March 23, 2025 • 33 mins
The legendary sounds of Pink Floyd's "Another Brick in the Wall (Part 2)" come alive as we explore this revolutionary anthem that dominated airwaves and captivated a generation in 1980. This cultural phenomenon wasn't just a song – it was everywhere, playing in homes, game rooms, and wherever young people gathered to shout "We don't need no education!"
Delving into the innovative construction of the track, we unpack how Pink Floyd boldly incorporated a disco beat at a time when the genre was fading, creating something utterly transcendent with David Gilmour's guitar work and that unforgettable children's choir. The conceptual origins of "The Wall" reveal Roger Waters' growing alienation from audiences, which sparked his radical idea to build an actual wall between band and crowd during performances.
Our musical journey through March 1980 continues with explorations of Pat Benatar's "Heartbreaker," Van Halen's "Women and Children First" album, The Cure's "A Forest," and Rush's "The Spirit of Radio." Each track represents the incredible boundary-pushing innovation happening across music as a new decade dawned.
Whether you're rediscovering these classics or hearing these stories for the first time, this episode connects personal memories with musical milestones in ways that will have you reaching for your air guitar – or perhaps practicing your air drums with the proper technique! Join us for this nostalgic yet fresh look at some of rock's most transformative moments.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:24):
He's got the feeling in his toe-toe.
Speaker 2 (00:30):
He's got the feeling and it's out there growing.
Hey everybody, this is Jim Bogeand you're listening to Music
In my Shoes.
That was Vic Thrill kicking offepisode 71.
As always, I'm thrilled to behere with you.
Let's learn something new orremember something old you, yes,
(00:52):
you stand still, jimmy, I'msitting.
Well, sit still for me.
Then.
March 22nd 1980, pink Floyd'sAnother Brick in the Wall.
I knew that's what you weretalking about, by the way, part
two peaked at number one onBillboard Hot 100, remained
(01:12):
there for four weeks, so youknew.
Speaker 1 (01:15):
Yeah, I mean, if you don't eat your meat?
Speaker 2 (01:17):
You can't have any pudding.
Speaker 1 (01:19):
How can you have any pudding if you don't eat your
meat?
Speaker 2 (01:22):
This is another one of those songs that seemed to be
on the radio all the time in1980.
And not just on the radio.
If you went to someone's house,this song was on.
If you went to the game room Idon't know if you had game rooms
, of course you know you went tothe game room in 1980.
Yeah, boom, this song was on.
(01:43):
It was on everywhere and I lovethe song.
But I think that when you havea song that starts off with we
don't need no education, wedon't need no thought control.
It's like every young kid wantsto play this song and be like
listen to me.
Speaker 1 (02:01):
Right, I was in the sixth grade and I was shouting
that.
You know the top of my lungs soI was gonna ask.
Speaker 2 (02:09):
I mean, so did you?
You like the song?
Speaker 1 (02:11):
yeah that is good, I like that I like a lot of the
stuff on the wall it's a goodalbum.
Speaker 2 (02:17):
it really is so.
On this song with roger watersyou know his vocals and dav
Gilmour you know them combinedsounds fantastic.
Gilmour's outstanding guitarwork in the song and this
unexpected disco beat how couldit not end up being one of their
(02:38):
most popular songs?
Speaker 1 (02:40):
Yeah, they managed to pull off a disco beat without
it being a disco song.
Speaker 2 (02:45):
Right.
Is it a disco beat?
Or it is a disco beat For sure.
Yeah, there's no doubt about it.
Speaker 1 (02:51):
But it was kind of at a time when everybody knew that
disco was on the decline, likethey didn't care.
They're like no, we like thisbeat.
Speaker 2 (02:58):
Yeah, and a lot of rock bands around 1980 were like
, hey, let's do this, it's indecline, but the kids will like
it, so let's just do it.
So I remember when it came outhow I would work on my air
guitar for hours on end ofplaying the song, the guitar
(03:20):
part.
But in my mind how it goes theguitar part, but in my mind how
it goes, because I don't playguitar Right, so I don't know
exactly everything that happensto make the different sounds,
but in my head you interpretedthat.
And I mastered thatinterpretation.
I was like, look at me, I'mplaying the song so that you can
(03:43):
watch me air guitar to it, andnot just air guitar, not just do
that, but make the faces thatpeople make you know when
they're doing.
You know ba-da-dow, you knowlike you know he's squinting his
eyes and leaning back people.
Speaker 1 (03:59):
Yeah, so.
So wait a minute.
You practiced it so otherpeople could watch you do it.
Did they enjoy this?
I don't think so, or did youjust enjoy it?
I?
Speaker 2 (04:09):
think they kept saying oh man, you're really
good at that.
I absolutely loved it because Iwas like look at me, you can't
do this because you don'tpractice as hard as I do.
Now, maybe I should have justpracticed on a real guitar, but
I didn't.
I decided I was going to masterthe air guitar part Now.
After that, after that and I'mlike I am so good at this then I
(04:32):
learned how to do the air bassIn my mind, how the bass should
be.
I'm not joking, and just so youknow, I spent last night in my
kitchen trying to remember allthe parts and the way everything
went.
I'm not kidding with you, it'sthe truth, and I'm like I get
(04:56):
now when you see bands ormusicians that are older and
they need to have, you know, theteleprompters and everything,
because I forgot certain parts,like how, in my mind, they're
supposed to go, and I kind ofunderstand now I get it, I get
it.
So I think the addition of thechildren's choir gives it an
(05:21):
element that is just out of thisworld, because, being a young
kid you were a young kid at thetime too you almost feel like
you could be one of those kidssinging the song.
And you are singing the songalong with them.
You know everything about this.
Song is just awesome.
Now I had heard Tony Tennillefrom the Captain and Tennille oh
(05:46):
, love Will Keep Us Together.
Uh-huh, muskrat Love.
Speaker 1 (05:50):
Yes.
Speaker 2 (05:51):
That's got to be one of the worst songs ever.
Muskrat Love.
Speaker 1 (05:54):
Oh, my gosh Okay.
Speaker 2 (05:56):
I do love.
Speaker 1 (05:56):
My wife loves it, by the way.
It just reminds her of being alittle kid.
Speaker 2 (06:00):
Does it really?
Yeah, that's a great song.
I really like that song.
Anyway, true story.
I thought she was part of thechoir and that she was directing
the kids how to sing, and Ijust found out 45 years later
(06:21):
that she had nothing to do withthat song whatsoever.
Later that she had nothing todo with that song whatsoever.
She's on the album.
She sings backup vocals on foursongs her and Bruce Johnston
from the Beach Boys.
She was actually backing up theBeach Boys back in the day, and
something that I have believedfor all these years was not the
(06:45):
truth.
Speaker 1 (06:46):
Well, you know, you learn something new.
Speaker 2 (06:49):
You do, but you could not go look on the internet 45
years ago, couldn't look it upin a book.
Speaker 1 (06:56):
Yeah.
Speaker 2 (06:57):
It wasn't something to find out how many people.
Speaker 1 (07:01):
Do you think you told that Tony Tennille was the
leader of the choir on that?
Speaker 2 (07:06):
I have probably told enough that most people think
that's the truth.
