WEBVTT 00:00:00.000 --> 00:00:03.720 So I was looking at the Billboard Hot 100 chart 00:00:03.720 --> 00:00:07.400 from August 1988 the other day. Oh, wow. The 00:00:07.400 --> 00:00:11.300 late 80s. Yeah, exactly. And it is it's a very 00:00:11.300 --> 00:00:13.800 weird snapshot of time. I can only imagine. You 00:00:13.800 --> 00:00:16.699 have, you know, George Michael with Monkey right 00:00:16.699 --> 00:00:18.800 up there. You have Guns N' Roses doing Sweet 00:00:18.800 --> 00:00:20.879 Child O' Mine. Good lesson. You have Steve Winwood. 00:00:20.940 --> 00:00:24.820 I mean, it is peak unadulterated. Late 80s energy, 00:00:25.100 --> 00:00:28.239 hairspray, synthesizers, the whole deal. Right. 00:00:28.300 --> 00:00:32.859 The real MTV era. Exactly. Yeah. But then. sitting 00:00:32.859 --> 00:00:35.840 right there at number 11, literally sandwiched 00:00:35.840 --> 00:00:39.039 right between all of that modern, glossy 80s 00:00:39.039 --> 00:00:41.240 production. There's this track that sounds like 00:00:41.240 --> 00:00:43.320 it just fell out of a time machine. Oh, absolutely. 00:00:43.560 --> 00:00:46.399 It's raw. It's completely mono. The drums sound 00:00:46.399 --> 00:00:48.299 like, I don't know, cardboard boxes, but in the 00:00:48.299 --> 00:00:50.539 absolute best way possible. Yes. And the guy 00:00:50.539 --> 00:00:52.619 singing sounds like he is just shredding his 00:00:52.619 --> 00:00:55.140 vocal cords for dear life. It really is an anomaly 00:00:55.140 --> 00:00:56.759 on that chart. Usually, you know, when you see 00:00:56.759 --> 00:00:59.039 a really old song pop up on a modern chart like 00:00:59.039 --> 00:01:01.479 that, it's because someone died. Right, a tribute. 00:01:01.740 --> 00:01:04.120 Yeah, or maybe it was featured in a massive car 00:01:04.120 --> 00:01:06.500 commercial or something. But this was different. 00:01:06.719 --> 00:01:09.219 This wasn't just some brief nostalgia trip. It 00:01:09.219 --> 00:01:12.400 was a full -blown resurrection of a track. We 00:01:12.400 --> 00:01:15.540 are talking, of course, about Do You Love Me 00:01:15.540 --> 00:01:18.540 by The Contours. The one and only. And I think 00:01:18.540 --> 00:01:20.700 for most people out there listening, myself included, 00:01:20.879 --> 00:01:24.819 honestly, this song is sort of audio wallpaper. 00:01:25.400 --> 00:01:27.640 Audio wallpaper. That's a good way to describe 00:01:27.640 --> 00:01:30.430 it. You know it. Everyone knows it. You hear 00:01:30.430 --> 00:01:32.969 that opening spoken word bit, the, you broke 00:01:32.969 --> 00:01:35.890 my heart, and you instantly know exactly what 00:01:35.890 --> 00:01:38.250 is coming next. Right, the explosion of the drums. 00:01:38.510 --> 00:01:40.310 But until we started digging into this stack 00:01:40.310 --> 00:01:43.709 of research for today, I had absolutely no idea 00:01:43.709 --> 00:01:46.430 that this song is, well, it's basically the Forrest 00:01:46.430 --> 00:01:48.670 Gump of music history. It really is. It just 00:01:48.670 --> 00:01:50.930 keeps showing up at these massive pivotal moments 00:01:50.930 --> 00:01:53.769 across decades. That is a great way to put it, 00:01:53.790 --> 00:01:56.049 because it's a song that managed to be a huge, 00:01:56.069 --> 00:01:59.409 massive hit in the early 60s. And then it completely 00:01:59.409 --> 00:02:02.290 takes over the UK. Exactly. It became the center 00:02:02.290 --> 00:02:05.310 of this really vicious battle between bands during 00:02:05.310 --> 00:02:07.870 the British invasion. And then, as you noted 00:02:07.870 --> 00:02:10.389 with the 1988 chart, it came back to life nearly 00:02:10.389 --> 00:02:13.430 30 years later to sit right next to Guns N' Roses. 00:02:13.830 --> 00:02:16.969 It's just wild. So here is the plan for this 00:02:16.969 --> 00:02:19.430 deep dive. For everyone listening, we're going 00:02:19.430 --> 00:02:22.110 to fully trace the life cycle of this track. 00:02:22.289 --> 00:02:24.849 From birth to rebirth. Right. We're going to 00:02:24.849 --> 00:02:27.509 use an incredible stack of sources today. We've 00:02:27.509 --> 00:02:29.909 got historical chart data from Billboard. We've 00:02:29.909 --> 00:02:31.909 got interviews and quotes from Barry Gordy Jr. 00:02:32.050 --> 00:02:34.969 himself, plus brilliant analysis from music critics 00:02:34.969 --> 00:02:37.490 like Dave Marsh and musicologists like Andrew 00:02:37.490 --> 00:02:39.909 Flory. We really have a great roadmap of sources 00:02:39.909 --> 00:02:42.969 for this one. We do. And the mission today is 00:02:42.969 --> 00:02:45.430 to figure out how this happened. We need to go 00:02:45.430 --> 00:02:47.729 back to the very beginning, to this frantic. 00:02:48.039 --> 00:02:50.099 desperate recording session at Hitsville, USA. 00:02:50.360 --> 00:02:52.560 Because we have to explain why this song was 00:02:52.560 --> 00:02:54.520 basically an accident. Very happy accident. The 00:02:54.520 --> 00:02:56.340 happiest of accidents. And we're going to get 00:02:56.340 --> 00:02:58.500 deep into the battle of the covers in the UK, 00:02:58.560 --> 00:03:01.780 which I found this part so fascinating because 00:03:01.780 --> 00:03:05.159 I had no idea how totally cutthroat the music 00:03:05.159 --> 00:03:08.759 business was over there in 1963. Oh, it was brutal. 00:03:09.599 --> 00:03:13.599 Absolute warfare. And finally... We will land 00:03:13.599 --> 00:03:16.379 on the movie Dirty Dancing and how that film 00:03:16.379 --> 00:03:19.879 changed everything for a group of guys who literally 00:03:19.879 --> 00:03:22.300 thought their music career was dead and buried. 00:03:22.479 --> 00:03:24.520 It's a great narrative arc. But we have to start 00:03:24.520 --> 00:03:26.780 with the man himself. Barry Gordy Jr. The boss. 00:03:27.099 --> 00:03:29.840 The architect of Motown. Now, usually when we 00:03:29.840 --> 00:03:32.060 talk about Barry Gordy on a deep dive, we talk 00:03:32.060 --> 00:03:36.889 about him as this astute businessman. the guy 00:03:36.889 --> 00:03:38.969 who built the assembly line of hits in Detroit. 00:03:39.090 --> 00:03:41.330 Right. The quality control meetings, the pristine 00:03:41.330 --> 00:03:45.189 operation. But the origin of Do You Love Me isn't 00:03:45.189 --> 00:03:48.169 about some grand business strategy. It's actually 00:03:48.169 --> 00:03:51.050 about deep personal insecurity. It is. And it's 00:03:51.050 --> 00:03:52.810 actually quite charming when you strip away the 00:03:52.810 --> 00:03:55.150 massive Motown legend and just look at the man. 00:03:55.310 --> 00:03:58.150 Yeah. Gordy was a songwriter at his core, and 00:03:58.150 --> 00:03:59.930 he always maintained that the best songs come 00:03:59.930 --> 00:04:02.620 from truth. They come from real life. And in 00:04:02.620 --> 00:04:04.479 this case, the truth was that back in his younger 00:04:04.479 --> 00:04:07.039 days, he couldn't get dates. Wait, I still can't 00:04:07.039 --> 00:04:08.939 get over this. The guy who founded Motown, the 00:04:08.939 --> 00:04:11.159 coolest label on Earth, couldn't get a date. 00:04:11.469 --> 00:04:13.889 Well, not the specific dates he really wanted. 00:04:14.030 --> 00:04:16.209 He was actually quite explicit about this in 00:04:16.209 --> 00:04:18.889 the source material. He noted that writing the 00:04:18.889 --> 00:04:21.129 concept and the lyrics for this song was the 00:04:21.129 --> 00:04:23.170 easiest thing in the world for him. Because he 00:04:23.170 --> 00:04:25.750 lived it. Exactly. He just tapped right into 00:04:25.750 --> 00:04:28.730 his memory of being a young guy standing at parties. 00:04:28.990 --> 00:04:31.389 He would see a girl he liked across the room, 00:04:31.490 --> 00:04:33.170 but he couldn't approach her because he couldn't 00:04:33.170 --> 00:04:36.050 dance. The classic wallflower syndrome. Precisely. 00:04:36.050 --> 00:04:38.769 In the late 50s and early 60s, you have to remember, 00:04:38.970 --> 00:04:42.000 dancing was the primary... currency of social 00:04:42.000 --> 00:04:44.000 interaction for teenagers. You couldn't do the 00:04:44.000 --> 00:04:46.139 moves. You were stuck on the sideline. You were 00:04:46.139 --> 00:04:49.860 invisible. So this song, Do You Love Me, is essentially 00:04:49.860 --> 00:04:53.500 a massive wish fulfillment fantasy for Gordy. 