WEBVTT

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Welcome to My Weekly Mixtape, a podcast that

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takes the classic mixtape approach to building

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a modern playlist. I'm your host, Brian Colburn.

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Joining me once again as guest curator is my

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former TuneStyles co -host, Jay Sweet, as well

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as friend of the show, Jimmy Mitchell. Gentlemen,

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welcome to the program. Hello there. Good to

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be here. Now, we all know Jay's a board shorts

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wearing regular here, but Jimmy, you're a first

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time guest. So I'd like to start by asking you,

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what does the word mixtape mean to you? I used

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to make mixtapes. I grew up in the cassette era

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in the 70s outside of New York City. And a lot

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of the mixtapes weren't even, we would just listen

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to the radio, like oldies 101 FM, and I would

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just run the tape. I got a lot of my oldies and

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doo -wops from that. Well, Jay, back on episode

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51, you and I dove into the ultimate golden oldies

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and doo -wop of the 50s and 60s. And during that

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episode, we said, we need to do a volume two

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ASAP. Well, apparently ASAP in our terminology

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means 40 plus episodes later. So in a better

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late than never moment, we're finally getting

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to volume two. What were you looking to bring

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to the table this evening with your second batch

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of oldies but goodies? Well, I got to tell you,

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I think we talked a little bit about how the.

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the music of uh if you know about me if you know

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me well or if you know a little bit about me

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music my musical tastes are are all for those

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high tight harmonies and i got a lot of that

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out of out of the doo -wop era so you know we

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talked about american graffiti about how that

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was probably the penultimate soundtrack for the

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ultimate do -up and oldies music mixtape but

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my dad uh we can we'll talk a little bit about

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this i'm sure as we as we go on my father played

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in a band called the professors when i was real

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real young and they used to play uh all sorts

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of covers of great oldies songs and i just fell

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in love with it since i was knee high to a knee

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as they say Now, Jimmy, as you're being a new

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guest on the show, you're bringing an outside

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perspective. Now, you've heard Volume 1, which

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is Episode 51 for those listening, and now you're

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joining us for Volume 2. What were you looking

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to bring to the table with your bank of songs

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for this evening? Well, I grew up in the 70s

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in the disco area in New York City, and I hated

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disco. And oldies was popping up, and the group

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Sha Na Na. which originated in New York City

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and was getting hot and then had a TV show. And

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I fell in love with doo -wop. I was in a profession

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that I couldn't be in a band or anything. And

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20 years later, I took that love of doo -wop

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and created a doo -wop acapella group up here

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in Syracuse, New York. And after a few years

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of that, added a full band and kind of did our

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version of Sha Na Na. Doing those kind of harmonies

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and songs that I love, and especially the deep

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doo -wop. WCBS FM on Sunday nights, Don K. Reid

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would dig into some cool classic doo -wop. And

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then in the 90s, between the PBS doo -wop specials

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and just all the stuff that we can get on the

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internet, I could just find more and more about

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this stuff. Well, for me, quite frankly, Jay,

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I had so many leftovers from Volume 1. I'm just

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going to keep pulling from those unless you guys

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scoop me on these song choices. There are so

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many. I mean, we talked about that towards the

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end of the episode that, you know, we could do

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a volume two, we could do a volume 20 at this

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point. Well, tonight, as I mentioned at the top

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of this show, for this volume two episode, Jimmy,

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Jay, and I will be curating the ultimate golden

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oldies and doo -wop of the 50s and 60s mixtape,

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and we'll use the old cassette deck approach.

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But since I have two guests this evening, the

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format will be slightly altered from the usual,

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as tonight Jimmy will begin side A with his first

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song choice, and then we'll roundtable the panel

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until we've mapped out 10 songs for side A. We'll

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then give our mixtape a proverbial flip. And

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we'll map outside, be only this time Jay will

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kick off the roundtable discussions. Our overall

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goal for the episode is to craft the best golden

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oldies and doo -wop mixtape possible through

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this new batch of 21 songs or seven song choices

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each. At the end of the show, you can take our

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conversation to the next level by visiting the

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episode page at myweeklymixtape .com to give

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our final mixtape a listen via the embedded playlist.

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And if you like what you're hearing on the show,

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you can help me out by either telling a friend,

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leaving the show a five -star review wherever

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you're tuning in, or becoming a Patreon mixtaper

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at patreon .com forward slash myweeklymixtape.