Yeah, because I heard it from aDJ 45 years ago and again I've
said it before on the show.
You hear something from a DJback then it's as good as gold
and I have been telling peoplethat forever and people you know
have heard me say that and I amwrong.
(07:27):
So I just wanted to publiclysay I am wrong about it.
Speaker 1 (07:32):
You think the DJ has some sort of a team of
researchers behind him that'sfeeding perfect information?
They're just saying stuff.
Speaker 2 (07:41):
At the time, I did not know that yeah we didn't, I
didn't know, you know no, therewas no team, you know.
I mean, some DJs would put onIron Butterfly and A Gala De
Vida when they had to go to thebathroom, just because it was a
long song.
Well, that's smart, I guess itis smart.
But speaking of smart, not onlywas there another Brick in the
(08:03):
Wall Part 2, I guess you canassume that it was Part 1, but
there was also Part 3.
So on the album the Wall, whichcame out November 30th 1979,
and I believe it actually cameout like a week later in the US,
it's kind of contradictinginformation with it.
(08:24):
I've always thought it wasNovember 30th in my head, that's
what it's been, but I have seenin some places that it came out
a week later.
We don't know.
Speaker 1 (08:35):
Well, you might've had a record store that got the
import sooner Maybe.
Speaker 2 (08:40):
And it could have been so.
On the album you have anotherbrick in the wall, part one,
followed by the Happiest Days ofOur Lives, then Another Brick
in the Wall, part two, and thenthere's like six more songs
before they get to Another Brick, part three.
Now I think Happiest Daysshould have been the beginning
(09:05):
of Another Brick in the Wall,part two.
That's where it starts off withthe helicopter and it goes into
the whole thing.
Like to me, the song reallystarts there.
And that helicopter song, youknow, back in the day they
didn't have.
You know, what do you have nowtoday, jimmy?
You just push a button, you geta sound.
You know you can just buysounds.
Speaker 1 (09:24):
Right, yeah, yeah, you could get them, though, as
like in a studio.
They had LPs with sound effectson them.
Speaker 2 (09:32):
You're right, they did have that.
But in this case they sent anengineer to Edwards Air Force
Base in California and said hey,just record helicopters and
planes.
Record Helicopters and Planes.
And when you listen to thathelicopter it sounds so real
because it is.
But the way that they put it onthat album, you think that
(09:57):
helicopter is above you, whetheryou're in a car or in your home
or wherever you may be, likeit's right there.
They do such a great job withit.
I was in the car with myyoungest daughter the other day
and I sequenced my phone to playall three parts of Another
Brick with Happiest Days and shesays to me are we going to
(10:20):
listen to the same song allnight?
And I started laughing.
I'm like it's not the same song.
Speaker 1 (10:27):
It's part one, part two, part three she goes, it's
not the same song.
Speaker 2 (10:28):
It's part one, part two, part three.
She goes no, it's the same song.
So the album has its rootsduring Pink Floyd's 1977 In the
Flesh tour, and Roger Watersthought that there was a gap
between the band and theaudience and that, to him,
(10:48):
audience wasn't really listeningto the music and in his mind he
was like you know what I'dreally like?
To build a wall on stagebetween the band and the
audience, where maybe we don'teven necessarily need to see
them that we're playing, andthat he doesn't have to listen
to people talk and doingwhatever it is.
(11:09):
You know they'll get up to goto the bathroom during certain
songs, and that was thebeginning.
Speaker 1 (11:14):
And I got a DeVito often, yeah, there you go.
Speaker 2 (11:17):
That was the beginning of the Wall, and the
Wall ends up becoming thisconcept album, double album.
You know a guy who builds awall around himself and his mind
against anything or anyone thathas done him wrong and he just
becomes more antisocial as thealbum goes on and then in his
(11:38):
mind he feels guilty and thenthere's a trial and then he's
told to tear down the wall andit's just unbelievable that they
could put all this together.
It is so cool.
The way that they take thehelicopter, they have a plane,
they have televisions on in thebackground, phones ringing
(12:04):
operators, like all thesedifferent things to help make
this concept a reality is sofreaking cool to me, like I
would have never thought to doall those things.
You know, you think that, uh, asong is, it starts, it ends and
that's it has the musicalinstruments in it, but not
necessarily all this otherimagery right through sound and
(12:28):
it's just so cool because Ican't imagine the album without
all of that.
That helps to make everythingthat this album is, and I'm not
going to go through all thesongs, because there's a ton of
songs.
Like I said, a double album.
But, mother, goodbye Blue Sky,goodbye Blue Sky, actually Sky.
Actually Roger Waters, sonHarry.
(12:50):
He's like a toddler and he sayssomething in the beginning of
it look, mommy, there's anairplane in the sky.
Harry actually was in RogerWaters touring band and at some
point Roger just decided hewants some new musicians and he
fired them all, including hisson.
(13:10):
He's like, hey, merry Christmas, but I want you to know you're
not in the band anymore.
I'm going to go in a differentdirection.
Speaker 1 (13:17):
I mean Hardcore.
Speaker 2 (13:18):
Hardcore, but Young Lust one of my turns hey you, is
there anybody out there, nobodyHome which is probably one of
the saddest songs that I've everheard.
Unbelievable song, very, verygood song.
If you're not familiar withthat song, it's not very Pink
(13:39):
Floyd-like, Very sad.
Give it a listen.
Comfortably numb, run like hell.
I could go on forever.
I'm not, but man, what a greatalbum.
Speaker 1 (13:52):
A lot of great songs on there.
Speaker 2 (13:53):
Yeah, it's like the radio just kept playing all
these songs because there was somany to choose from.
You know, just played andplayed and played.
Peaked at number one onBillboard 200 January 19th 1980,
and remained there through theend of April 1980.
So again, everybody's buying it, radio's playing it, one of the
(14:16):
best-selling albums of all time.
We've mentioned that before.
But what's really cool is thewall tour.
It was only in four cities in1980 and 1981.
Seven shows in LA, where itopened up, five shows at the
Nassau Coliseum in Uniondale,new York, 16 shows in London and
(14:38):
eight shows in Dortmund,germany, or it was known then as
West Germany.
That's how long ago this was.
That's how long ago this wasand the, the stage they would
build up with, you know, thesebricks and do all kinds of stuff
and shadows and all of theillustrations that you see in
the movie coming to life.
(15:00):
I mean, they just did all thesereally, really cool things,
except they couldn't transfer itall over the place.
You know, you couldn't drive tothe next city and they only
played in those four and theylost a ton of money on the tour,
unfortunately.
Speaker 1 (15:18):
And they did the movie.
Speaker 2 (15:20):
Yeah, they did the movie in.
I want to say, in 1982 themovie came out.
So again, this is one of thosethings where you had the wall
and the albums out and then it'sgoing on forever, and then the
movie and it just seemed likethe wall was around forever.
But you know what?
It was really cool.
(15:41):
June 17th 1981 was the lastfull concert of all four members
of Pink Floyd.
They did get together in 2005.
They did a couple of songs orso at Live 8, but the last time
they did a full concert, june 17, 1981.
Wow, jesse Colin Young, singerfor the band the Youngbloods,
(16:05):
died on March 16, 2025.
