in the gross Sarristo say, man, 524 00:25:36,400 --> 00:25:41,720 Speaker 16: this pennies for some day. Mama Leon left the note 525 00:25:41,800 --> 00:25:44,800 Speaker 16: on the door. She Sonny, move out to the country. 526 00:25:45,920 --> 00:25:48,040 Speaker 16: I don't think I went and do oh I feel 527 00:25:48,119 --> 00:25:49,040 Speaker 16: laughter in the ring. 528 00:25:49,160 --> 00:25:52,439 Speaker 15: So you're sitting in the studio the band says to you, billy, 529 00:25:52,480 --> 00:25:56,520 Speaker 15: you've unconsciously, subconsciously taken the wrong song and this and that. 530 00:25:56,760 --> 00:25:58,760 Speaker 15: Do you sit there in the studio and say, wait, 531 00:25:58,960 --> 00:26:02,280 Speaker 15: they weren't that nicet it? They said, what do you you, shithead? 532 00:26:02,480 --> 00:26:03,479 Speaker 3: That's laughter in the rain. 533 00:26:03,560 --> 00:26:06,120 Speaker 15: By No, they don't talk to you like that. 534 00:26:06,280 --> 00:26:08,680 Speaker 1: They do, they do well, they're all Long Island guys. 535 00:26:08,840 --> 00:26:10,960 Speaker 15: But when they said it in all seriousness, do you 536 00:26:11,040 --> 00:26:14,720 Speaker 15: panic and say, oh, I've done something wrong here? And 537 00:26:14,760 --> 00:26:17,320 Speaker 15: then where do you go back home and say I 538 00:26:17,440 --> 00:26:19,439 Speaker 15: like these lyrics and now I'm going to rewrite it? 539 00:26:19,520 --> 00:26:22,080 Speaker 15: Or are you sitting in the studio and you go 540 00:26:22,240 --> 00:26:23,879 Speaker 15: right then and there, Okay, how's this? 541 00:26:24,480 --> 00:26:27,560 Speaker 1: I said, give me, give me a little time, I'm 542 00:26:27,560 --> 00:26:29,760 Speaker 1: going to rewrite the melody. 543 00:26:29,920 --> 00:26:32,480 Speaker 2: Neil Sadaka would not have been happy. 544 00:26:33,320 --> 00:26:35,880 Speaker 3: That is fantastic Long Island guys. 545 00:26:37,320 --> 00:26:39,480 Speaker 2: We talk to each other it's a term of endearment. 546 00:26:40,400 --> 00:26:42,320 Speaker 2: But how is that that he had? You know, he's 547 00:26:42,320 --> 00:26:44,880 Speaker 2: trying to write songs like My Sweet Lord and Jewet. 548 00:26:44,880 --> 00:26:47,760 Speaker 2: Harrison didn't realize at the time it was someone else's 549 00:26:47,840 --> 00:26:49,880 Speaker 2: tune when the melody, but. 550 00:26:49,840 --> 00:26:52,560 Speaker 3: It's an easy miss you would be an easy mistake 551 00:26:52,720 --> 00:26:55,679 Speaker 3: to make. It's like when I wrote go On with 552 00:26:55,680 --> 00:26:56,800 Speaker 3: the Wind. 553 00:26:56,520 --> 00:26:57,600 Speaker 2: When you describe that. 554 00:26:57,600 --> 00:26:59,280 Speaker 3: It's like, this sounds for me. 555 00:26:59,359 --> 00:27:01,800 Speaker 2: This sounds from before. 556 00:27:02,040 --> 00:27:02,280 Speaker 12: You know. 557 00:27:02,359 --> 00:27:05,720 Speaker 3: They're talking about the unusual echo effects and sound effects, 558 00:27:05,720 --> 00:27:08,959 Speaker 3: isn't it. There was, of course the famous Chevy sound effects. 559 00:27:09,000 --> 00:27:10,040 Speaker 2: It was the car near the end. 560 00:27:10,160 --> 00:27:12,160 Speaker 3: Yeah, news was that that was just someone in the band. 561 00:27:12,240 --> 00:27:13,400 Speaker 3: Was one of those Long Island guys. 562 00:27:13,440 --> 00:27:15,280 Speaker 2: It was one of one of those guys calling me 563 00:27:15,440 --> 00:27:17,080 Speaker 2: in his head. It was his bass player. 