00:04:53.680 --> 00:04:56.000 Oh, I see. The protagonist of the song is saying 00:04:56.000 --> 00:04:58.259 to this girl, remember when you totally ignored 00:04:58.259 --> 00:05:01.100 me? Well, look at me now. That perfectly explains 00:05:01.100 --> 00:05:03.420 why the lyrics are basically just a checklist 00:05:03.420 --> 00:05:07.439 of very specific dance crazes from the 1960s. 00:05:07.439 --> 00:05:10.259 Right. I mean, he literally sings, I can do the 00:05:10.259 --> 00:05:12.959 mashed potato. I can do the twist. It's not poetry. 00:05:13.040 --> 00:05:17.259 It's a resume. A dancing resume. Yes. He is proving 00:05:17.259 --> 00:05:20.779 his romantic worth entirely through dance. And 00:05:20.779 --> 00:05:23.879 that theme, the idea of bridging the gap between 00:05:23.879 --> 00:05:27.019 being uncool and being cool through sheer physical 00:05:27.019 --> 00:05:31.100 movement, that is the core DNA of the song. It 00:05:31.100 --> 00:05:33.019 is exactly what makes it work so universally. 00:05:33.379 --> 00:05:35.459 Okay, so Gordy has this anthem. He's written 00:05:35.459 --> 00:05:38.019 this wish fulfillment song. And he is the head 00:05:38.019 --> 00:05:41.019 of the label. So he can literally pick... Anyone 00:05:41.019 --> 00:05:43.420 is stable to sing it. Anyone he wants. And he 00:05:43.420 --> 00:05:45.439 has a very specific group in mind. He doesn't 00:05:45.439 --> 00:05:49.129 want just anyone. He wants the temptations. This 00:05:49.129 --> 00:05:51.930 is one of the absolute biggest what -ifs in all 00:05:51.930 --> 00:05:54.430 of Motown history. Let's pause on the temptations 00:05:54.430 --> 00:05:55.930 for just a second, because if you're listening 00:05:55.930 --> 00:05:58.649 to this, you're picturing the icons. But in 1962, 00:05:58.949 --> 00:06:01.230 they weren't the superstar temptations yet, were 00:06:01.230 --> 00:06:03.089 they? Not at all. They weren't the guys in the 00:06:03.089 --> 00:06:05.350 flawless matching suits doing the perfect choreography. 00:06:05.810 --> 00:06:07.850 No, in 1962, they were actually really struggling. 00:06:08.069 --> 00:06:10.670 Around Hitsville, they were mockingly known as 00:06:10.670 --> 00:06:12.910 the hit list temptations. That is so harsh. The 00:06:12.910 --> 00:06:14.829 industry is tough. They had released a few singles 00:06:14.829 --> 00:06:17.110 already, but absolutely nothing had cracked the 00:06:17.110 --> 00:06:19.779 top 40. They had the talent, but no traction. 00:06:20.360 --> 00:06:23.300 Exactly. They're incredibly polished. Their harmonies 00:06:23.300 --> 00:06:25.839 were gorgeous, but they just hadn't connected 00:06:25.839 --> 00:06:28.939 with the record buying public yet. So Gordy writes 00:06:28.939 --> 00:06:32.740 this song and he sees Do You Love Me as their 00:06:32.740 --> 00:06:35.500 golden ticket. This is going to be the breakout 00:06:35.500 --> 00:06:37.800 hit for the Hit List Temptations. That was the 00:06:37.800 --> 00:06:40.680 plan. He creates this energetic vehicle specifically 00:06:40.680 --> 00:06:43.660 for them. He goes down to the recording studio 00:06:43.660 --> 00:06:46.439 at Hitsville to grab them to cut the track. And 00:06:46.439 --> 00:06:48.649 they aren't there. They are completely missing. 00:06:48.790 --> 00:06:50.670 This is the part of the story from the sources 00:06:50.670 --> 00:06:53.670 that I find absolutely hilarious. You have the 00:06:53.670 --> 00:06:56.449 boss of the company, Barry Gordy, holding what 00:06:56.449 --> 00:06:59.189 he knows is a smash hit record, wandering around 00:06:59.189 --> 00:07:01.430 looking for his artists, and they have basically 00:07:01.430 --> 00:07:03.550 vanished. Gone without a trace. So where were 00:07:03.550 --> 00:07:05.930 they? They were at church. At church. On a recording 00:07:05.930 --> 00:07:09.170 day. Yes. But they weren't just there for a regular 00:07:09.170 --> 00:07:11.790 Sunday service. They had actually gone to a local 00:07:11.790 --> 00:07:15.389 gospel showcase in Detroit to see some real heavy 00:07:15.389 --> 00:07:17.579 hitters in the gospel world. Who are they seeing? 00:07:17.720 --> 00:07:19.620 The sources are specific on this. They went to 00:07:19.620 --> 00:07:21.879 see the Dixie hummingbirds, the harmonizing four, 00:07:22.160 --> 00:07:25.779 and the swan silvertones. Okay, I know those 00:07:25.779 --> 00:07:28.459 names are absolute giants in the gospel world, 00:07:28.560 --> 00:07:31.259 but for a listener who might not be deep into 00:07:31.259 --> 00:07:34.199 gospel history, how big of a deal was this showcase? 00:07:34.730 --> 00:07:36.430 Was it really worth skipping out on the boss? 00:07:36.629 --> 00:07:39.430 Oh, in the context of black music in Detroit 00:07:39.430 --> 00:07:43.250 in 1962, absolutely. Really? Oh, yeah. The Dixie 00:07:43.250 --> 00:07:45.790 Hummingbirds, just as one example, were total 00:07:45.790 --> 00:07:47.870 legends. They were essentially the rock stars 00:07:47.870 --> 00:07:50.730 of the gospel circuit. Rock stars in robes. Exactly. 00:07:51.579 --> 00:07:54.160 They were known for this incredibly hard -driving 00:07:54.160 --> 00:07:57.839 vocal style and their intense showmanship. If 00:07:57.839 --> 00:07:59.540 you were an up -and -coming vocal group like 00:07:59.540 --> 00:08:02.160 The Temptations, going to watch the Dixie Hummingbirds 00:08:02.160 --> 00:08:04.399 was like attending a master class. So they weren't 00:08:04.399 --> 00:08:06.740 just playing hooky. No. You went there to steal 00:08:06.740 --> 00:08:09.579 moves. You went to carefully study how they structured 00:08:09.579 --> 00:08:11.759 their intricate harmonies. You went to learn 00:08:11.759 --> 00:08:14.459 how to completely control and work a live crowd. 00:08:14.699 --> 00:08:16.220 So it was professional development, technically 00:08:16.220 --> 00:08:18.199 speaking. You could definitely argue that. But 00:08:18.199 --> 00:08:20.459 the irony of the situation is just delicious. 00:08:20.639 --> 00:08:23.759 It really is. Here is Barry Gordy holding this 00:08:23.759 --> 00:08:28.399 piece of paper with a song entirely about... 00:08:28.759 --> 00:08:31.920 secular pleasures. It's about dancing, shaking 00:08:31.920 --> 00:08:35.179 it down, getting the girl romance. And the guys 00:08:35.179 --> 00:08:37.940 he desperately wants to sing it are off somewhere 00:08:37.940 --> 00:08:41.460 soaking in deep spiritual gospel music. It's 00:08:41.460 --> 00:08:44.080 this perfect collision of the sacred versus the 00:08:44.080 --> 00:08:46.419 secular happening right there in an empty hallway 00:08:46.419 --> 00:08:50.799 at Hitsville, USA. So Gordy is impatient. He 00:08:50.799 --> 00:08:53.220 wants to cut this record right now while the 00:08:53.220 --> 00:08:55.799 inspiration is hot. He was not a man who liked 00:08:55.799 --> 00:08:58.570 to wait. And... Because the temptations are a 00:08:58.570 --> 00:09:02.009 church, history pivots. Yeah. Who does he physically 00:09:02.009 --> 00:09:04.809 run into in the studio? He runs right into the 00:09:04.809 --> 00:09:06.850 contours. Now let's talk about the contours. 00:09:07.389 --> 00:09:09.830 Because if the temptations were the hit list 00:09:09.830 --> 00:09:12.210 temptations, the contours were in even worse 00:09:12.210 --> 00:09:14.769 shape, right? No. The contours were in the extreme 00:09:14.769 --> 00:09:18.009 danger zone. How bad was it? Very bad. They were 00:09:18.009 --> 00:09:20.450 a much rougher group than The Temptations. They 00:09:20.450 --> 00:09:23.529 absolutely did not have that silky, smooth elegance. 00:09:23.590 --> 00:09:26.049 And their track record at the label was terrible. 00:09:26.289 --> 00:09:27.889 They had already released stuff, right? Yes, 00:09:27.889 --> 00:09:29.690 their first two singles. One was called Whole 00:09:29.690 --> 00:09:31.549 Lotta Woman and the other was called The Stretch. 00:09:31.750 --> 00:09:34.049 And both of them had completely stiffed. They 00:09:34.049 --> 00:09:36.289 didn't chart at all. And in the Motown singles 00:09:36.289 --> 00:09:40.470 business of 1962, Two Strikes is a massive deal. 00:09:40.769 --> 00:09:43.289 Two Strikes usually means you're out. They were 00:09:43.289 --> 00:09:45.769 genuinely, deeply afraid that they were about 00:09:45.769 --> 00:09:48.350 to be dropped from the label entirely. So when 00:09:48.350 --> 00:09:50.409 they awkwardly bumped into Gordy in the hall, 00:09:50.649 --> 00:09:52.750 why were they even in the building? They were 00:09:52.750 --> 00:09:55.690 actually booked at the studio to record a totally 00:09:55.690 --> 00:09:57.629 different song. They were scheduled to cut a 00:09:57.629 --> 00:10:00.850 track called It Must Be Love. It Must Be Love. 00:10:00.929 --> 00:10:03.370 I have never heard of that song in my life. Exactly. 