Best known for the 67th song GetTogether, come on, people now.
Smile on your brother.
Everybody, get together, try tolove one another right now.
I saw him as a special guest ofSteve Miller in August 2021.
(16:25):
And it was cool.
You know he at that was cool.
You know he at that time.
You know he's probably in hisreal late 70s, he could still
sing.
You know he had a guitar hecould play and it was cool.
I know that they only had thisone song, but it's one of those
songs.
If you like the 60s, you knowthat song oh yeah, you know,
yeah, iconic song definitely heyon the good.
(16:48):
Was that in?
Speaker 1 (16:48):
the Forrest Gump soundtrack.
It feels like it would havebeen.
I'm not 100% sure, but I thinkthat it might have been On the
good news front.
Speaker 2 (16:58):
Matt Pinfield, who had a stroke in January, is out
of a coma and told the HollywoodReporter guys, I'm alive.
He was unresponsive for twomonths and, as he told the
reporter, the doctors neverexpected me to walk or speak
again.
He's in a rehabilitation centerand expects to make a full
(17:21):
recovery, including returning toradio as a DJ.
That's a pretty good story.
Yeah, I mean, it didn't lookgood and that's fantastic to
hear.
I'm excited about that.
Good to hear.
And don't forget, jimmy, if youdon't eat your meat, you can't
have any pudding.
(17:53):
Let's revisit some great musicfrom the past.
Pat Benatar's singleHeartbreaker peaks at number 23
at Billboard's Hot 100, march15th 1980.
Straight up rocker, with akiller guitar solo to end the
song.
I remember being popular onrock radio more than it was
popular on pop radio, like rockradio really just loved this
song.
I mean it's a good song and Ihad a newspaper route back in
(18:14):
the day, you know in 1980.
And I remember delivering thepaper on Sundays.
I'd have a shopping cart that Igot from a local store and I'd
have my boom box, you know, init and I have my radio blasting
and I used to listen to the songall the time.
I mean, just brings back somany memories of that paper
(18:35):
route and, you know, not makinga whole lot of money, I can tell
you that it's a great song itis, isn't it?
I mean, I love the guitar solooh, I love it too.
Speaker 1 (18:46):
I was in a band that played that song and I got to do
the guitar solo and it wasalways kind of a joy to just
step up and and play that thing.
Speaker 2 (18:55):
I mean people rock out to it they love it.
Speaker 1 (18:57):
Do you know the guitar solo on air guitar.
Speaker 2 (18:59):
I don't know it.
On air guitar I don't.
I did not practice that one andI'm a little bit older.
I think it would take me alittle while to figure that out
now, which is funny again,because it was in my mind of how
it should be.
Like I'm proud that I masteredin my mind how it should be, not
(19:22):
that it should be the way thatI did it by any means.
I remember the first time I airdrummed.
My buddy says hey, yeah, it'sthe other way.
Your arms are supposed to notbe like that, like I was doing
whatever I know, no one couldsee me playing the hi-hat on the
right instead of the no.
I was like this, I was like this.
Oh, I don't even know what thisis called.
(19:42):
But you know, I'm supposed tobe like doing this, yeah, and
I'm like Well, keith Moon dideverything wrong, apparently, so
you can just you, be you.
Well, thank you.
He did a good job too.
He did Speaking of you beingyou, us being us and them being
them.
Van Halen Women and ChildrenFirst was released on March 26,
(20:03):
1980.
And I think that was verycourteous of them.
Speaker 1 (20:08):
You know, like the whole macho thing, but then
they're like women and childrenfirst.
That is true, you know, hatsoff.
Speaker 2 (20:17):
Hats off to them, hats off to them.
I don't think they wore hats.
Well, eddie Van Halen wore hats.
Speaker 1 (20:21):
Yeah, he wore hats.
Speaker 2 (20:22):
Yeah, so it's not my favorite Van Halen album, but it
had some good songs and theCradle Will Rock that started
off the album.
You know that song.
Speaker 1 (20:32):
Oh yeah, so that have you seen.
Junior's Grades.
Speaker 2 (20:37):
There you go, so we'll get back to that in a
second.
But the song, how it Begins,everybody thinks that's guitar.
It's not a guitar, it's anelectric piano.
Oh, really, yes, you know theelectric piano.
Speaker 1 (20:51):
I thought he was scraping his guitar pick on his
strings.
Speaker 2 (20:54):
No electric piano, that they did some distortion
through some old amp andeverything.
And that was the first timethat Eddie did any keyboards
because he loved keyboards.
It's the first time they didanything.
Have you seen Junior's grades?
You mentioned that Van Halen'sone of those few bands that can
(21:14):
do this song.
You know straight up rock song.
But they can get David Lee Rothcampy with it and it makes
sense and it sounds good andit's perfect.
Like most bands can't do that,they couldn't pull that off the
way that Van Halen was able todo that and the way David Lee
Roth can do it.
Speaker 1 (21:33):
Yeah, the little breakdowns where he's just
talking, sometimes in songs, youknow Right.
Speaker 2 (21:38):
And I mean you know it.
Just it's insane how some cando it and some can't.
You know, everybody Wants Somesecond song off the album.
What a great song.
I mean that is a fantastic song.
Romeo Delight, take yourWhiskey Home and Could this Be
Magic.
They're all good songs.
(21:58):
Could this Be Magic?
They're all good songs.
Could this Be Magic is Eddieand David Lee Roth on acoustic
guitars and with backup vocalsis Nicolette Larson, because
Eddie had done some guitar workfor her a couple of years
earlier and now it was time torepay and so she's on it.
(22:20):
It's the only time there's anyfemale vocals on a Van Halen
record.
Oh yeah, so I mentioned that.
So two days later after thisalbum comes out, the Cure, a
Forest single, is released onMarch 28th 1980.
So you're going from Van Halento, two days later, the Cure.
(22:41):
And it reached number 31 on theUK singles chart.
And the UK singles chart isreally cool because they like
what they like.
It doesn't matter who it is, itdoesn't matter what it sounds
like, the British will likesomething and it just rises up
the charts.
And it does not happen inAmerica like that by any means.
Speaker 1 (23:04):
And in my experience the British charts also like it
might hit number one this weekand it might be back off the
charts next week.
They've moved on to somethingelse, like they move quicker
than Americans do.
Speaker 2 (23:15):
But then all of a sudden there's a commercial and
two weeks later it's numberseven.
You are 100% correct with that.
I agree with you.
It's just really cool how theydo their music over there.
I think that the British weremore into liking a lot of
different music, a lot ofdifferent genres, and not just
(23:35):
staying to one thing, where it'staking us much longer to get to
that point but it still doesn'treflect on the billboard charts
the way that things happen inUK.
So I didn't hear the song untillate 1982.
I didn't hear it in 1980.
But it's become one of myfavorite Cure songs.
(23:55):
As a matter of fact, the Curehave played that song more than
any other song that they do.
It's really awesome.
Starts with a synthesizer and aguitar and then you know the
other instruments come in andthen you know Robert Smith's
vocals and if you listen to itit's really to me the basis of
(24:19):
so many Cure songs.
Like you can listen to it andalmost start singing other Cure
songs in it, because that's theCure you know.
