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Speaker 1: Let Me Tell You a Story On Time Clearsy releases

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Speaker 1: The Story behind.

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Speaker 2: The song Blue sky Mine Midnight All. Released in February

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Speaker 2: nineteen ninety, Gosh timers Flowing Past as the first single

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Speaker 2: from their seventh studio album, Blue sky Mining. Blue sky

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Speaker 2: Mine peaked at number eight on the Australian Singles Chart,

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Speaker 2: number forty seven on the Billboard one hundred and number

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Speaker 2: one on both the Billboard Album Tracks and Modern Rock

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Speaker 2: Tracks charts. The music video won the Aria Aria Award

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Speaker 2: for Best Video at the ARIA Music Awards of nineteen

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Speaker 2: ninety one. Most of us realize the link to the

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Speaker 2: with num Asbestos Mine, But what's the whole story behind

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Speaker 2: the song?

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Speaker 3: Yeah?

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Speaker 4: Absolutely, and we'll get to Peter Garrett on at least,

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Speaker 4: But this was a bigger hit in Canada, and it

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Speaker 4: wasn't Australia where it was number.

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Speaker 5: Seven best in New Zealand.

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Speaker 4: Isn't that incredible? Yeah, mid Nottawell. What a band and

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Speaker 4: unlike no other band with a giant frenetti, outspoken lead

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Speaker 4: singer in Peter Garrett and of course that powerhouse drummer

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Speaker 4: and Rop. But it was Peter Garrett who had this

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Speaker 4: to say about the themes behind the songe.

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Speaker 6: By nineteen ninety, it was clear that there'd been this

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Speaker 6: incredible scandal and tragedy with workers in asbestos related industries,

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Speaker 6: whether it was mining in particular Blue sky Mine or

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Speaker 6: later on people who were just installing this stuff or

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Speaker 6: treating this stuff in different places and having that information

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Speaker 6: come through and then crafting a song around that. It

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Speaker 6: was really a recognition that working Australians had been badly

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Speaker 6: done by and that we were in danger as a

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Speaker 6: nation of allowing powerful commercial forces, powerful corporate interests to

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Speaker 6: really damage the health of ordinary Australians, working Australians. And

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Speaker 6: that's what Blue sky Mine's about me.

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Speaker 2: So thelioma was the horrible condition that we're all ending

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Speaker 2: up with.

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Speaker 4: Yeah, and we heard so much in the news about

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Speaker 4: the story, but there's still people suffering them. There was

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Speaker 4: class actually members and just hideous, you know that. I

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Speaker 4: like to get the harmonica out of the studio overy

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Speaker 4: now and then unfortunately I can't actually play the thing.

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Speaker 4: But Peter Garrett camp and he's Peter talking about playing

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Speaker 4: the mouth or game.

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Speaker 7: When Blue sky started to come together in the studio,

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Speaker 7: it had this kind of soul feeling and it really

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Speaker 7: felt like I needed a bit of half, and anyone said,

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Speaker 7: come on, come on, rock, you know, play some harp.

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Speaker 7: So I dragged it out of the bag and stuck

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Speaker 7: it in my mouth and started to suck and blow

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Speaker 7: and lo and behold.

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Speaker 4: There's not a great deal of the nets, you know.

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Speaker 7: I mean, I just suck as much air in and

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Speaker 7: I figure, even if I haven't got the notes quite right,

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Speaker 7: it'll be loud enough, you know.

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Speaker 5: Yeah, blow took credit.

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Speaker 2: I also have a harmonica, and I also cannot play

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Speaker 2: it because when I tried to learn it, a harmonica

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Speaker 2: virtuoso told me that you need to suck air in

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Speaker 2: and blow it out at the same time.

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Speaker 5: And I said, what now, But how do you do that?

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Speaker 4: Circular breathing or something mean circular?

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Speaker 5: Bro, Well, that's the same thing for like a didjer do. Yeah,

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Speaker 5: that's right, I met Pete can do that.

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Speaker 4: Too, quite possibly. But it wouldn't be the song without

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Speaker 4: that harmonica coming in.

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Speaker 3: Now, let me tell you a story.

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Speaker 1: Time Cley releases the story behind.

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Speaker 2: The song I'm Not in Love by British group ten

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Speaker 2: c C, written by Eric Stewart and Graham Goldman and

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Speaker 2: known for its innovative and distinctive backing track, composed mostly

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Speaker 2: of the band's multi tracked vocals. It was released in

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Speaker 2: nineteen seventy five as the second single from the band's

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Speaker 2: third album, The Original Soundtrack. It was a number one

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Speaker 2: single in the UK and it became their breakout hit

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Speaker 2: or breakthrough hit outside of the UK. Tommy the charts

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Speaker 2: here at Australia, as well as in Canada, Ireland, Germany,

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Speaker 2: New Zealand, Norway and the United States. So what is

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Speaker 2: the story behind I'm Not in Love?

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Speaker 4: Well, you've got to go to the fact that TENCC

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Speaker 4: was such a unique band lease because it had young

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Speaker 4: lockotof in bands you'll get one, maybe two really good songwriters.

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Speaker 4: So in this case you had the Master sixty songwriter

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Speaker 4: and Graham Goldman, who were caught up with last year. Yeah,

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Speaker 4: with all those hits with the Hollies in Herman's ummits.

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Speaker 4: Eric Stewart in his own write a great songwriter, I

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Speaker 4: write this, and then that incredible creative peer of LOLd

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Speaker 4: Cream and Kevin Godley as well, So.

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Speaker 5: They were great.

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Speaker 4: Yeah, I got in Cream, so we're a little bit different.

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Speaker 4: And yes, of course long Cream's real name was laughing

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Speaker 4: at loud Cream. Now, Graham Gordmans we had a really

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Speaker 4: good chat doing last year right, and he talks here

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Speaker 4: about the changes in the early days of this song

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Speaker 4: with DNCC.

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Speaker 8: The song was actually recorded twice. The first version of

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Speaker 8: it was like a bust and over and we recorded

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Speaker 8: it in that kind of rhythm and it didn't really

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Speaker 8: work for us, so we scrapped that. But the song

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Speaker 8: kind of hung around in our minds and Kevin Godley

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Speaker 8: came up with the idea of changing the rhythm and

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Speaker 8: also doing it with just voices. The intention was to

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Speaker 8: put the rhythm track down for something to sing to

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Speaker 8: and then take it off, but it had its own magic.

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Speaker 8: And then we developed this technique for multi tracking ourselves

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Speaker 8: because we wanted this big choir sound and really everything

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Speaker 8: that we did, every idea that we had for overdubs,

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Speaker 8: really worked beautifully and that's how the record was made.

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Speaker 4: And in the days of Venologue, this was all on tape, right,

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Speaker 4: So you guys are sending up tape loops for ever

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Speaker 4: for every part of the song. It must have been

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Speaker 4: a miss in that studio.

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Speaker 8: Well, yeah, we had. There's quite a lot of things

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Speaker 8: going on. Of course, if it was recorded today, you

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Speaker 8: probably wouldn't even use that method. You just go to

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Speaker 8: some sort of sample, you know, but it wouldn't sound

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Speaker 8: the same. So to us it was very exciting to

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Speaker 8: be developing a method that I know other people have copied,

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Speaker 8: which is very gratifying. But to hear what you know,

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Speaker 8: hear it for the first time was fantastic.

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Speaker 4: Quite freaky, isn't it when you think about it, working

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Speaker 4: with actual tapes and trying to cut them up and

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Speaker 4: dub over the top. We do remember a long time ago,

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Speaker 4: and of course the boys the other voice we were there,

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Speaker 4: he had not ninety six of them. To Jason Stabley

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Speaker 4: from the cafe on Sunday morning, he chatting with Graham Goldman.

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Speaker 4: Graham here also talking about the band's thoughts on writing

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Speaker 4: a ballad and a love song as you mentionally so

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Speaker 4: broke them through outside of the UK.

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Speaker 9: Well, Eric Stewart and I had spent a long time

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Speaker 9: avoiding writing a love song, or indeed Kevin and Loll

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Speaker 9: in the band, we didn't just didn't think it was

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Speaker 9: Everybody else had done it, and up to that point

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Speaker 9: we didn't think it was right. But we were really

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Speaker 9: sort of searching for I always thought we could write

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Speaker 9: a great ballad, and Eric came up with a perfect

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Speaker 9: time full of our must in love, and I had

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Speaker 9: these intro chords and Eric had the sort of first

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Speaker 9: lines and we wrote it very quickly. We recorded it

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Speaker 9: once and discarded it because it didn't feel right. Kevin

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Speaker 9: came up with a different beat, and all came up

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Speaker 9: with the idea. Well, originally it was going to be

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Speaker 9: just all voices, but we had to have a them

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Speaker 9: trying to play it too, so we just sort of

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Speaker 9: did the Rhythm Truck two tapes, I think, but even

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Speaker 9: at that point there was a sort of something magic

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Speaker 9: about it.

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Speaker 4: And we put the voices on Capital Rhythm.

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Speaker 9: Truck, of course, and they just grew and with every

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Speaker 9: I've noticed that any if you've got a really good song,

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Speaker 9: all the production ideas just come and they all seem

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Speaker 9: to work.

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Speaker 4: How's that four creative minds working on a song. I'm

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Speaker 4: sure they had some barnies as well.

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Speaker 5: It doesn't hurt. Let's take come out with stuff like this.

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Speaker 1: Let me tell you a story on time clearly and

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Speaker 1: leases the story behind the.

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Speaker 2: Song Moving Out, also known as Anthony's Song by Billy

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Speaker 2: Joel is from his nineteen seventy seven album The Stranger.

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Speaker 5: It's the opening track.

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Speaker 2: Billboard describe Moving Out as an upbeat narrative that is

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Speaker 2: sort of a commentary on upward mobility. Cash Box said

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Speaker 2: that growling cellos and a pulsating rhythm section set the

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Speaker 2: mood for Joel's threatening indictment of middle class values, and

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Speaker 2: that it has one of the best choruses he's written,

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Speaker 2: combined with unusual echo effects. It is typically jol with

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Speaker 2: New York City references and an unusual piano dominated structure.

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Speaker 5: So what's the story behind the song?

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Speaker 4: Real? And like you said, the Stranger album, which we

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Speaker 4: both were talking about, had such a wonderful album.

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Speaker 5: I have to admit it is my favorite.

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Speaker 4: And Billy, after Turnstiles, the previous album, was in a

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Speaker 4: bit of strife with his career because it wasn't selling

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Speaker 4: that well and he needed a hit, and this, in

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Speaker 4: a way, it didn't sell as many copies. But this

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Speaker 4: album was Billy's rumors really of the fluid back kind

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Speaker 4: of thing, and this kicked him off on that incredible

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Speaker 4: run lease with fifty second Street, Glasshouses and nine on Curtain,

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Speaker 4: the classic Billy Joel era. But this song started out

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Speaker 4: almost as well. It was almost like a little bit

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Speaker 4: of peril for Billy as well. He explains with radio

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Speaker 4: man Howard Stern what happened.

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Speaker 10: I wrote a different melody and different chords originally, and

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Speaker 10: so I always wrote the music.

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Speaker 11: First, okay, right, So the music was it sounded too

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Speaker 11: much like Neil Sedaka.

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Speaker 10: Yeah, laughter in the Rain. So I'm coming to the studio.

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Speaker 10: The band is there, and they and here he goes.

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Speaker 12: After he works in the gross sir risto, and they're

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Speaker 12: looking at me like I got ten heads. They said,

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Speaker 12: that's Laughter in the Rain by Neil Sadaka.

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Speaker 5: Oh crap.

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Speaker 12: And I wrote all the lyrics. I wrote all lyrics

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Speaker 12: based on that original mel What did.

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Speaker 4: That sound like?

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Speaker 11: In other words, if you were singing the lyrics to

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Speaker 11: the Neil Sadaka thing, what would that sound like?

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Speaker 12: Anth Neworks in the gross sir Ristal.

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Speaker 10: Say, man, it's pennies for some day, Mama leone after

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Speaker 10: note on the Dollney move out to the country.

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Speaker 12: I don't think I went and do oh I feel

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Speaker 12: laughter in the rain.

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Speaker 11: So you're sitting in the studio, the band says to you, Billy,

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Speaker 11: you've unconsciously, subconsciously taken the wrong song and this and that.

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Speaker 11: Do you sit there in the studio and say, wait,

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Speaker 11: they weren't that nice about it. They said, what do

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Speaker 11: you you, shithead? That's laughter in the Rain by Nil.

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Speaker 4: No, they don't talk to you like that.

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Speaker 12: They do, they do well, they're all Long Island guys.

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Speaker 11: But when they said it in all seriousness, do you

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Speaker 11: panic and say, oh, I've done something wrong here?

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Speaker 5: And then where do you go back.

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Speaker 11: Home and say I like these lyrics and now I'm

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Speaker 11: going to rewrite it. Or are you sitting in the

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Speaker 11: studio and you go right then and there?

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Speaker 5: Okay, how's this?

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Speaker 12: I said, give me, give me a little time. I'm

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Speaker 12: going to rewrite the melody.

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Speaker 4: Niel Sadaka would not have been happy.

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Speaker 5: That is fantastic. Long Island guys. We talk to each other.

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Speaker 4: It's a term of endearment.

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Speaker 5: But how is that that he had?

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Speaker 4: You know, he's trying to write songs like my Sweet

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Speaker 4: Lord George Harrison didn't realize at the time it was

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Speaker 4: someone else's tune when you wrote in the melody.

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Speaker 2: But it's an easy, easy miss You would be an

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Speaker 2: easy mistake to make. It's like when I wrote go

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Speaker 2: On with the week you describe that it's like this

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Speaker 2: sounds sorry for before you talking about the unusual echo

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Speaker 2: effects and sound effects. There was, of course the famous

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Speaker 2: Chevy sound effects.

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Speaker 4: It was the car in near the end.

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Speaker 2: Yeah, news was that that was just someone in the band.

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Speaker 2: Was one of those Long Island guys.

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Speaker 5: It was one of those guys calling me in his head.

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Speaker 4: It was his base player.

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Speaker 13: That was Doug Stegmayer's corvette. He actually we wanted some

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Speaker 13: kind of a the sound of a car peeling out

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Speaker 13: and Doug Stegmaher at the time, had a Corvette, I.

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Speaker 1: Don't know, it was like a sixty zero corvette.

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Speaker 14: And he took his little tape machine in the car

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Speaker 14: with him and hung the microphone over the rear round

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Speaker 14: of the car. And it was brown and rubber doing,

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Speaker 14: you know, screeching away from his house.

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Speaker 5: And that's where that sound came from. That's Doug's that

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Speaker 5: doing that.

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Speaker 4: So we're going to be listening closely for the car

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Speaker 4: at the end now, and that was the base players car.

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Speaker 4: He's cool, He's.

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Speaker 5: Corvette screeched out of his own drive.

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Speaker 4: Well, there you go the story behind the song Great Songs.

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Speaker 4: As we mentioned, the stranger album She's Always a Woman.

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Speaker 4: The Stranger itself titled track The Story behind the Song,

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Speaker 4: That's the one for today. It was awesome and he

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Speaker 4: moved well and truly away because it didn't sound like

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Speaker 4: Neil Sadaka.

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Speaker 5: No no, but it certainly did.

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Speaker 2: When he first started, I didn't I didn't know what

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Speaker 2: song that was.

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Speaker 5: I mean, Howard's turned you straight away.

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Speaker 2: He didn't meet Neil sa Dhaka, but I knew, I

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Speaker 2: knew was yes, yeah, very familiar.

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Speaker 4: But he made it into his own and he didn't.

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Speaker 4: You didn't want throw those lyrics out because they's so

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Speaker 4: damn good.

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Speaker 3: Let me tell you your story.

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Speaker 1: On Time releases The Story behind the.

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Speaker 2: Song The Reflex by Jiranne Jouranne, released in nineteen eighty four.

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Speaker 2: The song was heavily remixed for single release and was

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Speaker 2: the third and last to be taken from their third

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Speaker 2: studio album, Seven and the Ragged Tiger. It actually became

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Speaker 2: the band's most successful single, topping charts internationally in nineteen

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Speaker 2: eighty four. The remixes for both the seven inch and

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Speaker 2: the twelve inch singles, Remember when we'd go and get

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Speaker 2: those order them down at data course, wait three months

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Speaker 2: for them to arrive.

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Speaker 4: We spent a bomb, didn't we.

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Speaker 2: They were created by Nile Rogers, and the story behind

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Speaker 2: the song has a local twist.

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Speaker 4: It certainly does so funky Nile from the band shic

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Speaker 4: of course with you mate Bernard Edwards, but he worked

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Speaker 4: solo on this one. The Australian connection least that you're

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Speaker 4: referring to there had something to do with a fellow

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Speaker 4: who used to say, do yourself a favor a bit.

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Speaker 4: He is durand around bass player John Taylor.

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Speaker 15: You know, in excess.

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Speaker 4: You know.

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Speaker 15: We first encountered them when we went to Australia in

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Speaker 15: eighty two I think it was, and they were you know,

289
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Speaker 15: and Shabousheba was the album and I was like, wow,

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Speaker 15: these guys are amazing. They're like the real thing. And

291
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Speaker 15: they hadn't broken really outside of Australia at that time,

292
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Speaker 15: so I became a fan. But they played a much

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Speaker 15: bigger part in our evolution in at the end of

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Speaker 15: eighty three when we'd gone on tour. We'd started a

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Speaker 15: tour in Australia and after the show in Melbourne, we'd

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Speaker 15: gone to this guy, Molly Meldrum.

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Speaker 5: He's this media superstar in there.

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Speaker 15: I mean, he'd really played a big part in breaking

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Speaker 15: the band down there.

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Speaker 6: He's interviewed everybody, Yeah to go do it right, Yeah

301
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Speaker 6: yeah yeah.

302
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Speaker 15: I mean he's got signed photos from John and Yoko

303
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Speaker 15: and he's an amazing guy. Anyway, So we're partying down at

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Speaker 15: Molly's place and he's got a white label of this

305
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Speaker 15: new in Excess track and we play it.

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Speaker 1: And we all thought.

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Speaker 15: We were all like wow, you know, we all were

308
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Speaker 15: all dancing around. So it played again, played again, and

309
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Speaker 15: then we look at the Actually it wasn't a it

310
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Speaker 15: wasn't a white label, because there was a label that

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Speaker 15: said produced by Nile Rogers. And we just finished this

312
00:14:38,760 --> 00:14:41,360
Speaker 15: third album and and felt there was one there was

313
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Speaker 15: one song in particular, the Reflex, that we.

314
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Speaker 5: Felt like it wasn't quite right.

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Speaker 15: It was like we didn't quite get at the get

316
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Speaker 15: at it, and you know, and and there and then

317
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Speaker 15: we had this idea to call Nile and have him

318
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Speaker 15: have him work on the Reflex. We've met Nile a

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Speaker 15: few years earlier, but were at that point we had

320
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Speaker 15: yet to go into the studio together. So we got

321
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Speaker 15: him on the phone and we were like, we just

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Speaker 15: love what you've done. Within excess and you know, and

323
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Speaker 15: you know, how would you feel about doing something to

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Speaker 15: this particular track.

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Speaker 4: Amazing to think that they'd finished the album and went,

326
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Speaker 4: oh one's not quite right, yeah that one?

327
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Speaker 5: Yeah, what a great story.

328
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Speaker 4: That was incredible And the fact that it's got that

329
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Speaker 4: you can hear how revered Molly is around the world.

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Speaker 2: Well, yes, and brightly so well, he brought totally did

331
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Speaker 2: so many.