564 00:27:17,160 --> 00:27:22,440 Speaker 17: That was Doug Stegmier's corvette. He actually we wanted some 565 00:27:22,520 --> 00:27:26,400 Speaker 17: kind of a the sound of a car peeling out, 566 00:27:26,800 --> 00:27:29,159 Speaker 17: and Doug Stegmaer at the time had a Corvette. I 567 00:27:29,160 --> 00:27:32,080 Speaker 17: don't know, it was like a sixties zero corvette. And 568 00:27:32,119 --> 00:27:34,760 Speaker 17: he took his little tape machine in the car with 569 00:27:34,840 --> 00:27:36,760 Speaker 17: him and hung the microphone over the rear unt of 570 00:27:36,800 --> 00:27:40,159 Speaker 17: the car and there was burning rubber doing, you know, 571 00:27:41,160 --> 00:27:45,680 Speaker 17: screeching away from his house, and that's where that sound 572 00:27:45,720 --> 00:27:47,960 Speaker 17: came from. That's Doug's ve doing that. 573 00:27:48,200 --> 00:27:49,840 Speaker 2: So we're gonna be listening closely for the car at 574 00:27:49,840 --> 00:27:51,520 Speaker 2: the end now, and that was the bass players car. 575 00:27:51,600 --> 00:27:52,359 Speaker 2: He's cool, he's. 576 00:27:52,240 --> 00:27:54,600 Speaker 3: Corvette screeching out of his own driveway. 577 00:27:54,720 --> 00:27:57,680 Speaker 2: Well, there you go. The story behind the song. Great songs. 578 00:27:57,680 --> 00:27:59,720 Speaker 2: As we mentioned the Stranger album She's Always a Woman 579 00:28:00,080 --> 00:28:02,960 Speaker 2: Stranger itsself titled track, the story behind the song, that's 580 00:28:02,960 --> 00:28:04,880 Speaker 2: the one for today. It was awesome and he moved 581 00:28:05,000 --> 00:28:06,480 Speaker 2: well and truly away because it didn't sound like nil 582 00:28:06,520 --> 00:28:07,120 Speaker 2: sa dhaka. 583 00:28:07,200 --> 00:28:10,560 Speaker 3: No no, but it certainly did. When he first started, 584 00:28:10,640 --> 00:28:13,240 Speaker 3: I didn't know, I didn't know what song that was. 585 00:28:13,440 --> 00:28:15,600 Speaker 3: I mean, Howards don you straightaway did him in Neil 586 00:28:15,640 --> 00:28:17,400 Speaker 3: sa dhaka? But I knew, I knew. 587 00:28:17,280 --> 00:28:20,160 Speaker 2: Wash yes, yeah, very familiar. But he made it into 588 00:28:20,200 --> 00:28:22,119 Speaker 2: his own and he didn't he didn't want to throw 589 00:28:22,119 --> 00:28:23,600 Speaker 2: those lyrics out because it's so damn good. 590 00:28:24,440 --> 00:28:28,000 Speaker 3: I'm Not in Love by British group ten c C, 591 00:28:28,520 --> 00:28:32,280 Speaker 3: written by Eric Stewart and Graham Goldman, known for its 592 00:28:32,320 --> 00:28:36,720 Speaker 3: innovative and distinctive backing track, composed mostly of the band's 593 00:28:36,840 --> 00:28:40,280 Speaker 3: multi tracked vocals. It was released in nineteen seventy five 594 00:28:40,320 --> 00:28:42,760 Speaker 3: as the second single from the band's third album, The 595 00:28:42,800 --> 00:28:46,200 Speaker 3: Original Soundtrack. It was a number one single in the UK, 596 00:28:46,360 --> 00:28:50,280 Speaker 3: and it became their breakout hit or breakthrough hit outside 597 00:28:50,360 --> 00:28:53,120 Speaker 3: of the UK, topping the charts here in Australia as 598 00:28:53,200 --> 00:28:57,160 Speaker 3: well as in Canada, Ireland, Germany, New Zealand, Norway and 599 00:28:57,240 --> 00:29:01,600 Speaker 3: the United States. So what is the story behind I'm 600 00:29:01,640 --> 00:29:02,200 Speaker 3: Not in Love? 601 00:29:02,360 --> 00:29:04,280 Speaker 2: Well, you've got to go to the fact that Tensec 602 00:29:04,520 --> 00:29:06,480 Speaker 2: was such a unique band lease because it had the 603 00:29:06,560 --> 00:29:08,320 Speaker 2: ang got cut off. In bands, you'll get one, maybe 604 00:29:08,320 --> 00:29:10,520 