That's how we've come to knowwhat they are.
End of the song.
Instruments drop off one by oneand then it just kind of
finishes off with this reallycool bass line.
If you like the Cure.
(24:40):
Not familiar with the song,give it a listen.
While the Cure of Forest wasreleased this day, the very next
day, rush, the spirit of radio,peaked at number 51 on
Billboard Hot 100, march 29th1980.
So I think it's really cool.
Hot 100, march 29th 1980.
(25:00):
So I think this is really cool.
A few days, some great music,different things that are
happening with it.
You know, yeah, hands down myfavorite Rush song.
Absolutely love this song.
(25:21):
A song about a radio DJ playingthe great song and there's magic
at your fingers because you canturn the volume up and you can
change the radio station, dowhatever you want.
The words by themselves arefantastic, the music by itself
awesome, but the two togetherform an absolute epic song.
I love this song.
I love the lines.
One likes to believe in thefreedom of music, but glittering
(25:42):
prizes and endless compromisesshatter the illusion of
integrity.
I just absolutely love that.
I think that's so cool, neilPeart.
I mean it's just kind of like adeep thought when you think
about it.
There's so much to think aboutit and there's not enough time
(26:03):
on here to talk about all of it,but it is so cool and I
remember when I hear this song,this song takes me back to we
were playing street football atthis girl, donna Koch, in front
of her house.
A bunch of us are playingstreet football and I remember
(26:23):
you know we're playing and Iremember the song coming on.
I'm like wait, wait, we got tostop because I got to listen to
the song and I don't want to belike playing while I'm listening
to the song, like that's howmuch I love this song.
It definitely brings back Didyou buy the record.
Um, I had it on cassette.
So, yeah, some things I got oncassette, some things I got on
(26:47):
album.
This was a cassette.
So, Jimmy, you know how they dothe reggae part near the end of
the song.
Speaker 1 (26:56):
Oh yeah.
Speaker 2 (26:57):
All right.
So the words are a nod to Simonand Garfunkel's 1965 song, the
Sound of Silence.
Sound of Silence ends with, andthe sign said.
The words of the prophets arewritten on the subway walls.
Speaker 1 (27:14):
Oh concert hall.
Speaker 2 (27:16):
The tenement halls and whispered in the sounds of
silence.
And, just like you were saying,the spirit of radio ends with,
for the words of the prophetswere written on the studio wall.
Concert hall echoes with thesounds of salesmen.
Speaker 1 (27:34):
Oh, I never put that together Of salesmen.
Speaker 2 (27:46):
But prophets here is spelled as money profits, not
profits as in profits that wethink of, and I just think it's
an absolute killer.
Ending then with all theinstruments on the way that they
end this song and that nod tosim Simon and Garfunkel, I just
think is absolutely, insanelybrilliant the way that they do
it.
Love it, love the song,absolutely love the song.
(28:08):
So, speaking of loving Biz,markie Just a Friend peaked at
number nine on Billboard Hot 100, march 17th 1990.
I can't get enough of this song.
This song comes on.
I got to listen to it.
Really like it Song abouttrying to date a person but
she's already dating someone andlies by saying he's just a
(28:33):
friend.
Good beat.
It's taken from Freddie Scott's1968 song you Got what I Need.
He finally catches her with theother guy.
So please listen to the messageI send.
Don't ever talk to a girl whosays she has just a friend.
You know what?
(28:53):
I have a friend and accordingto my watch, it's Minute with my
friend, jimmy time.
It's time for Minute with Jimmy.
Minute with Jimmy.
Minute time.
It's time for Minute with Jimmy.
Minute with Jimmy.
Minute with Jimmy.
It's time for Minute with Jimmy.
Minute with Jimmy.
Minute with.
Speaker 1 (29:05):
Jimmy.
Okay, you're not going tobelieve this, jim.
Speaker 2 (29:11):
What's that?
Speaker 1 (29:12):
Today I want to talk about the 1975 single by the
Captain and Tennille.
Love Will Keep Us Together.
No, you don't.
Yes, I do.
I love this song.
Speaker 2 (29:24):
Oh my Lord, talk about something coming full
circle.
I love it.
Speaker 1 (29:27):
I know we do not plan this, people, it's crazy.
But yeah, so that song waswritten by Neil Sedaka.
I didn't know.
He actually put his own versionout.
Another group put a version out1973.
Actually put his own versionout.
Another group put a version out1973.
Both those came out.
Didn't do a ton and thencaptain and tenille covered it
in 1975, came out in in april,hit number one on the billboard
(29:50):
charts, stayed there for fourweeks and it's uh, it actually
kind of put sadaka back on themap because he had been a big
songwriter through the 60s andhadn't done anything in a couple
of years.
And they actually say and asthe song is fading out, you can
hear Tony Tennille say Sadaka isback and the Violets covered it
(30:14):
.
The.
Speaker 2 (30:15):
Violets covered it Really.
Speaker 1 (30:16):
Yeah, it's a hard song, it's not just a simple
song.
When we started to learn it, wewere like, wow, this has got
some crazy chords in it andstuff.
Speaker 2 (30:26):
So if I remember off the top of my head, so it's easy
for me to just rattle off songnames.
But I remember young andbeautiful.
Someday your looks will be gone.
Speaker 1 (30:38):
But when the others turn you off, who will be
turning you on?
Speaker 2 (30:42):
and then it's I will, I will, yes, and you know I
like the song.
I'm I'm a sucker for a greatpop song like that.
I think they did a fantasticjob.
They ended up having a tv show.
I think that came out afterthat song.
Speaker 1 (30:56):
They became so yeah that's what put them on the map.
Speaker 2 (30:59):
And I would watch the Captain and Tennille show and,
you know, enjoy it.
Speaker 1 (31:04):
Great little gimmick him with his captain's hat and
he didn't really talk at all.
Speaker 2 (31:08):
Now Daryl, somebody, yeah, I can't remember his last
name, but that's funny.
I'm so glad it wasn't MuskratLove that you were going to do.
I'm sorry, cher, that you weregoing to do.
I'm sorry, cher.
Speaker 1 (31:22):
She doesn't know the lyrics either, but she loves the
song.
It's cute.
It's funny, she sings it, andthen she just makes up words.
Speaker 2 (31:28):
It's a cute, cute thing, isn't it?
It is, yeah, I get it.
Speaker 1 (31:32):
She would sing it to the kids when they were little.
You know, bedtime kind of thing.
Speaker 2 (31:37):
Well, I can tell you this Tony Tenniel did not have
anything to do with AnotherBrick in the Wall, part II, but
she had everything to do withMuskrat Love.
Speaker 1 (31:44):
Yeah, okay, well, fair enough.
Speaker 2 (31:46):
Jimmy, that's really cool.
Again.
That just comes full circlewith that.
Never knew what you were goingto talk about and what I was
going to talk about.
Speaker 1 (31:55):
It's weird, huh.
Speaker 2 (31:55):
Yeah, awesome, my name is Jimmy.
Hey, if you want to ask usquestions about Muskrat Love and
other Brick in the Wall, part 2, or anything that we talked
about, you can contact us atmusicinmyshoes at gmailcom.