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Speaker 4: He did, he made them and sometimes that was the

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Speaker 4: first market even episode that it was Molly helping them

334
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Speaker 4: in Australia that kicked so much off. It's hard to

335
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Speaker 4: get the meaning of songs out of the pois from

336
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Speaker 4: durand Auran and here's John again and Simon the bond

337
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Speaker 4: leading of course if Duran talking about the meaning behind

338
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Speaker 4: the reflex.

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Speaker 16: People always ask me what the song's about, and I

340
00:15:46,440 --> 00:15:48,520
Speaker 16: never tell people what songs.

341
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Speaker 17: Are about, okay.

342
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Speaker 1: I mean it's a really interesting lyric.

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Speaker 15: Actually, I mean like you wouldn't get you wouldn't hear

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Speaker 15: a lyric like that today. You know, It's like the

345
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Speaker 15: early eighties was really great for profound, the weird, paranoid

346
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Speaker 15: pop lyrics.

347
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Speaker 4: I sold the Renoir.

348
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Speaker 5: The TV sets.

349
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Speaker 4: Were they just gibberish lyrics. So I saw the Renoir

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Speaker 4: in the TV set.

351
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Speaker 5: And yeah, they were just like using all the words.

352
00:16:15,080 --> 00:16:17,520
Speaker 4: Yeah, thrown into a bag like David Bell used to do.

353
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Speaker 4: But there is speculation, least that the reflex was about

354
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Speaker 4: gambling and about the reflex being especially when in a

355
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Speaker 4: role with gambling and the reflex system.

356
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Speaker 5: A lonely child is waiting by the part.

357
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Speaker 4: That's right, Yes, selling the Renoir on the TV set,

358
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Speaker 4: you're probably looking for.

359
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Speaker 5: Yes, exactly.

360
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Speaker 4: They don't want to be around when this gets out,

361
00:16:33,440 --> 00:16:35,520
Speaker 4: that's right, and particularly with card players. And there is

362
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Speaker 4: a story that Simon had some family members, including his dad,

363
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Speaker 4: who were pretty They like to punt so too much,

364
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Speaker 4: quite possibly, so it could have been about that, and

365
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Speaker 4: hence Simon saying there he didn't really want to talk

366
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Speaker 4: about what the song was about. Didn't give too much away,

367
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Speaker 4: but did it really matter? When Nile got together with the.

368
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Speaker 2: Boys, I just love that whole In excess, Molly, Yeah, fantastic.

369
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Speaker 4: And he was right. In excess were great from the

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Speaker 4: start before they broke around the world.

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Speaker 3: Let me tell You Story.

372
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Speaker 1: Time Clearly releases the story behind.

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Speaker 2: The song Solid Rock, written by Shane Howard for his

374
00:17:08,359 --> 00:17:12,120
Speaker 2: band go Anna, was released in September nineteen eighty two

375
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Speaker 2: as the lead single from the band's debut studio album,

376
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Speaker 2: Spirit of Place. Solid Rock peaked at number three on

377
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Speaker 2: the Australian Kent Music Reports Report. At the nineteen eighty

378
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Speaker 2: two Countdown Awards, Solid Rock won Best Debut Single. In

379
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Speaker 2: twenty twenty one, MTV Classic ranked the song tenth during

380
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Speaker 2: a special Top one hundred Big in the Eighties Countdown ten.

381
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Speaker 4: Very successful, wasn't it.

382
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Speaker 2: That's very high up on that countdown. The title says

383
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Speaker 2: a lot, But what's the whole story?

384
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Speaker 5: Okay?

385
00:17:43,760 --> 00:17:45,800
Speaker 4: Well, the fature did red from a guy called Billy

386
00:17:45,840 --> 00:17:47,600
Speaker 4: Indo who was part of No Fixed Address, who with

387
00:17:47,680 --> 00:17:50,640
Speaker 4: the indigenous rock reggae band from parts of South Australia.

388
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Speaker 4: But Shane Howard tells the story and it included a

389
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Speaker 4: bit of a life changing journey for it.

390
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Speaker 18: Wasn't really about what was going on in this country.

391
00:18:00,080 --> 00:18:03,880
Speaker 18: Difficult it was for some people, and how incredibly difficult

392
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Speaker 18: it was for Aboriginal people.

393
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Speaker 11: You know.

394
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Speaker 18: I was busking in you know, in the park in

395
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Speaker 18: Brisbane with Aboriginal mark fellers, you know, and trading songs

396
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Speaker 18: and on trains and everywhere I went, and growing up

397
00:18:17,640 --> 00:18:20,880
Speaker 18: right did in southwest Victoria. Original people were affective life,

398
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Speaker 18: and we knew that they were discriminated against. We knew

399
00:18:24,000 --> 00:18:27,680
Speaker 18: that their lot was a hard one. But I really

400
00:18:27,680 --> 00:18:29,440
Speaker 18: wanted to go. In eighty one, I got run down

401
00:18:29,440 --> 00:18:32,200
Speaker 18: there very sick, and the doctor said, you need a break,

402
00:18:32,200 --> 00:18:34,320
Speaker 18: and I went. I always wanted to go to lu

403
00:18:34,480 --> 00:18:39,360
Speaker 18: On to see was Aboriginal culture still alive? Was still practice?

404
00:18:39,440 --> 00:18:43,159
Speaker 18: Was the language spoken? Where the dancers still danced? Was

405
00:18:43,200 --> 00:18:45,680
Speaker 18: it still a thing? And I went to LaRue On

406
00:18:45,880 --> 00:18:48,560
Speaker 18: again little teens, and in those days there was no

407
00:18:48,680 --> 00:18:51,000
Speaker 18: ula resort. It was very basic and I got to

408
00:18:51,520 --> 00:18:54,560
Speaker 18: touch something very rare and very precious, and I got

409
00:18:54,600 --> 00:18:56,960
Speaker 18: to have a remarkable experience. It was a long way

410
00:18:57,040 --> 00:18:58,320
Speaker 18: back to the camp to walk.

411
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Speaker 3: Back in the darkness.

412
00:18:59,359 --> 00:19:01,679
Speaker 18: They said, look the night so I need. I'm camping

413
00:19:01,720 --> 00:19:05,879
Speaker 18: out under the stars in that country with the huge

414
00:19:05,960 --> 00:19:08,920
Speaker 18: swor ed form of the fullman and rising out of

415
00:19:09,000 --> 00:19:12,800
Speaker 18: the back, the stars as bright as crystal, become a

416
00:19:12,840 --> 00:19:15,800
Speaker 18: little bit closer in that country because it's so clear,

417
00:19:16,800 --> 00:19:20,480
Speaker 18: and the soft washed pinjarra voices across the country. It

418
00:19:20,640 --> 00:19:23,680
Speaker 18: impacted on me powerfully I realized that I was in

419
00:19:23,800 --> 00:19:28,120
Speaker 18: someone else's country and that song slow Rock grew out

420
00:19:28,160 --> 00:19:30,920
Speaker 18: of that experience, really, and it was a It was

421
00:19:30,960 --> 00:19:34,840
Speaker 18: a powerful time I got to see a really, it

422
00:19:34,960 --> 00:19:37,920
Speaker 18: was a deep intelligence of work, a deep cultural history,

423
00:19:38,000 --> 00:19:40,720
Speaker 18: something very precious. It deserves to be honored and not

424
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Speaker 18: discriminated against.

425
00:19:42,480 --> 00:19:44,399
Speaker 4: The feeling the trip changed him forever, don't you?

426
00:19:44,560 --> 00:19:47,200
Speaker 2: I absolutely I ordered again, let's post back then again

427
00:19:47,400 --> 00:19:50,760
Speaker 2: was just the train that went there, not the luxury.

428
00:19:50,720 --> 00:19:55,359
Speaker 4: You orient express experience what it is today, pretty basic, rudimentary,

429
00:19:55,359 --> 00:19:57,120
Speaker 4: and that spirit of Place album from which the album

430
00:19:57,160 --> 00:19:59,679
Speaker 4: came was one of the most successful Aussie debut albums

431
00:19:59,760 --> 00:20:01,880
Speaker 4: ever at that point in time, was absolutely It surpassed

432
00:20:01,920 --> 00:20:04,080
Speaker 4: later by a frog Stomp from Silverchair and Get Born

433
00:20:04,720 --> 00:20:06,920
Speaker 4: from Jet of course, which solved millions. But it was

434
00:20:06,960 --> 00:20:09,000
Speaker 4: a beauty and it was a real point in time,

435
00:20:09,119 --> 00:20:10,240
Speaker 4: wasn't it Reallywena?

436
00:20:10,840 --> 00:20:13,680
Speaker 2: I still can't believe it was tenth during the top

437
00:20:13,720 --> 00:20:15,680
Speaker 2: one hundred big in the eighties Countdown, that's right, And

438
00:20:15,960 --> 00:20:16,119
Speaker 2: like you.

439
00:20:16,080 --> 00:20:18,200
Speaker 4: Said, they cleaned up those eighty two Countdown Music Awards.

440
00:20:18,200 --> 00:20:20,480
Speaker 4: They won three awards. But solid Rock was well and

441
00:20:20,520 --> 00:20:21,160
Speaker 4: truly up there.

442
00:20:21,840 --> 00:20:23,159
Speaker 3: Let me tell you a story.

443
00:20:24,119 --> 00:20:28,800
Speaker 1: Ti Clesy releases the story behind the song danger Zone.

444
00:20:29,080 --> 00:20:31,680
Speaker 5: Oh it needs very little introduction.

445
00:20:32,640 --> 00:20:36,160
Speaker 2: Recorded by American singer songwriter Kenny Loggins in nineteen eighty six,

446
00:20:36,240 --> 00:20:39,639
Speaker 2: with music composed by Georgie Moroder and lyrics written by

447
00:20:39,800 --> 00:20:43,800
Speaker 2: Tom Whitlock, it was, of course a huge hit from

448
00:20:43,880 --> 00:20:46,840
Speaker 2: the soundtrack to the nineteen eighty six film Top Gun.

449
00:20:47,080 --> 00:20:49,480
Speaker 2: It was the best selling soundtrack of nineteen eighty six

450
00:20:49,840 --> 00:20:51,520
Speaker 2: and one of the best selling of all time. As

451
00:20:51,560 --> 00:20:54,320
Speaker 2: a matter of fact, according to AllMusic dot Com, the

452
00:20:54,400 --> 00:20:58,880
Speaker 2: album remains a quintessential artifact of the mid eighties. It's

453
00:20:58,960 --> 00:21:01,920
Speaker 2: I love the way they put the thin es central

454
00:21:02,000 --> 00:21:06,080
Speaker 2: artifact of the mid eighties. The song is also featured

455
00:21:06,080 --> 00:21:09,639
Speaker 2: in the twenty twenty two sequel Top Gun Maverick and

456
00:21:09,840 --> 00:21:13,120
Speaker 2: its soundtrack, using the same original recording.

457
00:21:13,600 --> 00:21:16,240
Speaker 5: We never we never did a skyworks without it. I

458
00:21:16,359 --> 00:21:17,480
Speaker 5: know it incredible, wasn't it.

459
00:21:17,560 --> 00:21:19,960
Speaker 4: Yeah, well, out there in the dangers that everyone would

460
00:21:20,000 --> 00:21:20,320
Speaker 4: look up.

461
00:21:20,480 --> 00:21:23,560
Speaker 5: So let's get to the story behind the song.

462
00:21:23,600 --> 00:21:25,320
Speaker 4: Solutenly and there was a songless that was knocked back

463
00:21:25,359 --> 00:21:28,240
Speaker 4: by several people. It was originally offered to Jefferson's Starship

464
00:21:28,600 --> 00:21:32,080
Speaker 4: and oh really busy deep in the danger side, he

465
00:21:32,320 --> 00:21:34,880
Speaker 4: didn't work. Canadian Corey Hart knocked it back as well.

466
00:21:37,000 --> 00:21:39,160
Speaker 5: His future was so bright he didn't need danger se

467
00:21:39,240 --> 00:21:40,080
Speaker 5: Even Kevin.

468
00:21:39,880 --> 00:21:42,160
Speaker 4: Cron And for Mario Speedwagon said it's a bit high

469
00:21:42,240 --> 00:21:44,800
Speaker 4: for my range, and he had a pretty high voice himself.

470
00:21:45,080 --> 00:21:45,280
Speaker 7: Yeah.

471
00:21:45,520 --> 00:21:47,800
Speaker 5: So Kenny, he's Kenny Loggin's way saying they didn't like it.

472
00:21:47,960 --> 00:21:51,280
Speaker 4: Yeah, that's right, So Kenny Loggins, he's this is him

473
00:21:51,320 --> 00:21:53,440
Speaker 4: talking about getting the gig after he'd had that recent

474
00:21:53,480 --> 00:21:55,760
Speaker 4: success and a number one hit, of course with Footloose

475
00:21:55,800 --> 00:21:57,440
Speaker 4: from another movie soundtrack.

476
00:21:57,240 --> 00:22:00,240
Speaker 19: They did a what's called a Cattle Car that was

477
00:22:00,280 --> 00:22:04,160
Speaker 19: a Bruckheimer Simpson movie, and they had every pop act

478
00:22:04,280 --> 00:22:06,639
Speaker 19: in the business was coming to see a screening of

479
00:22:06,920 --> 00:22:08,480
Speaker 19: Tom Cruise's new movie.

480
00:22:08,960 --> 00:22:12,840
Speaker 1: This was like his second movie, Risky.

481
00:22:12,600 --> 00:22:16,040
Speaker 19: Business was the breakthrough, right, and so everybody knew that

482
00:22:16,160 --> 00:22:18,280
Speaker 19: Cruise was going to take off, so they had a

483
00:22:18,359 --> 00:22:22,800
Speaker 19: powerful opportunity to get the biggest sacs. So I went

484
00:22:22,960 --> 00:22:27,240
Speaker 19: with my writing partner and we saw the movie and

485
00:22:27,520 --> 00:22:30,880
Speaker 19: I said, let's not compete with those opening credits. Let's

486
00:22:30,920 --> 00:22:33,320
Speaker 19: write for the volleyball scene. Nobody's going to write for that.

487
00:22:33,960 --> 00:22:35,359
Speaker 19: So we'll get a song in the movie.

488
00:22:35,560 --> 00:22:36,000
Speaker 3: So we did.

489
00:22:36,119 --> 00:22:39,000
Speaker 19: We wrote a song called Playing with the Boys, and

490
00:22:39,480 --> 00:22:41,560
Speaker 19: I was in the studio recording Playing with the Boys

491
00:22:41,600 --> 00:22:44,879
Speaker 19: when I got a call from Georgio Moroder, who had

492
00:22:44,920 --> 00:22:48,560
Speaker 19: written the bulk of danger Zone and quite a few

493
00:22:48,600 --> 00:22:53,560
Speaker 19: of the songs in Top Gun, and he said, I've

494
00:22:53,600 --> 00:22:55,480
Speaker 19: got to put a voice on this song. And the

495
00:22:55,600 --> 00:22:58,840
Speaker 19: band I had the lawyers killed the deal, so I

496
00:22:58,960 --> 00:23:00,320
Speaker 19: have no singer for this song.

497
00:23:00,560 --> 00:23:03,040
Speaker 12: So he has a danger Zone now, but he needs

498
00:23:03,080 --> 00:23:03,440
Speaker 12: a singer.

499
00:23:03,520 --> 00:23:06,280
Speaker 19: He needs a singer, and it wasn't supposed to be me.

500
00:23:06,359 --> 00:23:09,000
Speaker 19: It was supposed to be Jefferson Starship, right, but they

501
00:23:09,080 --> 00:23:11,199
Speaker 19: got pulled out of the project, so.

502
00:23:13,640 --> 00:23:14,000
Speaker 3: He knew.

503
00:23:14,080 --> 00:23:16,720
Speaker 19: I was in the studio down the street. So this

504
00:23:16,880 --> 00:23:18,720
Speaker 19: is how it works, right, you think this is like

505
00:23:18,880 --> 00:23:23,960
Speaker 19: somebody thought about this. I'm in the studio and he says,

506
00:23:24,960 --> 00:23:26,320
Speaker 19: do you want to sing my signe?

507
00:23:26,400 --> 00:23:26,560
Speaker 20: Well?

508
00:23:26,680 --> 00:23:27,359
Speaker 12: Is it up tempo?

509
00:23:27,760 --> 00:23:30,840
Speaker 19: Because I've been writing nothing but ballads and I need

510
00:23:30,960 --> 00:23:31,720
Speaker 19: something up tempo.

511
00:23:31,800 --> 00:23:34,000
Speaker 5: He says, yeah, rock, So okay, I'll be right there.

512
00:23:34,480 --> 00:23:35,359
Speaker 4: You have the business works.

513
00:23:35,400 --> 00:23:39,119
Speaker 2: Isn't it pretty furtureouss Because I imagine being the person

514
00:23:39,200 --> 00:23:43,680
Speaker 2: behind a song that now is pretty much associated with

515
00:23:43,760 --> 00:23:45,800
Speaker 2: any time you see a plane going for true. You know,

516
00:23:46,000 --> 00:23:48,399
Speaker 2: sometimes the ref guys are doing stuff and they go

517
00:23:48,520 --> 00:23:50,679
Speaker 2: over your house, and as soon as they go over

518
00:23:50,720 --> 00:23:52,960
Speaker 2: my house, I hear dangers head.

519
00:23:53,160 --> 00:23:56,800
Speaker 4: Yeah, comes to mind, Kenny. He was being honest there,

520
00:23:56,920 --> 00:23:58,320
Speaker 4: and a lot of his stuff had been you know,

521
00:23:58,400 --> 00:24:00,159
Speaker 4: with Logans and seen or had been feeling. I love

522
00:24:00,200 --> 00:24:02,240
Speaker 4: foot Looks was a little bit different. Yeah, And probably

523
00:24:02,280 --> 00:24:03,920
Speaker 4: his last thing before that was a hit code on'm

524
00:24:03,960 --> 00:24:06,760
Speaker 4: all right. But this is him talking Kenny Logans again

525
00:24:06,880 --> 00:24:09,760
Speaker 4: talking about his inspiration behind the vocal style, and at

526
00:24:09,800 --> 00:24:11,840
Speaker 4: first he wasn't impressed with the song itself.

527
00:24:11,920 --> 00:24:14,200
Speaker 19: Well, when I initially heard the song, I did have

528
00:24:14,400 --> 00:24:17,920
Speaker 19: some reservations about it, and I sat with Tom, the

529
00:24:18,040 --> 00:24:23,280
Speaker 19: co writer with Georgio, and I added some chord substitutions

530
00:24:23,359 --> 00:24:26,760
Speaker 19: and changes in the bridge because to me, it was

531
00:24:27,320 --> 00:24:29,399
Speaker 19: the same thing over and over and over again, and

532
00:24:29,560 --> 00:24:31,480
Speaker 19: so I wanted to just mix it up, make it

533
00:24:31,480 --> 00:24:34,000
Speaker 19: a little more interesting. And so I messed with it,

534
00:24:34,160 --> 00:24:36,840
Speaker 19: and then I really liked it, and it gave me

535
00:24:36,880 --> 00:24:40,000
Speaker 19: an opportunity to use a voice that I hadn't used.