Speaker 2: two really good songwriters. So in this case you had 605 00:29:10,560 --> 00:29:12,920 Speaker 2: the Master sixty songwriter and Graham Goodman who we caught 606 00:29:13,000 --> 00:29:14,680 Speaker 2: up with last year. Yeah, with all those hits with 607 00:29:14,720 --> 00:29:17,640 Speaker 2: the Hollies and Herman's Hermit's Eric Stewart in his own writer, 608 00:29:17,760 --> 00:29:21,000 Speaker 2: great songwriter and co wrote this, and then that incredible 609 00:29:21,040 --> 00:29:23,480 Speaker 2: creative pair of Lol Cream and Kevin Godley as well. 610 00:29:23,720 --> 00:29:25,480 Speaker 2: So they were in creag. Yeah, I got in Cream, 611 00:29:25,520 --> 00:29:27,720 Speaker 2: so we're a little bit different. And yes, of course 612 00:29:27,760 --> 00:29:30,080 Speaker 2: Lol Cream's real name was laugh Out Loud Cream. Now 613 00:29:30,680 --> 00:29:33,800 Speaker 2: Graham Goodman as we had a really good chat during 614 00:29:33,920 --> 00:29:37,640 Speaker 2: last year, right, and he talks here about the changes 615 00:29:37,680 --> 00:29:39,640 Speaker 2: in the early days of this song with ten CC. 616 00:29:39,920 --> 00:29:43,520 Speaker 18: The song was actually recorded twice. The first version of 617 00:29:43,560 --> 00:29:46,800 Speaker 18: it was like a bust and over and we recorded 618 00:29:46,840 --> 00:29:49,600 Speaker 18: it in that kind of rhythm and it didn't really 619 00:29:49,640 --> 00:29:53,000 Speaker 18: work for us, so we scrapped that. But the song 620 00:29:53,120 --> 00:29:56,880 Speaker 18: kind of hung around in our minds and Kevin Godley 621 00:29:56,920 --> 00:29:59,520 Speaker 18: came up with the idea of changing the rhythm and 622 00:29:59,560 --> 00:30:02,800 Speaker 18: also doing it with just voices. The intention was to 623 00:30:03,640 --> 00:30:05,880 Speaker 18: put the rhythm track down for something to sing to 624 00:30:06,200 --> 00:30:09,360 Speaker 18: and then take it off, but it had its own magic. 625 00:30:09,400 --> 00:30:13,560 Speaker 18: And then we developed this technique for multi tracking ourselves 626 00:30:14,000 --> 00:30:19,160 Speaker 18: because we wanted this big choir sound and really everything 627 00:30:19,240 --> 00:30:22,480 Speaker 18: that we did, every idea that we had for overdubs, 628 00:30:22,520 --> 00:30:26,840 Speaker 18: really worked beautifully and that's how the record was made. 629 00:30:27,280 --> 00:30:30,120 Speaker 19: And in the days of Venologue, this was all on tape, right, 630 00:30:30,160 --> 00:30:34,080 Speaker 19: So you guys are sending up tape loops for every 631 00:30:34,120 --> 00:30:34,800 Speaker 19: part of the song. 632 00:30:34,880 --> 00:30:37,080 Speaker 2: It must have been a miss in that studio. 633 00:30:37,320 --> 00:30:39,240 Speaker 18: Well, yeah, we had, you know, there was quite a 634 00:30:39,280 --> 00:30:41,400 Speaker 18: lot of things going on. Of course, if it was 635 00:30:41,440 --> 00:30:44,280 Speaker 18: recorded today, you probably wouldn't even use that method, you 636 00:30:44,440 --> 00:30:47,000 Speaker 18: just go to some sort of sample, you know, but 637 00:30:47,040 --> 00:30:48,960 Speaker 18: it wouldn't sound the same. So to us it was 638 00:30:49,040 --> 00:30:53,560 Speaker 18: very exciting to be developing a method that I know 639 00:30:53,640 --> 00:30:57,800 Speaker 18: other people have copied, which is very gratifying. But to 640 00:30:57,880 --> 00:31:02,160 Speaker 18: hear what you know here for the first time was fantastic. 