Please like and follow theMusic in my Shoes Facebook and
Instagram pages.
Feel free to share the podcastwith your friends on social
(32:19):
media.
For those of you that alreadyhave, it is appreciated.
Thank you so much.
That's it for Episode 71 ofMusic in my Shoes.
I'd like to thank Jimmy MuskratLove, guthrie show producer and
owner of Arcade 160 Studioslocated right here in Atlanta,
georgia, and Vic Thrill for ourpodcast music.
(32:42):
This is Jim Boge, and I hopeyou learned something new or
remembered something old.
We'll meet again on our nextepisode.
Until then, live life and keepthe music playing.
I'll lay you on your own.
He's got the feeling in his toe-toe.
Speaker 2 (00:30):
He's got the feeling and it's out there growing.
Hey everybody, this is Jim Bogeand you're listening to Music
In my Shoes.
That was Vic Thrill kicking offepisode 71.
As always, I'm thrilled to behere with you.
Let's learn something new orremember something old you, yes,
(00:52):
you stand still, jimmy, I'msitting.
Well, sit still for me.
Then.
March 22nd 1980, pink Floyd'sAnother Brick in the Wall.
I knew that's what you weretalking about, by the way, part
two peaked at number one onBillboard Hot 100, remained
(01:12):
there for four weeks, so youknew.
Speaker 1 (01:15):
Yeah, I mean, if you don't eat your meat?
Speaker 2 (01:17):
You can't have any pudding.
Speaker 1 (01:19):
How can you have any pudding if you don't eat your
meat?
Speaker 2 (01:22):
This is another one of those songs that seemed to be
on the radio all the time in1980.
And not just on the radio.
If you went to someone's house,this song was on.
If you went to the game room Idon't know if you had game rooms
, of course you know you went tothe game room in 1980.
Yeah, boom, this song was on.
(01:43):
It was on everywhere and I lovethe song.
But I think that when you havea song that starts off with we
don't need no education, wedon't need no thought control.
It's like every young kid wantsto play this song and be like
listen to me.
Speaker 1 (02:01):
Right, I was in the sixth grade and I was shouting
that.
You know the top of my lungs soI was gonna ask.
Speaker 2 (02:09):
I mean, so did you?
You like the song?
Speaker 1 (02:11):
yeah that is good, I like that I like a lot of the
stuff on the wall it's a goodalbum.
Speaker 2 (02:17):
it really is so.
On this song with roger watersyou know his vocals and dav
Gilmour you know them combinedsounds fantastic.
Gilmour's outstanding guitarwork in the song and this
unexpected disco beat how couldit not end up being one of their
(02:38):
most popular songs?
Speaker 1 (02:40):
Yeah, they managed to pull off a disco beat without
it being a disco song.
Speaker 2 (02:45):
Right.
Is it a disco beat?
Or it is a disco beat For sure.
Yeah, there's no doubt about it.
Speaker 1 (02:51):
But it was kind of at a time when everybody knew that
disco was on the decline, likethey didn't care.
They're like no, we like thisbeat.
Speaker 2 (02:58):
Yeah, and a lot of rock bands around 1980 were like
, hey, let's do this, it's indecline, but the kids will like
it, so let's just do it.
So I remember when it came outhow I would work on my air
guitar for hours on end ofplaying the song, the guitar
(03:20):
part.
But in my mind how it goes theguitar part, but in my mind how
it goes, because I don't playguitar Right, so I don't know
exactly everything that happensto make the different sounds,
but in my head you interpretedthat.
And I mastered thatinterpretation.
I was like, look at me, I'mplaying the song so that you can
(03:43):
watch me air guitar to it, andnot just air guitar, not just do
that, but make the faces thatpeople make you know when
they're doing.
You know ba-da-dow, you knowlike you know he's squinting his
eyes and leaning back people.
Speaker 1 (03:59):
Yeah, so.
So wait a minute.
You practiced it so otherpeople could watch you do it.
Did they enjoy this?
I don't think so, or did youjust enjoy it?
I?
Speaker 2 (04:09):
think they kept saying oh man, you're really
good at that.
I absolutely loved it because Iwas like look at me, you can't
do this because you don'tpractice as hard as I do.
Now, maybe I should have justpracticed on a real guitar, but
I didn't.
I decided I was going to masterthe air guitar part Now.
After that, after that and I'mlike I am so good at this then I
(04:32):
learned how to do the air bassIn my mind, how the bass should
be.
I'm not joking, and just so youknow, I spent last night in my
kitchen trying to remember allthe parts and the way everything
went.
I'm not kidding with you, it'sthe truth, and I'm like I get
(04:56):
now when you see bands ormusicians that are older and
they need to have, you know, theteleprompters and everything,
because I forgot certain parts,like how, in my mind, they're
supposed to go, and I kind ofunderstand now I get it, I get
it.
So I think the addition of thechildren's choir gives it an
(05:21):
element that is just out of thisworld, because, being a young
kid you were a young kid at thetime too you almost feel like
you could be one of those kidssinging the song.
And you are singing the songalong with them.
You know everything about this.
Song is just awesome.
Now I had heard Tony Tennillefrom the Captain and Tennille oh
(05:46):
, love Will Keep Us Together.
Uh-huh, muskrat Love.
Speaker 1 (05:50):
Yes.
Speaker 2 (05:51):
That's got to be one of the worst songs ever.
Muskrat Love.
Speaker 1 (05:54):
Oh, my gosh Okay.
Speaker 2 (05:56):
I do love.
Speaker 1 (05:56):
My wife loves it, by the way.
It just reminds her of being alittle kid.
Speaker 2 (06:00):
Does it really?
Yeah, that's a great song.
I really like that song.
Anyway, true story.
I thought she was part of thechoir and that she was directing
the kids how to sing, and Ijust found out 45 years later
(06:21):
that she had nothing to do withthat song whatsoever.
Later that she had nothing todo with that song whatsoever.
She's on the album.
She sings backup vocals on foursongs her and Bruce Johnston
from the Beach Boys.
She was actually backing up theBeach Boys back in the day, and
something that I have believedfor all these years was not the
(06:45):
truth.
Speaker 1 (06:46):
Well, you know, you learn something new.
Speaker 2 (06:49):
You do, but you could not go look on the internet 45
years ago, couldn't look it upin a book.
Speaker 1 (06:56):
Yeah.
Speaker 2 (06:57):
It wasn't something to find out how many people.
Speaker 1 (07:01):
Do you think you told that Tony Tennille was the
leader of the choir on that?
Speaker 2 (07:06):
I have probably told enough that most people think
that's the truth.
Yeah, because I heard it from aDJ 45 years ago and again I've
said it before on the show.
You hear something from a DJback then it's as good as gold
and I have been telling peoplethat forever and people you know
have heard me say that and I amwrong.
(07:27):
So I just wanted to publiclysay I am wrong about it.
Speaker 1 (07:32):
You think the DJ has some sort of a team of
researchers behind him that'sfeeding perfect information?
They're just saying stuff.
Speaker 2 (07:41):
At the time, I did not know that yeah we didn't, I
didn't know, you know no, therewas no team, you know.
I mean, some DJs would put onIron Butterfly and A Gala De
Vida when they had to go to thebathroom, just because it was a
long song.