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There you can enjoy ad -free episodes of the

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show, become a future guest, and so much more,

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such as chiming in on episode topics such as

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this one, which a few of the Patreon mixtapers

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have done. And I'd like to give a quick shout

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out to a few of those. Christopher Pazica chimed

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in with the Penguins' Earth Angel. Philip Bergman

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chimed in saying as someone who made 40 -ish

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mixtapes just from the oldie station in his younger

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days, picking one song is cruel. I think we all

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feel that pain tonight. But he went back to the

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dawn of rock and roll with Bill Haley and his

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Comets cover of Big Joe Turner's Shake, Rattle

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and Roll. Chad LaMassa chimed in with the monotones

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The Book of Love. Mike Daly chimed in with a

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more modern cover song, and you know me and my

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love of cover songs. He went with Huey Lewis

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and the News' take on the Soul Brothers 6's 1967

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track, She's Some Kind of Wonderful, from their

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Four Chords and Several Years Ago album. If the

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Soul Brothers 6 doesn't ring a bell, in 1973,

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Grand Funk Railroad covered this song, and that

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version reached number three on the Billboard

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US Hot 100. Ben from the Too Vague podcast chimed

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in with Roy Orbison's 1964 hit Working for the

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Man. Brandon from Virginia chimed in saying his

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mother -in -law would force a divorce if he didn't

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suggest Never My Love or Along Comes Mary from

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the association since his wife's stepfather was

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in the original band. And finally, Ed Kennard

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chimed in with The Rays' Silhouettes. on the

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shade. Once again, if you'd like to chime in

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for future My Weekly Mixtape episodes, come join

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the fellow mixtapers at patreon .com forward

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slash My Weekly Mixtape. So Jimmy, the Patreon

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mixtapers put a ton of musical food out in the

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atmosphere. And with that, I'm officially pressing

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the record button on our mixtape and the floor

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is yours. Why don't you dive into the song you

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chose to kick off side A. You know, everything

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that you probably thought you knew about the

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50s is probably wrong. Jay's mentioned American

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graffiti and happy days and all that. Well, in

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1968, you know, we had the riots recently and

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they had closed down Columbia. On 68, they closed

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down Columbia. Some students actually took over

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the campus and kidnapped the dean. And then the

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next year, Columbia was willing to do anything

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to kind of. as a pressure release valve. So they

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had their acapella group, the Kingsmen, do a

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show. And they wanted to get a recording contract.

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They had some guys there. And that group was

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Sha Na Na? Sha Na Na. Oh, did I mean that out?

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I'm sorry. Yeah. No, that's okay. I kind of knew

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where you were going with that. It was Sha Na

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Na. They couldn't be called the Kingsmen because

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Kingsmen had Louie Louie. Right. So their agent

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said, can't call you the Kingsmen. put -ons and

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george leonard who is the genius behind this

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whole creation said no we should be called shanana

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after get a job by the silhouette and that's

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what was born so to make the long story short

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they decided to add a band and they did a couple

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of gigs columbia And then they got a gig in New

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York City and Steve Paul's the scene. And they

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were playing for the theater crowd after they

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got out. And they caused such a scene. And the

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Village Voice called them the in act to see.

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So the last night before the mob shut down the

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scene for not paying protection money, this artist

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came in and said, you guys got to be a Woodstock.

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And they said, what's a Woodstock? And that's

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why. Get a Job by the Silhouettes was played

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at Woodstock. And that's my choice to kick off

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this set. Oh, that's so cool. I love that. There

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is so much to say about Sha Na Na. And I know

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you mentioned that at the top of the show that

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they had their own variety showcase. I believe

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that. They were guests on The Muppet Show, were

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they not? Mr. Bassman was sung on The Muppet

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Show, but I don't think Shanana was on it. Okay.

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And I know they were featured prominently in

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the movie Grease in 1978, which was a lot of

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these great standards, oldie standards that kind

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of came out of that. It's an excellent pick.

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It's an excellent get a job is a great way to

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start off a mixtape with an oldies vibe because

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of that great get a job. I love that. I don't

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have the Basso like you do, but it rocks you

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right into it. Released in 1957 and reaching

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number one on the Billboard Pop and R &B singles

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charts, it's the band's only hit single, making

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them a perfect candidate if we were to ever do

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a one -hit wonders of the 1950s episode. Now,

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Jay, you already mentioned it, but I knew this

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song growing up from the incredible soundtrack

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to American Graffiti, which, let's be honest

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here, if I were to just sit here and rattle off,

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song by song for my seven choices, all from American

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Graffiti. I could pretty much convince anybody

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that I did a bang up job on my work for this

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evening because to me, it's one of the best compilation

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driven soundtracks I've ever heard. Absolutely.

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And with that, Jay, you get to follow it up with

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your first song pick of the evening, track two.