536
00:24:40,080 --> 00:24:43,480
Speaker 19: You know that my own material had been softer. The

537
00:24:43,600 --> 00:24:47,480
Speaker 19: most rocking thing I'd done was Footloose during a period

538
00:24:47,560 --> 00:24:49,879
Speaker 19: of when I got a call from Georgio and then

539
00:24:49,920 --> 00:24:53,040
Speaker 19: I went into a studio. I was deep into the

540
00:24:53,160 --> 00:24:57,359
Speaker 19: Tina Turner Private Dancer album and so I sort of

541
00:24:57,560 --> 00:25:01,080
Speaker 19: imitated her in the where I was putting my voice

542
00:25:01,200 --> 00:25:05,280
Speaker 19: and enunciations of the things you know, danger zaum, that

543
00:25:05,520 --> 00:25:07,560
Speaker 19: kind of thing was very much her R and B

544
00:25:07,640 --> 00:25:10,280
Speaker 19: interpretation of her version of rock and roll. So I

545
00:25:10,440 --> 00:25:12,160
Speaker 19: just took down and took it another place.

546
00:25:12,640 --> 00:25:16,880
Speaker 4: Tina amazing, forever inspirational. But I think that's a great story.

547
00:25:16,880 --> 00:25:17,119
Speaker 3: I love you.

548
00:25:17,160 --> 00:25:20,159
Speaker 5: I knew she inspired that one. Yeah, well we're up.

549
00:25:20,160 --> 00:25:21,600
Speaker 4: There were the best of the best this morning from

550
00:25:21,600 --> 00:25:22,000
Speaker 4: the eighties.

551
00:25:22,480 --> 00:25:25,760
Speaker 1: Let me tell you a story One time crazy and

552
00:25:25,840 --> 00:25:28,240
Speaker 1: leases the story behind the song.

553
00:25:29,240 --> 00:25:34,600
Speaker 2: Horror Movie is a song by Skyhooks, released in December

554
00:25:34,760 --> 00:25:37,239
Speaker 2: nineteen seventy four as the second and final single from

555
00:25:37,280 --> 00:25:40,639
Speaker 2: the band's debut studio album, Living in the Seventies. It

556
00:25:40,720 --> 00:25:43,680
Speaker 2: peaked at number one in Australia, staying there for two

557
00:25:43,760 --> 00:25:46,480
Speaker 2: weeks in March nineteen seventy five. It was greatly helped

558
00:25:46,480 --> 00:25:49,680
Speaker 2: along by the band's appearance on Countdown In fact, Countdown

559
00:25:49,800 --> 00:25:52,840
Speaker 2: made an in house video featuring the band at Lunar

560
00:25:52,920 --> 00:25:55,359
Speaker 2: Park in Melbourne, as well as miming the song in

561
00:25:55,400 --> 00:25:59,200
Speaker 2: front of an audience. It was broadcast on the very

562
00:25:59,400 --> 00:26:02,840
Speaker 2: first day of color television on Real They broadcast that

563
00:26:03,080 --> 00:26:06,920
Speaker 2: video and the nineteen seventy five King of Pop Awards

564
00:26:07,000 --> 00:26:10,280
Speaker 2: horror movie One Australian Record of the Year.

565
00:26:10,600 --> 00:26:11,879
Speaker 5: But what is it all about? Alfie?

566
00:26:12,040 --> 00:26:13,880
Speaker 4: Yeah, I know, well this one was produced. This album

567
00:26:13,960 --> 00:26:15,919
Speaker 4: was produced by Ross Wilson, who had so much success

568
00:26:16,000 --> 00:26:18,720
Speaker 4: with Daddy Coole and latam Mondo Rock. And it was

569
00:26:18,760 --> 00:26:21,520
Speaker 4: written by Greg mccach who wrote so many great songs.

570
00:26:21,560 --> 00:26:23,880
Speaker 4: He was really good at writing really good Australian songs,

571
00:26:23,920 --> 00:26:26,920
Speaker 4: particularly from his beloved Melbourne. He wrote Carlton the Old

572
00:26:27,160 --> 00:26:30,200
Speaker 4: like on Street, Limbo and Baldwin calling So talking about

573
00:26:30,240 --> 00:26:33,120
Speaker 4: the Inn, some of the real famous suburbs of Melbourne.

574
00:26:33,280 --> 00:26:35,240
Speaker 4: But Greg, if you want to remember who Greg was,

575
00:26:35,359 --> 00:26:37,280
Speaker 4: look at the video Google today, the video of the

576
00:26:37,320 --> 00:26:39,280
Speaker 4: guy on the bass guitar and John Farnams you're the

577
00:26:39,359 --> 00:26:41,760
Speaker 4: voice video that's him. Okay, he's the man now. He

578
00:26:41,880 --> 00:26:44,240
Speaker 4: wrote this song and you know, you think about the

579
00:26:44,320 --> 00:26:46,879
Speaker 4: songs that were signature tunes for this band, Skyhook's it

580
00:26:47,000 --> 00:26:50,040
Speaker 4: was women in Uniform ego and horror Movie. But he

581
00:26:50,119 --> 00:26:53,399
Speaker 4: talks here, Greg mccach talking about the influencers and some

582
00:26:53,480 --> 00:26:54,760
Speaker 4: of the inspiration behind the song.

583
00:26:54,960 --> 00:26:56,760
Speaker 5: Well, horror movie the song.

584
00:26:57,400 --> 00:27:01,080
Speaker 21: I remember. There's two songs that attribute to being a

585
00:27:01,160 --> 00:27:03,480
Speaker 21: bit of an influence for that song, and one was

586
00:27:03,920 --> 00:27:07,560
Speaker 21: a Frank Zappa song called Trouble Coming every Day, which

587
00:27:07,640 --> 00:27:10,200
Speaker 21: is fifteen minutes long, I think, and it's all about

588
00:27:10,720 --> 00:27:14,800
Speaker 21: the news and the media, so that hadn't had an

589
00:27:14,800 --> 00:27:18,280
Speaker 21: effect on me, but it's it's a different sort of

590
00:27:18,400 --> 00:27:22,760
Speaker 21: song to Horror Movie, but with similar kind of sentiments,

591
00:27:22,800 --> 00:27:25,400
Speaker 21: I think. And then there was a Spectrum song called

592
00:27:25,440 --> 00:27:27,439
Speaker 21: the Son of the Son of Sitting Bull, which had

593
00:27:27,480 --> 00:27:29,920
Speaker 21: these great sort of Tom Tom groove in it, and

594
00:27:30,480 --> 00:27:32,879
Speaker 21: I think subconsciously I would have been affected by the

595
00:27:33,040 --> 00:27:36,520
Speaker 21: Vietnam War because there was a lot of footage on

596
00:27:36,720 --> 00:27:40,600
Speaker 21: television and live footage of the war, which was something

597
00:27:40,640 --> 00:27:44,680
Speaker 21: that never ever happened before in human history, I don't think,

598
00:27:44,800 --> 00:27:48,560
Speaker 21: so once again, that must have just bubbled up into

599
00:27:48,640 --> 00:27:53,800
Speaker 21: my consciousness and the words came out, you know, horror movie.

600
00:27:53,880 --> 00:27:56,920
Speaker 21: It's a six thirty news which you try and be

601
00:27:57,000 --> 00:28:01,359
Speaker 21: as succinct as you can to the point and people

602
00:28:01,359 --> 00:28:05,159
Speaker 21: will interpret it whoever they like. But once again, given

603
00:28:05,840 --> 00:28:11,480
Speaker 21: the blueprint was a live band, one wanted to be

604
00:28:11,640 --> 00:28:13,879
Speaker 21: to the point and leave no doubt about what you

605
00:28:14,000 --> 00:28:15,160
Speaker 21: were talking about.

606
00:28:15,359 --> 00:28:17,040
Speaker 4: The dews like watching a horror movie. Sounds for a

607
00:28:17,080 --> 00:28:19,600
Speaker 4: MENI doesn't it. Yeah, the trend continues.

608
00:28:19,200 --> 00:28:21,400
Speaker 5: And I remember when the news was on at six thirty. Yeah,

609
00:28:21,520 --> 00:28:24,280
Speaker 5: it now starts at five and it goes on god

610
00:28:24,359 --> 00:28:24,639
Speaker 5: knows what.

611
00:28:24,840 --> 00:28:26,760
Speaker 4: The reset every half hour, every hour.

612
00:28:27,080 --> 00:28:27,240
Speaker 12: Yeah.

613
00:28:27,880 --> 00:28:31,000
Speaker 4: Yeah, but what a great song, what a history making song.

614
00:28:31,040 --> 00:28:32,640
Speaker 4: As he said, it went to number one in Australia.

615
00:28:33,040 --> 00:28:37,280
Speaker 4: Continued that incredible success though having on Michael Godinsky's Mushroom Records.

616
00:28:37,480 --> 00:28:41,640
Speaker 2: Simple simple song, absolutely and yeah and you can hear

617
00:28:41,720 --> 00:28:42,680
Speaker 2: great longevity of it.

618
00:28:42,800 --> 00:28:44,920
Speaker 4: And talking about the influencers, you would never thought Frank

619
00:28:44,960 --> 00:28:48,360
Speaker 4: zappwold he han't been influence on those guy, absolutely certainly were.

620
00:28:48,920 --> 00:28:52,720
Speaker 1: Let me tell you a story on time and leases

621
00:28:52,960 --> 00:28:57,040
Speaker 1: the story behind the song let Us Tell Your Story.

622
00:28:57,600 --> 00:29:02,600
Speaker 2: Burning Down the House by Talking Heads, released in July

623
00:29:02,880 --> 00:29:05,520
Speaker 2: nineteen eighty three as the first single from their fifth

624
00:29:05,600 --> 00:29:10,680
Speaker 2: studio album, Speaking in Tongues it's not. David says, it

625
00:29:10,840 --> 00:29:13,400
Speaker 2: was never a song about us, And when I wrote

626
00:29:13,400 --> 00:29:15,280
Speaker 2: the lyrics in eighty two, the title phrase was a

627
00:29:15,360 --> 00:29:19,240
Speaker 2: metaphor for destroying something safe that entrapped you. I envisioned

628
00:29:19,280 --> 00:29:21,840
Speaker 2: the song as an expression of liberation, to break free

629
00:29:21,920 --> 00:29:26,280
Speaker 2: from whatever was holding you back. Now, Tina Weymouth, the bassist, says,

630
00:29:26,720 --> 00:29:28,440
Speaker 2: Burning Down the House is a new way funk and

631
00:29:28,520 --> 00:29:31,200
Speaker 2: art rock song. It started from a jam and it

632
00:29:31,320 --> 00:29:33,680
Speaker 2: sounds like the title might have come from their drummer,

633
00:29:33,760 --> 00:29:37,640
Speaker 2: Chris Franz, via a Parliament Funkadelic gig in New York.

634
00:29:38,160 --> 00:29:41,080
Speaker 4: Absolutely. David Burn expanding on that right here.

635
00:29:41,120 --> 00:29:44,360
Speaker 22: I thought, let me see if I can make a

636
00:29:44,480 --> 00:29:49,000
Speaker 22: song that is basically a lot of non sequiturs that

637
00:29:49,280 --> 00:29:53,600
Speaker 22: have some kind of emotional impact, that they have some

638
00:29:53,800 --> 00:29:57,120
Speaker 22: kind of emotional resonance. It doesn't make literal sense, but

639
00:29:57,200 --> 00:30:01,360
Speaker 22: it makes emotional sense there. Burning down the House i'd

640
00:30:01,600 --> 00:30:06,920
Speaker 22: heard being used as a chant at a Parliament Funkadelic

641
00:30:07,000 --> 00:30:10,080
Speaker 22: concert that i'd seen. They didn't have it in a song.

642
00:30:10,280 --> 00:30:13,080
Speaker 22: It was just a kind of chance that they started

643
00:30:13,160 --> 00:30:15,160
Speaker 22: chanting and the audience joined in and it was coming.

644
00:30:15,240 --> 00:30:18,600
Speaker 22: It meant like we're going to blow the roof off

645
00:30:18,640 --> 00:30:21,080
Speaker 22: the sucker. We're going to set this place on fire.

646
00:30:21,120 --> 00:30:22,560
Speaker 22: It's going to be you know, we're going to have

647
00:30:22,960 --> 00:30:27,320
Speaker 22: a really amazing time here. Yeah, it didn't mean.

648
00:30:29,120 --> 00:30:31,320
Speaker 5: Let's set fire to our houses. I love it.

649
00:30:31,720 --> 00:30:33,680
Speaker 4: They've gotten that from a chant from a gig. Yeah.

650
00:30:33,720 --> 00:30:37,600
Speaker 2: Parliament Funkadelic, of course, was the great American music collaborative

651
00:30:37,960 --> 00:30:42,880
Speaker 2: spearheaded by George Clinton, had members like Bootsy Collins, this

652
00:30:43,200 --> 00:30:46,320
Speaker 2: huge funk thing and i've very influential, huge in the

653
00:30:46,400 --> 00:30:50,320
Speaker 2: early eighties. And burn the House, Burn the House was

654
00:30:50,680 --> 00:30:53,640
Speaker 2: their audience chant, and it was Chris. It was Chris

655
00:30:53,720 --> 00:30:56,360
Speaker 2: Franz that was yelling it out evidently at this particular

656
00:30:56,440 --> 00:30:57,800
Speaker 2: show that he and David were at.

657
00:30:57,880 --> 00:31:00,560
Speaker 4: Isn't that funny. We'll only go back here just point

658
00:31:00,680 --> 00:31:02,560
Speaker 4: out that this was their first to top ten hit

659
00:31:02,600 --> 00:31:04,320
Speaker 4: in America on the Billboard charts.

660
00:31:04,400 --> 00:31:07,080
Speaker 5: Didn't do so well here I was in the four.

661
00:31:07,040 --> 00:31:09,640
Speaker 4: Like installed at ninety four. I'm embarrassed.

662
00:31:10,560 --> 00:31:12,760
Speaker 5: He stopped making sense and then people reconsidered it.

663
00:31:12,840 --> 00:31:12,959
Speaker 21: Well.

664
00:31:13,000 --> 00:31:14,520
Speaker 4: Then we got the extended version in when on the

665
00:31:14,560 --> 00:31:16,720
Speaker 4: movie stop making sense in the soundtrack itself. But if

666
00:31:16,760 --> 00:31:18,360
Speaker 4: you dig a bit deeper, the early days of the

667
00:31:18,400 --> 00:31:21,560
Speaker 4: song's development and the creative process. David Byrne being interviewed here.

668
00:31:21,680 --> 00:31:25,080
Speaker 23: And generally I get about an hour is worth of

669
00:31:25,160 --> 00:31:28,160
Speaker 23: teap out of each day because I'd only turn it

670
00:31:28,240 --> 00:31:31,600
Speaker 23: on when I thought something interesting was happening, and then

671
00:31:31,640 --> 00:31:35,800
Speaker 23: i'd take those home and pick out the bits that

672
00:31:35,920 --> 00:31:36,960
Speaker 23: I thought were interesting.

673
00:31:38,040 --> 00:31:40,440
Speaker 12: Would you have an example of an early jam?

674
00:31:41,280 --> 00:31:42,320
Speaker 5: I bring down the house?

675
00:31:42,800 --> 00:31:43,800
Speaker 12: Yeah, this is pretty early?

676
00:31:44,320 --> 00:31:45,040
Speaker 23: Should I put it on?

677
00:32:05,400 --> 00:32:05,440
Speaker 24: So?

678
00:32:05,680 --> 00:32:07,040
Speaker 5: Is that what we're listening to?

679
00:32:07,320 --> 00:32:10,400
Speaker 22: Is that the very first time that you came up

680
00:32:10,440 --> 00:32:10,600
Speaker 22: with that?

681
00:32:11,440 --> 00:32:12,680
Speaker 12: Well, that's very close to it.

682
00:32:12,760 --> 00:32:15,920
Speaker 23: That's probably the result of me listening to a tape

683
00:32:15,920 --> 00:32:18,440
Speaker 23: and then bringing it in and saying, here is some

684
00:32:18,560 --> 00:32:21,080
Speaker 23: little accidental thing happening here that I think we could

685
00:32:22,120 --> 00:32:24,800
Speaker 23: improve on, and this is probably the result of that.

686
00:32:33,000 --> 00:32:35,479
Speaker 5: I love how he says it's like an accident. It's

687
00:32:35,520 --> 00:32:37,800
Speaker 5: an accident. I imagine if you job sitting in a

688
00:32:37,880 --> 00:32:38,680
Speaker 5: room with David.

689
00:32:38,480 --> 00:32:40,680
Speaker 2: Bernie sticking out his old tapes, playing you the early

690
00:32:41,640 --> 00:32:42,880
Speaker 2: couldn't you hear the Parliament?

691
00:32:43,800 --> 00:32:44,320
Speaker 4: Absolutely?

692
00:32:44,400 --> 00:32:44,600
Speaker 3: Yeah?

693
00:32:44,840 --> 00:32:48,120
Speaker 4: Right there definitely had a real love, funky feel to it,

694
00:32:48,280 --> 00:32:50,680
Speaker 4: and you go, oh okay. So they developed it from

695
00:32:50,720 --> 00:32:53,440
Speaker 4: there and that is very cool to hear the early incarnation.

696
00:32:53,560 --> 00:32:57,480
Speaker 4: Absolutely the album was speaking in tongues. But when we

697
00:32:57,560 --> 00:32:59,400
Speaker 4: sat in the cinema and saw the concert film of

698
00:32:59,400 --> 00:33:03,040
Speaker 4: Stop Making Sense, that version, that extended version of Burning

699
00:33:03,080 --> 00:33:04,720
Speaker 4: down the House is blew your way amazing.

700
00:33:05,400 --> 00:33:06,760
Speaker 3: Let me tell you a story.

701
00:33:07,280 --> 00:33:10,440
Speaker 1: On Time, Cleary releases the story.

702
00:33:10,240 --> 00:33:14,960
Speaker 2: Behind the song Who Made Who ac DC, taken from

703
00:33:15,000 --> 00:33:17,000
Speaker 2: their nineteen eighty six album Who Made Who.

704
00:33:17,520 --> 00:33:19,200
Speaker 25: It was only one.

705
00:33:19,480 --> 00:33:21,440
Speaker 2: It was one of only three new tracks on Who

706
00:33:21,520 --> 00:33:23,760
Speaker 2: Made Who, because the album is not only a soundtrack

707
00:33:24,120 --> 00:33:27,640
Speaker 2: to Stephen King's movie Maximum Overdrive Yes, but a compilation

708
00:33:27,840 --> 00:33:32,160
Speaker 2: album featuring tracks from previous albums. The video was directed

709
00:33:32,240 --> 00:33:34,960
Speaker 2: by David Mallett, filmed in the lobby of and on

710
00:33:35,120 --> 00:33:38,240
Speaker 2: stage at the Brixton Academy Music Venue in London. Fans

711
00:33:38,360 --> 00:33:41,640
Speaker 2: and radio contest winners were dressed like Angus Young and

712
00:33:41,760 --> 00:33:45,400
Speaker 2: carried red cardboard guitars like Anguss Gibson SG.

713
00:33:46,320 --> 00:33:47,880
Speaker 5: So let's get the whole story.

714
00:33:47,720 --> 00:33:50,000
Speaker 4: Thank you absolutely, and let's be honest. List by. In

715
00:33:50,040 --> 00:33:52,760
Speaker 4: nineteen eighty five, Fly on the Wall, the ACDC story

716
00:33:52,840 --> 00:33:54,400
Speaker 4: that was telling to struggle a little bit. Flying the

717
00:33:54,440 --> 00:33:56,840
Speaker 4: Wall was not received well by critics and didn't sell well.

718
00:33:57,000 --> 00:33:58,520
Speaker 4: And this is only three or four years after the

719
00:33:58,600 --> 00:34:01,120
Speaker 4: incredible success of Back in Black and then for those

720
00:34:01,160 --> 00:34:03,400
Speaker 4: about the rock, we salute you. So they needed a hit,

721
00:34:03,960 --> 00:34:07,000
Speaker 4: and Angus got an approach from the one and only

722
00:34:07,040 --> 00:34:07,600
Speaker 4: Stephen King.