Well, that's smart, I guess itis smart.
But speaking of smart, not onlywas there another Brick in the
(08:03):
Wall Part 2, I guess you canassume that it was Part 1, but
there was also Part 3.
So on the album the Wall, whichcame out November 30th 1979,
and I believe it actually cameout like a week later in the US,
it's kind of contradictinginformation with it.
(08:24):
I've always thought it wasNovember 30th in my head, that's
what it's been, but I have seenin some places that it came out
a week later.
We don't know.
Speaker 1 (08:35):
Well, you might've had a record store that got the
import sooner Maybe.
Speaker 2 (08:40):
And it could have been so.
On the album you have anotherbrick in the wall, part one,
followed by the Happiest Days ofOur Lives, then Another Brick
in the Wall, part two, and thenthere's like six more songs
before they get to Another Brick, part three.
Now I think Happiest Daysshould have been the beginning
(09:05):
of Another Brick in the Wall,part two.
That's where it starts off withthe helicopter and it goes into
the whole thing.
Like to me, the song reallystarts there.
And that helicopter song, youknow, back in the day they
didn't have.
You know, what do you have nowtoday, jimmy?
You just push a button, you geta sound.
You know you can just buysounds.
Speaker 1 (09:24):
Right, yeah, yeah, you could get them, though, as
like in a studio.
They had LPs with sound effectson them.
Speaker 2 (09:32):
You're right, they did have that.
But in this case they sent anengineer to Edwards Air Force
Base in California and said hey,just record helicopters and
planes.
Record Helicopters and Planes.
And when you listen to thathelicopter it sounds so real
because it is.
But the way that they put it onthat album, you think that
(09:57):
helicopter is above you, whetheryou're in a car or in your home
or wherever you may be, likeit's right there.
They do such a great job withit.
I was in the car with myyoungest daughter the other day
and I sequenced my phone to playall three parts of Another
Brick with Happiest Days and shesays to me are we going to
(10:20):
listen to the same song allnight?
And I started laughing.
I'm like it's not the same song.
Speaker 1 (10:27):
It's part one, part two, part three she goes, it's
not the same song.
Speaker 2 (10:28):
It's part one, part two, part three.
She goes no, it's the same song.
So the album has its rootsduring Pink Floyd's 1977 In the
Flesh tour, and Roger Watersthought that there was a gap
between the band and theaudience and that, to him,
(10:48):
audience wasn't really listeningto the music and in his mind he
was like you know what I'dreally like?
To build a wall on stagebetween the band and the
audience, where maybe we don'teven necessarily need to see
them that we're playing, andthat he doesn't have to listen
to people talk and doingwhatever it is.
(11:09):
You know they'll get up to goto the bathroom during certain
songs, and that was thebeginning.
Speaker 1 (11:14):
And I got a DeVito often, yeah, there you go.
Speaker 2 (11:17):
That was the beginning of the Wall, and the
Wall ends up becoming thisconcept album, double album.
You know a guy who builds awall around himself and his mind
against anything or anyone thathas done him wrong and he just
becomes more antisocial as thealbum goes on and then in his
(11:38):
mind he feels guilty and thenthere's a trial and then he's
told to tear down the wall andit's just unbelievable that they
could put all this together.
It is so cool.
The way that they take thehelicopter, they have a plane,
they have televisions on in thebackground, phones ringing
(12:04):
operators, like all thesedifferent things to help make
this concept a reality is sofreaking cool to me, like I
would have never thought to doall those things.
You know, you think that, uh, asong is, it starts, it ends and
that's it has the musicalinstruments in it, but not
necessarily all this otherimagery right through sound and
(12:28):
it's just so cool because Ican't imagine the album without
all of that.
That helps to make everythingthat this album is, and I'm not
going to go through all thesongs, because there's a ton of
songs.
Like I said, a double album.
But, mother, goodbye Blue Sky,goodbye Blue Sky, actually Sky.
Actually Roger Waters, sonHarry.
(12:50):
He's like a toddler and he sayssomething in the beginning of
it look, mommy, there's anairplane in the sky.
Harry actually was in RogerWaters touring band and at some
point Roger just decided hewants some new musicians and he
fired them all, including hisson.
(13:10):
He's like, hey, merry Christmas, but I want you to know you're
not in the band anymore.
I'm going to go in a differentdirection.
Speaker 1 (13:17):
I mean Hardcore.
Speaker 2 (13:18):
Hardcore, but Young Lust one of my turns hey you, is
there anybody out there, nobodyHome which is probably one of
the saddest songs that I've everheard.
Unbelievable song, very, verygood song.
If you're not familiar withthat song, it's not very Pink
(13:39):
Floyd-like, Very sad.
Give it a listen.
Comfortably numb, run like hell.
I could go on forever.
I'm not, but man, what a greatalbum.
Speaker 1 (13:52):
A lot of great songs on there.
Speaker 2 (13:53):
Yeah, it's like the radio just kept playing all
these songs because there was somany to choose from.
You know, just played andplayed and played.
Peaked at number one onBillboard 200 January 19th 1980,
and remained there through theend of April 1980.
So again, everybody's buying it, radio's playing it, one of the
(14:16):
best-selling albums of all time.
We've mentioned that before.
But what's really cool is thewall tour.
It was only in four cities in1980 and 1981.
Seven shows in LA, where itopened up, five shows at the
Nassau Coliseum in Uniondale,new York, 16 shows in London and
(14:38):
eight shows in Dortmund,germany, or it was known then as
West Germany.
That's how long ago this was.
That's how long ago this wasand the, the stage they would
build up with, you know, thesebricks and do all kinds of stuff
and shadows and all of theillustrations that you see in
the movie coming to life.
(15:00):
I mean, they just did all thesereally, really cool things,
except they couldn't transfer itall over the place.
You know, you couldn't drive tothe next city and they only
played in those four and theylost a ton of money on the tour,
unfortunately.
Speaker 1 (15:18):
And they did the movie.
Speaker 2 (15:20):
Yeah, they did the movie in.
I want to say, in 1982 themovie came out.
So again, this is one of thosethings where you had the wall
and the albums out and then it'sgoing on forever, and then the
movie and it just seemed likethe wall was around forever.
But you know what?
It was really cool.
(15:41):
June 17th 1981 was the lastfull concert of all four members
of Pink Floyd.
They did get together in 2005.
They did a couple of songs orso at Live 8, but the last time
they did a full concert, june 17, 1981.
Wow, jesse Colin Young, singerfor the band the Youngbloods,
(16:05):
died on March 16, 2025.
Best known for the 67th song GetTogether, come on, people now.
Smile on your brother.
Everybody, get together, try tolove one another right now.
I saw him as a special guest ofSteve Miller in August 2021.
(16:25):
And it was cool.
You know he at that was cool.
You know he at that time.
You know he's probably in hisreal late 70s, he could still
sing.
You know he had a guitar hecould play and it was cool.
I know that they only had thisone song, but it's one of those
songs.
If you like the 60s, you knowthat song oh yeah, you know,
yeah, iconic song definitely heyon the good.
(16:48):
Was that in?
Speaker 1 (16:48):
the Forrest Gump soundtrack.