00:10:03.690 --> 00:10:07.570 Nobody has. Because history completely intervened. 00:10:07.809 --> 00:10:09.750 Gordy sees them standing there and he basically 00:10:09.750 --> 00:10:12.679 says, forget whatever you're doing. I need you 00:10:12.679 --> 00:10:15.419 to go in there and try this song instead. Imagine 00:10:15.419 --> 00:10:18.000 the peer pressure of that moment. It's terrifying. 00:10:18.340 --> 00:10:21.559 You are literally about to get fired. The boss 00:10:21.559 --> 00:10:24.000 is visibly frustrated because his favorite group 00:10:24.000 --> 00:10:26.779 is missing. And he hands you a sheet of lyrics 00:10:26.779 --> 00:10:29.299 you have never seen before and basically says, 00:10:29.440 --> 00:10:32.279 make this a hit right now. And we have to be 00:10:32.279 --> 00:10:35.120 clear, it wasn't instant magic. It wasn't. No, 00:10:35.179 --> 00:10:36.799 that's the part of the legend people always gloss 00:10:36.799 --> 00:10:39.120 over. They didn't just walk into the booth, read 00:10:39.120 --> 00:10:42.059 it once, and nail it in one take. Oh, I always 00:10:42.059 --> 00:10:44.259 sort of assumed they just blasted it out. Not 00:10:44.259 --> 00:10:48.679 at all. Gordy was a notoriously demanding perfectionist. 00:10:48.679 --> 00:10:51.500 He worked them incredibly hard on this track. 00:10:51.679 --> 00:10:55.500 He kept pushing and pushing them for a very specific, 00:10:55.720 --> 00:10:58.000 frantic vocal delivery. Let's talk about that 00:10:58.000 --> 00:11:00.580 vocal delivery. Because when you actually sit 00:11:00.580 --> 00:11:03.059 and listen to the record today, the lead singer. 00:11:03.480 --> 00:11:05.379 That's Billy Gordon, right? Yes, Billy Gordon. 00:11:05.580 --> 00:11:08.240 He sounds like he is physically exploding. He 00:11:08.240 --> 00:11:11.340 does. It's not pretty singing at all. It's not 00:11:11.340 --> 00:11:14.879 crooning. It is this intense, I am desperate 00:11:14.879 --> 00:11:17.600 and I am begging you kind of singing. that is 00:11:17.600 --> 00:11:20.460 the absolute key to the whole song in fact joe 00:11:20.460 --> 00:11:22.379 billingsley who was one of the other singers 00:11:22.379 --> 00:11:25.220 in the contours he gave an interview back in 00:11:25.220 --> 00:11:28.059 2009 where he reflected on this exact session 00:11:28.059 --> 00:11:30.539 what did he say he said and i think he is 100 00:11:30.539 --> 00:11:33.700 right about this that the temptations could not 00:11:33.700 --> 00:11:36.480 have sung this song really why not i mean they're 00:11:36.480 --> 00:11:38.980 the temptations they're legendary vocalists they 00:11:38.980 --> 00:11:41.159 can sing anything they could sing anything beautifully 00:11:41.840 --> 00:11:44.159 But Do You Love Me isn't supposed to be beautiful. 00:11:44.340 --> 00:11:47.000 It's supposed to be raucous. It inherently requires 00:11:47.000 --> 00:11:50.440 a certain level of grit, a complete lack of polish. 00:11:51.220 --> 00:11:53.360 And the Temptations were just too refined for 00:11:53.360 --> 00:11:56.120 that. Exactly. They were too smooth, too tall, 00:11:56.240 --> 00:11:59.379 too elegant. If the Temptations had sung the 00:11:59.379 --> 00:12:01.519 lyric Do You Love Me, it might have sounded like 00:12:01.519 --> 00:12:04.200 a very polite romantic request. Excuse me, miss. 00:12:04.379 --> 00:12:07.240 Would you care to dance? Right. But when the 00:12:07.240 --> 00:12:09.659 contours sang it, it sounded like a vital demand. 00:12:10.019 --> 00:12:12.679 It sounded urgent. It's the stark difference 00:12:12.679 --> 00:12:15.659 between asking someone for a dance and begging 00:12:15.659 --> 00:12:18.080 them for a dance, as if your life depends on 00:12:18.080 --> 00:12:21.090 it. Precisely. The contours naturally had that 00:12:21.090 --> 00:12:23.110 rough around the edges, street corner quality. 00:12:23.409 --> 00:12:26.269 And that completely matched the frantic, desperate 00:12:26.269 --> 00:12:28.830 energy of Gordy's lyrics. Because they were actually 00:12:28.830 --> 00:12:31.029 desperate. They were literally fighting for their 00:12:31.029 --> 00:12:33.190 careers inside that vocal booth. And you can 00:12:33.190 --> 00:12:35.450 hear every ounce of that sweat on the record. 00:12:35.610 --> 00:12:38.149 That makes so much sense. And you know, we can't 00:12:38.149 --> 00:12:39.750 give all the credit just to the vocalists here. 00:12:39.870 --> 00:12:41.929 We really have to talk about the engine room 00:12:41.929 --> 00:12:44.629 of the song. The Funk Brothers. The Funk Brothers. 00:12:45.409 --> 00:12:48.610 For the uninitiated listener. Who exactly are 00:12:48.610 --> 00:12:51.190 we listening to playing the instruments on this 00:12:51.190 --> 00:12:53.970 track? You are listening to, quite literally, 00:12:54.210 --> 00:12:57.549 the absolute best session musicians in the world 00:12:57.549 --> 00:13:00.570 at that specific moment in time. The Motown House 00:13:00.570 --> 00:13:04.830 Band. Yes. On piano, you have Joe Hunter. On 00:13:04.830 --> 00:13:07.830 the drums, you have Benny Benjamin. And if you 00:13:07.830 --> 00:13:09.929 go listen to the song, just pay attention to 00:13:09.929 --> 00:13:12.190 that opening drum fill. Oh, it's thunderous. 00:13:12.330 --> 00:13:14.919 It sounds like an avalanche. And then, of course, 00:13:14.980 --> 00:13:16.960 you have James Jamerson on the bass guitar. Jamerson 00:13:16.960 --> 00:13:18.860 is always the one everyone talks about when we 00:13:18.860 --> 00:13:22.440 discuss Motown. And for very good reason. Jamerson 00:13:22.440 --> 00:13:24.779 fundamentally changed how the bass was played 00:13:24.779 --> 00:13:27.000 in pop music. He didn't just sit there and play 00:13:27.000 --> 00:13:29.019 the standard root notes. He played actual melodies. 00:13:29.059 --> 00:13:31.659 He played melody. He played complex rhythm. On 00:13:31.659 --> 00:13:34.620 Do You Love Me, he is completely locking in with 00:13:34.620 --> 00:13:37.519 Benny Benjamin's drums to create this driving, 00:13:37.659 --> 00:13:41.019 relentless pulse that just pushes the song forward. 00:13:41.200 --> 00:13:43.610 And the room they recorded in. contributed to 00:13:43.610 --> 00:13:46.230 that sound, too. Definitely. This was all recorded 00:13:46.230 --> 00:13:48.570 down in what they called the snake pit. The basement 00:13:48.570 --> 00:13:52.009 at Hitsville. Yes, it was small. It was cramped. 00:13:52.029 --> 00:13:54.909 It was hot. The sound literally bounced off the 00:13:54.909 --> 00:13:57.129 walls. That is a huge part of why the record 00:13:57.129 --> 00:14:00.529 sounds so wildly alive today. It's not some sterile 00:14:00.529 --> 00:14:03.769 modern studio. No, it sounds exactly like a chaotic, 00:14:03.830 --> 00:14:06.309 sweaty party happening in a basement. So they 00:14:06.309 --> 00:14:08.919 finally get to take. Gordy is happy with the 00:14:08.919 --> 00:14:11.700 desperation. They press it and release it in 00:14:11.700 --> 00:14:16.019 1962. What happens next? It absolutely explodes. 00:14:16.200 --> 00:14:19.100 Immediate hit. Very quickly. It ends up selling 00:14:19.100 --> 00:14:21.600 over a million copies. It shoots up to number 00:14:21.600 --> 00:14:24.820 three on the Billboard Hot 100 on October 20th, 00:14:24.820 --> 00:14:27.500 1962. Number three for a group that was about 00:14:27.500 --> 00:14:29.659 to be dropped. Incredible turnaround. But even 00:14:29.659 --> 00:14:31.500 more importantly for the Motown label financially, 00:14:31.840 --> 00:14:34.259 it hit number one on the Billboard R &B singles 00:14:34.259 --> 00:14:36.500 chart. And it wasn't just an American hit either. 