641 00:31:02,320 --> 00:31:04,160 Speaker 2: Quite freaky, isn't it when you think about it, working 642 00:31:04,200 --> 00:31:06,480 Speaker 2: with actual tapes and trying to cap them up and 643 00:31:06,800 --> 00:31:10,760 Speaker 2: dub over the top. We do remember a long time ago, 644 00:31:10,760 --> 00:31:13,000 Speaker 2: and of course the boys the other voice he had 645 00:31:13,000 --> 00:31:14,680 Speaker 2: not ninety six of them to Jason Stabley from the 646 00:31:14,680 --> 00:31:17,600 Speaker 2: cafe on Sunday mornings there chatting with Graham Goldman. Graham 647 00:31:17,600 --> 00:31:21,120 Speaker 2: here also talking about the band's thoughts on writing a 648 00:31:21,160 --> 00:31:23,480 Speaker 2: ballad and a love song that, as you mentionally broke 649 00:31:23,480 --> 00:31:24,600 Speaker 2: them through outside of the UK. 650 00:31:24,840 --> 00:31:26,800 Speaker 20: Well, Eric Stewart and I had spent a long time 651 00:31:27,960 --> 00:31:31,520 Speaker 20: avoiding writing a love song or any or indeed having 652 00:31:31,520 --> 00:31:32,440 Speaker 20: a love in the band. 653 00:31:32,520 --> 00:31:35,560 Speaker 21: We just didn't think it was Everybody else had done it, 654 00:31:35,600 --> 00:31:38,960 Speaker 21: and up to that point we didn't think it was right, 655 00:31:40,520 --> 00:31:43,080 Speaker 21: but we were really sort of searching for I always 656 00:31:43,080 --> 00:31:45,320 Speaker 21: thought we could write a great ballad and Eric came 657 00:31:45,400 --> 00:31:48,720 Speaker 21: up with a perfect tireful I'm not in love and 658 00:31:49,680 --> 00:31:54,320 Speaker 21: I had this these intro chords and Eric had the 659 00:31:54,360 --> 00:31:58,160 Speaker 21: sort of first lines and. 660 00:31:57,080 --> 00:31:58,640 Speaker 2: We wrote it very quickly. 661 00:31:59,280 --> 00:32:02,400 Speaker 20: We recorded it once and discarded it because it didn't 662 00:32:02,400 --> 00:32:05,600 Speaker 20: feel right. Kevin came up with a different beat, and 663 00:32:05,680 --> 00:32:08,480 Speaker 20: all came up with the idea. Well, originally it was 664 00:32:08,480 --> 00:32:12,240 Speaker 20: going to be just all voices, but we had to 665 00:32:12,240 --> 00:32:14,240 Speaker 20: have a rhythm track to play it too, so we 666 00:32:14,400 --> 00:32:16,680 Speaker 20: just sort of did the rhythm track of two. 667 00:32:16,560 --> 00:32:17,360 Speaker 4: Takes, I think. 668 00:32:18,000 --> 00:32:19,880 Speaker 20: But even at that point there was a sort of 669 00:32:20,240 --> 00:32:22,880 Speaker 20: something magic about it, and we put the voices on, 670 00:32:23,080 --> 00:32:26,040 Speaker 20: kept the rhythm track of course, and it just grew 671 00:32:26,240 --> 00:32:29,360 Speaker 20: and with every I've noticed that any if you've got 672 00:32:29,360 --> 00:32:33,360 Speaker 20: a really good song, all the production ideas just come 673 00:32:33,440 --> 00:32:34,600 Speaker 20: and they all seem to work. 674 00:32:35,040 --> 00:32:37,120 Speaker 2: How's it have four creative minds working on a song. 675 00:32:37,600 --> 00:32:39,000 Speaker 2: I'm sure they had some barnies as well. 676 00:32:39,000 --> 00:32:41,560 Speaker 3: It doesn't hurt take them out with stuff like this. 677 00:32:41,760 --> 00:32:44,800 Speaker 2: Yeah, just unreal TENCC. It's already behind the song. 678 00:32:45,280 --> 00:32:49,560 Speaker 3: The Reflex by Juranne Duranne, released in nineteen eighty four. 679 00:32:49,640 --> 00:32:52,440 Speaker 3: The song was heavily remixed for single release and was 680 00:32:52,440 --> 00:32:54,400 Speaker 3: the third and last to be taken from their third 681 00:32:54,440 --> 00:32:59,800 Speaker 3: studio album, Seven and the Ragged Tiger. It actually became 682 00:32:59,840 --> 00:33:05,720 Speaker 3: the's most successful single, topping charts internationally in nineteen eighty four. 683 00:33:06,040 --> 00:33:08,720 Speaker 3: The remixes for both the seven inch and the twelve 684 00:33:08,760 --> 00:33:12,160 Speaker 3: inch singles. Remember when we'd go and get those, order. 