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All right. And so I'm going to go off of the

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Shauna Now Road. and introducing my introduction

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to doo -wop at a tender age through the grease

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soundtrack uh we mentioned as i mentioned just

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a little while ago shauna not featured prominently

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in that and tears on my pillow Little Anthony

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and the Imperials. And that was a great song

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and actually was one of the solos that I did

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as a member of Street Corner. Did you sing that

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to a broken wine bottle? A broken, that I did.

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Somebody had broken a glass of wine and we, Robert,

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Rob Searle, who was also in the group, and I

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kind of riffed on that and sang tears about my

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wine being broken. Tears of my pillow, Little

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Anthony. Great documentary by Little Anthony.

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Anthony and the Imperials. It's on YouTube. And

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he talks about their first recording session.

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And this song, Tears of My Pill, was given to

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them kind of toward the end of the recording

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session. The guy, you know, it was a new song

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and the guys singing it thought it sounded like

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Earth Angel. So instead of, oh, they just changed

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it to, ooh. and it's pretty much the same progression

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you know the same song in different key with

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different words they could do that back then

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This was released in 1958. It was Little Anthony

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and the Imperials debut recording. The song reached

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number four on the Billboard U .S. Hot 100 and

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number three in Canada. It was a two -sided hit

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because the B -side, Two People in the World,

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also became a hit for the group. And you can

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thank... legendary New York DJ Alan Freed for

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the band name, as they were originally known

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as the Imperials, but he announced them on air

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as Little Anthony and the Imperials, and the

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rest is history. Now, Jay, you know me and my

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cover songs. In 1990, Kylie Minogue scored a

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worldwide hit. with her faithful rendition of

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the song that, while it didn't chart in the U

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.S., hit No. 1 on the U .K. singles chart, No.

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2 in Europe, No. 35 on Canada's adult contemporary

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chart, No. 2 in Ireland, and No. 20 in Australia,

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among others. So a worldwide hit. And considering

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Kylie's cover of The Locomotion was such a huge

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hit in the U .S. a couple of years earlier, I

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was shocked. Her version of Tears on My Pillow

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didn't catch on either. Yeah, I was going to

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mention that her version of the locomotion was

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a huge hit here. Yeah, you couldn't escape it.

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And then this was apparently the follow -up that

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hit all over the world, just not here in the

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U .S. Except here. I didn't know it existed.

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I'm looking forward to looking and listening

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to that. It's a female fronted, very faithful

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to the original with that little bit of late

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80s, early 90s pop sheen on it. So it's an interesting

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cover to say the least. Now, following up Get

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a Job and Tears on My Pillow, I'm going to stay

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in the 1950s and go with a song that was written

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in 1959 by one of the greatest songwriting duos

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of that era, Jerry Lieber and Mike Stoller. This

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song reached number 23 in the U S and number

00:14:47.320 --> 00:14:53.000
20 in Canada. However, it wasn't until another

00:14:53.000 --> 00:14:57.279
band re -recorded it in 1964, where it jumped

00:14:57.279 --> 00:14:59.759
to number three on the billboard U S hot 100.

00:15:00.200 --> 00:15:04.200
I'm going to go with the original and 1959 love

00:15:04.200 --> 00:15:07.460
potion. Number nine by the Clovers. However,

00:15:07.539 --> 00:15:11.019
the searchers version is the one that is the

00:15:11.019 --> 00:15:14.740
quote unquote, bigger hit. Now, There's also

00:15:14.740 --> 00:15:17.500
another cover version of this song that I'm sure

00:15:17.500 --> 00:15:22.419
many, many vinyl collectors have probably seen

00:15:22.419 --> 00:15:27.340
and maybe heard because anybody who's ever gone

00:15:27.340 --> 00:15:30.879
vinyl hunting on this earth has certainly stumbled

00:15:30.879 --> 00:15:34.179
across a copy of Herb Alpert and the Tijuana

00:15:34.179 --> 00:15:39.779
Brasses 1965 album Whipped Cream and Other Delights.

00:15:40.509 --> 00:15:43.389
If you've gone vinyl hunting and you see a copy

00:15:43.389 --> 00:15:46.210
of this record, but you haven't heard it, pick

00:15:46.210 --> 00:15:48.909
it up and give it a listen. It's a very interesting