00:14:36.620 --> 00:14:38.879 Our sources show it went international right 00:14:38.879 --> 00:14:41.639 away. It did. It charted in Canada. It hit number 00:14:41.639 --> 00:14:44.220 two on the CHRM chart and number three on CFUN. 00:14:44.379 --> 00:14:47.320 It went to number six in New Zealand. It even 00:14:47.320 --> 00:14:50.139 charted over in Belgium. A global smash. But, 00:14:50.179 --> 00:14:51.860 you know, talking about those specific Billboard 00:14:51.860 --> 00:14:54.960 charts, the Hot 100 versus the R &B chart, this 00:14:54.960 --> 00:14:56.980 brings up a really fascinating point from our 00:14:56.980 --> 00:14:59.960 sources about the concept of musical genre in 00:14:59.960 --> 00:15:02.639 the early 60s. Yes, the way music was categorized 00:15:02.639 --> 00:15:05.200 was incredibly rigid and, frankly, very racially 00:15:05.200 --> 00:15:08.039 coded. I want to dig into this quote from Barry 00:15:08.039 --> 00:15:10.000 Gordy that was in the research. I found it really 00:15:10.000 --> 00:15:12.399 striking. He was giving an interview to Billboard 00:15:12.399 --> 00:15:15.980 magazine in 1963. So he's reflecting on the massive 00:15:15.980 --> 00:15:18.100 success of Do You Love Me just a year later. 00:15:18.679 --> 00:15:21.059 Can you break down what he said? It is a truly 00:15:21.059 --> 00:15:24.100 fascinating piece of music history. So Gordy 00:15:24.100 --> 00:15:26.480 is talking to Billboard and he says, quote, It 00:15:26.480 --> 00:15:28.899 was recorded R &B, but by the time it reached 00:15:28.899 --> 00:15:31.039 the half million mark, it was considered pop. 00:15:31.299 --> 00:15:33.440 And if we hadn't recorded it with a Negro artist, 00:15:33.679 --> 00:15:35.100 it would have been considered rock and roll. 00:15:35.480 --> 00:15:38.440 I mean, that is a lot to unpack in one sentence. 00:15:38.539 --> 00:15:40.860 It really is. He is basically saying out loud 00:15:40.860 --> 00:15:43.600 that the genre label of a song depended entirely 00:15:43.600 --> 00:15:46.259 on the race of the artist and the sheer volume 00:15:46.259 --> 00:15:48.679 of sales, and had almost nothing to do with the 00:15:48.679 --> 00:15:50.980 actual sonic qualities of the music. That is 00:15:50.980 --> 00:15:53.600 exactly what he's saying, and he was 100 % right. 00:15:53.820 --> 00:15:57.200 You have to remember, in 1962, the American music 00:15:57.200 --> 00:15:59.940 industry was still heavily segregated in how 00:15:59.940 --> 00:16:03.360 it categorized and marketed things. R &B, rhythm, 00:16:03.419 --> 00:16:05.759 and blues was essentially just... industry code 00:16:05.759 --> 00:16:09.279 for black music and pop was industry con for 00:16:09.279 --> 00:16:12.580 white music or more specifically music that white 00:16:12.580 --> 00:16:15.679 teenagers are actively buying so when gordy points 00:16:15.679 --> 00:16:18.860 out that it miraculously became pop once it hit 00:16:18.860 --> 00:16:21.059 the half million sales mark he means it successfully 00:16:21.059 --> 00:16:24.100 crossed over white teenagers started buying the 00:16:24.100 --> 00:16:26.500 record in massive numbers and once the sales 00:16:26.500 --> 00:16:29.399 volume hit that undeniable threshold the predominantly 00:16:29.399 --> 00:16:32.480 white music industry decided okay we can't ignore 00:16:32.480 --> 00:16:35.320 this this is pop now But the last part of his 00:16:35.320 --> 00:16:37.639 comment, the part about rock and roll, that's 00:16:37.639 --> 00:16:39.519 the most telling to me. If we hadn't recorded 00:16:39.519 --> 00:16:41.899 it with a Negro artist, it would have been considered 00:16:41.899 --> 00:16:44.659 rock and roll. Yeah, because if you just step 00:16:44.659 --> 00:16:46.679 back and listen to the song objectively today. 00:16:46.919 --> 00:16:49.379 It's loud. It's aggressive. It's got a guy literally 00:16:49.379 --> 00:16:51.620 screaming his lungs out over these pounding, 00:16:51.720 --> 00:16:55.259 distorted drums. Musically, structurally, culturally, 00:16:55.659 --> 00:16:58.440 it is absolutely a rock and roll record. But 00:16:58.440 --> 00:17:00.519 simply because it was performed by The Contours, 00:17:00.659 --> 00:17:03.259 a black vocal group, and released on Motown, 00:17:03.399 --> 00:17:06.099 a black -owned label, it was immediately boxed 00:17:06.099 --> 00:17:09.940 in as R &B. Exactly. Gordy was acutely aware 00:17:09.940 --> 00:17:12.559 that these industry labels were just arbitrary 00:17:12.559 --> 00:17:15.539 boxes designed to keep his artists in a specific 00:17:15.539 --> 00:17:18.079 lane. And he wanted them in every lane. He wanted 00:17:18.079 --> 00:17:21.450 to be the sound of young America, period. Dave 00:17:21.450 --> 00:17:23.809 Marsh, the famous music journalist, he actually 00:17:23.809 --> 00:17:25.869 wrote about this specific song later on, didn't 00:17:25.869 --> 00:17:28.069 he? Yeah, Dave Marsh completely backs Gordy up 00:17:28.069 --> 00:17:31.710 on this. Marsh calls Do You Love Me, quote, classic 00:17:31.710 --> 00:17:34.549 rock and roll. There you go. Marsh argues that 00:17:34.549 --> 00:17:36.890 this track perfectly represents Barry Gordy's 00:17:36.890 --> 00:17:39.650 absolute genius, not just as a sharp businessman, 00:17:39.829 --> 00:17:43.170 but as a hands -on producer and arranger. Gordy 00:17:43.170 --> 00:17:46.109 created a massive rock anthem that totally defined 00:17:46.109 --> 00:17:49.009 the R &B label, even if the industry in 1962 00:17:49.009 --> 00:17:51.250 wasn't quite ready to admit it out loud. It just 00:17:51.250 --> 00:17:53.269 shows you how much deep cultural politics is 00:17:53.269 --> 00:17:55.390 hidden inside a simple three -minute dance track. 00:17:55.690 --> 00:17:57.829 It's never just about the music. There's always 00:17:57.829 --> 00:18:00.109 a bigger story. Always. Oh, speaking of the song 00:18:00.109 --> 00:18:01.829 structure itself, we should quickly touch on 00:18:01.829 --> 00:18:04.769 that spoken word intro. The famous intro. Right. 00:18:04.869 --> 00:18:07.410 It starts with this dramatic recitation. You 00:18:07.410 --> 00:18:11.190 broke my heart because I couldn't dance. It's 00:18:11.190 --> 00:18:13.950 so theatrical. But it works. It perfectly establishes 00:18:13.950 --> 00:18:16.569 the whole narrative arc right up front. It really 00:18:16.569 --> 00:18:18.849 does. It sets the stakes. The protagonist is 00:18:18.849 --> 00:18:21.009 returning. He's learned how to, quote unquote, 00:18:21.250 --> 00:18:23.549 shake him down. And now he's demanding his love 00:18:23.549 --> 00:18:25.890 back. It's a brilliant songwriting economy. It 00:18:25.890 --> 00:18:27.990 hooks you instantly before the beat even drops. 00:18:28.309 --> 00:18:30.210 Okay, so we've established the Detroit origin 00:18:30.210 --> 00:18:33.839 story. But to really understand the global impact 00:18:33.839 --> 00:18:36.480 of this song, we need to move across the Atlantic 00:18:36.480 --> 00:18:39.900 Ocean. Ah, yes. Because while the contours were 00:18:39.900 --> 00:18:42.140 celebrating their totally unexpected victory 00:18:42.140 --> 00:18:46.140 in Detroit, this little 45 RPM record was making 00:18:46.140 --> 00:18:48.480 its way over to England. And this is where the 00:18:48.480 --> 00:18:50.900 story gets really, really messy. The British 00:18:50.900 --> 00:18:53.240 invasion. Exactly. We always tend to think of 00:18:53.240 --> 00:18:54.839 the British invasion as this one -way street, 00:18:55.000 --> 00:18:57.759 right? The Beatles coming to America, playing 00:18:57.759 --> 00:19:00.140 Ed Sullivan, conquering the world. But before 00:19:00.140 --> 00:19:02.700 that ever happened, the British bands were completely 00:19:02.700 --> 00:19:05.460 obsessed with American records. They were basically 00:19:05.460 --> 00:19:07.920 importing these Motown and Chess records discs, 00:19:08.200 --> 00:19:10.779 studying them like holy texts, and then covering 00:19:10.779 --> 00:19:13.170 them. They were aggressively mining the American 00:19:13.170 --> 00:19:16.089 R &B catalogs. You really have to put yourself 00:19:16.089 --> 00:19:19.390 in the shoes of a young British musician in, 00:19:19.529 --> 00:19:23.970 say, early 1963. Okay. American R &B was the 00:19:23.970 --> 00:19:26.890 absolute holy grail. It sounded exotic. It was 00:19:26.890 --> 00:19:29.349 incredibly exciting. And most importantly, it 00:19:29.349 --> 00:19:31.660 was actually... Quite hard to physically get 00:19:31.660 --> 00:19:33.640 your hands on in the UK. Right. You had to find 00:19:33.640 --> 00:19:35.720 a merchant marine who brought it over or something. 