685 00:33:12,040 --> 00:33:14,920 Speaker 2: Them down at record pocket money. 686 00:33:14,600 --> 00:33:16,080 Speaker 3: Wait three months for them to arrive. 687 00:33:16,920 --> 00:33:18,080 Speaker 2: She spent a bomb, didn't we. 688 00:33:18,520 --> 00:33:23,000 Speaker 3: They were created by Nile Rogers and the story behind 689 00:33:23,040 --> 00:33:25,080 Speaker 3: the song has a local twist. 690 00:33:25,320 --> 00:33:27,640 Speaker 2: It certainly does so funky Nile from the band Shechic 691 00:33:27,760 --> 00:33:30,000 Speaker 2: of course with you mate Bernard Edwards, but he worked 692 00:33:30,120 --> 00:33:32,440 Speaker 2: solo on this one. The Australian connection least that you're 693 00:33:32,480 --> 00:33:34,800 Speaker 2: referring to there had something to do with a fellow 694 00:33:34,800 --> 00:33:37,040 Speaker 2: who used to say, do yourself a favor a bit. 695 00:33:37,200 --> 00:33:39,920 Speaker 2: He is durand aund bass player John Taylor, you know. 696 00:33:40,480 --> 00:33:44,000 Speaker 19: In excess. You know, we first encountered them when we 697 00:33:44,040 --> 00:33:47,719 Speaker 19: went to Australia in eighty two I think it was, 698 00:33:48,160 --> 00:33:51,120 Speaker 19: and they were you know, and Shabou Shabah was the 699 00:33:51,200 --> 00:33:54,120 Speaker 19: album and I was like, wow, these guys are amazing. 700 00:33:54,160 --> 00:33:57,880 Speaker 19: They're like the real thing. And they hadn't broken really 701 00:33:58,000 --> 00:34:02,040 Speaker 19: outside of Australia at that time, so I became a fan. 702 00:34:02,520 --> 00:34:05,400 Speaker 19: But they played a much bigger part in our evolution 703 00:34:05,800 --> 00:34:09,359 Speaker 19: in at the end of eighty three when we'd gone 704 00:34:09,360 --> 00:34:12,000 Speaker 19: on tour. We'd started a tour in Australia and after 705 00:34:12,000 --> 00:34:15,239 Speaker 19: the show in Melbourne, we'd gone to this guy, Molly Meldrum. 706 00:34:15,280 --> 00:34:19,040 Speaker 19: He's this media superstar down there. I mean, he'd really 707 00:34:19,080 --> 00:34:20,839 Speaker 19: played a big part in breaking the band down there. 708 00:34:20,880 --> 00:34:24,040 Speaker 8: He's interviewed everybody, yeah to go do it right, Yeah. 709 00:34:23,880 --> 00:34:26,439 Speaker 19: Yeah, yeah, I mean he's got signed photos from John 710 00:34:26,440 --> 00:34:30,480 Speaker 19: and Yoko and he's an amazing guy. Anyway, So we're partying 711 00:34:30,600 --> 00:34:33,920 Speaker 19: down at Molly's place and he's got a white label 712 00:34:33,960 --> 00:34:38,520 Speaker 19: of this new in Excess track and we play it 713 00:34:38,840 --> 00:34:41,040 Speaker 19: and we all thought. We were all like wow, you know, 714 00:34:41,080 --> 00:34:43,319 Speaker 19: we all were all dancing around. So it played again, 715 00:34:43,400 --> 00:34:46,000 Speaker 19: played again, and then we look at the Actually it 716 00:34:46,040 --> 00:34:47,960 Speaker 19: wasn't a it wasn't a white label, because there was 717 00:34:47,960 --> 00:34:51,279 Speaker 19: a label that said produced by Niall Rogers. And we 718 00:34:51,560 --> 00:34:54,640 Speaker 19: just finished this third album and felt there was one 719 00:34:54,680 --> 00:34:57,239 Speaker 19: there was one song in particular, the Reflex, that. 720 00:34:57,280 --> 00:34:59,439 Speaker 3: We felt like it wasn't quite right. 