723
00:34:07,960 --> 00:34:12,160
Speaker 26: He got in contact with my brother and myself were

724
00:34:12,160 --> 00:34:14,800
Speaker 26: in New York and he he was very much a

725
00:34:14,880 --> 00:34:17,040
Speaker 26: fan of our music, and he asked us if we

726
00:34:17,080 --> 00:34:20,360
Speaker 26: would like to write some songs for his He was

727
00:34:20,440 --> 00:34:24,960
Speaker 26: making a movie called Maximum Overdrive, and he said it

728
00:34:25,000 --> 00:34:28,520
Speaker 26: would be very good if you know, you guys were interested,

729
00:34:28,520 --> 00:34:32,560
Speaker 26: and would you write some songs for it? So that's

730
00:34:32,600 --> 00:34:36,440
Speaker 26: where who made Who came from was mainly about machines

731
00:34:36,640 --> 00:34:40,000
Speaker 26: and order the new machines. And you know they say

732
00:34:40,040 --> 00:34:42,799
Speaker 26: the computer doesn't mess up now you know which as

733
00:34:42,880 --> 00:34:44,800
Speaker 26: we all knowed it, they do.

734
00:34:46,360 --> 00:34:47,560
Speaker 12: Numbers can go wrong.

735
00:34:49,040 --> 00:34:51,360
Speaker 5: That's why in the video that they were making an Angus.

736
00:34:51,640 --> 00:34:52,360
Speaker 4: Yes, it were.

737
00:34:53,719 --> 00:34:54,040
Speaker 5: Earlier.

738
00:34:55,000 --> 00:34:58,320
Speaker 4: And have you have you ever seen the movie Maximum Overdrive?

739
00:34:58,600 --> 00:34:58,640
Speaker 24: No?

740
00:35:00,000 --> 00:35:00,640
Speaker 5: I heard of it.

741
00:35:00,840 --> 00:35:04,120
Speaker 4: Don't waste two hours. It's a really bad media West

742
00:35:04,160 --> 00:35:04,680
Speaker 4: of his movie.

743
00:35:04,800 --> 00:35:06,160
Speaker 5: I've never heard of her.

744
00:35:06,320 --> 00:35:08,239
Speaker 4: Yeah, it was at all today. It was pretty it

745
00:35:08,320 --> 00:35:11,200
Speaker 4: was pretty bad. Look the song sold five million copies.

746
00:35:11,239 --> 00:35:14,960
Speaker 4: But the yeah, but let's be honest, Malcolm Young, they're

747
00:35:14,960 --> 00:35:17,359
Speaker 4: now late. Great Malcolm Young, that wonderful rhythm guitarist from

748
00:35:17,360 --> 00:35:20,040
Speaker 4: the Bend that talked about, you know, the initial feeling

749
00:35:20,040 --> 00:35:21,600
Speaker 4: of Stephen King about the song who made who?

750
00:35:21,760 --> 00:35:22,560
Speaker 3: Did you know?

751
00:35:22,760 --> 00:35:25,880
Speaker 12: He came up with that track and Stephen King hated it,

752
00:35:28,440 --> 00:35:31,239
Speaker 12: but he ended up he heard it a couple of times.

753
00:35:31,280 --> 00:35:33,480
Speaker 24: He said, I've listened to it on where I listened

754
00:35:33,480 --> 00:35:35,600
Speaker 24: to it all and it does it's it's actually I

755
00:35:35,640 --> 00:35:37,360
Speaker 24: can see it poor now who may do?

756
00:35:37,560 --> 00:35:39,680
Speaker 4: He didn't know what we were talking about. But when

757
00:35:39,719 --> 00:35:42,480
Speaker 4: you watch you watch this film, we thought.

758
00:35:42,320 --> 00:35:44,120
Speaker 12: It should have been made into a comedy to be

759
00:35:44,880 --> 00:35:45,080
Speaker 12: you know.

760
00:35:47,680 --> 00:35:49,960
Speaker 24: Did he come to see this later on after he

761
00:35:50,080 --> 00:35:53,520
Speaker 24: came up quever as his main mainly came to his

762
00:35:53,640 --> 00:35:56,840
Speaker 24: play and then he came backstage with his six packs,

763
00:35:56,920 --> 00:35:59,879
Speaker 24: you know, and he sat down and out of beer

764
00:36:00,200 --> 00:36:00,879
Speaker 24: is all you said?

765
00:36:01,239 --> 00:36:04,000
Speaker 12: Well, well, the only thing that was in that movie

766
00:36:04,000 --> 00:36:04,920
Speaker 12: it was the music.

767
00:36:07,160 --> 00:36:08,600
Speaker 4: The movie was crap. He thought it.

768
00:36:08,880 --> 00:36:10,640
Speaker 12: He says, I'll never direct another movie.

769
00:36:11,800 --> 00:36:12,240
Speaker 19: He hasn't.

770
00:36:13,719 --> 00:36:17,040
Speaker 4: He stuck about. Yeah, it was a pretty bad film.

771
00:36:17,160 --> 00:36:20,480
Speaker 5: There was no misery, well misery. Oh stop it, my

772
00:36:20,560 --> 00:36:21,120
Speaker 5: leg's hurting.

773
00:36:21,360 --> 00:36:23,680
Speaker 4: Yeah, what I also find had to believe Lece I

774
00:36:23,719 --> 00:36:25,560
Speaker 4: mean this was a hit five million copies of a

775
00:36:25,600 --> 00:36:28,120
Speaker 4: single sold in nineteen eighty six. Is a AC DC

776
00:36:28,280 --> 00:36:31,200
Speaker 4: with Bran out front, Mangus on guitar. Despite the loss

777
00:36:31,239 --> 00:36:33,520
Speaker 4: of Malcolm is still on the road. They're back touring

778
00:36:33,600 --> 00:36:36,640
Speaker 4: again thirty eight years later. There you go, It is unreal.

779
00:36:37,239 --> 00:36:38,560
Speaker 3: Let me tell you a story.

780
00:36:39,120 --> 00:36:43,640
Speaker 1: One Time Cleary releases the story behind the song on

781
00:36:43,760 --> 00:36:44,200
Speaker 1: this day.

782
00:36:44,440 --> 00:36:48,600
Speaker 2: In nineteen seventy five, the Eagles released their fourth album,

783
00:36:48,960 --> 00:36:52,360
Speaker 2: One of These Nights. Line Eyes was the second single

784
00:36:52,440 --> 00:36:54,680
Speaker 2: off that album. It was written by Don Henley and

785
00:36:54,719 --> 00:36:58,720
Speaker 2: Glen Fry and recorded in nineteen seventy five, with Fries

786
00:36:58,800 --> 00:37:01,879
Speaker 2: singing lead of vocals. It was the second single from

787
00:37:01,960 --> 00:37:04,200
Speaker 2: their album One of These Nights. It reached number two

788
00:37:04,280 --> 00:37:06,239
Speaker 2: on the Billboard Hot one hundred chart and number eight

789
00:37:06,280 --> 00:37:09,400
Speaker 2: on the Billboard Country chart. See this is what You

790
00:37:09,480 --> 00:37:11,680
Speaker 2: didn't just invent the crossover posts alone?

791
00:37:11,840 --> 00:37:15,480
Speaker 4: Amazing they were they no or Taylor.

792
00:37:15,960 --> 00:37:19,680
Speaker 2: It remained their only top forty country hit until how Long.

793
00:37:19,760 --> 00:37:22,120
Speaker 2: In two thousand and seven, they got a Grammy for

794
00:37:22,239 --> 00:37:24,839
Speaker 2: Lion Eyes and were nominated for Record of the Year.

795
00:37:25,239 --> 00:37:27,920
Speaker 5: So just what is it about?

796
00:37:27,960 --> 00:37:29,560
Speaker 4: It all about the song that was kept off the

797
00:37:29,640 --> 00:37:31,719
Speaker 4: number one spot by Ireland Girl by Elton John of

798
00:37:31,760 --> 00:37:33,360
Speaker 4: all things, God, I wouldn't been happy by that.

799
00:37:33,480 --> 00:37:36,640
Speaker 5: With that Island Girl's eyes were line again.

800
00:37:36,480 --> 00:37:38,560
Speaker 4: I guess they were line. Well, let's dig deck. We'll

801
00:37:38,560 --> 00:37:40,759
Speaker 4: start by hearing from management and you know some of

802
00:37:40,800 --> 00:37:43,880
Speaker 4: their producers who marveled how Glenn Fry and Don Henley

803
00:37:43,960 --> 00:37:45,799
Speaker 4: worked together as a songwriting team.

804
00:37:45,960 --> 00:37:47,960
Speaker 27: And I've watched the creative process with lots of other

805
00:37:48,040 --> 00:37:50,640
Speaker 27: people that I've never seen it the way it fell

806
00:37:50,719 --> 00:37:51,399
Speaker 27: in place with them.

807
00:37:52,239 --> 00:37:54,120
Speaker 5: I remember watching Lion Eyes written.

808
00:37:55,080 --> 00:37:57,440
Speaker 27: Glenn just had a way of coming up with a phrase,

809
00:37:57,600 --> 00:37:59,479
Speaker 27: you know, he had written some kind of a tune

810
00:37:59,520 --> 00:38:02,160
Speaker 27: and they were and then Tana's one night and looking

811
00:38:02,239 --> 00:38:04,680
Speaker 27: at some young girl with an older guy at the

812
00:38:04,760 --> 00:38:07,920
Speaker 27: bar and Glenn said, look at those lion eyes and

813
00:38:08,160 --> 00:38:09,840
Speaker 27: just just like that, Wow.

814
00:38:09,719 --> 00:38:10,319
Speaker 4: There's the song.

815
00:38:15,719 --> 00:38:17,880
Speaker 19: It was just about all these girls who'd come down

816
00:38:17,920 --> 00:38:20,600
Speaker 19: to D'antanna's looking beautiful, and they'd be there from eight

817
00:38:20,600 --> 00:38:23,279
Speaker 19: o'clock to midnight and have dinner and drinks with.

818
00:38:23,320 --> 00:38:24,120
Speaker 1: All of us rockers.

819
00:38:24,200 --> 00:38:27,640
Speaker 3: And then they go home because they were kept women.

820
00:38:30,200 --> 00:38:33,360
Speaker 2: Yeah, when the Dantanna's not talking about is their favorite

821
00:38:33,480 --> 00:38:36,439
Speaker 2: restaurant slash bar in Los Angeles, and they said they'd

822
00:38:36,520 --> 00:38:38,440
Speaker 2: go down there to perv on beautiful women. Of course,

823
00:38:38,520 --> 00:38:40,440
Speaker 2: but they would you know, see all these women that

824
00:38:40,880 --> 00:38:44,759
Speaker 2: they are sumed, we're cheating on their husbands, just you know,

825
00:38:44,960 --> 00:38:47,600
Speaker 2: just because a beautiful woman is with an older, not

826
00:38:47,800 --> 00:38:50,839
Speaker 2: as attractive man, just not And because she didn't want

827
00:38:50,840 --> 00:38:51,520
Speaker 2: to go home with you.

828
00:38:52,920 --> 00:38:56,120
Speaker 5: This isn't automatically means hanging out with those rockers.

829
00:38:56,239 --> 00:38:58,880
Speaker 2: Yeah, it didn't automatically mean she was doing the dirty

830
00:38:58,920 --> 00:39:01,800
Speaker 2: on her hobby. Maybe not, but they were pretty convinced

831
00:39:01,840 --> 00:39:02,399
Speaker 2: in this case.

832
00:39:02,480 --> 00:39:04,600
Speaker 4: They were maybe she was a gold digger.

833
00:39:04,719 --> 00:39:06,200
Speaker 5: What did he say? What did I believe?

834
00:39:06,640 --> 00:39:10,160
Speaker 2: One said to the other Henley, she can't even hide

835
00:39:10,239 --> 00:39:10,759
Speaker 2: those lines.

836
00:39:11,640 --> 00:39:12,520
Speaker 4: That was the start of the song.

837
00:39:12,640 --> 00:39:14,640
Speaker 2: Yeah, this is about the woman in question, who was

838
00:39:14,640 --> 00:39:16,080
Speaker 2: beautiful but with the older, less.

839
00:39:16,040 --> 00:39:18,080
Speaker 4: Attractive primarily man, and beauty is.

840
00:39:18,080 --> 00:39:18,840
Speaker 25: In the eye of the behold.

841
00:39:19,040 --> 00:39:20,960
Speaker 4: Really a Glenn Fry song. Let's be honest. That Don

842
00:39:21,000 --> 00:39:22,480
Speaker 4: helped out a little bit. Now I'm writing a lot

843
00:39:22,480 --> 00:39:25,360
Speaker 4: of songs up there in the spot and the Beverly

844
00:39:25,480 --> 00:39:27,960
Speaker 4: Hills area, which was just incredible.

845
00:39:28,000 --> 00:39:31,080
Speaker 2: Me thinks that he might have been rejected by said

846
00:39:31,080 --> 00:39:36,160
Speaker 2: beautiful maybe occasions rap to their table, maybe there's peanuts

847
00:39:36,200 --> 00:39:36,560
Speaker 2: and drink.

848
00:39:37,120 --> 00:39:38,120
Speaker 5: If she can't even.

849
00:39:38,000 --> 00:39:41,759
Speaker 4: Hide eyes, those lying eyes, because there were kept women

850
00:39:42,400 --> 00:39:42,800
Speaker 4: to women.

851
00:39:43,080 --> 00:39:45,520
Speaker 5: Yeah, so there you go this statement, I'd love to

852
00:39:45,560 --> 00:39:46,200
Speaker 5: be a kept woman.

853
00:39:46,239 --> 00:39:48,759
Speaker 4: A little bit of the story behind that's not right,

854
00:39:49,160 --> 00:39:54,440
Speaker 4: Yeah it is, Well, it's down there now. I'll take

855
00:39:54,440 --> 00:39:57,440
Speaker 4: you to Dan Towner's Yeah, yeah, with the boys from

856
00:39:57,480 --> 00:40:00,480
Speaker 4: the Egles, the Late Glen Fry, and he was there

857
00:40:00,520 --> 00:40:02,600
Speaker 4: was the only song he sang alone on that album

858
00:40:03,239 --> 00:40:05,680
Speaker 4: all those years ago, which was such a huge album.

859
00:40:05,719 --> 00:40:08,600
Speaker 4: But it was pre Hotel California. So I would imagine

860
00:40:08,640 --> 00:40:12,520
Speaker 4: those where those women were well and truly zeroed in

861
00:40:12,600 --> 00:40:14,319
Speaker 4: on the boys because they knew that they had the money.

862
00:40:14,400 --> 00:40:17,400
Speaker 2: That the Hotel California sounds better than Hotel Dan Tana

863
00:40:17,960 --> 00:40:18,560
Speaker 2: quite possibly.

864
00:40:18,680 --> 00:40:22,000
Speaker 4: Yes, Yes, the one of them seedy place, one of

865
00:40:22,080 --> 00:40:25,040
Speaker 4: these nights, such a place of rejection.

866
00:40:26,200 --> 00:40:28,759
Speaker 2: They actually recorded the song just a little bit further

867
00:40:28,920 --> 00:40:31,120
Speaker 2: to our behind the song a moment there.

868
00:40:31,320 --> 00:40:33,160
Speaker 5: In Dorothy Lemore's old house.

869
00:40:33,280 --> 00:40:34,120
Speaker 4: Isn't it amazing?

870
00:40:34,440 --> 00:40:34,640
Speaker 3: Yeah?

871
00:40:34,760 --> 00:40:37,200
Speaker 5: Well, she was in the Road Trip movies with Bing Crosby,

872
00:40:37,239 --> 00:40:38,520
Speaker 5: and wasn't.

873
00:40:38,320 --> 00:40:39,000
Speaker 3: She she was?

874
00:40:39,120 --> 00:40:41,719
Speaker 4: Yeah, those houses and so many of those houses had

875
00:40:41,760 --> 00:40:45,440
Speaker 4: so many famous owners in the middle Y Hills. Absolutely

876
00:40:46,800 --> 00:40:48,120
Speaker 4: let me tell you a story.

877
00:40:48,680 --> 00:40:52,400
Speaker 1: On Time releases the story behind.

878
00:40:52,080 --> 00:40:55,560
Speaker 2: The song Okay we are kicking it off with Ed

879
00:40:55,680 --> 00:41:00,800
Speaker 2: Sheeran's Castle on the Hill, released in January twenty seventeen,

880
00:41:01,040 --> 00:41:03,799
Speaker 2: is one of the double lead singles from his third

881
00:41:03,920 --> 00:41:05,080
Speaker 2: studio album.

882
00:41:05,520 --> 00:41:09,120
Speaker 5: Oh Weird, Just write the word Would you Divide?

883
00:41:09,280 --> 00:41:09,440
Speaker 22: Is it?

884
00:41:09,760 --> 00:41:10,240
Speaker 1: Division?

885
00:41:13,040 --> 00:41:15,480
Speaker 2: Came out the same day as Shape of You. Castle

886
00:41:15,560 --> 00:41:17,640
Speaker 2: on the Hill was written and produced by Ed and

887
00:41:17,640 --> 00:41:21,640
Speaker 2: Benny Blanco. The song refers to Framlingham Castle, which is

888
00:41:21,680 --> 00:41:24,440
Speaker 2: insurance hometown of Suffolk. In fact, the song has been

889
00:41:24,520 --> 00:41:26,960
Speaker 2: described as a love letter to Suffolk.

890
00:41:27,160 --> 00:41:28,879
Speaker 4: Yeah, not only where he used to live, but where

891
00:41:28,920 --> 00:41:29,359
Speaker 4: he lives now.

892
00:41:29,440 --> 00:41:32,920
Speaker 28: The actual literal is led to my hometown, which is

893
00:41:32,960 --> 00:41:36,080
Speaker 28: in the middle of nowhere, no one ever visits, and

894
00:41:36,200 --> 00:41:37,360
Speaker 28: I really want to write.

895
00:41:37,280 --> 00:41:39,040
Speaker 5: An appreciation someone it because it's beautiful.

896
00:41:39,120 --> 00:41:40,560
Speaker 4: How often do you think about home?

897
00:41:40,880 --> 00:41:43,440
Speaker 28: Well, I live there now, I bought I bought a

898
00:41:43,480 --> 00:41:45,640
Speaker 28: house there, so I thankfully get to spend most of

899
00:41:45,680 --> 00:41:46,000
Speaker 28: my time.

900
00:41:46,080 --> 00:41:47,680
Speaker 5: Know, that's great, that's incredible.

901
00:41:47,920 --> 00:41:49,800
Speaker 4: I mean, that's awesome.

902
00:41:49,920 --> 00:41:52,680
Speaker 5: I mean, but it's a lot of traveling, Yeah, obviously.

903
00:41:52,480 --> 00:41:54,200
Speaker 28: Yeah, but it's worth it. It's worth it, you know.

904
00:41:54,280 --> 00:41:56,399
Speaker 28: I get to wake up and look at a field

905
00:41:56,520 --> 00:41:58,799
Speaker 28: rather than wake up and look at a building.

906
00:41:58,680 --> 00:41:59,160
Speaker 25: A house.

907
00:41:59,480 --> 00:42:02,920
Speaker 5: You did not, he thought a small village for the

908
00:42:02,960 --> 00:42:05,680
Speaker 5: whole thing. It has its own part. But as well

909
00:42:06,200 --> 00:42:06,760
Speaker 5: you got married.

910
00:42:07,360 --> 00:42:08,640
Speaker 25: But sure you look at a field.