00:15:48.909 --> 00:15:52.590
rendition. This track, Jay, like the Silhouettes

00:15:52.590 --> 00:15:55.610
Get a Job, also appeared on the American Graffiti

00:15:55.610 --> 00:16:01.169
soundtrack and was the premise of a 1992 Sandra

00:16:01.169 --> 00:16:04.570
Bullock movie of the same name. Yeah, I was going

00:16:04.570 --> 00:16:06.629
to point out that the Clover version was the

00:16:06.629 --> 00:16:10.199
one that was featured on American Graffiti. And

00:16:10.199 --> 00:16:14.019
it is probably I'm trying to figure out why it

00:16:14.019 --> 00:16:16.539
is that you were so enthralled with the Herb

00:16:16.539 --> 00:16:18.960
Albert and Tijuana Brass album cover. I'm not

00:16:18.960 --> 00:16:24.120
familiar. I'm not. Why? Why would that be? We're

00:16:24.120 --> 00:16:26.500
an audio only podcast. I guess you'll have to

00:16:26.500 --> 00:16:29.539
find the album cover and figure it out. Kids,

00:16:29.700 --> 00:16:34.029
ask your parents permission. If you talk to doo

00:16:34.029 --> 00:16:36.909
-wop aficionados, the Clovers version is the

00:16:36.909 --> 00:16:39.370
only version we should be talking about. It's

00:16:39.370 --> 00:16:43.190
got the great bass voice. And also, the cool

00:16:43.190 --> 00:16:45.149
thing about this, now we recorded this with Street

00:16:45.149 --> 00:16:48.710
Corner. And there were two versions of this.

00:16:48.769 --> 00:16:52.909
And I believe the single just had the love potion

00:16:52.909 --> 00:16:55.450
number nine on and on. And I think it was in

00:16:55.450 --> 00:16:58.480
the album version. That at the end said, hadn't

00:16:58.480 --> 00:17:01.840
so much fun that I'm going back again. I wonder

00:17:01.840 --> 00:17:07.059
what happened with love potion number 10. So

00:17:07.059 --> 00:17:10.240
it's such a short song. There's only two lines

00:17:10.240 --> 00:17:13.519
in each verse. It's such a short song that when

00:17:13.519 --> 00:17:16.880
we performed it, it was too short. So we added,

00:17:17.160 --> 00:17:20.819
we wrote another verse. It was a little hokey.

00:17:21.119 --> 00:17:24.339
We had Karen, a girl, singing it. And I think

00:17:24.339 --> 00:17:27.180
she wrote, I'm glad I found Madame Ruth. I found

00:17:27.180 --> 00:17:29.680
my man. Now he knows the truth. I've had so much

00:17:29.680 --> 00:17:32.059
fun that I'm going back again. Wonder what happened

00:17:32.059 --> 00:17:34.920
with Love Potion number 10 and then Love Potion

00:17:34.920 --> 00:17:39.799
number nine. Well, Jimmy, with that, we are back

00:17:39.799 --> 00:17:43.779
to you for track four. Where do we go from Love

00:17:43.779 --> 00:17:48.900
Potion number nine or 10? OK, this song, anyone

00:17:48.900 --> 00:17:51.619
who's any. kid has ever gone by a piano, you've

00:17:51.619 --> 00:18:03.299
probably heard this. Well, that progression goes

00:18:03.299 --> 00:18:06.460
back to the 30s. Then it became a standard doo

00:18:06.460 --> 00:18:14.799
-wop progression. And it was actually the first

00:18:14.799 --> 00:18:18.000
one to do it was Richard Rogers and Lauren's

00:18:18.000 --> 00:18:21.019
Heart. with the song Blue Moon, which is a pretty

00:18:21.019 --> 00:18:26.259
little ballad. In the 20s, I believe, my grandmother,

00:18:26.559 --> 00:18:30.819
Martha Wetmore, studied expensively, as her father

00:18:30.819 --> 00:18:33.519
called it, at the New York Institute for Music,

00:18:33.700 --> 00:18:35.960
which is now commonly known as the Juilliard

00:18:35.960 --> 00:18:40.099
School. And her classmates were Dick Rogers,

00:18:40.859 --> 00:18:44.640
Larry Hart, Lawrence Hart, and Herbie Fields.

00:18:45.140 --> 00:18:49.500
And they were impressed. That she wasn't Jewish

00:18:49.500 --> 00:18:53.059
like they were, that she was female, not male

00:18:53.059 --> 00:18:55.279
like they were, and that she wasn't from the

00:18:55.279 --> 00:18:58.359
city. She was from Glens Falls, New York. So

00:18:58.359 --> 00:19:02.960
they just had a wonderful friendship. And when

00:19:02.960 --> 00:19:05.599
I was in the second grade and my grandmother

00:19:05.599 --> 00:19:08.720
passed before I was born, I had an assignment

00:19:08.720 --> 00:19:12.460
for music class and we had to reach out to stars

00:19:12.460 --> 00:19:17.269
in New York City. And my mother just. just was

00:19:17.269 --> 00:19:20.269
giggling with glee and had me write Richard Rogers.