721 00:34:59,600 --> 00:35:01,919 Speaker 19: It was like we didn't quite get at the get 722 00:35:01,960 --> 00:35:04,640 Speaker 19: at it and you know, and there and then we 723 00:35:04,640 --> 00:35:07,200 Speaker 19: had this idea to call Nile and have him have 724 00:35:07,320 --> 00:35:10,040 Speaker 19: him work on the Reflex. We met Nile a few 725 00:35:10,160 --> 00:35:14,400 Speaker 19: years earlier, but at that point we had yet to 726 00:35:14,400 --> 00:35:17,000 Speaker 19: go into the studio together. So we got him on 727 00:35:17,040 --> 00:35:18,880 Speaker 19: the phone and we were like, we just love what 728 00:35:18,920 --> 00:35:22,040 Speaker 19: you've done with an excess and you know, and you know, 729 00:35:22,080 --> 00:35:24,960 Speaker 19: how would you feel about doing something to this particular track. 730 00:35:25,080 --> 00:35:27,080 Speaker 2: Amazing to think that they'd finished the album and went, 731 00:35:27,120 --> 00:35:30,240 Speaker 2: oh one's not quite right, yeah that one. 732 00:35:30,280 --> 00:35:31,680 Speaker 3: Yeah, what a great story. 733 00:35:31,760 --> 00:35:34,400 Speaker 2: That was incredible and the fact that it's got that 734 00:35:34,400 --> 00:35:37,200 Speaker 2: you can hear how revered Molly is around the world. 735 00:35:37,280 --> 00:35:38,600 Speaker 3: Well, yes, and rightly so. 736 00:35:38,880 --> 00:35:41,799 Speaker 2: Well, he broke toy did so many race he did, 737 00:35:41,880 --> 00:35:43,800 Speaker 2: he made them and sometimes that was the first market 738 00:35:43,840 --> 00:35:47,120 Speaker 2: even avers that that it was Molly helping them Inustralia 739 00:35:47,160 --> 00:35:49,360 Speaker 2: that kicked so much off. It's hard to get the 740 00:35:49,400 --> 00:35:51,480 Speaker 2: meaning of songs out of the voice from derand aurand 741 00:35:51,480 --> 00:35:54,120 Speaker 2: and here's John again and Simon the bond leading of course, 742 00:35:54,120 --> 00:35:57,120 Speaker 2: if Duran talking about the meaning behind the Reflex. 743 00:35:56,719 --> 00:36:00,080 Speaker 22: People always ask me what the song's about, and I 744 00:36:00,120 --> 00:36:04,600 Speaker 22: never tell people what songs are about Okay, I mean 745 00:36:04,600 --> 00:36:07,040 Speaker 22: it's a really interesting lyric. Actually, I mean, like you 746 00:36:07,080 --> 00:36:09,520 Speaker 22: could you wouldn't You wouldn't hear a lyric like that today. 747 00:36:09,560 --> 00:36:12,720 Speaker 22: You know, It's like the early eighties was really great 748 00:36:12,840 --> 00:36:17,160 Speaker 22: for profoundly weird, paranoid pop lyrics. 749 00:36:17,320 --> 00:36:22,080 Speaker 2: Yeah, I sold the Renoir and the TV sets were 750 00:36:22,080 --> 00:36:25,239 Speaker 2: they just gibberishly lyrics? I sold the Renoir on the 751 00:36:25,280 --> 00:36:26,399 Speaker 2: TV set and. 752 00:36:26,440 --> 00:36:28,719 Speaker 3: Yeah, they were just like using all the words. 753 00:36:28,640 --> 00:36:31,120 Speaker 2: Yeah, thrunk in a bag like David Bell used to do. 754 00:36:31,200 --> 00:36:33,640 Speaker 2: But there is speculation lest that the reflex was about 755 00:36:33,680 --> 00:36:36,400 Speaker 2: gambling and about the reflex being especially when in a 756 00:36:36,480 --> 00:36:38,520 Speaker 2: role with gambling and the reflexestem. 757 00:36:38,600 --> 00:36:40,160 Speaker 3: A lonely child is waiting by the party. 758 00:36:40,320 --> 00:36:42,680 Speaker 2: That's right. Yes, you're selling the Renoir on the TV set. 759 00:36:42,719 --> 00:36:44,920 Speaker 2: You're probably looking for yes, exactly. 