00:19:35.859 --> 00:19:38.539 Exactly. So if you were a local band and you 00:19:38.539 --> 00:19:41.019 managed to find a great American B -side or a 00:19:41.019 --> 00:19:43.700 minor R &B hit, you immediately covered it and 00:19:43.700 --> 00:19:46.160 put it in your live set list to stand out. And 00:19:46.160 --> 00:19:48.220 a song like Do You Love Me was totally perfect 00:19:48.220 --> 00:19:50.359 for that environment. It's incredibly high energy. 00:19:50.440 --> 00:19:52.559 It's guaranteed to get a crowded pub moving. 00:19:52.799 --> 00:19:55.960 So enter a band called Brian Poole and the Tremolos. 00:19:56.119 --> 00:19:58.480 Brian Poole and the Tremolos. They were signed 00:19:58.480 --> 00:20:00.619 to Decca Records. Which is famous for being the 00:20:00.619 --> 00:20:03.539 label that rejected the Beatles. Exactly. Decca 00:20:03.539 --> 00:20:06.740 signed the Tremolos instead. And by mid -1963, 00:20:06.940 --> 00:20:09.059 the Tremolos were desperately looking for their 00:20:09.059 --> 00:20:11.140 next big hit. They had actually just had some... 00:20:11.440 --> 00:20:13.819 Pretty major success with a cover version of 00:20:13.819 --> 00:20:16.240 Twist and Shout. Twist and Shout seems to be 00:20:16.240 --> 00:20:18.380 the ultimate blueprint here. It really is the 00:20:18.380 --> 00:20:20.619 inciting incident for all of this. Twist and 00:20:20.619 --> 00:20:22.859 Shout proved to the British labels that the kids 00:20:22.859 --> 00:20:25.500 over there desperately wanted that raucous shouting 00:20:25.500 --> 00:20:28.440 American dance music. So they needed a follow 00:20:28.440 --> 00:20:31.779 up. Yes. So the Tremolos found the Contours album, 00:20:31.980 --> 00:20:34.519 which, by the way, Motown has smartly titled 00:20:34.519 --> 00:20:36.839 Do You Love Me Now That I Can Dance to capitalize 00:20:36.839 --> 00:20:39.599 on the hit. And the Tremolos decided. This is 00:20:39.599 --> 00:20:42.019 it. This is our twist and shout part two. Now, 00:20:42.059 --> 00:20:44.539 how did they approach the actual recording of 00:20:44.539 --> 00:20:47.339 it? Because. The Contours version, as we discussed, 00:20:47.480 --> 00:20:50.880 is so incredibly raw and gritty. Did these British 00:20:50.880 --> 00:20:53.500 kids try to match that Detroit grit? They tried 00:20:53.500 --> 00:20:55.259 to match the energy, absolutely, but they did 00:20:55.259 --> 00:20:57.819 it in a very uniquely British way. To capture 00:20:57.819 --> 00:21:00.880 that wild live sound, they used a really specific 00:21:00.880 --> 00:21:03.619 studio technique where they actually miked up 00:21:03.619 --> 00:21:06.299 a live PA system inside the recording studio. 00:21:06.660 --> 00:21:08.640 Wait, explain that to me. I'm not a studio engineer. 00:21:09.920 --> 00:21:12.059 They played their instruments through live speakers 00:21:12.059 --> 00:21:14.259 and then recorded the sound coming out of those 00:21:14.259 --> 00:21:17.259 speakers. Basically, yes. So normally you'd try 00:21:17.259 --> 00:21:19.799 to plug directly into the mixing board or use 00:21:19.799 --> 00:21:22.140 baffles to isolate everything really cleanly 00:21:22.140 --> 00:21:24.460 so you have control. Right. But they wanted it 00:21:24.460 --> 00:21:27.700 to sound exactly like a loud, sweaty live gig. 00:21:27.960 --> 00:21:32.190 They wanted that specific. beat boom sound, the 00:21:32.190 --> 00:21:35.309 chaotic sound of a band playing in a cavernous 00:21:35.309 --> 00:21:37.970 echoing club. Oh, like the Cavern Club. Exactly. 00:21:38.089 --> 00:21:40.269 So they pumped the vocal and instrument sound 00:21:40.269 --> 00:21:42.910 into the live room through a PA, and then they 00:21:42.910 --> 00:21:44.910 placed microphones to record the room itself. 00:21:45.150 --> 00:21:47.089 That is actually really clever. It is clever, 00:21:47.190 --> 00:21:50.349 and it gave it a huge booming sound. But if you 00:21:50.349 --> 00:21:52.450 listen to the final results side by side with 00:21:52.450 --> 00:21:54.990 the contours, it's still different. How so? Well, 00:21:55.089 --> 00:21:58.190 Andrew Flory, he's a musicologist who has studied 00:21:58.190 --> 00:22:01.279 this specific era heavily, He calls the tremolos 00:22:01.279 --> 00:22:04.259 version a refined version of a Motown rock song. 00:22:04.660 --> 00:22:07.119 Refined is just a polite academic way of saying 00:22:07.119 --> 00:22:10.119 sanitized, isn't it? A little bit, yeah. Flory 00:22:10.119 --> 00:22:12.440 points out that the tremolos utilize what he 00:22:12.440 --> 00:22:15.519 calls pitch and rhythm normalization. Okay, hold 00:22:15.519 --> 00:22:18.519 on. Pitch and rhythm normalization. Sounds like 00:22:18.519 --> 00:22:21.640 they used autotune 50 years before autotune was 00:22:21.640 --> 00:22:24.160 even invented. What were they actually doing 00:22:24.160 --> 00:22:26.140 with the tape? Obviously, they didn't have digital 00:22:26.140 --> 00:22:28.680 plug -ins, but what it means is that they arranged 00:22:28.680 --> 00:22:31.660 and performed it to be much tighter. Ah. They 00:22:31.660 --> 00:22:33.660 made absolutely sure the vocal harmonies were 00:22:33.660 --> 00:22:36.259 perfectly in sync. They made sure the drum beat 00:22:36.259 --> 00:22:39.539 was completely metronomic and steady. They essentially 00:22:39.539 --> 00:22:41.880 cleaned off all the Detroit burt. Right. The 00:22:41.880 --> 00:22:44.200 contours version swings. It's a little loose. 00:22:44.460 --> 00:22:47.500 Exactly. But the tremolos version marches. It 00:22:47.500 --> 00:22:50.599 is very rigid. It is stereotypical Mersey beat. 00:22:50.720 --> 00:22:52.319 It's like the difference between a chaotic street 00:22:52.319 --> 00:22:55.299 fight and a sanctioned boxing match. one has 00:22:55.299 --> 00:22:57.720 very strict rules that's a great analogy but 00:22:57.720 --> 00:22:59.500 you know it totally worked for their audience 00:22:59.500 --> 00:23:02.640 the british music press loved it the new musical 00:23:02.640 --> 00:23:06.259 express the nme they reviewed the single and 00:23:06.259 --> 00:23:09.079 they noted that it was quote raucous and a strain 00:23:09.079 --> 00:23:11.880 on the vocal cords but ultimately bursting with 00:23:11.880 --> 00:23:14.519 excitement so the tremolos have this great cover 00:23:14.519 --> 00:23:18.559 but they weren't the only british band eyeing 00:23:18.559 --> 00:23:21.440 this contours track no they were not and this 00:23:21.440 --> 00:23:23.359 is the part of the story i just love because 00:23:23.359 --> 00:23:27.380 it is so petty enter the dave clark five the 00:23:27.380 --> 00:23:31.240 legendary dc5 there was some serious bad blood 00:23:31.240 --> 00:23:33.480 here between these bands wasn't there oh massive 00:23:33.480 --> 00:23:36.000 rivalry see the dave clark five had actually 00:23:36.000 --> 00:23:38.019 recorded a version of twist and shout a while 00:23:38.019 --> 00:23:41.180 back they knew it was a hit but their record 00:23:41.180 --> 00:23:43.180 label had completely blocked them from releasing 00:23:43.180 --> 00:23:46.410 it as a standalone single ouch That has to hurt. 00:23:46.549 --> 00:23:48.769 And then, to make it infinitely worse, they had 00:23:48.769 --> 00:23:51.490 to sit there and watch Brian Poole and the Tremolos, 00:23:51.529 --> 00:23:54.750 and of course the Beatles, have absolutely massive 00:23:54.750 --> 00:23:57.150 career -making hits with that exact same song. 00:23:57.289 --> 00:23:58.789 They must have been furious. They were. They 00:23:58.789 --> 00:24:00.349 felt like they had been holding the winning lottery 00:24:00.349 --> 00:24:02.329 ticket and the label wouldn't let them cash it. 00:24:02.490 --> 00:24:04.470 So When Do You Love Me starts making the rounds 00:24:04.470 --> 00:24:07.029 in the UK. They were determined not to let history 00:24:07.029 --> 00:24:10.099 repeat itself. They immediately went in, recorded 00:24:10.099 --> 00:24:11.880 their own driving version of Do You Love Me? 00:24:11.980 --> 00:24:14.119 And they had a firm release date set with their 00:24:14.119 --> 00:24:17.519 label, September 6, 1963. They were lost and 00:24:17.519 --> 00:24:20.000 loaded. They were ready for war. But the Tremolos, 00:24:20.119 --> 00:24:22.700 or at least the executives at DECA, they caught 00:24:22.700 --> 00:24:24.859 wind of this plan. The London music industry 00:24:24.859 --> 00:24:28.480 was very small back then. Word always got out. 00:24:28.640 --> 00:24:31.359 And this is where we see the aggressive tactic 00:24:31.359 --> 00:24:34.180 of the rush release. I feel like rush release 00:24:34.180 --> 00:24:37.339 is an industry term we hear thrown around a lot. 00:24:37.460 --> 00:24:39.900 Right. But we don't fully appreciate the physical 00:24:39.900 --> 00:24:42.420 logistics of what that meant. It was a nightmare. 