00:19:20.869 --> 00:19:23.769
And he typed me back and you could tell he typed

00:19:23.769 --> 00:19:26.349
it himself because the punctuation was all wrong.

00:19:26.829 --> 00:19:29.470
And if you know what a typewritten letter in

00:19:29.470 --> 00:19:31.390
the 70s should have looked like, this wasn't

00:19:31.390 --> 00:19:35.269
it. And he said, Jimmy, I certainly do remember

00:19:35.269 --> 00:19:37.869
your grandmother. I remember stopping off on

00:19:37.869 --> 00:19:40.509
an automobile trip in New England Falls just

00:19:40.509 --> 00:19:43.470
so we could say hello to her. and she was a wonderful

00:19:43.470 --> 00:19:46.269
woman so it doesn't surprise me to for you writing

00:19:46.269 --> 00:19:48.670
me such a kind letter with such a kind note from

00:19:48.670 --> 00:19:52.549
your mother and i have the letter and the picture

00:19:52.549 --> 00:19:55.309
autographed and it says to jimmy mitchell from

00:19:55.309 --> 00:19:59.769
his grandmother's friend richard rogers wow and

00:19:59.769 --> 00:20:04.289
another gentleman who went to juilliard as a

00:20:04.289 --> 00:20:07.130
kid and then went to columbia university as did

00:20:07.130 --> 00:20:11.029
lawrence and hart and fields was john bowser

00:20:11.029 --> 00:20:21.460
bauman who's known for so i give you blue moon

00:20:21.460 --> 00:20:25.279
by the marcells amazing world's just colliding

00:20:25.279 --> 00:20:28.900
all over the place because um obviously richard

00:20:28.900 --> 00:20:32.299
rogers dick rogers is half of the infamous rogers

00:20:32.299 --> 00:20:36.259
and hammerstein who uh did whole bunches of really

00:20:36.259 --> 00:20:40.559
beloved musicals on Broadway. The Sound of Music

00:20:40.559 --> 00:20:43.240
made famous, of course, by Julie Andrews about

00:20:43.240 --> 00:20:46.779
the Von Trapp family who focused on singing and

00:20:46.779 --> 00:20:49.779
those gorgeous tunes, those gorgeous medleys

00:20:49.779 --> 00:20:53.599
that came out of Austria in the time of World

00:20:53.599 --> 00:20:57.000
War II, pre -World War II. Glens Falls, which

00:20:57.000 --> 00:21:00.640
is a place up there called Sandy's, which my

00:21:00.640 --> 00:21:04.380
old band used to play at after I had my, after

00:21:04.380 --> 00:21:06.599
my wife, I should say, had my first daughter.

00:21:07.160 --> 00:21:09.980
our second daughter. We moved to Albany and I

00:21:09.980 --> 00:21:12.799
was playing up there and we would do a whole

00:21:12.799 --> 00:21:15.700
bunch of great covers up at Sandy's Clam Bar

00:21:15.700 --> 00:21:19.500
and the fried clams were amazing and enjoyed

00:21:19.500 --> 00:21:22.519
that thoroughly. But of course, Blue Moon, which

00:21:22.519 --> 00:21:26.400
was also covered by Sha Na Na in Greece in 1978,

00:21:26.480 --> 00:21:29.799
they did the more. down tempo version of that

00:21:29.799 --> 00:21:32.779
the ballad version and uh at the end famously

00:21:32.779 --> 00:21:35.799
uh one of the boys pulls his pants down as or

00:21:35.799 --> 00:21:37.720
three of the boys right and the spotlights are

00:21:37.720 --> 00:21:40.380
careening all over the place and uh they will

00:21:40.380 --> 00:21:43.539
find you and uh they the there will be justice

00:21:43.539 --> 00:21:48.210
meted out for that The 1961 single reached number

00:21:48.210 --> 00:21:51.829
one on the U .S. Billboard Hot 100, as well as

00:21:51.829 --> 00:21:54.549
number one in Canada, New Zealand, and the U

00:21:54.549 --> 00:21:58.349
.K. It's also featured on the Rock and Roll Hall

00:21:58.349 --> 00:22:01.990
of Fame's list of 500 songs that shaped rock

00:22:01.990 --> 00:22:05.509
and roll. I was surprised to learn that Elvis

00:22:05.509 --> 00:22:10.269
Presley's cover, while it spent 17 weeks on the

00:22:10.269 --> 00:22:14.390
Billboard U .S. Hot 100, peaked at number 55.