760 00:36:45,360 --> 00:36:47,279 Speaker 3: They don't want to be around when this gets out, that's. 761 00:36:47,239 --> 00:36:49,200 Speaker 2: Right, and particularly with card players. And there is a 762 00:36:49,239 --> 00:36:51,520 Speaker 2: story that Simon had some family members, including his dad, 763 00:36:51,520 --> 00:36:53,320 Speaker 2: who were pretty They like to punt. 764 00:36:53,400 --> 00:36:54,479 Speaker 3: So too much. 765 00:36:54,760 --> 00:36:56,600 Speaker 2: Quite possibly, so it could have been about that, and 766 00:36:56,760 --> 00:36:58,799 Speaker 2: hence Simon saying there he didn't really want to talk 767 00:36:58,800 --> 00:37:01,360 Speaker 2: about what the song was about didn't give too much away, 768 00:37:01,400 --> 00:37:03,880 Speaker 2: but did it really matter when niall got together with 769 00:37:03,920 --> 00:37:04,320 Speaker 2: the boys. 770 00:37:04,760 --> 00:37:09,040 Speaker 3: I just love that whole in Excess Molly, Yeah, fantastic 771 00:37:09,200 --> 00:37:09,680 Speaker 3: and he was right. 772 00:37:09,760 --> 00:37:11,520 Speaker 2: The in Excess were great from the start before they 773 00:37:11,520 --> 00:37:12,319 Speaker 2: broke around the world. 774 00:37:12,400 --> 00:37:12,600 Speaker 13: Yeah. 775 00:37:12,640 --> 00:37:14,440 Speaker 2: The story behind the song Aranda n. 776 00:37:15,160 --> 00:37:20,480 Speaker 3: Blue sky Mine Midnight Oil, released in February nineteen ninety 777 00:37:20,680 --> 00:37:24,120 Speaker 3: Gosh Time has flowed as the first single from their 778 00:37:24,160 --> 00:37:28,240 Speaker 3: seventh studio album, Blue sky Mining. Blue sky Mine peaked 779 00:37:28,280 --> 00:37:31,400 Speaker 3: at number eight on the Australian Singles Chart, number forty 780 00:37:31,440 --> 00:37:34,080 Speaker 3: seven on the Billboard one hundred and number one on 781 00:37:34,120 --> 00:37:37,200 Speaker 3: both the Billboard Album Tracks and Modern Rock Tracks charts. 782 00:37:37,560 --> 00:37:41,680 Speaker 3: The music video won the ARIA Aria Award for Best 783 00:37:41,800 --> 00:37:44,920 Speaker 3: Video at the ARIA Music Awards of nineteen ninety one. 784 00:37:45,320 --> 00:37:49,840 Speaker 3: Most of us realize the link to the wit Numusbestos Mine, 785 00:37:50,480 --> 00:37:52,799 Speaker 3: But what's the whole story behind the song? 786 00:37:52,960 --> 00:37:53,160 Speaker 10: Yeah? 787 00:37:53,320 --> 00:37:55,440 Speaker 2: Absolutely, and we'll get to Peter Garrett on at least. 788 00:37:55,480 --> 00:37:57,120 Speaker 2: But this was a bigger hit in Canada and it 789 00:37:57,120 --> 00:37:58,839 Speaker 2: wasn't Australia where it was number seven. 790 00:37:58,920 --> 00:38:00,000 Speaker 3: You're best in New Zealand. 791 00:38:00,440 --> 00:38:03,520 Speaker 2: Isn't that incredible? Mid Nott What a band and unlike 792 00:38:03,560 --> 00:38:06,200 Speaker 2: no other band with a giant fornetti outspoken lead singer 793 00:38:06,239 --> 00:38:08,560 Speaker 2: in Peter Garrett, and of course that powerhouse drummer and 794 00:38:08,640 --> 00:38:11,120 Speaker 2: Rob Hurst. But it was Peter Garrett who had this 795 00:38:11,160 --> 00:38:12,600 Speaker 2: to say about the themes behind the song. 796 00:38:12,719 --> 00:38:14,880 Speaker 8: By nineteen ninety, it was clear that there'd been this 797 00:38:15,000 --> 00:38:23,000 Speaker 8: incredible scandal and tragedy with workers in Asbesois related industries, 798 00:38:23,000 --> 00:38:26,799 Speaker 8: whether it was mining in particular Blue sky Mine or 799 00:38:26,880 --> 