It feels like it would havebeen.
I'm not 100% sure, but I thinkthat it might have been On the
good news front.
Speaker 2 (16:58):
Matt Pinfield, who had a stroke in January, is out
of a coma and told the HollywoodReporter guys, I'm alive.
He was unresponsive for twomonths and, as he told the
reporter, the doctors neverexpected me to walk or speak
again.
He's in a rehabilitation centerand expects to make a full
(17:21):
recovery, including returning toradio as a DJ.
That's a pretty good story.
Yeah, I mean, it didn't lookgood and that's fantastic to
hear.
I'm excited about that.
Good to hear.
And don't forget, jimmy, if youdon't eat your meat, you can't
have any pudding.
(17:53):
Let's revisit some great musicfrom the past.
Pat Benatar's singleHeartbreaker peaks at number 23
at Billboard's Hot 100, march15th 1980.
Straight up rocker, with akiller guitar solo to end the
song.
I remember being popular onrock radio more than it was
popular on pop radio, like rockradio really just loved this
song.
I mean it's a good song and Ihad a newspaper route back in
(18:14):
the day, you know in 1980.
And I remember delivering thepaper on Sundays.
I'd have a shopping cart that Igot from a local store and I'd
have my boom box, you know, init and I have my radio blasting
and I used to listen to the songall the time.
I mean, just brings back somany memories of that paper
(18:35):
route and, you know, not makinga whole lot of money, I can tell
you that it's a great song itis, isn't it?
I mean, I love the guitar solooh, I love it too.
Speaker 1 (18:46):
I was in a band that played that song and I got to do
the guitar solo and it wasalways kind of a joy to just
step up and and play that thing.
Speaker 2 (18:55):
I mean people rock out to it they love it.
Speaker 1 (18:57):
Do you know the guitar solo on air guitar.
Speaker 2 (18:59):
I don't know it.
On air guitar I don't.
I did not practice that one andI'm a little bit older.
I think it would take me alittle while to figure that out
now, which is funny again,because it was in my mind of how
it should be.
Like I'm proud that I masteredin my mind how it should be, not
(19:22):
that it should be the way thatI did it by any means.
I remember the first time I airdrummed.
My buddy says hey, yeah, it'sthe other way.
Your arms are supposed to notbe like that, like I was doing
whatever I know, no one couldsee me playing the hi-hat on the
right instead of the no.
I was like this, I was like this.
Oh, I don't even know what thisis called.
(19:42):
But you know, I'm supposed tobe like doing this, yeah, and
I'm like Well, keith Moon dideverything wrong, apparently, so
you can just you, be you.
Well, thank you.
He did a good job too.
He did Speaking of you beingyou, us being us and them being
them.
Van Halen Women and ChildrenFirst was released on March 26,
(20:03):
1980.
And I think that was verycourteous of them.
Speaker 1 (20:08):
You know, like the whole macho thing, but then
they're like women and childrenfirst.
That is true, you know, hatsoff.
Speaker 2 (20:17):
Hats off to them, hats off to them.
I don't think they wore hats.
Well, eddie Van Halen wore hats.
Speaker 1 (20:21):
Yeah, he wore hats.
Speaker 2 (20:22):
Yeah, so it's not my favorite Van Halen album, but it
had some good songs and theCradle Will Rock that started
off the album.
You know that song.
Speaker 1 (20:32):
Oh yeah, so that have you seen.
Junior's Grades.
Speaker 2 (20:37):
There you go, so we'll get back to that in a
second.
But the song, how it Begins,everybody thinks that's guitar.
It's not a guitar, it's anelectric piano.
Oh, really, yes, you know theelectric piano.
Speaker 1 (20:51):
I thought he was scraping his guitar pick on his
strings.
Speaker 2 (20:54):
No electric piano, that they did some distortion
through some old amp andeverything.
And that was the first timethat Eddie did any keyboards
because he loved keyboards.
It's the first time they didanything.
Have you seen Junior's grades?
You mentioned that Van Halen'sone of those few bands that can
(21:14):
do this song.
You know straight up rock song.
But they can get David Lee Rothcampy with it and it makes
sense and it sounds good andit's perfect.
Like most bands can't do that,they couldn't pull that off the
way that Van Halen was able todo that and the way David Lee
Roth can do it.
Speaker 1 (21:33):
Yeah, the little breakdowns where he's just
talking, sometimes in songs, youknow Right.
Speaker 2 (21:38):
And I mean you know it.
Just it's insane how some cando it and some can't.
You know, everybody Wants Somesecond song off the album.
What a great song.
I mean that is a fantastic song.
Romeo Delight, take yourWhiskey Home and Could this Be
Magic.
They're all good songs.
(21:58):
Could this Be Magic?
They're all good songs.
Could this Be Magic is Eddieand David Lee Roth on acoustic
guitars and with backup vocalsis Nicolette Larson, because
Eddie had done some guitar workfor her a couple of years
earlier and now it was time torepay and so she's on it.
(22:20):
It's the only time there's anyfemale vocals on a Van Halen
record.
Oh yeah, so I mentioned that.
So two days later after thisalbum comes out, the Cure, a
Forest single, is released onMarch 28th 1980.
So you're going from Van Halento, two days later, the Cure.
(22:41):
And it reached number 31 on theUK singles chart.
And the UK singles chart isreally cool because they like
what they like.
It doesn't matter who it is, itdoesn't matter what it sounds
like, the British will likesomething and it just rises up
the charts.
And it does not happen inAmerica like that by any means.
Speaker 1 (23:04):
And in my experience the British charts also like it
might hit number one this weekand it might be back off the
charts next week.
They've moved on to somethingelse, like they move quicker
than Americans do.
Speaker 2 (23:15):
But then all of a sudden there's a commercial and
two weeks later it's numberseven.
You are 100% correct with that.
I agree with you.
It's just really cool how theydo their music over there.
I think that the British weremore into liking a lot of
different music, a lot ofdifferent genres, and not just
(23:35):
staying to one thing, where it'staking us much longer to get to
that point but it still doesn'treflect on the billboard charts
the way that things happen inUK.
So I didn't hear the song untillate 1982.
I didn't hear it in 1980.
But it's become one of myfavorite Cure songs.
(23:55):
As a matter of fact, the Curehave played that song more than
any other song that they do.
It's really awesome.
Starts with a synthesizer and aguitar and then you know the
other instruments come in andthen you know Robert Smith's
vocals and if you listen to itit's really to me the basis of
(24:19):
so many Cure songs.
Like you can listen to it andalmost start singing other Cure
songs in it, because that's theCure you know.
That's how we've come to knowwhat they are.
End of the song.
Instruments drop off one by oneand then it just kind of
finishes off with this reallycool bass line.
If you like the Cure.
(24:40):
Not familiar with the song,give it a listen.
While the Cure of Forest wasreleased this day, the very next
day, rush, the spirit of radio,peaked at number 51 on
Billboard Hot 100, march 29th1980.
So I think it's really cool.
Hot 100, march 29th 1980.
(25:00):
So I think this is really cool.
A few days, some great music,different things that are
happening with it.
You know, yeah, hands down myfavorite Rush song.
Absolutely love this song.