911
00:42:08,760 --> 00:42:11,359
Speaker 5: But if you, if you're you can afford it. It's

912
00:42:11,400 --> 00:42:12,160
Speaker 5: not that hard, is it.

913
00:42:13,320 --> 00:42:15,279
Speaker 2: I think a lot of people can relate to this song,

914
00:42:15,400 --> 00:42:19,239
Speaker 2: the story that it tells. It always makes me drive

915
00:42:19,320 --> 00:42:20,040
Speaker 2: too fast, though.

916
00:42:20,040 --> 00:42:23,160
Speaker 4: It doesn't really that's dangerous sanger. There's something about it

917
00:42:23,239 --> 00:42:24,719
Speaker 4: when you're about to get the ticket. How does that

918
00:42:24,800 --> 00:42:26,160
Speaker 4: go down? When that explanation?

919
00:42:26,400 --> 00:42:29,160
Speaker 5: Yer way?

920
00:42:29,360 --> 00:42:31,960
Speaker 4: And it made me drive faster. Yeah, it's probably a

921
00:42:32,040 --> 00:42:33,440
Speaker 4: song he should come out with. At least would it

922
00:42:33,480 --> 00:42:35,600
Speaker 4: be cool to have someone who became a star and

923
00:42:35,719 --> 00:42:38,399
Speaker 4: had a song referencing you in unless it was Taylor

924
00:42:38,400 --> 00:42:40,160
Speaker 4: Swift and she was chinking about you after the event,

925
00:42:40,239 --> 00:42:42,719
Speaker 4: It depends on which line it is. Yeah, yeah, he's

926
00:42:42,719 --> 00:42:44,120
Speaker 4: the talking about referencing mates.

927
00:42:44,160 --> 00:42:46,520
Speaker 3: I've had a couple, couple get get into it.

928
00:42:46,520 --> 00:42:48,080
Speaker 29: I mean I'm in touch with most of them anyway,

929
00:42:48,120 --> 00:42:51,040
Speaker 29: because they're they're still my mates. But like the same

930
00:42:51,120 --> 00:42:52,920
Speaker 29: guy that works down by the coast is the guy

931
00:42:52,920 --> 00:42:54,759
Speaker 29: I was running from laws through the backfields with and

932
00:42:54,880 --> 00:42:55,759
Speaker 29: we kind of had a bit.

933
00:42:55,719 --> 00:42:56,000
Speaker 3: Of a laugh.

934
00:42:56,080 --> 00:42:57,600
Speaker 29: I've just spent news with him, so we had we

935
00:42:57,680 --> 00:42:59,680
Speaker 29: had a bit of a laugh about that, remembering being

936
00:43:00,600 --> 00:43:03,040
Speaker 29: naughty kids, not kids.

937
00:43:03,760 --> 00:43:07,080
Speaker 4: Naughty kids. It's someone who's been influenced by people. Of course,

938
00:43:07,120 --> 00:43:10,040
Speaker 4: of course m a and songwriters all have their influences,

939
00:43:10,080 --> 00:43:12,080
Speaker 4: but he talks about one who was a away from

940
00:43:12,120 --> 00:43:13,600
Speaker 4: home other side of the Atlantic.

941
00:43:13,360 --> 00:43:17,080
Speaker 29: A lot of listening to Bruce Springsteen and in particular

942
00:43:17,120 --> 00:43:19,640
Speaker 29: of the River and really sort of like wanting to

943
00:43:20,600 --> 00:43:25,040
Speaker 29: write a song that is looks back on childhood and

944
00:43:25,120 --> 00:43:27,279
Speaker 29: childhood friends and how people grew.

945
00:43:27,360 --> 00:43:28,000
Speaker 12: And I did.

946
00:43:28,600 --> 00:43:30,360
Speaker 29: I wrote, I wrote a few like that and that

947
00:43:30,520 --> 00:43:32,279
Speaker 29: was that was by far the best of the best

948
00:43:32,320 --> 00:43:34,840
Speaker 29: of the bunch. I mean, my song isn't as detailed

949
00:43:34,880 --> 00:43:37,680
Speaker 29: as the River or as good, but but that but

950
00:43:37,840 --> 00:43:40,239
Speaker 29: that was the kind of idea was to you know,

951
00:43:40,400 --> 00:43:43,759
Speaker 29: show show the happiness and of and innocence of youth,

952
00:43:43,880 --> 00:43:46,280
Speaker 29: but and then also show the kind of a darkness

953
00:43:46,360 --> 00:43:47,880
Speaker 29: of reality of growing up.

954
00:43:47,960 --> 00:43:52,000
Speaker 2: I guess Bruce definitely knows his way around a writing

955
00:43:52,040 --> 00:43:52,880
Speaker 2: a love letter.

956
00:43:52,719 --> 00:43:56,880
Speaker 5: To absolute to youth or Jersey Cars and Girls.

957
00:43:57,000 --> 00:44:01,200
Speaker 4: That was souran, being self deprecating all that good ed.

958
00:44:01,520 --> 00:44:03,799
Speaker 3: Yeah, let me tell you a story.

959
00:44:04,000 --> 00:44:08,080
Speaker 1: On time and less. The story behind the song.

960
00:44:08,600 --> 00:44:13,919
Speaker 25: Love Song, any old love song. No Love Song by

961
00:44:14,160 --> 00:44:14,920
Speaker 25: The Cure.

962
00:44:15,440 --> 00:44:18,560
Speaker 2: Was released as the third single from their eighth studio album,

963
00:44:18,680 --> 00:44:23,000
Speaker 2: Disintegration in nineteen eighty nine. Disintegration considered not only The

964
00:44:23,120 --> 00:44:26,600
Speaker 2: Cure's greatest album, but one of the greatest albums of

965
00:44:26,760 --> 00:44:27,520
Speaker 2: that generation.

966
00:44:28,040 --> 00:44:29,239
Speaker 4: And you love the cue, don't you?

967
00:44:30,160 --> 00:44:30,440
Speaker 30: We do?

968
00:44:30,840 --> 00:44:33,960
Speaker 4: Absolutely, He's Robert Smith talking about the album Disintegration and

969
00:44:34,080 --> 00:44:34,319
Speaker 4: the song.

970
00:44:34,480 --> 00:44:37,239
Speaker 31: As with everything that we do, once we've done it,

971
00:44:37,280 --> 00:44:40,360
Speaker 31: I feel less like it. Its like it's an exorcism,

972
00:44:40,480 --> 00:44:44,960
Speaker 31: So I feel more piece together, since more peaceful as

973
00:44:45,200 --> 00:44:50,319
Speaker 31: since we've made it. It does revert back a little

974
00:44:50,360 --> 00:44:54,160
Speaker 31: bit too, certainly musically to around the Faith period, in

975
00:44:54,239 --> 00:44:57,400
Speaker 31: that they are longer sort of quieter or extended atmospheric

976
00:44:57,520 --> 00:44:59,800
Speaker 31: songs on it, as opposed to the KissMe, which was

977
00:44:59,880 --> 00:45:05,120
Speaker 31: like pretty kaleidoscopic but I think we're just we tend

978
00:45:05,200 --> 00:45:06,960
Speaker 31: to do that from time time. It's like, look, but

979
00:45:07,080 --> 00:45:10,440
Speaker 31: I mean the catalog of stuff that we've done is

980
00:45:10,520 --> 00:45:13,520
Speaker 31: so huge now that I sort of look back and

981
00:45:13,640 --> 00:45:16,560
Speaker 31: think the things that we could still experiment with, and

982
00:45:17,040 --> 00:45:19,440
Speaker 31: then usually comes out of that it's something completely different.

983
00:45:19,520 --> 00:45:22,160
Speaker 31: So with this record, there's a lot. It's a mixture

984
00:45:22,160 --> 00:45:25,279
Speaker 31: of the two. The thing of Disintegration was because I

985
00:45:25,360 --> 00:45:27,880
Speaker 31: wanted the group to do something a bit harder than

986
00:45:27,920 --> 00:45:30,480
Speaker 31: it gives me a bit more, something a bit more

987
00:45:30,560 --> 00:45:31,040
Speaker 31: depth through.

988
00:45:31,719 --> 00:45:35,320
Speaker 2: Look, he's not David Lee Roth Okay, Robert Smith is

989
00:45:35,400 --> 00:45:39,600
Speaker 2: one of the shyest little things ever in music, hiding

990
00:45:39,680 --> 00:45:40,640
Speaker 2: behind all that hair.

991
00:45:40,560 --> 00:45:44,759
Speaker 4: And ila and saying describing another album as kaleidoscopic d.

992
00:45:47,080 --> 00:45:50,840
Speaker 2: Robert wrote love Song for his partner Mary Now. He

993
00:45:50,960 --> 00:45:53,960
Speaker 2: and Mary had been together since high school. They got

994
00:45:54,080 --> 00:45:57,480
Speaker 2: they when they were fourteen is when they met. And

995
00:45:57,560 --> 00:46:00,359
Speaker 2: then he wrote love song for Mary and presented tour

996
00:46:00,480 --> 00:46:01,640
Speaker 2: as a wedding present.

997
00:46:02,239 --> 00:46:05,080
Speaker 4: So she took them tape in nineteen eighty eight to

998
00:46:05,200 --> 00:46:07,239
Speaker 4: take to another room and came back and smothered him

999
00:46:07,239 --> 00:46:10,040
Speaker 4: in kisses and you are being a cure fan.

1000
00:46:10,200 --> 00:46:12,520
Speaker 5: Give me back my life of course.

1001
00:46:13,920 --> 00:46:17,279
Speaker 4: My hair gel, where's my product? You, as a Qure fan,

1002
00:46:17,360 --> 00:46:19,719
Speaker 4: must have sat in front of a stereo many, many

1003
00:46:19,800 --> 00:46:23,480
Speaker 4: times reading the lyrics off. The album covers so lyrics

1004
00:46:23,600 --> 00:46:26,160
Speaker 4: like whenever, Whenever I'm alone with you, you make me

1005
00:46:26,239 --> 00:46:28,760
Speaker 4: feel like I'm a home again. I mean really, Robert

1006
00:46:29,280 --> 00:46:30,279
Speaker 4: doesn't get much better than that.

1007
00:46:30,400 --> 00:46:32,440
Speaker 2: Yes, well, he said, it's an open show of emotion.

1008
00:46:32,800 --> 00:46:36,080
Speaker 2: It's not trying to be clever. It's taken me ten years,

1009
00:46:36,120 --> 00:46:37,520
Speaker 2: he said. This is what he said at the time

1010
00:46:37,800 --> 00:46:40,680
Speaker 2: to reach the point where I feel comfortable singing a

1011
00:46:40,800 --> 00:46:42,239
Speaker 2: very straightforward love song.

1012
00:46:42,400 --> 00:46:42,920
Speaker 9: It's probably the.

1013
00:46:42,920 --> 00:46:44,960
Speaker 31: Most difficult song that I've had to sing because it

1014
00:46:45,520 --> 00:46:46,800
Speaker 31: doesn't have any kind of twists.

1015
00:46:47,200 --> 00:46:49,800
Speaker 17: It's very straightforward, very honest.

1016
00:46:50,160 --> 00:46:52,480
Speaker 31: I find it very difficult to sing, honestly.

1017
00:46:52,160 --> 00:46:55,320
Speaker 4: A lot of the time. He's a man of few words.

1018
00:46:55,560 --> 00:46:56,200
Speaker 5: As we know.

1019
00:46:56,800 --> 00:46:59,560
Speaker 2: But an interviewer once called love song the most traditional

1020
00:46:59,640 --> 00:47:02,399
Speaker 2: song Cure have ever written. For this reason, he asked

1021
00:47:02,480 --> 00:47:04,439
Speaker 2: Robert Smith if he was proud of it, to which

1022
00:47:04,520 --> 00:47:08,879
Speaker 2: Robert replied it was simply a cheap and cheerful I married.

1023
00:47:10,239 --> 00:47:10,920
Speaker 5: British, isn't it.

1024
00:47:11,719 --> 00:47:15,520
Speaker 1: Let me tell you a story on time clearsy releases

1025
00:47:15,760 --> 00:47:17,439
Speaker 1: The Story behind the song.

1026
00:47:17,760 --> 00:47:21,919
Speaker 2: Today's story behind the song song is miss Free Love

1027
00:47:22,040 --> 00:47:25,680
Speaker 2: of nineteen hundred and sixty nine by the Hoodi Gurus,

1028
00:47:26,040 --> 00:47:30,040
Speaker 2: released in February nineteen ninety one. I cannot believe that

1029
00:47:30,160 --> 00:47:32,840
Speaker 2: it was February nineteen ninety one. I can still remember

1030
00:47:32,880 --> 00:47:34,680
Speaker 2: the first time I saw it on whatever, I saw

1031
00:47:34,760 --> 00:47:36,319
Speaker 2: it on a rage or.

1032
00:47:36,440 --> 00:47:38,480
Speaker 4: Time flies when you're rocking with the Gurusn't that?

1033
00:47:38,760 --> 00:47:42,960
Speaker 2: How's that lead single from their fifth studio album, Kinky.

1034
00:47:43,600 --> 00:47:45,880
Speaker 2: The song peaked at number nineteen on the ARIA charts

1035
00:47:45,880 --> 00:47:49,680
Speaker 2: and number three on the Billboard Modern Rock Tracks in

1036
00:47:49,840 --> 00:47:53,280
Speaker 2: June of two thousand. Dave Faulkner said it was written

1037
00:47:53,360 --> 00:47:56,080
Speaker 2: on the morning after the events described in the song.

1038
00:47:56,360 --> 00:47:59,040
Speaker 2: Although I gave them some embellishment.

1039
00:47:58,920 --> 00:48:01,160
Speaker 4: Absolutely, and we've open to Dave, as we mentioned earlier

1040
00:48:01,200 --> 00:48:03,200
Speaker 4: this morning, many many times over the years, and they

1041
00:48:03,280 --> 00:48:05,200
Speaker 4: never shied away, the Giros from the fact that they

1042
00:48:05,360 --> 00:48:08,759
Speaker 4: love sixties pop culture and all things groovy. But the song, well,

1043
00:48:09,080 --> 00:48:09,960
Speaker 4: Dave tell the story.

1044
00:48:10,080 --> 00:48:10,160
Speaker 7: Ms.

1045
00:48:10,280 --> 00:48:14,759
Speaker 30: Frelave was literally written in my flat, which about two

1046
00:48:14,800 --> 00:48:17,719
Speaker 30: hundred meters from where I'm living now, and I was

1047
00:48:17,760 --> 00:48:21,040
Speaker 30: there for a long time nineteen years actually, and it

1048
00:48:21,120 --> 00:48:23,360
Speaker 30: was just one we played a tour of Japan. I

1049
00:48:23,400 --> 00:48:25,560
Speaker 30: came back with a bottle of saki in my suitcase.

1050
00:48:26,440 --> 00:48:28,080
Speaker 30: It wasn't the first time I drunk ssaki, but it was,

1051
00:48:28,360 --> 00:48:30,560
Speaker 30: you know, brought some from Japan because I was there

1052
00:48:30,640 --> 00:48:33,640
Speaker 30: and my friends dropped in, you know, a couple of

1053
00:48:33,680 --> 00:48:35,759
Speaker 30: friends and Midge opened the saki, and then a couple

1054
00:48:35,920 --> 00:48:39,280
Speaker 30: more came around, and then more ssaki, then more wine

1055
00:48:39,320 --> 00:48:41,600
Speaker 30: and beer whatever. It was like before you know, it

1056
00:48:41,680 --> 00:48:43,560
Speaker 30: was like two in the morning. The cops had banged

1057
00:48:43,600 --> 00:48:44,759
Speaker 30: on the door, and as you know, there's a bit

1058
00:48:44,800 --> 00:48:47,160
Speaker 30: of a swinging party going on. So that was a

1059
00:48:47,200 --> 00:48:48,839
Speaker 30: story that I work up next day with a smile

1060
00:48:48,880 --> 00:48:50,400
Speaker 30: on my face and just wrote the song, you know,

1061
00:48:50,960 --> 00:48:53,239
Speaker 30: in about twenty minutes. I mean, I've been wanting to

1062
00:48:53,280 --> 00:48:55,120
Speaker 30: write a song with that groove for about a year

1063
00:48:55,239 --> 00:48:58,439
Speaker 30: and hadn't managed it. Attempted a few times and didn't

1064
00:48:58,480 --> 00:49:02,640
Speaker 30: quite gell. But that party, that experience seemed perfect that

1065
00:49:03,000 --> 00:49:05,320
Speaker 30: for that groove, and it just came together quickly. But

1066
00:49:05,680 --> 00:49:07,719
Speaker 30: the lyrics are literally what happened in the story of

1067
00:49:07,760 --> 00:49:10,560
Speaker 30: the song, other than the fact in the song I

1068
00:49:10,800 --> 00:49:13,399
Speaker 30: changed the ending to give it a happier ending where

1069
00:49:13,400 --> 00:49:15,800
Speaker 30: the police actually joined the party in the song, but

1070
00:49:15,920 --> 00:49:17,360
Speaker 30: in the reality it was actually just.

1071
00:49:17,360 --> 00:49:18,000
Speaker 1: A tapping ending.

1072
00:49:18,040 --> 00:49:21,600
Speaker 30: They they threatened me with saying we come back, it

1073
00:49:21,640 --> 00:49:23,359
Speaker 30: will be a huge fine. I'm like going, oh whatever,

1074
00:49:23,440 --> 00:49:25,360
Speaker 30: and so off they went and never came back anyway,

1075
00:49:25,480 --> 00:49:27,799
Speaker 30: So we kept partying. So it was a happy ending

1076
00:49:27,840 --> 00:49:29,799
Speaker 30: both stories, you know, the real one and the thing.

1077
00:49:29,880 --> 00:49:32,160
Speaker 30: But I made the song, as I say, you changed

1078
00:49:33,160 --> 00:49:34,440
Speaker 30: the story a little bit to make it a bit

1079
00:49:34,480 --> 00:49:35,080
Speaker 30: more universal.

1080
00:49:35,320 --> 00:49:37,239
Speaker 4: I think it's cool that the song says that the

1081
00:49:37,280 --> 00:49:38,359
Speaker 4: cops came and joined the party.

1082
00:49:38,440 --> 00:49:38,960
Speaker 25: Absolutely.

1083
00:49:39,400 --> 00:49:41,880
Speaker 2: The sitar in the song was a bit of a

1084
00:49:41,960 --> 00:49:46,839
Speaker 2: curiosity though that wasn't sukyes When one of the many

1085
00:49:46,880 --> 00:49:49,759
Speaker 2: times we've spoken to Dave was in twenty twenty two

1086
00:49:49,880 --> 00:49:51,880
Speaker 2: and he talked to us about it.

1087
00:49:52,000 --> 00:49:53,560
Speaker 4: Then, Yeah, speaking of parties.

1088
00:49:53,320 --> 00:49:56,560
Speaker 26: There's a bit of a plan, yes, which is actually

1089
00:49:56,840 --> 00:50:02,360
Speaker 26: it actually stolen that that shit, oh never mind the itself.

1090
00:50:04,719 --> 00:50:07,400
Speaker 18: From the movie The Party, Peter Seller's at the beginning,

1091
00:50:07,440 --> 00:50:08,480
Speaker 18: he's playing a sitz.

1092
00:50:09,960 --> 00:50:14,000
Speaker 4: And we sampled that. We didn't tell anyone's word play.

1093
00:50:14,400 --> 00:50:17,720
Speaker 2: We were talking about the party just the day before yesterday,

1094
00:50:17,719 --> 00:50:19,920
Speaker 2: we were talking about your favorite ever comedy movie, and

1095
00:50:20,000 --> 00:50:21,280
Speaker 2: I said, the party is mine.