00:22:15.339 --> 00:22:19.519
So it was there for a long time, but never cracked

00:22:19.519 --> 00:22:21.680
the top 40. That actually surprised me because

00:22:21.680 --> 00:22:24.640
I also having family members that were very big

00:22:24.640 --> 00:22:27.859
into Elvis growing up was very familiar with

00:22:27.859 --> 00:22:30.920
his version as well. This song was also covered

00:22:30.920 --> 00:22:33.920
by the Mavericks for the soundtrack to the movie

00:22:33.920 --> 00:22:37.779
Apollo 13, as well as by Rod Stewart with some

00:22:37.779 --> 00:22:41.380
guy named Eric Clapton for his Stardust, the

00:22:41.380 --> 00:22:45.480
Great American Songbook Volume 3 album. So Blue

00:22:45.480 --> 00:22:50.700
Moon throughout the decades continues to brighten

00:22:50.700 --> 00:22:54.920
people's musical lives. And yeah, just keep your

00:22:54.920 --> 00:22:57.539
pants up. Jay, what are you following that up

00:22:57.539 --> 00:23:00.740
with? All right. So where do we go from the Marcells?

00:23:00.740 --> 00:23:04.180
Oh, let me go. All right, let's go back. I mentioned

00:23:04.180 --> 00:23:07.880
I have been doing audio in some form or another

00:23:07.880 --> 00:23:12.339
of mixing and creating. audio boards and consoles,

00:23:12.500 --> 00:23:15.039
and then that naturally translated into radio

00:23:15.039 --> 00:23:18.339
and then television, where I currently reside.

00:23:18.599 --> 00:23:21.779
But I have been doing audio in some form or another

00:23:21.779 --> 00:23:24.440
since I could distinguish the difference between

00:23:24.440 --> 00:23:28.119
bass and treble, which I owe greatly to my father

00:23:28.119 --> 00:23:34.099
and his band, The Professors. When I was, say,

00:23:34.299 --> 00:23:38.559
eight, maybe seven, I was given a solid gold

00:23:38.559 --> 00:23:42.519
guitar. And it was not a solid gold guitar. It

00:23:42.519 --> 00:23:47.160
was a black plastic toy with nylon strings that

00:23:47.160 --> 00:23:51.160
had solid gold emblazoned on it. And my dad's

00:23:51.160 --> 00:23:53.759
band used to do a cover of this song. And this

00:23:53.759 --> 00:23:56.220
was where I figured out how to play guitar. I

00:23:56.220 --> 00:23:59.960
would sit on the edge of my toy box as my dad's

00:23:59.960 --> 00:24:02.480
band was rehearsing The Professors. And I would

00:24:02.480 --> 00:24:05.119
pluck away at the strings until I could match

00:24:05.119 --> 00:24:08.119
the pitches. So I was my dad's first kind of

00:24:08.119 --> 00:24:11.220
roadie, his sound technician. And I figured out

00:24:11.220 --> 00:24:14.400
how to play guitar by ear, listening to them

00:24:14.400 --> 00:24:18.740
play Run Around Sue by Dion. Wow, that's a great

00:24:18.740 --> 00:24:21.940
dance song. I, you know, I DJed for some time

00:24:21.940 --> 00:24:24.160
before I had the band and a little bit afterwards

00:24:24.160 --> 00:24:27.440
and weddings and events and like that. What a

00:24:27.440 --> 00:24:29.420
great song to dance. If you want to get the dance

00:24:29.420 --> 00:24:32.440
floor full, you play Run Around Sue. Always had

00:24:32.440 --> 00:24:35.640
it in our set list from the acapella days. through

00:24:35.640 --> 00:24:38.539
the seven years of the band i was listening to

00:24:38.539 --> 00:24:40.480
our last show and we were still singing that

00:24:40.480 --> 00:24:44.559
song and if you're in a band long enough you

00:24:44.559 --> 00:24:46.500
get bored with singing a certain song and we

00:24:46.500 --> 00:24:48.980
would have different lead vocalists sing the

00:24:48.980 --> 00:24:53.380
song over the years but great pick dion had left

00:24:53.380 --> 00:24:56.059
the belmonts at this point and their backup group

00:24:56.059 --> 00:24:58.660
that were singing this was a group called the

00:24:58.660 --> 00:25:01.700
dell satins and they never i don't think they

00:25:01.700 --> 00:25:04.039
ever had any hits of their own i know they tried

00:25:04.759 --> 00:25:07.160
But they were a very well -known backup group

00:25:07.160 --> 00:25:11.079
in studio work, the Dell Satins. Our first artist

00:25:11.079 --> 00:25:15.000
revisit to volume one. I won't share what Dion's

00:25:15.000 --> 00:25:17.500
song made the cut on volume one, just in case

00:25:17.500 --> 00:25:19.740
you haven't heard that episode yet. But if you

00:25:19.740 --> 00:25:23.220
want to check it out, myweeklymixtape .com, episode