00:24:42.720 --> 00:24:45.019 What does it actually mean to physically rush 00:24:45.019 --> 00:24:48.900 release a vinyl record in 1963? It means total 00:24:48.900 --> 00:24:51.720 panic. It means you finalize the master tape, 00:24:51.880 --> 00:24:53.839 you cut the master disc, and someone literally 00:24:53.839 --> 00:24:55.960 sprints it over to the pressing plant. Right. 00:24:56.019 --> 00:24:58.440 And you tell the foreman at the plant to immediately 00:24:58.440 --> 00:25:00.559 stop pressing whatever else they were working 00:25:00.559 --> 00:25:03.079 on. Stop printing the new Cliff record. Stop 00:25:03.079 --> 00:25:06.359 printing the Jazz records. We need 50 ,000 copies 00:25:06.359 --> 00:25:09.259 of this Tremolo single pressed by tomorrow morning. 00:25:09.519 --> 00:25:12.579 Wow. And then once they are pressed, you load 00:25:12.579 --> 00:25:15.920 boxes of them into delivery vans and you physically 00:25:15.920 --> 00:25:18.380 drive them as fast as you can to the record shops 00:25:18.380 --> 00:25:20.599 and the radio. stations before the other guys' 00:25:20.700 --> 00:25:22.839 vans can get there. It's basically corporate 00:25:22.839 --> 00:25:26.000 sabotage via vinyl distribution. It absolutely 00:25:26.000 --> 00:25:29.500 is. And it worked. Brian Poole and the Tremolos 00:25:29.500 --> 00:25:31.380 managed to get their single out to the public 00:25:31.380 --> 00:25:36.119 on August 31st, 1963. Wait, August 31st. That 00:25:36.119 --> 00:25:39.440 is just one week before the Dave Clark 5's scheduled 00:25:39.440 --> 00:25:42.319 release on September 6th. Just one week. But 00:25:42.319 --> 00:25:44.779 in the singles market, that week was absolutely 00:25:44.779 --> 00:25:47.380 everything. Because they got the radio play first. 00:25:47.619 --> 00:25:50.940 Exactly. By the time the DC5 version finally 00:25:50.940 --> 00:25:53.440 hit the shelves on September 6th, the Tremolos 00:25:53.440 --> 00:25:56.059 were already steadily climbing the charts. The 00:25:56.059 --> 00:25:58.000 teenagers had already spent their pocket money 00:25:58.000 --> 00:26:00.299 on the Tremolos record. So when the dust settled 00:26:00.299 --> 00:26:03.140 on this battle of the covers, who officially 00:26:03.140 --> 00:26:07.380 won the war? In the UK, the Tremolos won. Decisively. 00:26:07.519 --> 00:26:10.039 It wasn't even close. Not really. Their version 00:26:10.039 --> 00:26:12.119 shot straight to number one on all four of the 00:26:12.119 --> 00:26:15.680 major UK music paper charts at the time. It ended 00:26:15.680 --> 00:26:18.400 up selling 250 ,000 copies, which earned them 00:26:18.400 --> 00:26:21.579 a silver disc. It was a massive smash. And what 00:26:21.579 --> 00:26:23.599 happened to the poor Dave Clark Five? They got 00:26:23.599 --> 00:26:26.039 crushed in the crossfire. Their version peaked 00:26:26.039 --> 00:26:27.980 way down at number 30 on the record retailer 00:26:27.980 --> 00:26:30.400 chart. That's brutal. Now, it was technically 00:26:30.400 --> 00:26:32.779 their very first charting single, so it wasn't 00:26:32.779 --> 00:26:34.900 a total unmitigated failure for them as a band. 00:26:35.079 --> 00:26:38.079 But they absolutely lost the battle for the coveted 00:26:38.079 --> 00:26:40.619 number one spot. But looking at our research 00:26:40.619 --> 00:26:43.720 roadmap here, the story has one more geographical 00:26:43.720 --> 00:26:47.980 twist. Because the Dave Clark Five ultimately 00:26:47.980 --> 00:26:50.440 got the last laugh, right? They did. And this 00:26:50.440 --> 00:26:52.400 is where international geography comes into play. 00:26:52.970 --> 00:26:56.049 The tremlos were huge in the UK, but their sound 00:26:56.049 --> 00:26:58.630 didn't really translate across the ocean to America. 00:26:58.809 --> 00:27:00.470 Right, they never really broke in the US. But 00:27:00.470 --> 00:27:03.269 the Dave Clark Five, they became absolutely massive 00:27:03.269 --> 00:27:05.609 in the States. For a brief period, they were 00:27:05.609 --> 00:27:07.990 seen as the primary rivals to the Beatles in 00:27:07.990 --> 00:27:10.150 America. The Tottenham sound versus the Mersey 00:27:10.150 --> 00:27:13.059 sound. Exactly. So a bit later on, they decided 00:27:13.059 --> 00:27:15.259 to release their version of Do You Love Me in 00:27:15.259 --> 00:27:18.680 America. Yes, in April of 1964. By this point, 00:27:18.740 --> 00:27:21.000 they'd already hit it huge with GLAAD all over. 00:27:21.240 --> 00:27:23.700 They were established stars in America. So they 00:27:23.700 --> 00:27:26.220 had leverage. Right. So they released Do You 00:27:26.220 --> 00:27:28.480 Love Me in the U .S. and Canada. And guess what? 00:27:28.700 --> 00:27:30.920 It went all the way to number 11 on the Billboard 00:27:30.920 --> 00:27:34.680 Hot 100. So just to recap the sheer madness of 00:27:34.680 --> 00:27:39.279 this. The exact same song was a massive hit twice 00:27:39.279 --> 00:27:43.079 by two completely different British bands on 00:27:43.079 --> 00:27:46.539 two entirely different continents. Plus the original 00:27:46.539 --> 00:27:48.940 Million Selling Contours version from Detroit. 00:27:49.200 --> 00:27:51.660 It's staggering. If you add it all up, Do You 00:27:51.660 --> 00:27:54.720 Love Me generated multiple millions of record 00:27:54.720 --> 00:27:58.019 sales across the globe in a window of just about 00:27:58.019 --> 00:28:00.819 18 months. It's incredible. It really proves 00:28:00.819 --> 00:28:03.619 that a great song is just a great song, regardless 00:28:03.619 --> 00:28:06.380 of the marketing, the label, or who coming it. 00:28:06.680 --> 00:28:08.960 Though, I have to say, I still deeply prefer 00:28:08.960 --> 00:28:11.119 the Contours version. Oh, I think most purists 00:28:11.119 --> 00:28:13.380 do. There's just something completely undeniable 00:28:13.380 --> 00:28:16.119 about that original Billy Gordon scream. It can't 00:28:16.119 --> 00:28:18.380 be replicated. Okay, so we've covered the 60s, 00:28:18.380 --> 00:28:20.079 we've done Motown, we've done the British Invasion. 00:28:20.140 --> 00:28:22.980 By all normal rules of the music industry, the 00:28:22.980 --> 00:28:25.500 song has had its life. It should be over. It 00:28:25.500 --> 00:28:27.059 should have been retired. It should be one of 00:28:27.059 --> 00:28:28.779 those oldies that you just hear on AM radio on 00:28:28.779 --> 00:28:30.920 a lazy Sunday afternoon. That is usually exactly 00:28:30.920 --> 00:28:32.960 how it works. The song goes into the vault and 00:28:32.960 --> 00:28:36.619 stays there. But then comes the year 1987 and 00:28:36.619 --> 00:28:38.680 a little independent movie called Dirty Dancing. 00:28:38.859 --> 00:28:41.140 Dirty Dancing. I honestly don't think anyone 00:28:41.140 --> 00:28:44.380 involved predicted just how astronomically big 00:28:44.380 --> 00:28:46.200 Dirty Dancing was going to be. It was a pretty 00:28:46.200 --> 00:28:48.339 low budget film, wasn't it? Very low budget. 00:28:48.359 --> 00:28:50.980 But it caught fire and became this massive cultural 00:28:50.980 --> 00:28:53.480 phenomenon. And the soundtrack, you could argue 00:28:53.480 --> 00:28:55.119 the soundtrack was even bigger than the movie 00:28:55.119 --> 00:28:57.359 itself. I remember. I feel like everyone's parents 00:28:57.359 --> 00:29:00.480 had that CD. in the car. It was inescapable. 00:29:00.559 --> 00:29:03.079 Everyone had it. It sold tens of millions of 00:29:03.079 --> 00:29:05.579 copies worldwide and sitting right there on the 00:29:05.579 --> 00:29:07.819 track list and featured incredibly prominently 00:29:07.819 --> 00:29:10.720 in the film during a key scene was the Contours 00:29:10.720 --> 00:29:14.579 original unmodified 1962 recording of Do You 00:29:14.579 --> 00:29:16.579 Love Me? And it was included on the follow -up 00:29:16.579 --> 00:29:19.019 album too, right? Yes, on the more dirty dancing 00:29:19.019 --> 00:29:21.420 soundtrack album. Why did they use the original 00:29:21.420 --> 00:29:25.039 mono recording? Because by the late 80s, the 00:29:25.039 --> 00:29:27.380 trendy thing to do in movies was to re -record 00:29:27.380 --> 00:29:30.799 60s hits with modern 80s synthesizers and drum 00:29:30.799 --> 00:29:33.319 machines. Right, the Phil Collins approach. Exactly, 00:29:33.519 --> 00:29:35.640 so why stick with the raw original? Well, the 00:29:35.640 --> 00:29:37.980 movie was a strict period piece. It was set very 00:29:37.980 --> 00:29:41.180 specifically in the summer of 1963 in the Catskills. 