1096
00:50:21,160 --> 00:50:24,239
Speaker 1: And it's one of our favorite It's you can't It's

1097
00:50:24,239 --> 00:50:25,000
Speaker 1: hard to beat.

1098
00:50:25,080 --> 00:50:27,920
Speaker 4: A little bit of eving there. Love it, Love the sample.

1099
00:50:28,280 --> 00:50:32,320
Speaker 1: Let me tell you a Story on Time releases The

1100
00:50:32,560 --> 00:50:36,759
Speaker 1: Story Behind the Song Today's Story Behind the Song.

1101
00:50:36,880 --> 00:50:41,640
Speaker 2: Song is Tiny Dad s Elton John and Bernie Taupin

1102
00:50:42,080 --> 00:50:45,120
Speaker 2: was originally released on Elton's late nineteen seventy one album

1103
00:50:45,160 --> 00:50:47,279
Speaker 2: mad Man Across the Water, and then later produced and

1104
00:50:47,400 --> 00:50:50,040
Speaker 2: released as a single in nineteen seventy two.

1105
00:50:50,200 --> 00:50:53,239
Speaker 25: So what or is it? Who is the inspiration?

1106
00:50:53,920 --> 00:50:56,560
Speaker 32: This' all lyrics here, and you know, I just sister.

1107
00:50:56,680 --> 00:50:58,799
Speaker 32: And there's one there that I've done the other day

1108
00:50:59,239 --> 00:51:05,160
Speaker 32: were Tiny, which is about Bernie's girlfriend. Just sort of

1109
00:51:05,200 --> 00:51:06,480
Speaker 32: felt like I looked at all the it's and that

1110
00:51:06,520 --> 00:51:08,520
Speaker 32: was the one I fancied writing, mainly because I knew

1111
00:51:08,520 --> 00:51:10,120
Speaker 32: Bernie would like me to do this one because it's

1112
00:51:10,120 --> 00:51:13,800
Speaker 32: about his girlfriend. You look at it the words blue Jean, baby,

1113
00:51:14,000 --> 00:51:17,360
Speaker 32: la Lady, seemstress of the bad, pretty eyed pirate smile,

1114
00:51:17,440 --> 00:51:19,400
Speaker 32: you marry a music man, ballerina. As soon as you

1115
00:51:19,400 --> 00:51:20,880
Speaker 32: get the word ballerina, you know it's not going to

1116
00:51:20,920 --> 00:51:22,960
Speaker 32: be fast it's got to be sort of gentle, and

1117
00:51:23,719 --> 00:51:25,960
Speaker 32: it's sort of quite slow. I just sort of ran

1118
00:51:26,040 --> 00:51:28,319
Speaker 32: it through and put two verses together, then a middle,

1119
00:51:28,480 --> 00:51:30,239
Speaker 32: then a chorus and then back to the sort of

1120
00:51:30,360 --> 00:51:32,839
Speaker 32: verse sort of thing is it's It happens very quickly.

1121
00:51:33,280 --> 00:51:36,319
Speaker 32: It sort of starts off blue Jean.

1122
00:51:36,320 --> 00:51:44,200
Speaker 22: Baby, ellly, seemestress, fool the bab.

1123
00:51:45,680 --> 00:51:49,040
Speaker 4: Is it cool to hear abuse? I've deconstructed and recreate.

1124
00:51:48,560 --> 00:51:48,840
Speaker 7: It like that.

1125
00:51:49,080 --> 00:51:53,120
Speaker 2: Well, the girl, the girlfriend in question was actually Bernie's

1126
00:51:53,120 --> 00:51:56,200
Speaker 2: wife at the time. Her name was Maxine Feebleman, and

1127
00:51:57,000 --> 00:51:59,719
Speaker 2: just back in twenty nineteen, Feebleman said, I knew that

1128
00:51:59,800 --> 00:52:00,640
Speaker 2: so was about me.

1129
00:52:01,080 --> 00:52:03,040
Speaker 25: I had been into ballet as a little girl and.

1130
00:52:03,120 --> 00:52:07,440
Speaker 2: Sold patches on Elton's jackets and jeans. So that's what

1131
00:52:07,640 --> 00:52:10,120
Speaker 2: the seemstress for the band bit.

1132
00:52:10,120 --> 00:52:11,600
Speaker 4: It's about where the reference came from.

1133
00:52:11,640 --> 00:52:12,839
Speaker 5: Now, it's not a short song.

1134
00:52:13,120 --> 00:52:15,480
Speaker 2: Indeed, due to the song's lengthy run time of six

1135
00:52:15,600 --> 00:52:19,239
Speaker 2: minutes twelve seconds, Tiny Dancer was initially a bit of

1136
00:52:19,280 --> 00:52:21,920
Speaker 2: a non starter as a single in the US, especially

1137
00:52:22,040 --> 00:52:24,640
Speaker 2: reaching only number forty one on their Pop chart, and

1138
00:52:24,800 --> 00:52:27,399
Speaker 2: wasn't even released as a single in the UK because

1139
00:52:27,760 --> 00:52:31,080
Speaker 2: question is well exactly when he wrapped it up in

1140
00:52:31,280 --> 00:52:34,800
Speaker 2: maybe ninety seconds. It fared better here in Australia. It

1141
00:52:34,880 --> 00:52:36,000
Speaker 2: peaked at number thirteen.

1142
00:52:36,120 --> 00:52:36,319
Speaker 3: Here.

1143
00:52:37,160 --> 00:52:39,839
Speaker 2: It was ranked number forty seven on the twenty twenty

1144
00:52:39,880 --> 00:52:42,520
Speaker 2: one Rolling Stone list of the five hundred Greatest Songs

1145
00:52:42,520 --> 00:52:45,120
Speaker 2: of All Time, and in twenty twenty was inducted into

1146
00:52:45,160 --> 00:52:46,000
Speaker 2: the Grammy.

1147
00:52:45,800 --> 00:52:46,640
Speaker 25: Hall of Fame.

1148
00:52:47,920 --> 00:52:51,279
Speaker 2: It's been a big one, you know, in sort of

1149
00:52:51,400 --> 00:52:52,760
Speaker 2: various types of media.

1150
00:52:52,800 --> 00:52:53,960
Speaker 5: Of course, I've had a great.

1151
00:52:53,760 --> 00:52:55,680
Speaker 2: Scene and almost famous whether or singing out of the

1152
00:52:55,719 --> 00:53:01,600
Speaker 2: bus and his friends Phoebe that the song was called

1153
00:53:01,680 --> 00:53:03,680
Speaker 2: hold Me Close to Tony hen Tiny Danzer.

1154
00:53:03,880 --> 00:53:06,399
Speaker 4: Yeah, there's a big and Elton and Bernie. Let's be honest.

1155
00:53:06,440 --> 00:53:09,680
Speaker 4: It's been such a unique partnership to have someone on

1156
00:53:09,800 --> 00:53:12,320
Speaker 4: one side of the world because Bernie Tubman was obsessed

1157
00:53:12,320 --> 00:53:14,440
Speaker 4: with living in the States and pretending he was a cowboy,

1158
00:53:14,560 --> 00:53:17,360
Speaker 4: writing lyrics and sending them over to Elton, and Elton.

1159
00:53:17,239 --> 00:53:18,400
Speaker 12: Going in there me.

1160
00:53:18,800 --> 00:53:19,799
Speaker 5: Is this what made it work?

1161
00:53:19,880 --> 00:53:21,160
Speaker 25: For it is incredible.

1162
00:53:21,200 --> 00:53:22,719
Speaker 4: Yeah, a bit of Elton then Bernie having your chat

1163
00:53:22,719 --> 00:53:23,200
Speaker 4: about the song.

1164
00:53:23,400 --> 00:53:25,719
Speaker 33: For some reason, the magic of our relationship is that

1165
00:53:25,960 --> 00:53:28,160
Speaker 33: when he gives me that lyric, I see a movie

1166
00:53:28,239 --> 00:53:30,200
Speaker 33: in my head, and I don't think about it very

1167
00:53:30,280 --> 00:53:33,080
Speaker 33: much and I just go ahead, And that's never changed

1168
00:53:33,080 --> 00:53:34,799
Speaker 33: from the word go from the first lyric he ever

1169
00:53:34,880 --> 00:53:37,560
Speaker 33: gave me, Tiny des It was just a breeze because

1170
00:53:37,760 --> 00:53:39,880
Speaker 33: you know, we were both infatuated with it here in

1171
00:53:39,960 --> 00:53:42,120
Speaker 33: Los Angeles, so it meant a great deal to write

1172
00:53:42,120 --> 00:53:43,759
Speaker 33: a song about La Yeah.

1173
00:53:43,920 --> 00:53:46,640
Speaker 20: I think, like Elton said, it's a composite of a

1174
00:53:46,719 --> 00:53:49,520
Speaker 20: lot of different ideas and a lot of different people

1175
00:53:50,080 --> 00:53:51,920
Speaker 20: and all the things that we saw on the street.

1176
00:53:51,960 --> 00:53:52,960
Speaker 4: It was like coming from.

1177
00:53:52,840 --> 00:53:54,160
Speaker 5: Black and white to color.

1178
00:53:54,800 --> 00:53:57,759
Speaker 20: And you know, the people, the people were so free,

1179
00:53:57,920 --> 00:54:00,279
Speaker 20: they were much the girls were so much free than

1180
00:54:00,680 --> 00:54:03,160
Speaker 20: you know, what we were used to in England. You know,

1181
00:54:03,239 --> 00:54:06,160
Speaker 20: there was there was a light around everything, and the

1182
00:54:06,239 --> 00:54:08,040
Speaker 20: whole thing was inspiring.

1183
00:54:07,719 --> 00:54:09,360
Speaker 4: A lot of the use of the word free, a

1184
00:54:09,440 --> 00:54:10,000
Speaker 4: lot of freer.

1185
00:54:12,440 --> 00:54:16,680
Speaker 5: Yeah, they're like, excuse me, it's hilarious.

1186
00:54:16,880 --> 00:54:20,680
Speaker 1: Let me tell you a story on time and leases.

1187
00:54:20,880 --> 00:54:24,640
Speaker 2: The story behind the song Today's story behind the song

1188
00:54:24,880 --> 00:54:29,120
Speaker 2: song is Sweet Dreams by E Rhythmics. It was the

1189
00:54:29,480 --> 00:54:32,160
Speaker 2: fourth single from their second album the same name in

1190
00:54:32,239 --> 00:54:34,879
Speaker 2: January nineteen eighty three, but it was their breakthrough hit

1191
00:54:35,600 --> 00:54:39,759
Speaker 2: establishing the duo worldwide. It reached number two on the

1192
00:54:39,920 --> 00:54:42,320
Speaker 2: UK charts, number one on the US charts, and it

1193
00:54:42,440 --> 00:54:44,200
Speaker 2: was number six here in Australia.

1194
00:54:44,400 --> 00:54:46,839
Speaker 4: Yeah, huge hit, wasn't it. It got everyone's attention because

1195
00:54:46,880 --> 00:54:48,680
Speaker 4: they were just so different to everybody else out there

1196
00:54:49,040 --> 00:54:51,840
Speaker 4: and a duo. Is any talking about how she was

1197
00:54:51,880 --> 00:54:52,439
Speaker 4: almost done?

1198
00:54:52,800 --> 00:54:54,880
Speaker 34: It's a funny story, isn't we Because on the d

1199
00:54:55,360 --> 00:54:58,400
Speaker 34: that we started to create the song Sweet Dreams, I

1200
00:54:58,960 --> 00:55:01,719
Speaker 34: was in a terrible and I was really ready to

1201
00:55:01,840 --> 00:55:03,640
Speaker 34: pack it in and to go back to Scotland. I

1202
00:55:03,719 --> 00:55:07,600
Speaker 34: had realized that there was no hope whatsoever and it

1203
00:55:07,760 --> 00:55:08,719
Speaker 34: wasn't going to happen, and.

1204
00:55:09,239 --> 00:55:10,120
Speaker 3: That was the mood I was in.

1205
00:55:10,239 --> 00:55:11,680
Speaker 4: So I was like, thinking, we're done here.

1206
00:55:11,840 --> 00:55:15,600
Speaker 34: Yeah, yeah, absolutely absolutely, and I was. I was really

1207
00:55:15,880 --> 00:55:18,400
Speaker 34: depressed about it, and Dave was just like, you know,

1208
00:55:18,480 --> 00:55:22,560
Speaker 34: he's a very brilliant individual, so he's like, Okay, you're down, okay,

1209
00:55:22,640 --> 00:55:24,759
Speaker 34: but now, well you won't mind, will you if I

1210
00:55:24,960 --> 00:55:27,000
Speaker 34: just go and do this. And then I was sitting

1211
00:55:27,040 --> 00:55:29,160
Speaker 34: sort of mooching in the corner of the of the

1212
00:55:29,200 --> 00:55:31,239
Speaker 34: studio that we had we were working in, and I

1213
00:55:31,360 --> 00:55:33,360
Speaker 34: heard him doing this, and then I was like, hmmm,

1214
00:55:33,680 --> 00:55:34,320
Speaker 34: that's interesting.

1215
00:55:35,920 --> 00:55:36,600
Speaker 5: Absolutely.

1216
00:55:36,840 --> 00:55:39,239
Speaker 2: Annie and Dave wrote the song after the Tourists had

1217
00:55:39,280 --> 00:55:41,359
Speaker 2: broken up, and they formed a rhythmic although the two

1218
00:55:41,400 --> 00:55:43,520
Speaker 2: of them also broke up as a couple and they

1219
00:55:43,840 --> 00:55:46,640
Speaker 2: continued to work together, and he says the lyrics reflected

1220
00:55:46,680 --> 00:55:48,560
Speaker 2: the unhappy time after the breakup of.

1221
00:55:48,600 --> 00:55:51,720
Speaker 25: The Tourists break up the band, not so much.

1222
00:55:53,280 --> 00:55:55,640
Speaker 5: When she felt they were in a dream world.

1223
00:55:56,200 --> 00:55:59,360
Speaker 4: Interesting she is talking about that point in their careers.

1224
00:55:59,480 --> 00:56:03,600
Speaker 34: It was a that dreaming of an aspirational dream everybody

1225
00:56:03,719 --> 00:56:06,239
Speaker 34: has and then whether or not it comes true, whether

1226
00:56:06,320 --> 00:56:09,000
Speaker 34: it or not, it is fulfilled. And the case of

1227
00:56:09,040 --> 00:56:13,920
Speaker 34: sweet Dreams, ironically, what the song was all about actually

1228
00:56:14,160 --> 00:56:17,239
Speaker 34: fulfilled itself, which is so strange. And I think about

1229
00:56:17,239 --> 00:56:18,040
Speaker 34: it because at.

1230
00:56:17,960 --> 00:56:19,799
Speaker 12: The time I really had no.

1231
00:56:21,440 --> 00:56:24,279
Speaker 34: Thoughts that the song would have such a sort of

1232
00:56:24,520 --> 00:56:26,120
Speaker 34: powerful trajectory.

1233
00:56:26,719 --> 00:56:30,440
Speaker 4: Well, certainly resonates in so many places around the globe.

1234
00:56:30,480 --> 00:56:32,239
Speaker 3: I know, why do you think that is?

1235
00:56:32,400 --> 00:56:35,040
Speaker 34: You know, it's so interesting. It's something about sweet dreams

1236
00:56:35,800 --> 00:56:39,520
Speaker 34: that people latch onto, that they identify with, and whether

1237
00:56:39,600 --> 00:56:42,320
Speaker 34: it's because they want to celebrate a victory from a

1238
00:56:42,360 --> 00:56:45,800
Speaker 34: football match or it's someone's birthday. I don't really know,

1239
00:56:46,040 --> 00:56:48,680
Speaker 34: but there's something in the song that people just love.

1240
00:56:48,760 --> 00:56:51,480
Speaker 34: And it's a very peculiar song because it's like a

1241
00:56:51,520 --> 00:56:53,680
Speaker 34: little mandra It just goes around and around. It just

1242
00:56:53,680 --> 00:56:56,120
Speaker 34: says the same thing over and over, and people just

1243
00:56:56,239 --> 00:56:57,680
Speaker 34: have identified with it.

1244
00:56:58,520 --> 00:57:00,439
Speaker 4: I think she's selling herself a bit short because there's

1245
00:57:00,520 --> 00:57:03,720
Speaker 4: that magnificent voice as well. Yes, Louis, doesn't it exactly

1246
00:57:03,880 --> 00:57:06,400
Speaker 4: absolutely lose you in there? Dive Stewart as and he

1247
00:57:06,480 --> 00:57:08,799
Speaker 4: said there a couple of times he's in extraordinary talent

1248
00:57:09,000 --> 00:57:10,480
Speaker 4: and he's proven that for the rest of his career

1249
00:57:10,520 --> 00:57:13,640
Speaker 4: as well. But sometimes the best things happen in the studio,

1250
00:57:13,880 --> 00:57:15,520
Speaker 4: and it might not even be your equipment that you

1251
00:57:15,640 --> 00:57:17,720
Speaker 4: meant to be tampering with that can come up with

1252
00:57:17,840 --> 00:57:18,280
Speaker 4: great song.

1253
00:57:18,400 --> 00:57:24,960
Speaker 35: I started to play this little thing, but then Annie

1254
00:57:25,000 --> 00:57:29,040
Speaker 35: recently left to her feet, going holy and then round.

1255
00:57:29,120 --> 00:57:31,800
Speaker 35: So there's synthesizer which wasn't ours. We weren't allowed to

1256
00:57:31,840 --> 00:57:34,440
Speaker 35: switch it on, and when we switched it on, the

1257
00:57:34,600 --> 00:57:38,240
Speaker 35: sound that was there was magically the other sound, which

1258
00:57:40,280 --> 00:57:45,040
Speaker 35: right now, remember we only had seven tracks on an

1259
00:57:45,080 --> 00:57:48,960
Speaker 35: eight track tape recorder, so but by recording only three tracks,

1260
00:57:49,120 --> 00:57:51,640
Speaker 35: they sounded like this which there's those two sequences and

1261
00:57:51,680 --> 00:57:52,160
Speaker 35: the drums.

1262
00:57:57,600 --> 00:58:00,600
Speaker 4: Wow, isn't unreal to hear that equivalent? That's so damn

1263
00:58:00,680 --> 00:58:01,920
Speaker 4: good hearing in the studio like that.

1264
00:58:01,960 --> 00:58:02,360
Speaker 25: Amazing.

1265
00:58:02,560 --> 00:58:03,600
Speaker 4: Yeah, very very cool.

1266
00:58:05,000 --> 00:58:08,760
Speaker 1: Let me tell you a story on time Cley releases

1267
00:58:09,000 --> 00:58:10,720
Speaker 1: the story behind the song.

1268
00:58:11,040 --> 00:58:14,760
Speaker 5: The song in question today is in the Air Tonight.

1269
00:58:15,200 --> 00:58:19,400
Speaker 2: It was Phil Collins' debut solo single, and it was

1270
00:58:19,480 --> 00:58:23,640
Speaker 2: released as the lead single from Collins' debut solo album,

1271
00:58:23,800 --> 00:58:27,560
Speaker 2: Face Value, all the way back in January nineteen eighty one.

1272
00:58:27,800 --> 00:58:30,080
Speaker 4: Because he had his name, his reputation as the drummer

1273
00:58:30,120 --> 00:58:32,200
Speaker 4: and then singer of course with Genesis before that, and

1274
00:58:32,320 --> 00:58:32,840
Speaker 4: he went solo.