00:25:23.220 --> 00:25:28.319
51. The 1961 single that reached number one on

00:25:28.319 --> 00:25:31.279
the Billboard US Hot 100, as well as in the UK,

00:25:31.599 --> 00:25:35.079
Canada. and New Zealand. It also reached number

00:25:35.079 --> 00:25:38.460
two in Australia. I get to do another movie reference

00:25:38.460 --> 00:25:40.839
here, Jay. Normally, I'm not a big movies guy,

00:25:40.980 --> 00:25:45.480
but the 1980s had a lot of movies that looked

00:25:45.480 --> 00:25:48.319
back to the 1950s for their soundtracks. And

00:25:48.319 --> 00:25:52.180
one of those was one of my favorite 1980s comedies

00:25:52.180 --> 00:25:54.599
when I was in high school and in college, The

00:25:54.599 --> 00:25:58.630
Hollywood Knights, starring Robert Wool. Tony

00:25:58.630 --> 00:26:01.849
Danza, Fran Drescher, and Michelle Pfeiffer.

00:26:01.910 --> 00:26:04.569
You might recall the song being performed in

00:26:04.569 --> 00:26:07.390
the movie. And that was actually a cover done

00:26:07.390 --> 00:26:11.109
by Casablanca recording artists, Brooklyn dreams.

00:26:11.690 --> 00:26:14.329
Yes. That's the same Casablanca records that

00:26:14.329 --> 00:26:18.029
has kiss. I just wanted an excuse to talk about

00:26:18.029 --> 00:26:19.930
Hollywood nights because that movie is absolutely

00:26:19.930 --> 00:26:23.730
hysterical. And with that, I'm going to use that

00:26:23.730 --> 00:26:27.230
movie. To dive into my next song pick, which

00:26:27.230 --> 00:26:30.529
is from another movie. I was introduced to this

00:26:30.529 --> 00:26:34.410
next song via another 1980 soundtrack. And this

00:26:34.410 --> 00:26:38.650
soundtrack came out in 1986. And the reason I

00:26:38.650 --> 00:26:40.650
knew this song and I learned about it was because

00:26:40.650 --> 00:26:44.910
Jerry O 'Connell, the actor, was completely out

00:26:44.910 --> 00:26:47.289
of breath saying, guys, guys, let me catch my

00:26:47.289 --> 00:26:50.769
breath. I ran all the way from my house and River

00:26:50.769 --> 00:26:54.779
Phoenix, Will Wheaton and Corey Feldman. broke

00:26:54.779 --> 00:27:00.720
into the impala's 1959 hit sorry i ran all the

00:27:00.720 --> 00:27:03.740
way home reached number two on the u .s pop chart

00:27:03.740 --> 00:27:08.079
and number 28 on the uk singles chart very much

00:27:08.079 --> 00:27:12.220
like american graffiti stand by me has just one

00:27:12.220 --> 00:27:15.859
of those perfect snapshots of the golden oldies

00:27:15.859 --> 00:27:17.680
and doo -wop era and we might not be done with

00:27:17.680 --> 00:27:21.720
that soundtrack yet so we go from 1960 in the

00:27:21.720 --> 00:27:25.269
bronx right with the belmonts And formerly the

00:27:25.269 --> 00:27:27.210
Belmonts with Dion. And then we move down to

00:27:27.210 --> 00:27:31.250
go back in time to 1958 to Brooklyn with Joe

00:27:31.250 --> 00:27:35.170
Speedo Frazier and the Impalas. What a fantastic

00:27:35.170 --> 00:27:37.829
pick. The Stand By Me reference is, of course,

00:27:37.829 --> 00:27:41.170
amazing. One of those great coming of age stories

00:27:41.170 --> 00:27:44.150
that, you know, you can't argue with that that

00:27:44.150 --> 00:27:47.750
soundtrack either. And again, we talk about a

00:27:47.750 --> 00:27:49.809
whole lot of music that came off of that soundtrack.

00:27:50.049 --> 00:27:54.029
Lead singer Joe Speedo Frazier. Great song, great

00:27:54.029 --> 00:27:56.970
pick. This is one of many oldies that I heard

00:27:56.970 --> 00:27:59.589
for the first time on the Sha Na Na TV show.

00:28:00.509 --> 00:28:04.369
And it's on the Doo -Wop box set, volume one.