00:29:41.279 --> 00:29:44.480 The director needed that absolute, authentic, 00:29:44.740 --> 00:29:47.740 sonic atmosphere. It grounds the scene. It does. 00:29:47.960 --> 00:29:51.119 And Do Love Me, with its raw energy, perfectly 00:29:51.119 --> 00:29:54.099 captures the specific innocence and the wild 00:29:54.099 --> 00:29:56.799 pre -Beatles American energy of that specific 00:29:56.799 --> 00:29:59.859 summer. So the movie comes out. It dominates 00:29:59.859 --> 00:30:02.480 the box office. The soundtrack blows up. What 00:30:02.480 --> 00:30:05.359 physically happens to the song? It starts rapidly 00:30:05.359 --> 00:30:07.559 climbing the Billboard charts all over again. 00:30:07.599 --> 00:30:09.819 The label actually reissued it as a physical 00:30:09.819 --> 00:30:14.819 single. In 1988? Yes, in August 1988. 26 years 00:30:14.819 --> 00:30:17.019 after it was first recorded in the Snake Pit, 00:30:17.119 --> 00:30:19.039 Do You Love Me? re -entered the Billboard Hot 00:30:19.039 --> 00:30:21.180 100. And as we mentioned at the very top of the 00:30:21.180 --> 00:30:23.559 show, it didn't just scrape into the bottom of 00:30:23.559 --> 00:30:25.880 the chart at number 99. No, it surged all the 00:30:25.880 --> 00:30:28.319 way to number 11. That is just insane to me. 00:30:28.380 --> 00:30:31.400 Imagine if a song from, say, 1998 suddenly hit 00:30:31.400 --> 00:30:33.940 the top 10 today without being remixed. It's 00:30:33.940 --> 00:30:36.259 incredibly rare. I mean, I guess Kate Bush did 00:30:36.259 --> 00:30:37.839 it recently with Running Up That Hill when it 00:30:37.839 --> 00:30:39.980 was in Stranger Things. That is actually the 00:30:39.980 --> 00:30:42.720 perfect modern comparison. Dirty Dancing was 00:30:42.720 --> 00:30:53.559 the Stranger Things. But here is the human side 00:30:53.559 --> 00:30:55.660 of the story that I really, really love from 00:30:55.660 --> 00:30:58.779 our research. What did this massive chart resurgence 00:30:58.779 --> 00:31:02.440 actually mean for the real guys in the contours? 00:31:02.819 --> 00:31:06.519 By 1988, these guys must have been... What, in 00:31:06.519 --> 00:31:09.039 their late 40s or 50s? At least. And they had 00:31:09.039 --> 00:31:11.119 been through the absolute ringer of the music 00:31:11.119 --> 00:31:14.599 industry. The original lineup from 1962 had fractured 00:31:14.599 --> 00:31:17.299 years ago. People quit, people moved on. Exactly. 00:31:17.640 --> 00:31:20.599 But Joe Billingsley, who we quoted earlier, he 00:31:20.599 --> 00:31:23.000 was still out there stubbornly keeping the Contours 00:31:23.000 --> 00:31:25.259 name alive with three new members. Playing small 00:31:25.259 --> 00:31:27.500 clubs and casinos, probably. Playing the oldies 00:31:27.500 --> 00:31:29.779 circuit. And then suddenly, entirely because 00:31:29.779 --> 00:31:31.980 of Patrick Swayze and Jennifer Grey dancing on 00:31:31.980 --> 00:31:34.400 screen, Billingsley's phone starts ringing off 00:31:34.400 --> 00:31:36.430 the hook. They weren't. just a dusty nostalgia 00:31:36.430 --> 00:31:39.029 act anymore they were literally current chart 00:31:39.029 --> 00:31:42.029 toppers it completely revitalized them they ended 00:31:42.029 --> 00:31:44.730 up joining the massive dirty dancing tour there 00:31:44.730 --> 00:31:48.170 was a tour oh yeah a huge arena tour based on 00:31:48.170 --> 00:31:50.750 the movie's music the contours were suddenly 00:31:50.750 --> 00:31:54.539 playing huge packed venues again wow They toured 00:31:54.539 --> 00:31:56.799 alongside absolute legends like Ronnie Spector 00:31:56.799 --> 00:31:59.359 and Bill Medley. It gave these guys a completely 00:31:59.359 --> 00:32:03.240 unexpected, lucrative second act to their careers. 00:32:03.460 --> 00:32:05.599 Now, knowing the record industry, I have to ask, 00:32:05.839 --> 00:32:09.200 did the label try to officially update the sound 00:32:09.200 --> 00:32:12.140 of the song to make it fit in more with 1988 00:32:12.140 --> 00:32:14.480 radio? Oh, of course they did. They couldn't 00:32:14.480 --> 00:32:16.839 help themselves. To capitalize on the sudden 00:32:16.839 --> 00:32:20.119 hit status, Motown released a second alternate 00:32:20.119 --> 00:32:23.579 single featuring a, quote, newly remixed version. 00:32:23.819 --> 00:32:26.039 Who did the remix? It was done by a producer 00:32:26.039 --> 00:32:28.700 named Brian Tankersley alongside Iris Gordy. 00:32:28.779 --> 00:32:30.680 They tried to beef it up, make it sound a bit 00:32:30.680 --> 00:32:33.519 more 80s club friendly. Let me guess. It wasn't 00:32:33.519 --> 00:32:35.339 nearly as good. It just wasn't what people actually 00:32:35.339 --> 00:32:37.400 wanted. People didn't want a polished 80s dance 00:32:37.400 --> 00:32:40.299 track. They wanted the 1962 grit. They wanted 00:32:40.299 --> 00:32:42.099 the history they heard in the movie. And the 00:32:42.099 --> 00:32:44.359 song's cultural footprint didn't stop with Dirty 00:32:44.359 --> 00:32:46.319 Dancing either. It just kept popping up everywhere 00:32:46.319 --> 00:32:49.230 in pop culture. It became ubiquitous. I was a 00:32:49.230 --> 00:32:53.089 90s kid, right? And my first real reference point 00:32:53.089 --> 00:32:55.849 for this song wasn't Dirty Dancing or Motown 00:32:55.849 --> 00:32:58.769 box set. It was Tiny Toon Adventures. Oh, the 00:32:58.769 --> 00:33:01.569 Toon TV episode. Yes. If you grew up in the early 00:33:01.569 --> 00:33:03.210 90s, you know exactly what I'm talking about. 00:33:03.369 --> 00:33:05.750 There was this whole music video episode in 1992, 00:33:06.069 --> 00:33:09.650 and Buster Bunny is literally lip syncing to 00:33:09.650 --> 00:33:13.329 Billy Gordon's screaming vocals trying to teach 00:33:13.329 --> 00:33:16.009 Babs Bunny how to do the dance moves. It's hilarious, 00:33:16.109 --> 00:33:18.150 but it just shows the incredible durability. 00:33:18.279 --> 00:33:21.259 of the track. It went from a desperate plea in 00:33:21.259 --> 00:33:25.240 a tiny Detroit studio to a weapon in a British 00:33:25.240 --> 00:33:29.099 band rivalry to a romantic Hollywood movie straight 00:33:29.099 --> 00:33:31.700 to a Saturday morning cartoon. And then jumping 00:33:31.700 --> 00:33:34.299 forward a bit, you have the legendary funk bassist 00:33:34.299 --> 00:33:37.599 Bootsy Collins performing it. Ah, yes. In 2002. 00:33:37.859 --> 00:33:39.779 Right, in the incredible documentary Standing 00:33:39.779 --> 00:33:42.400 in the Shadows of Motown. Which was such a beautiful, 00:33:42.519 --> 00:33:45.079 poignant moment because Bootsy performed it live 00:33:45.079 --> 00:33:47.440 alongside the surviving members of the Funk Brothers. 00:33:47.500 --> 00:33:49.779 It completely closed the historical loop. It 00:33:49.779 --> 00:33:51.819 brought the song right back home to the brilliant 00:33:51.819 --> 00:33:53.660 musicians who originally built its foundation 00:33:53.660 --> 00:33:56.269 in the snake pit. Okay, before we start to wrap 00:33:56.269 --> 00:33:58.529 this whole deep dive up, we have to acknowledge 00:33:58.529 --> 00:34:01.069 that because this song is such a fundamental 00:34:01.069 --> 00:34:04.630 pop standard, literally everyone has tried their 00:34:04.630 --> 00:34:07.069 hand at covering it over the decades. So many 00:34:07.069 --> 00:34:09.110 covers. We mentioned the big British Invasion 00:34:09.110 --> 00:34:12.429 ones, but there are some really weird, obscure 00:34:12.429 --> 00:34:14.690 ones hidden in the source metadata that we just 00:34:14.690 --> 00:34:17.090 have to rapid fire through. The list is truly 00:34:17.090 --> 00:34:20.880 endless. Let's see. You have... Deep feeling. 00:34:21.079 --> 00:34:23.300 Deep feeling, right. They were a UK rock band. 00:34:23.380 --> 00:34:25.539 They took a version of it to number 34 in the 00:34:25.539 --> 00:34:28.840 UK back in 1970. And then you have Andy Frazier. 