1275
00:58:33,120 --> 00:58:37,320
Speaker 2: So In the to Night reached number one in Austria, Germany, Switzerland,

1276
00:58:37,360 --> 00:58:40,439
Speaker 2: and Sweden, number two in Canada, and the top ten

1277
00:58:40,560 --> 00:58:43,520
Speaker 2: in Australia, New Zealand and several other European territories, that

1278
00:58:43,600 --> 00:58:46,440
Speaker 2: reached number nineteen in the United States. In the e

1279
00:58:46,520 --> 00:58:50,640
Speaker 2: Tonight is one of Collins's best known hits, often cited

1280
00:58:50,760 --> 00:58:54,680
Speaker 2: as his signature song, and is especially famous for its

1281
00:58:54,840 --> 00:58:55,439
Speaker 2: drum break.

1282
00:58:55,720 --> 00:58:58,640
Speaker 16: The sound was different from many other records that was

1283
00:58:58,680 --> 00:58:59,439
Speaker 16: around a the time.

1284
00:59:00,440 --> 00:59:02,680
Speaker 5: Drums really normally.

1285
00:59:02,400 --> 00:59:05,760
Speaker 16: Were recorded in acoustically perfect surroundings, you know, that was

1286
00:59:05,800 --> 00:59:09,600
Speaker 16: the way you know, studios were built. But there was

1287
00:59:09,840 --> 00:59:12,120
Speaker 16: a studio in London called the Townhouse which had this

1288
00:59:12,480 --> 00:59:16,640
Speaker 16: stone room, and that's where I'd recorded with Peter Gabriel.

1289
00:59:17,080 --> 00:59:18,760
Speaker 16: You know, I was his drummer for a little while

1290
00:59:18,800 --> 00:59:22,680
Speaker 16: when he couldn't afford American musicians. So he invited me

1291
00:59:22,760 --> 00:59:24,800
Speaker 16: to play on some tracks on that album, which was

1292
00:59:24,840 --> 00:59:28,040
Speaker 16: his third album, and there was a song called Intruder

1293
00:59:28,160 --> 00:59:32,200
Speaker 16: on that which was basically my drum part and a

1294
00:59:32,280 --> 00:59:35,160
Speaker 16: song he adapted to fit it. But I fell in

1295
00:59:35,280 --> 00:59:38,040
Speaker 16: love with the engineer who got this sound. So when

1296
00:59:38,080 --> 00:59:40,600
Speaker 16: I did my solo album, I know got together with

1297
00:59:40,720 --> 00:59:43,880
Speaker 16: him and we did face value together. So when we

1298
00:59:43,960 --> 00:59:46,040
Speaker 16: did In the Air Tonight, you know, we got sat

1299
00:59:46,160 --> 00:59:48,360
Speaker 16: up set up in the live room and I was

1300
00:59:48,440 --> 00:59:55,640
Speaker 16: playing from and he was getting the sound. And then

1301
00:59:55,680 --> 00:59:58,000
Speaker 16: when we came to record, I did a drum fill

1302
00:59:59,240 --> 01:00:05,919
Speaker 16: into my intro and that film was and we thought

1303
01:00:05,960 --> 01:00:06,480
Speaker 16: that sounds good.

1304
01:00:06,640 --> 01:00:08,720
Speaker 4: It's a feel even bad drummers can.

1305
01:00:08,720 --> 01:00:12,080
Speaker 5: Play lo word play, it's a drum fill, it's a

1306
01:00:12,120 --> 01:00:12,600
Speaker 5: phil drum.

1307
01:00:12,680 --> 01:00:15,200
Speaker 4: We love even and it ended up on the Cabriad

1308
01:00:15,280 --> 01:00:16,400
Speaker 4: with the guy in the gorilla suit.

1309
01:00:16,280 --> 01:00:19,240
Speaker 5: Playing yeah the inspiration.

1310
01:00:20,240 --> 01:00:23,240
Speaker 2: Collins wrote the song amid the grief he felt after

1311
01:00:23,360 --> 01:00:27,240
Speaker 2: divorcing his first wife, Andrea Bertarelli.

1312
01:00:27,040 --> 01:00:27,960
Speaker 25: In nineteen eighty.

1313
01:00:28,440 --> 01:00:30,320
Speaker 2: In an interview in twenty sixteen, he said of the

1314
01:00:30,360 --> 01:00:33,479
Speaker 2: song's lyrics, I wrote the lyrics spontaneously. I'm not quite

1315
01:00:33,520 --> 01:00:35,160
Speaker 2: sure what the song is about, but there was a

1316
01:00:35,200 --> 01:00:37,560
Speaker 2: lot of anger, a lot of despair, and a.

1317
01:00:37,560 --> 01:00:40,520
Speaker 5: Lot of frustration. But there are also a lot of

1318
01:00:40,720 --> 01:00:41,480
Speaker 5: urban legends.

1319
01:00:42,320 --> 01:00:45,400
Speaker 2: We've all heard the myths about this song, the main

1320
01:00:45,560 --> 01:00:48,880
Speaker 2: one being that story that the lyrics are based on

1321
01:00:49,160 --> 01:00:53,360
Speaker 2: an incident where someone drowned and someone was close enough

1322
01:00:53,800 --> 01:00:57,400
Speaker 2: to help save the victim but did not say help

1323
01:00:57,920 --> 01:00:58,919
Speaker 2: while Collins.

1324
01:00:58,600 --> 01:01:00,960
Speaker 4: Who was too far away to help, he looked on

1325
01:01:01,400 --> 01:01:04,680
Speaker 4: right and you everything, And it was supposedly roughly documented

1326
01:01:04,720 --> 01:01:05,080
Speaker 4: around that.

1327
01:01:05,320 --> 01:01:05,480
Speaker 13: Yeah.

1328
01:01:05,560 --> 01:01:05,760
Speaker 7: See.

1329
01:01:05,960 --> 01:01:09,320
Speaker 25: He had this discussion with Jimmy Kimmel on his Tonight show.

1330
01:01:09,520 --> 01:01:11,520
Speaker 4: Yeah, is this true, that this is what happens?

1331
01:01:11,640 --> 01:01:13,760
Speaker 36: When I heard you were you were on your outside

1332
01:01:13,800 --> 01:01:16,320
Speaker 36: at night and there's a dot you saw somebody saw

1333
01:01:16,400 --> 01:01:17,480
Speaker 36: someone drowning.

1334
01:01:17,440 --> 01:01:20,160
Speaker 1: And he didn't Yeah, and he let him drown.

1335
01:01:20,720 --> 01:01:22,520
Speaker 4: He let him drown and you go and you watch

1336
01:01:22,600 --> 01:01:23,000
Speaker 4: the man.

1337
01:01:23,040 --> 01:01:25,480
Speaker 3: Basically murder somebody. And then so instead of.

1338
01:01:25,520 --> 01:01:29,200
Speaker 36: Calling the authorities, you invited the man stranger to your

1339
01:01:29,280 --> 01:01:30,600
Speaker 36: concert and then.

1340
01:01:31,120 --> 01:01:32,040
Speaker 12: Shone the lights on him.

1341
01:01:32,120 --> 01:01:34,000
Speaker 1: He showed, yes, you shone a light on it.

1342
01:01:34,480 --> 01:01:36,160
Speaker 37: And you're saying in the earth, then you go, I

1343
01:01:36,240 --> 01:01:39,320
Speaker 37: know what you did, buddy, Oh my god.

1344
01:01:39,800 --> 01:01:42,080
Speaker 12: Okay, that is the best story I've ever heard of

1345
01:01:42,080 --> 01:01:42,400
Speaker 12: it I know.

1346
01:01:42,960 --> 01:01:49,560
Speaker 16: Unfortunately none of it is true. What you know, I

1347
01:01:49,760 --> 01:01:53,880
Speaker 16: was just pissed off, you know, I was angry at what. Well,

1348
01:01:54,000 --> 01:01:57,840
Speaker 16: you know, you go through a divorce and you know,

1349
01:01:58,040 --> 01:02:01,000
Speaker 16: sometimes it's like I love you, I love you, love you,

1350
01:02:01,080 --> 01:02:05,160
Speaker 16: don't hang up, and then it's like, well you yeah,

1351
01:02:06,320 --> 01:02:08,160
Speaker 16: And then of course that's when a song like in

1352
01:02:08,200 --> 01:02:09,040
Speaker 16: the Air Tonight comes out.

1353
01:02:09,040 --> 01:02:10,680
Speaker 12: There's obviously a lot of anger in there.

1354
01:02:11,080 --> 01:02:12,720
Speaker 4: Well, yes, a bit of anger. He's written a lot

1355
01:02:12,760 --> 01:02:16,120
Speaker 4: of love songs and break up once with Jimmy fallon there.

1356
01:02:16,760 --> 01:02:20,200
Speaker 2: So the myth went that he then spotted the guy

1357
01:02:20,240 --> 01:02:25,640
Speaker 2: at a concert in the audience, the audience. Even Eminem

1358
01:02:26,000 --> 01:02:29,000
Speaker 2: references in his song Stan where he talks about you

1359
01:02:29,080 --> 01:02:31,000
Speaker 2: know the song by Phil Collins in the Air Tonight

1360
01:02:31,040 --> 01:02:32,680
Speaker 2: about that guy who could have saved that other guy

1361
01:02:32,720 --> 01:02:33,280
Speaker 2: from drowning.

1362
01:02:33,520 --> 01:02:33,800
Speaker 3: Didn't.

1363
01:02:33,880 --> 01:02:34,720
Speaker 5: Then Phil saw it all.

1364
01:02:34,760 --> 01:02:36,240
Speaker 25: Then at a show we found him.

1365
01:02:37,720 --> 01:02:38,280
Speaker 4: So bizart.

1366
01:02:38,760 --> 01:02:40,560
Speaker 5: This wasn't about that, No, no, it wasn't.

1367
01:02:40,680 --> 01:02:42,480
Speaker 4: But the song got even bigger when it was on

1368
01:02:42,520 --> 01:02:45,160
Speaker 4: the pilot of Miami Vice. The old Crockett and Tubs.

1369
01:02:45,800 --> 01:02:48,200
Speaker 4: I don't remember that almost the whole song on there.

1370
01:02:48,200 --> 01:02:50,919
Speaker 4: And it's funny how eventually Phil ended up acting. Because

1371
01:02:50,920 --> 01:02:52,920
Speaker 4: Phil was a bit of a child actor, he ended

1372
01:02:53,000 --> 01:02:56,600
Speaker 4: up acting on an episode of Miami Vice. But I

1373
01:02:56,760 --> 01:02:58,200
Speaker 4: used it was one of the first times a song,

1374
01:02:58,280 --> 01:03:00,400
Speaker 4: the popul rock song had been used almost in ittoed

1375
01:03:00,680 --> 01:03:02,800
Speaker 4: in the TV show Well that's a groundbreaker.

1376
01:03:03,320 --> 01:03:04,800
Speaker 25: It's not a short one, it's not.

1377
01:03:05,240 --> 01:03:06,360
Speaker 4: It's not what a classic.

1378
01:03:06,760 --> 01:03:10,560
Speaker 1: Let me tell you a story on time and leases

1379
01:03:10,800 --> 01:03:11,760
Speaker 1: the story.

1380
01:03:11,560 --> 01:03:14,800
Speaker 5: Behind the song, and that story behind the song.

1381
01:03:15,160 --> 01:03:18,479
Speaker 2: Song today is Stupid Girls by Pink from a fourth

1382
01:03:18,600 --> 01:03:21,560
Speaker 2: studio album I'm Not Dead. It was released in February

1383
01:03:21,600 --> 01:03:25,600
Speaker 2: two thousand and six. It introduces a more provocative, feminist

1384
01:03:25,760 --> 01:03:29,800
Speaker 2: and explicit side of Pink Lyrically, it condemns sexism and

1385
01:03:29,920 --> 01:03:31,240
Speaker 2: it encourages.

1386
01:03:30,840 --> 01:03:33,160
Speaker 25: Women not to dumb it down.

1387
01:03:33,920 --> 01:03:37,280
Speaker 2: The music video features Pink in a variety of roles,

1388
01:03:37,320 --> 01:03:39,840
Speaker 2: both as an angel and a demon, and a variety

1389
01:03:40,040 --> 01:03:43,760
Speaker 2: of celebrities. Some of the negatively portrayed characters in the

1390
01:03:43,840 --> 01:03:47,680
Speaker 2: video are parodies of young female celebrities of the time

1391
01:03:48,160 --> 01:03:49,840
Speaker 2: that didn't necessarily go down.

1392
01:03:49,960 --> 01:03:52,600
Speaker 14: Well, did you ever hear from any of the girls

1393
01:03:52,720 --> 01:03:55,120
Speaker 14: you parodied in a music video for Stupid Girl?

1394
01:03:55,480 --> 01:03:55,840
Speaker 3: I did.

1395
01:03:56,160 --> 01:04:00,520
Speaker 5: Actually, Paris was upset with me. She was what did

1396
01:04:00,560 --> 01:04:02,080
Speaker 5: she say? And how did you hear from her?

1397
01:04:02,480 --> 01:04:03,320
Speaker 25: I was at a club.

1398
01:04:04,400 --> 01:04:06,600
Speaker 38: She said, I just want you to know that I

1399
01:04:06,720 --> 01:04:08,880
Speaker 38: get it, like, I'm not dumb. I just play like

1400
01:04:08,920 --> 01:04:11,360
Speaker 38: I'm dumb. And I was like, that's kind of my point,

1401
01:04:12,360 --> 01:04:14,880
Speaker 38: right right, I'm gonna.

1402
01:04:14,680 --> 01:04:18,520
Speaker 5: Go good to see fair enough too.

1403
01:04:19,560 --> 01:04:22,520
Speaker 4: It is so true and all guy's hand in hand

1404
01:04:22,560 --> 01:04:25,560
Speaker 4: with the Yeah, it's been well documented why she has

1405
01:04:25,840 --> 01:04:28,640
Speaker 4: rised her daughter Willow, who she's performed with, and you

1406
01:04:28,720 --> 01:04:31,160
Speaker 4: know the strong messages and't why played dumb when you

1407
01:04:31,200 --> 01:04:31,640
Speaker 4: don't have to?

1408
01:04:32,040 --> 01:04:35,720
Speaker 25: Don't dumb it down. I think she had this discussion

1409
01:04:35,760 --> 01:04:36,480
Speaker 25: with Andrew Denton.

1410
01:04:36,840 --> 01:04:38,880
Speaker 38: There's one force fed image of what a woman is

1411
01:04:38,880 --> 01:04:40,800
Speaker 38: supposed to look like, how she's supposed to act, how

1412
01:04:40,840 --> 01:04:43,040
Speaker 38: many big words she's allowed to use in this paragraph

1413
01:04:43,320 --> 01:04:47,080
Speaker 38: what shoes she should have in order to be sexy,

1414
01:04:47,120 --> 01:04:50,120
Speaker 38: you have to be stupid, in order to be successful,

1415
01:04:50,440 --> 01:04:53,000
Speaker 38: be less challenging, don't contribute anything to the world because

1416
01:04:53,040 --> 01:04:57,960
Speaker 38: it's not cute. Just all of these just perpetuating stereotypes

1417
01:04:58,040 --> 01:05:00,720
Speaker 38: that I just find so boring and so nauseating.

1418
01:05:00,920 --> 01:05:03,800
Speaker 24: Yeah, there's references, very clear references, and that clipper, you know,

1419
01:05:03,920 --> 01:05:07,640
Speaker 24: to all our favorites, Paris Hilton and Jessica and Nicole

1420
01:05:07,760 --> 01:05:08,200
Speaker 24: richids On.

1421
01:05:08,320 --> 01:05:09,400
Speaker 5: Have you met any of these girls?

1422
01:05:09,600 --> 01:05:11,760
Speaker 38: Yes, And I don't think any of them are stupid.

1423
01:05:11,920 --> 01:05:14,480
Speaker 38: So you can't be that successful and be that's and

1424
01:05:14,640 --> 01:05:16,640
Speaker 38: be stupid. I think it's an act, and it's the

1425
01:05:16,760 --> 01:05:17,880
Speaker 38: act that I can't respect.

1426
01:05:18,200 --> 01:05:22,080
Speaker 4: Hmm, exactly, self explainatory. Thank you, Pink Pink.

1427
01:05:22,360 --> 01:05:23,640
Speaker 3: Let me tell you a story.

1428
01:05:24,240 --> 01:05:27,360
Speaker 1: On Time, Cleary releases the story.

1429
01:05:27,120 --> 01:05:28,080
Speaker 3: Behind the song.

1430
01:05:28,560 --> 01:05:32,880
Speaker 2: Today's song is Sunday Bloody Sunday by You Two. It

1431
01:05:33,000 --> 01:05:36,400
Speaker 2: is the opening track from their nineteen eighty three album War,

1432
01:05:36,960 --> 01:05:40,200
Speaker 2: one of You Two's most overtly political songs. Its lyrics

1433
01:05:40,240 --> 01:05:43,400
Speaker 2: described the horror felt by an observer of the troubles

1434
01:05:43,680 --> 01:05:46,800
Speaker 2: in Northern Ireland, mainly focusing on the nineteen seventy two

1435
01:05:46,880 --> 01:05:49,600
Speaker 2: Bloody Sunday incident in Derry, where British troops shot and

1436
01:05:49,680 --> 01:05:52,240
Speaker 2: killed unarmed civil rights protesters.

1437
01:05:52,440 --> 01:05:52,640
Speaker 3: Yeah.

1438
01:05:52,640 --> 01:05:55,600
Speaker 4: Absolutely. Bono has said in the past that he himself

1439
01:05:55,680 --> 01:05:58,040
Speaker 4: believes he's a militant pacifist, which I thought it was

1440
01:05:58,080 --> 01:06:00,440
Speaker 4: an interesting way of putting it, but it didn't mean

1441
01:06:00,480 --> 01:06:02,720
Speaker 4: that he didn't get very, very strong in the way

1442
01:06:02,800 --> 01:06:05,400
Speaker 4: that he wrote his lyrics and also worked with those

1443
01:06:05,600 --> 01:06:08,120
Speaker 4: riffs that the age came up with. Yeah, he's born

1444
01:06:08,280 --> 01:06:09,960
Speaker 4: talking about the writing of Sunday Bloody Sunday.

1445
01:06:10,000 --> 01:06:14,480
Speaker 36: When we wrote Sunday Bloody Sunday, I just tried as

1446
01:06:14,520 --> 01:06:15,240
Speaker 36: a lyriciz.

1447
01:06:15,560 --> 01:06:17,520
Speaker 1: It's not much of a lyric really, but it.

1448
01:06:19,000 --> 01:06:24,520
Speaker 36: Has one original thought, which is it contrasts Easter Sunday,

1449
01:06:25,960 --> 01:06:30,680
Speaker 36: which was the rising in Ireland. It's one hundred years

1450
01:06:30,760 --> 01:06:33,960
Speaker 36: actually in twenty sixteen, one hundred years since nineteen sixteen

1451
01:06:33,960 --> 01:06:38,920
Speaker 36: when Ireland rose up at Easter in revolt against Britain,

1452
01:06:39,840 --> 01:06:45,400
Speaker 36: and it can trast Sunday Bloody Sunday, which was a

1453
01:06:45,560 --> 01:06:51,919
Speaker 36: massacre that happened in Derry in the early seventies where

1454
01:06:52,040 --> 01:06:58,280
Speaker 36: British paratroopers opened fire on a peaceful protest. It can

1455
01:06:58,360 --> 01:07:06,800
Speaker 36: trast these events with the resurrection, and that was that

1456
01:07:06,960 --> 01:07:08,920
Speaker 36: was a bit of a trip. I think that was

1457
01:07:08,960 --> 01:07:10,600
Speaker 36: audacious at the very least to do that.