00:38:29,400 Speaker 8: later on people who were just installing this stuff or 800 00:38:30,239 --> 00:38:33,800 Speaker 8: treating this stuff in different places and having that information 801 00:38:33,920 --> 00:38:36,920 Speaker 8: come through and then crafting a song around that. It 802 00:38:37,040 --> 00:38:40,720 Speaker 8: was really a recognition that working Australians had been badly 803 00:38:40,760 --> 00:38:44,719 Speaker 8: done by and that we were in danger as a 804 00:38:44,800 --> 00:38:50,360 Speaker 8: nation of allowing powerful commercial forces, powerful corporate interests to 805 00:38:50,440 --> 00:38:53,440 Speaker 8: really damage the health of ordinary Australians, working Australians. 806 00:38:53,880 --> 00:38:56,080 Speaker 2: And that's what Blue sky Mine's about me. 807 00:38:56,239 --> 00:38:59,600 Speaker 3: So thelioma was the horrible condition that we're all ending 808 00:38:59,680 --> 00:38:59,880 Speaker 3: up with. 809 00:39:00,280 --> 00:39:04,359 Speaker 2: Yeah, and we heard so much in the news about 810 00:39:04,360 --> 00:39:06,600 Speaker 2: the story, but there's still people suffering there. There was 811 00:39:06,680 --> 00:39:10,799 Speaker 2: class actual family members and yeah, just hideous, you know that. 812 00:39:10,840 --> 00:39:12,480 Speaker 2: I like to get the harmonica out of the studio 813 00:39:12,520 --> 00:39:16,160 Speaker 2: overy now and then Unfortunately I can't actually play the theme. 814 00:39:16,600 --> 00:39:20,200 Speaker 2: But Peter Garrett camp and here's Peter talking about playing 815 00:39:20,200 --> 00:39:20,680 Speaker 2: the meth work. 816 00:39:21,280 --> 00:39:23,400 Speaker 14: When Blue Sky started to come together in the studio, 817 00:39:24,520 --> 00:39:26,480 Speaker 14: it had this kind of soul feeling and it really 818 00:39:26,480 --> 00:39:27,960 Speaker 14: felt like I needed a bit of half, and anyone said, 819 00:39:28,000 --> 00:39:29,520 Speaker 14: come on, come on, rock, you know, play some half. 820 00:39:30,239 --> 00:39:32,919 Speaker 14: So I dragged it out of the bag and stuck 821 00:39:32,960 --> 00:39:35,320 Speaker 14: it in my mouth and started to suck and blow 822 00:39:35,360 --> 00:39:38,480 Speaker 14: and lo and behold. There's not a great deal for this, 823 00:39:38,680 --> 00:39:40,200 Speaker 14: you know. I mean, I just suck as much air 824 00:39:40,239 --> 00:39:42,680 Speaker 14: in and I figure, even if I haven't got the 825 00:39:42,719 --> 00:39:44,440 Speaker 14: notes quite right, it'll be loud enough, you know. 826 00:39:45,080 --> 00:39:47,480 Speaker 2: Yeah, blow to credit. 827 00:39:47,600 --> 00:39:51,040 Speaker 3: I also have a harmonica, and I also cannot play 828 00:39:51,040 --> 00:39:54,040 Speaker 3: it because when I tried to learn it, a harmonica 829 00:39:54,280 --> 00:39:58,600 Speaker 3: virtuoso told me that you need to suck air in 830 00:39:58,640 --> 00:40:00,520 Speaker 3: and blow it out at the same time. And I said, 831 00:40:00,600 --> 00:40:02,880 Speaker 3: what now, But how do you do that? 832 00:40:03,040 --> 00:40:04,840 Speaker 2: Circular breathing or something mean? 833 00:40:05,120 --> 00:40:06,920 Speaker 3: Circular? Bro Well, that's the same thing for like a 834 00:40:06,960 --> 00:40:08,080 Speaker 3: did you do Yeah, that's right. 835 00:40:08,160 --> 00:40:10,400 Speaker 2: I bet Pete can do that too, quite possibly. But 836 00:40:10,400 --> 00:40:12,960 Speaker 2: it wouldn't be the song without that harmonica coming in 837 00:40:13,239 --> 00:40:14,400 Speaker 2: from Bloody 838 00:40:14,480 --> 00:40:18,280 Speaker 3: Six a FM Crazy and Lisa