00:34:29.019 --> 00:34:31.500 The bass player. Yes, the former bass player 00:34:31.500 --> 00:34:34.019 from the legendary classic rock band Free. The 00:34:34.019 --> 00:34:36.659 guys who did All Right Now. Exactly. He actually 00:34:36.659 --> 00:34:39.039 released a solo version of Do You Love Me in 00:34:39.039 --> 00:34:41.699 1984. How did that do? It barely registered. 00:34:41.840 --> 00:34:44.380 It peaked at number 84 in the US charts. A very 00:34:44.380 --> 00:34:47.179 minor blip. Okay, what about Duke Basie in 1995? 00:34:47.980 --> 00:34:50.820 That one hit number 46 in the UK. It was sort 00:34:50.820 --> 00:34:53.280 of a reggae pop interpretation, if I recall correctly. 00:34:53.480 --> 00:34:55.199 Yeah, we can't leave out our German listeners. 00:34:55.420 --> 00:34:58.960 We have the Preluders in 2004. The German pop 00:34:58.960 --> 00:35:01.059 girl group. Their version peaked at number 50 00:35:01.059 --> 00:35:04.360 in Germany. And finally, my absolute personal 00:35:04.360 --> 00:35:07.139 favorite bizarre discovery hidden deep in the 00:35:07.139 --> 00:35:11.579 research notes for today. David Hasselhoff. Apparently, 00:35:11.960 --> 00:35:14.699 David Hasselhoff released Do You Love Me as a 00:35:14.699 --> 00:35:17.230 single. I cannot even imagine what that sounds 00:35:17.230 --> 00:35:19.090 like. I haven't heard it either. And to be honest, 00:35:19.190 --> 00:35:20.670 I'm not entirely sure I want to subject myself 00:35:20.670 --> 00:35:23.630 to it. But the mere fact that it exists out there 00:35:23.630 --> 00:35:25.909 in the world just mathematically proves that 00:35:25.909 --> 00:35:28.369 this song is completely inescapable. It has become 00:35:28.369 --> 00:35:31.150 a universal musical text. Everyone feels they 00:35:31.150 --> 00:35:33.369 can interpret it. So looking back at this incredible 00:35:33.369 --> 00:35:36.050 timeline, let's bring it all back home. We have 00:35:36.050 --> 00:35:38.469 gone all the way from a cramped Detroit basement 00:35:38.469 --> 00:35:43.469 in 1962 to German pop charts in 2004. We've covered 00:35:43.469 --> 00:35:46.110 gospel choir field trips, petty rush releases, 00:35:46.269 --> 00:35:48.449 and Patrick Swayze. It's been quite the journey. 00:35:48.650 --> 00:35:51.050 What is the ultimate takeaway here from the sources? 00:35:51.230 --> 00:35:54.369 Why does this specific song survive while thousands 00:35:54.369 --> 00:35:57.289 of other hits from 1962 are completely forgotten? 00:35:57.630 --> 00:35:59.530 I think if we look at the core of it and the 00:35:59.530 --> 00:36:01.809 sources support this, the song survives precisely 00:36:01.809 --> 00:36:05.119 because of its simplicity. Simplicity? Yes. It 00:36:05.119 --> 00:36:07.860 is not trying to be deeply clever. It's not overly 00:36:07.860 --> 00:36:10.559 intellectual. It is purely about the physical, 00:36:10.719 --> 00:36:14.139 visceral joy of dancing. The lyrics aren't some 00:36:14.139 --> 00:36:17.219 deep philosophical treatise. Their resume. Exactly. 00:36:17.280 --> 00:36:20.380 It's simply, I can dance, watch me move, now 00:36:20.380 --> 00:36:23.719 love me. It takes a physical action and immediately 00:36:23.719 --> 00:36:26.309 connects it to a deep emotional need. And that 00:36:26.309 --> 00:36:30.349 is a timeless, primal human desire. Whether you 00:36:30.349 --> 00:36:33.510 are doing the twist at a sock hop in 1962 or 00:36:33.510 --> 00:36:35.869 you're doing whatever the new viral dance challenge 00:36:35.869 --> 00:36:39.989 is on TikTok today, the core idea of using physical 00:36:39.989 --> 00:36:43.289 movement to attract a partner is universal. Gordy 00:36:43.289 --> 00:36:45.809 completely tapped into that. Primal instinct. 00:36:46.070 --> 00:36:48.670 It also totally validates Gordy as a master songwriter, 00:36:48.750 --> 00:36:50.949 doesn't it? You mentioned earlier that Dave Marsh 00:36:50.949 --> 00:36:53.150 called him the greatest backstage talent in rock 00:36:53.150 --> 00:36:56.289 history. And this song is the absolute undeniable 00:36:56.289 --> 00:36:58.699 proof of that claim. Gordy understood exactly 00:36:58.699 --> 00:37:00.539 what the public wanted to hear and feel, even 00:37:00.539 --> 00:37:02.679 if, as he freely admitted, he couldn't actually 00:37:02.679 --> 00:37:04.300 get the girls himself because he had two left 00:37:04.300 --> 00:37:07.500 feet. He channeled that genuine personal romantic 00:37:07.500 --> 00:37:10.480 frustration into a piece of music that effectively 00:37:10.480 --> 00:37:13.639 made the entire world dance. In the grand scheme 00:37:13.639 --> 00:37:16.460 of things, he definitely won. He definitely won 00:37:16.460 --> 00:37:19.300 the war. But, you know, as we wrap up, I want 00:37:19.300 --> 00:37:22.840 to leave you, the listener. With one final, slightly 00:37:22.840 --> 00:37:25.679 provocative thought. Something to just chew on 00:37:25.679 --> 00:37:28.179 after the episode ends. Let's hear it. We started 00:37:28.179 --> 00:37:30.900 this whole deep dive by talking about the accident. 00:37:31.159 --> 00:37:33.159 Right, the schedule mix -up. We talked about 00:37:33.159 --> 00:37:35.679 how the temptations were the ones originally 00:37:35.679 --> 00:37:38.539 supposed to sing this song. And we talked about 00:37:38.539 --> 00:37:41.000 how the contours were technically the completely 00:37:41.000 --> 00:37:44.079 wrong choice. They were the underdogs. They were 00:37:44.079 --> 00:37:46.000 rough. They were desperate. They were literally 00:37:46.000 --> 00:37:48.559 on the verge of being fired. But think about 00:37:48.559 --> 00:37:51.889 what that means for modern music. If the Temptations 00:37:51.889 --> 00:37:54.849 had actually been available that day, if they 00:37:54.849 --> 00:37:56.929 hadn't skipped out to see the Dixie Hummingbirds, 00:37:57.110 --> 00:37:59.730 they would have recorded the song perfectly. 00:37:59.989 --> 00:38:03.769 They would have hit every note smoothly, beautifully. 00:38:03.769 --> 00:38:05.670 And it probably would have been a very nice, 00:38:05.710 --> 00:38:08.010 polite album track that no one remembers today. 00:38:08.210 --> 00:38:10.889 It wouldn't have had the fire. Exactly. It makes 00:38:10.889 --> 00:38:12.630 me think about how the music industry operates 00:38:12.630 --> 00:38:16.170 today. Today, everything is so data driven. A 00:38:16.170 --> 00:38:18.769 &R is driven by algorithms. Vocals are perfectly 00:38:18.769 --> 00:38:21.849 pitch corrected. Everything is designed to eliminate 00:38:21.849 --> 00:38:24.849 mistakes and mitigate risk. We engineer the accidents 00:38:24.849 --> 00:38:27.530 out. Exactly. We are engineering the magic out 00:38:27.530 --> 00:38:30.449 of the room. If a modern label had a polished 00:38:30.449 --> 00:38:34.000 boy band ready, they would never, ever. Let the 00:38:34.000 --> 00:38:36.880 desperate, failing, gritty band take the track 00:38:36.880 --> 00:38:38.760 just because they bumped into them in the hallway. 00:38:38.980 --> 00:38:41.139 It would never happen today. But the whole reason 00:38:41.139 --> 00:38:43.400 Do You Love Me is immortal is because of that 00:38:43.400 --> 00:38:46.840 failure. The contours fear, their gritty, unpolished 00:38:46.840 --> 00:38:49.539 voices, their desperate need to prove themselves 00:38:49.539 --> 00:38:53.340 in that tiny room. That was the actual secret 00:38:53.340 --> 00:38:55.820 ingredient that made the song explode. The desperation 00:38:55.820 --> 00:38:58.500 was the fuel that made it a classic. So maybe 00:38:58.500 --> 00:39:00.440 the industry's modern obsession with perfection 00:39:00.440 --> 00:39:03.090 is completely misguided. Because as this song 00:39:03.090 --> 00:39:06.369 proves, sometimes the totally wrong artist is 00:39:06.369 --> 00:39:08.349 actually the only right one. I think you are 00:39:08.349 --> 00:39:10.510 absolutely right about that. The flaws are what 00:39:10.510 --> 00:39:12.489 make a human. Well, thanks for diving deep into 00:39:12.489 --> 00:39:14.230 the snake pit with us today. Always a pleasure. 00:39:14.409 --> 00:39:17.829 Now, go turn the volume up, find some space in 00:39:17.829 --> 00:39:19.929 your living room, and see if you can still do 00:39:19.929 --> 00:39:22.730 the mashed potato. Just please don't pull a muscle. 00:39:23.190 --> 00:39:24.650 Catch you on the next deep dive.