1458
01:07:11,480 --> 01:07:15,400
Speaker 2: During its earliest performances, Sunday Bloody Sunday did create controversy.

1459
01:07:15,440 --> 01:07:16,160
Speaker 25: As you can imagine.

1460
01:07:16,200 --> 01:07:19,440
Speaker 2: Bono reasserted the song's anti sectarian violence message to his

1461
01:07:19,520 --> 01:07:22,560
Speaker 2: audience for many years, but drummer Larry Mullen said of

1462
01:07:22,600 --> 01:07:25,840
Speaker 2: the song, where into the politics of people. We're not

1463
01:07:26,080 --> 01:07:30,120
Speaker 2: into politics. You talk about Sunday Bloody Sunday, and people

1464
01:07:30,240 --> 01:07:32,800
Speaker 2: think all that time when thirteen Catholics were shot by

1465
01:07:32,840 --> 01:07:34,400
Speaker 2: British soldiers, that's.

1466
01:07:34,240 --> 01:07:35,360
Speaker 25: Not what the song is about.

1467
01:07:35,480 --> 01:07:38,120
Speaker 2: That is an incident to the most famous incident in

1468
01:07:38,200 --> 01:07:41,160
Speaker 2: Northern Ireland, and it is the strongest way of saying,

1469
01:07:41,320 --> 01:07:43,520
Speaker 2: how long, how long do we have to.

1470
01:07:43,520 --> 01:07:44,160
Speaker 25: Put up with this?

1471
01:07:44,600 --> 01:07:47,640
Speaker 2: He said, Let's forget the politics, let's just stop shooting

1472
01:07:47,680 --> 01:07:51,080
Speaker 2: each other. And I guess that's why Bono thinks the

1473
01:07:51,160 --> 01:07:53,480
Speaker 2: song has taken on new meaning in later years.

1474
01:07:54,000 --> 01:07:57,160
Speaker 37: Believe suddenly the song has taken on a completely new

1475
01:07:57,800 --> 01:08:02,960
Speaker 37: found meaning on the US and experience to sing it

1476
01:08:03,040 --> 01:08:05,320
Speaker 37: from this other place take away the.

1477
01:08:06,840 --> 01:08:09,320
Speaker 1: Kind of rock and roll approach is more acoustic.

1478
01:08:10,880 --> 01:08:12,280
Speaker 19: And it.

1479
01:08:14,440 --> 01:08:17,360
Speaker 36: Seems to mean more now that we have peace. It

1480
01:08:17,520 --> 01:08:20,040
Speaker 36: reminds people, and we used images on the tour to

1481
01:08:20,160 --> 01:08:24,519
Speaker 36: remind people of where this song came from. It reminds

1482
01:08:24,600 --> 01:08:29,120
Speaker 36: people that the hope I was playing that that the

1483
01:08:29,280 --> 01:08:33,599
Speaker 36: division is never physical.

1484
01:08:33,800 --> 01:08:34,400
Speaker 4: Like a border.

1485
01:08:35,120 --> 01:08:37,840
Speaker 36: Real borders are in people's hearts, the way we see

1486
01:08:37,880 --> 01:08:42,080
Speaker 36: each other. And and I think that's that can be

1487
01:08:42,120 --> 01:08:47,600
Speaker 36: applied to to all kinds of situations.

1488
01:08:48,120 --> 01:08:49,880
Speaker 4: When they started working on the album, the War album,

1489
01:08:50,040 --> 01:08:52,639
Speaker 4: Bono and He's why then from you know, new wife

1490
01:08:52,680 --> 01:08:57,760
Speaker 4: Ali were in the Caribbean on holidays, so Edge stayed

1491
01:08:57,760 --> 01:08:59,120
Speaker 4: at time. It would have been a very different album

1492
01:08:59,160 --> 01:09:01,880
Speaker 4: if Edge of being a holiday in Jamaica as well.

1493
01:09:02,920 --> 01:09:06,879
Speaker 5: You know, he stated a very different honeymoon too, having.

1494
01:09:06,720 --> 01:09:08,160
Speaker 4: Three of them there, Well they were you too, so

1495
01:09:08,400 --> 01:09:09,280
Speaker 4: are you? Three would have been on.

1496
01:09:10,160 --> 01:09:14,000
Speaker 1: Let me tell you a story on time, Coy andleases

1497
01:09:14,200 --> 01:09:15,920
Speaker 1: the story behind the song.

1498
01:09:16,479 --> 01:09:19,519
Speaker 2: This morning we were talking about great Australian songs off

1499
01:09:19,560 --> 01:09:21,240
Speaker 2: the back of g Flip winning Song of.

1500
01:09:21,240 --> 01:09:23,720
Speaker 5: The Year at the Arias and last night and this

1501
01:09:23,920 --> 01:09:24,639
Speaker 5: one came.

1502
01:09:24,600 --> 01:09:28,439
Speaker 4: Up more than a few times, a few votes in.

1503
01:09:28,479 --> 01:09:32,000
Speaker 2: It Great Southern Land by ice House was released on

1504
01:09:32,439 --> 01:09:35,439
Speaker 2: in August nineteen eighty two as the lead single from

1505
01:09:35,479 --> 01:09:38,519
Speaker 2: their second studio album, Primitive Man. It peaked at number

1506
01:09:38,560 --> 01:09:41,080
Speaker 2: five on the Australian Singles Chart. At the nineteen eighty

1507
01:09:41,120 --> 01:09:44,439
Speaker 2: two Countdown Music Awards, the song was nominated for Best

1508
01:09:44,600 --> 01:09:48,880
Speaker 2: Australian Single. When it came out, The Guardian wrote, many

1509
01:09:48,920 --> 01:09:52,080
Speaker 2: great Australian songs couldn't sound more different to the circumstances

1510
01:09:52,120 --> 01:09:53,760
Speaker 2: in which they were dreamed up, and none more so

1511
01:09:53,920 --> 01:09:56,599
Speaker 2: than ice House's nineteen eighty two classic Great Southern Land.

1512
01:09:56,880 --> 01:09:59,679
Speaker 2: While the song evokes the vast emptiness of the nation's

1513
01:09:59,720 --> 01:10:02,920
Speaker 2: cu It was written and recorded in Iva Davies' living

1514
01:10:03,000 --> 01:10:06,679
Speaker 2: room in the inner Sydney suburb of Leichhart, right under

1515
01:10:06,720 --> 01:10:08,000
Speaker 2: the airport flight path.

1516
01:10:08,400 --> 01:10:10,560
Speaker 5: Isn't that funny? So different than the subject matter? And

1517
01:10:10,640 --> 01:10:12,000
Speaker 5: then we were playing going over.

1518
01:10:12,720 --> 01:10:15,920
Speaker 2: Apparently Iver frequently had to stop the tape as the

1519
01:10:16,040 --> 01:10:19,320
Speaker 2: roar of the engines made the houses foundations rattle.

1520
01:10:19,920 --> 01:10:22,439
Speaker 4: Called it Great Southern Airlines? Should he? Yeah, he's ever

1521
01:10:22,520 --> 01:10:24,360
Speaker 4: talking about his original inspiration for the song.

1522
01:10:24,400 --> 01:10:27,400
Speaker 39: It's much easier to see in hindsight sort of where

1523
01:10:27,439 --> 01:10:30,240
Speaker 39: it came from because we went on that first international tour.

1524
01:10:30,240 --> 01:10:32,080
Speaker 39: It was the first time I'd been away from Australia

1525
01:10:32,280 --> 01:10:34,839
Speaker 39: for any length of time. And I remember the flying

1526
01:10:35,280 --> 01:10:38,559
Speaker 39: from Sydney to Perth. I remember sort of being interested

1527
01:10:38,600 --> 01:10:40,160
Speaker 39: to look out the window until the point where we

1528
01:10:40,200 --> 01:10:42,559
Speaker 39: got to what looked like desert, not much in particular,

1529
01:10:43,160 --> 01:10:45,960
Speaker 39: and I fell asleep over the desert, not much in particular,

1530
01:10:45,960 --> 01:10:47,720
Speaker 39: and I didn't wake up for two hours, and when

1531
01:10:47,760 --> 01:10:49,519
Speaker 39: I looked out again, we were still over desert and

1532
01:10:49,560 --> 01:10:51,080
Speaker 39: not much in particular. And I think it was that

1533
01:10:51,960 --> 01:10:55,439
Speaker 39: it was that moment, that light bulb moment when I

1534
01:10:55,760 --> 01:10:59,759
Speaker 39: suddenly went, oh my goodness, the scale of the continent,

1535
01:11:00,680 --> 01:11:03,400
Speaker 39: you know, was suddenly very real.

1536
01:11:03,960 --> 01:11:05,280
Speaker 4: It's a damn big continent.

1537
01:11:05,520 --> 01:11:06,280
Speaker 25: It's a very big.

1538
01:11:06,479 --> 01:11:10,000
Speaker 4: It was the moment where he went wow, yeah, how incredible.

1539
01:11:10,080 --> 01:11:10,280
Speaker 25: Yeah.

1540
01:11:10,600 --> 01:11:13,120
Speaker 4: Ten years ago this month was selected for inclusion in

1541
01:11:13,200 --> 01:11:16,720
Speaker 4: the Australian National Film and Sound Archives Sounds of Australia list.

1542
01:11:16,800 --> 01:11:18,000
Speaker 4: I think it's a pretty cool thing.

1543
01:11:17,960 --> 01:11:20,800
Speaker 25: To get it gone for absolutely belongs in there real

1544
01:11:21,080 --> 01:11:21,320
Speaker 25: and I.

1545
01:11:21,360 --> 01:11:23,880
Speaker 4: Do wonder if tomorrow when the Aussie Boys walk out.

1546
01:11:23,960 --> 01:11:26,439
Speaker 4: They often use this song down at Optus for the

1547
01:11:26,680 --> 01:11:28,920
Speaker 4: test Meason, it's India. If they play the song again

1548
01:11:28,960 --> 01:11:31,360
Speaker 4: tomorrow to start a new cricket summer, it seems to

1549
01:11:31,400 --> 01:11:31,720
Speaker 4: be one that.

1550
01:11:31,760 --> 01:11:35,800
Speaker 5: They do well. Iver didn't always think it would be

1551
01:11:35,840 --> 01:11:38,599
Speaker 5: a hit, and he told our own.

1552
01:11:38,479 --> 01:11:41,880
Speaker 4: Russell that I heard that you thought it might not

1553
01:11:41,960 --> 01:11:43,840
Speaker 4: actually work on the radio. You thought, no, no, no,

1554
01:11:44,640 --> 01:11:46,680
Speaker 4: it's a bit long. Even though the record company liked it.

1555
01:11:46,760 --> 01:11:49,280
Speaker 39: Right, everybody immediately liked it, but I was terrified of

1556
01:11:49,360 --> 01:11:51,880
Speaker 39: it because it was five minutes and fifteen seconds long. Now,

1557
01:11:51,920 --> 01:11:54,160
Speaker 39: and you have to imagine those days that the record

1558
01:11:54,240 --> 01:11:58,479
Speaker 39: company said, when you take a single into the radio station,

1559
01:11:58,600 --> 01:12:01,120
Speaker 39: what they'll do is that they'll look at label and

1560
01:12:01,240 --> 01:12:05,200
Speaker 39: if they see three point fifty nine seconds, three minutes

1561
01:12:05,200 --> 01:12:07,840
Speaker 39: fifty nine seconds, that's fine. If they see a four,

1562
01:12:08,160 --> 01:12:10,840
Speaker 39: forget it, they'll never play it. I was trying out

1563
01:12:10,880 --> 01:12:13,400
Speaker 39: a fire. We have a very long note that started

1564
01:12:13,479 --> 01:12:15,519
Speaker 39: the front of it, and the record company kind of

1565
01:12:16,600 --> 01:12:20,000
Speaker 39: discreetly tried to encourage me to edit the note off

1566
01:12:20,240 --> 01:12:22,680
Speaker 39: because it took care of about fifteen seconds on its own,

1567
01:12:23,160 --> 01:12:25,719
Speaker 39: and I'm very glad I didn't, because our keyboard player

1568
01:12:25,720 --> 01:12:28,559
Speaker 39: at that time a little while ago, said, I've never

1569
01:12:28,640 --> 01:12:30,639
Speaker 39: kind of dreamed of the idea that I could stand

1570
01:12:30,680 --> 01:12:34,000
Speaker 39: there and play one note and the entire audience would erupt.

1571
01:12:34,920 --> 01:12:36,360
Speaker 4: And that's exactly what happens.

1572
01:12:36,640 --> 01:12:39,120
Speaker 1: Let me tell you a story now on a time

1573
01:12:39,400 --> 01:12:41,640
Speaker 1: Clears the releases the story.

1574
01:12:41,439 --> 01:12:45,760
Speaker 2: Behind the song, the song behind the story behind the song.

1575
01:12:46,040 --> 01:12:50,040
Speaker 2: Today is Money for Nothing by Dire Straits, the second

1576
01:12:50,160 --> 01:12:53,040
Speaker 2: track on their fifth studio album, Brothers in Arms. It

1577
01:12:53,160 --> 01:12:56,559
Speaker 2: was released as the album's second single in June nineteen

1578
01:12:56,720 --> 01:12:59,720
Speaker 2: eighty five. Now the lyrics are written from the point

1579
01:12:59,720 --> 01:13:02,400
Speaker 2: of view you have two working classmen watching music videos

1580
01:13:02,680 --> 01:13:04,240
Speaker 2: and commenting on what they see.

1581
01:13:04,680 --> 01:13:08,960
Speaker 5: Yeah, I think Mark Knopfler.

1582
01:13:08,640 --> 01:13:11,000
Speaker 2: Can probably tell the story better as he did when

1583
01:13:11,040 --> 01:13:12,960
Speaker 2: he appeared on Parkinson in two thousand.

1584
01:13:13,680 --> 01:13:15,800
Speaker 17: Well, I was I was in New York and I

1585
01:13:15,920 --> 01:13:19,240
Speaker 17: was in a I was in a kitchen appliance store

1586
01:13:20,000 --> 01:13:23,759
Speaker 17: and it had a window, a kitchen window displaying the window,

1587
01:13:23,880 --> 01:13:27,000
Speaker 17: and then there'd be a row of microwaves or you know,

1588
01:13:27,439 --> 01:13:29,080
Speaker 17: cookies and things like that. And then at the back

1589
01:13:29,120 --> 01:13:30,960
Speaker 17: of the store it was a big wall of televisions

1590
01:13:31,080 --> 01:13:34,800
Speaker 17: or all tuned MTV. There was some bonehead who worked

1591
01:13:34,840 --> 01:13:37,600
Speaker 17: for the store at a great big, macho guy with

1592
01:13:37,760 --> 01:13:39,760
Speaker 17: a you know, with a check shirt on and a

1593
01:13:39,840 --> 01:13:42,439
Speaker 17: cap and a pair of workboots, and he'd been delivering

1594
01:13:42,479 --> 01:13:44,679
Speaker 17: stuff at the back and he so he was watching

1595
01:13:44,840 --> 01:13:47,840
Speaker 17: MTV and he was saying all these great lines about

1596
01:13:47,920 --> 01:13:49,880
Speaker 17: you know that ain't working, you know, that's the way

1597
01:13:49,920 --> 01:13:52,240
Speaker 17: you do it, and stuff like that, and what's that?

1598
01:13:52,439 --> 01:13:54,559
Speaker 4: What's that Hawaiian noises he was saying.

1599
01:13:54,640 --> 01:13:58,080
Speaker 17: And so I just thought it was so classic that

1600
01:13:58,600 --> 01:14:02,240
Speaker 17: I went and asked for a paper and started writing

1601
01:14:02,280 --> 01:14:03,120
Speaker 17: the lines.

1602
01:14:02,840 --> 01:14:06,560
Speaker 4: Down, started taking notes freehand. How good's that?

1603
01:14:07,000 --> 01:14:10,080
Speaker 2: It was din Strait's most commercially successful single, peaking at

1604
01:14:10,120 --> 01:14:12,000
Speaker 2: number one for three weeks on both the US and

1605
01:14:12,120 --> 01:14:15,519
Speaker 2: UK charts, picked at number four here. The songwriting credits

1606
01:14:15,560 --> 01:14:19,080
Speaker 2: a share between Mark Knopfler and Sting. According to Knopfler,

1607
01:14:19,160 --> 01:14:21,280
Speaker 2: he used the network slogan I Want my MTV after

1608
01:14:21,320 --> 01:14:24,320
Speaker 2: seeing an MTV ad featuring the police and setting it

1609
01:14:24,439 --> 01:14:26,519
Speaker 2: to the tune of Don't Stand So Close to Me,

1610
01:14:27,160 --> 01:14:29,679
Speaker 2: which is written by Sting, hence the co writing credit.

1611
01:14:30,160 --> 01:14:32,600
Speaker 2: But keyboard player Alan Clark claims the I Want My

1612
01:14:32,720 --> 01:14:33,559
Speaker 2: MTV intro.

1613
01:14:33,560 --> 01:14:35,240
Speaker 5: Was his idea, oh not Nophlin's.

1614
01:14:35,840 --> 01:14:39,160
Speaker 2: He says the song originally began with the guitar riff,

1615
01:14:39,560 --> 01:14:42,360
Speaker 2: and then he developed the intro on keyboards and saying

1616
01:14:42,360 --> 01:14:44,200
Speaker 2: I want my MTV on top during a break and

1617
01:14:44,280 --> 01:14:45,519
Speaker 2: rehearsals for the album.

1618
01:14:45,840 --> 01:14:47,439
Speaker 4: That's the kind of thing that will break a band.

1619
01:14:47,800 --> 01:14:49,320
Speaker 5: Absolutely either way.

1620
01:14:49,479 --> 01:14:53,000
Speaker 2: How awesome was it when Sting joined Dire Straits at

1621
01:14:53,160 --> 01:14:56,960
Speaker 2: Live Aid to perform the track, which would have been

1622
01:14:57,400 --> 01:14:59,120
Speaker 2: pretty much brand new at that time.

1623
01:15:14,840 --> 01:15:16,960
Speaker 25: Ah the way, he's just glad he got the co running.

1624
01:15:17,320 --> 01:15:18,519
Speaker 5: That's all he had to do, and it was a

1625
01:15:18,560 --> 01:15:19,280
Speaker 5: perfect voice for it.

1626
01:15:19,280 --> 01:15:21,439
Speaker 4: I remember seeing that movie Under the Volcano, which is

1627
01:15:21,479 --> 01:15:24,560
Speaker 4: about the studios in Onceerrat and as they're recording the

1628
01:15:24,640 --> 01:15:26,519
Speaker 4: song and they go, jeez, I wish Sting was here

1629
01:15:26,560 --> 01:15:28,960
Speaker 4: to do this bit. And someone goes, he's here. He's

1630
01:15:29,000 --> 01:15:30,840
Speaker 4: going to record later at this studio with the police,

1631
01:15:30,880 --> 01:15:33,080
Speaker 4: but he's on holidays. So they call him up, get

1632
01:15:33,200 --> 01:15:35,080
Speaker 4: him in and his wife Trudy said, that's going to

1633
01:15:35,120 --> 01:15:38,080
Speaker 4: be a huge hit. The Sting went, I don't know,

1634
01:15:38,479 --> 01:15:42,160
Speaker 4: maybe it's okay. How wrong he was, Well, it was

1635
01:15:42,240 --> 01:15:42,800
Speaker 4: a huge hit.

1636
01:15:43,080 --> 01:15:44,120
Speaker 25: It is a huge hitch.

1637
01:15:44,240 --> 01:15:45,599
Speaker 4: Yeah, And what a way to wrap up the story

1638
01:15:45,640 --> 01:15:46,240
Speaker 4: behind the song.