(25:21):
A song about a radio DJ playingthe great song and there's magic
at your fingers because you canturn the volume up and you can
change the radio station, dowhatever you want.
The words by themselves arefantastic, the music by itself
awesome, but the two togetherform an absolute epic song.
I love this song.
I love the lines.
One likes to believe in thefreedom of music, but glittering
(25:42):
prizes and endless compromisesshatter the illusion of
integrity.
I just absolutely love that.
I think that's so cool, neilPeart.
I mean it's just kind of like adeep thought when you think
about it.
There's so much to think aboutit and there's not enough time
(26:03):
on here to talk about all of it,but it is so cool and I
remember when I hear this song,this song takes me back to we
were playing street football atthis girl, donna Koch, in front
of her house.
A bunch of us are playingstreet football and I remember
(26:23):
you know we're playing and Iremember the song coming on.
I'm like wait, wait, we got tostop because I got to listen to
the song and I don't want to belike playing while I'm listening
to the song, like that's howmuch I love this song.
It definitely brings back Didyou buy the record.
Um, I had it on cassette.
So, yeah, some things I got oncassette, some things I got on
(26:47):
album.
This was a cassette.
So, Jimmy, you know how they dothe reggae part near the end of
the song.
Speaker 1 (26:56):
Oh yeah.
Speaker 2 (26:57):
All right.
So the words are a nod to Simonand Garfunkel's 1965 song, the
Sound of Silence.
Sound of Silence ends with, andthe sign said.
The words of the prophets arewritten on the subway walls.
Speaker 1 (27:14):
Oh concert hall.
Speaker 2 (27:16):
The tenement halls and whispered in the sounds of
silence.
And, just like you were saying,the spirit of radio ends with,
for the words of the prophetswere written on the studio wall.
Concert hall echoes with thesounds of salesmen.
Speaker 1 (27:34):
Oh, I never put that together Of salesmen.
Speaker 2 (27:46):
But prophets here is spelled as money profits, not
profits as in profits that wethink of, and I just think it's
an absolute killer.
Ending then with all theinstruments on the way that they
end this song and that nod tosim Simon and Garfunkel, I just
think is absolutely, insanelybrilliant the way that they do
it.
Love it, love the song,absolutely love the song.
(28:08):
So, speaking of loving Biz,markie Just a Friend peaked at
number nine on Billboard Hot 100, march 17th 1990.
I can't get enough of this song.
This song comes on.
I got to listen to it.
Really like it Song abouttrying to date a person but
she's already dating someone andlies by saying he's just a
(28:33):
friend.
Good beat.
It's taken from Freddie Scott's1968 song you Got what I Need.
He finally catches her with theother guy.
So please listen to the messageI send.
Don't ever talk to a girl whosays she has just a friend.
You know what?
(28:53):
I have a friend and accordingto my watch, it's Minute with my
friend, jimmy time.
It's time for Minute with Jimmy.
Minute with Jimmy.
Minute time.
It's time for Minute with Jimmy.
Minute with Jimmy.
Minute with Jimmy.
It's time for Minute with Jimmy.
Minute with Jimmy.
Minute with.
Speaker 1 (29:05):
Jimmy.
Okay, you're not going tobelieve this, jim.
Speaker 2 (29:11):
What's that?
Speaker 1 (29:12):
Today I want to talk about the 1975 single by the
Captain and Tennille.
Love Will Keep Us Together.
No, you don't.
Yes, I do.
I love this song.
Speaker 2 (29:24):
Oh my Lord, talk about something coming full
circle.
I love it.
Speaker 1 (29:27):
I know we do not plan this, people, it's crazy.
But yeah, so that song waswritten by Neil Sedaka.
I didn't know.
He actually put his own versionout.
Another group put a version out1973.
Actually put his own versionout.
Another group put a version out1973.
Both those came out.
Didn't do a ton and thencaptain and tenille covered it
in 1975, came out in in april,hit number one on the billboard
(29:50):
charts, stayed there for fourweeks and it's uh, it actually
kind of put sadaka back on themap because he had been a big
songwriter through the 60s andhadn't done anything in a couple
of years.
And they actually say and asthe song is fading out, you can
hear Tony Tennille say Sadaka isback and the Violets covered it
(30:14):
.
The.
Speaker 2 (30:15):
Violets covered it Really.
Speaker 1 (30:16):
Yeah, it's a hard song, it's not just a simple
song.
When we started to learn it, wewere like, wow, this has got
some crazy chords in it andstuff.
Speaker 2 (30:26):
So if I remember off the top of my head, so it's easy
for me to just rattle off songnames.
But I remember young andbeautiful.
Someday your looks will be gone.
Speaker 1 (30:38):
But when the others turn you off, who will be
turning you on?
Speaker 2 (30:42):
and then it's I will, I will, yes, and you know I
like the song.
I'm I'm a sucker for a greatpop song like that.
I think they did a fantasticjob.
They ended up having a tv show.
I think that came out afterthat song.
Speaker 1 (30:56):
They became so yeah that's what put them on the map.
Speaker 2 (30:59):
And I would watch the Captain and Tennille show and,
you know, enjoy it.
Speaker 1 (31:04):
Great little gimmick him with his captain's hat and
he didn't really talk at all.
Speaker 2 (31:08):
Now Daryl, somebody, yeah, I can't remember his last
name, but that's funny.
I'm so glad it wasn't MuskratLove that you were going to do.
I'm sorry, cher, that you weregoing to do.
I'm sorry, cher.
Speaker 1 (31:22):
She doesn't know the lyrics either, but she loves the
song.
It's cute.
It's funny, she sings it, andthen she just makes up words.
Speaker 2 (31:28):
It's a cute, cute thing, isn't it?
It is, yeah, I get it.
Speaker 1 (31:32):
She would sing it to the kids when they were little.
You know, bedtime kind of thing.
Speaker 2 (31:37):
Well, I can tell you this Tony Tenniel did not have
anything to do with AnotherBrick in the Wall, part II, but
she had everything to do withMuskrat Love.
Speaker 1 (31:44):
Yeah, okay, well, fair enough.
Speaker 2 (31:46):
Jimmy, that's really cool.
Again.
That just comes full circlewith that.
Never knew what you were goingto talk about and what I was
going to talk about.
Speaker 1 (31:55):
It's weird, huh.
Speaker 2 (31:55):
Yeah, awesome, my name is Jimmy.
Hey, if you want to ask usquestions about Muskrat Love and
other Brick in the Wall, part 2, or anything that we talked
about, you can contact us atmusicinmyshoes at gmailcom.
Please like and follow theMusic in my Shoes Facebook and
Instagram pages.
Feel free to share the podcastwith your friends on social
(32:19):
media.
For those of you that alreadyhave, it is appreciated.
Thank you so much.
That's it for Episode 71 ofMusic in my Shoes.
I'd like to thank Jimmy MuskratLove, guthrie show producer and
owner of Arcade 160 Studioslocated right here in Atlanta,
georgia, and Vic Thrill for ourpodcast music.
(32:42):
This is Jim Boge, and I hopeyou learned something new or
remembered something old.
We'll meet again on our nextepisode.
Until then, live life and keepthe music playing.
I'll lay you on your own.
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