00:28:04.769 --> 00:28:07.650
Just a great song. Well, with that, Jimmy, we're

00:28:07.650 --> 00:28:11.109
back to you for track seven. Okay. You've heard

00:28:11.109 --> 00:28:14.049
of this song, Unchained Melody, but most of you

00:28:14.049 --> 00:28:16.609
have probably never heard it as it's done by

00:28:16.609 --> 00:28:21.069
Vito and the Salutations. They did an up -tempo.

00:28:21.599 --> 00:28:24.980
doo -wop version of this. Kind of went like a...

00:28:24.980 --> 00:28:41.160
In classic doo -wop style with the lead being

00:28:41.160 --> 00:28:44.059
sung in falsetto, a falsetto that I can't come

00:28:44.059 --> 00:28:48.519
close to singing anymore. And it has the coolest,

00:28:48.660 --> 00:28:52.980
craziest... vocal bass solo in the middle where

00:28:52.980 --> 00:28:56.660
they sing lonely yep yep river flow flow to the

00:28:56.660 --> 00:29:00.200
sea say look at the sea come pretty baby and

00:29:00.200 --> 00:29:06.339
it was in the 1985 movie joey which if you had

00:29:06.339 --> 00:29:10.339
hbo in the 80s you know that movies that you

00:29:10.339 --> 00:29:12.779
didn't care about were just on tv all day long

00:29:12.779 --> 00:29:15.119
and you finally saw enough of it that you're

00:29:15.119 --> 00:29:17.710
interested in it Jimmy, I got to tell you, if

00:29:17.710 --> 00:29:20.210
you don't remember this story, when I started

00:29:20.210 --> 00:29:23.349
rehearsing with you guys back in, gosh, what

00:29:23.349 --> 00:29:27.509
was that? 1998, 97, somewhere around there. You

00:29:27.509 --> 00:29:30.349
came to me with the song and I said, that's not

00:29:30.349 --> 00:29:34.890
Unchained Melody. And you, if I had punched you

00:29:34.890 --> 00:29:37.289
square in the nose, I don't think I could have

00:29:37.289 --> 00:29:40.250
hurt you any further than I did when I said that.

00:29:40.490 --> 00:29:43.569
And I remember distinctly that you had said,

00:29:43.670 --> 00:29:45.630
oh, no, no, no, no, no. This was the better,

00:29:45.690 --> 00:29:50.250
the doo -wop version of that song. 1955, Alex

00:29:50.250 --> 00:29:53.910
North, Hi Zaret, writing the song as a theme

00:29:53.910 --> 00:29:56.609
for the prison film Unchained of the same year,

00:29:56.670 --> 00:30:01.430
1955. And Todd Duncan originally sang the lead

00:30:01.430 --> 00:30:04.410
vocals for the film soundtrack. This song, of

00:30:04.410 --> 00:30:09.369
course, went on. We could sit here and argue

00:30:09.369 --> 00:30:13.319
or debate over which song in the. doo -wop era

00:30:13.319 --> 00:30:16.220
was the most covered song or the most iconic

00:30:16.220 --> 00:30:23.339
covered song and i think that they uh 1988 ghost

00:30:23.339 --> 00:30:29.049
or was that 90. 1990, 1990. OK, so, yeah, 1990s

00:30:29.049 --> 00:30:31.930
ghost where the great scene with the pottery

00:30:31.930 --> 00:30:35.769
wheel and the clay going all over and then revisited

00:30:35.769 --> 00:30:40.569
again in a in a naked gun movie with Leslie Nielsen

00:30:40.569 --> 00:30:45.140
and Priscilla Presley. Just hysterical. But yeah,

00:30:45.279 --> 00:30:48.319
and I got to tell you, once the street corner

00:30:48.319 --> 00:30:52.000
version of Vito and the Salutations version of

00:30:52.000 --> 00:30:55.599
this song in 1963 hit my eardrums, I was sold.

00:30:55.740 --> 00:30:59.200
And again, for me, it's all about those harmonies

00:30:59.200 --> 00:31:02.039
and the gorgeous back and forth that you get

00:31:02.039 --> 00:31:04.359
between the lead vocals and the background vocals

00:31:04.359 --> 00:31:06.740
that Jimmy mentioned just a little while ago.

00:31:07.210 --> 00:31:10.109
Well, Vito and the Salutations version did reach

00:31:10.109 --> 00:31:14.170
number 66 on the Billboard US Hot 100 and was

00:31:14.170 --> 00:31:18.509
featured on a 1990s movie soundtrack as well.

00:31:18.549 --> 00:31:21.390
Like the 1985 movie, Joey, that you mentioned,

00:31:21.450 --> 00:31:24.690
Jimmy, was also featured in the 1990s movie,

00:31:25.029 --> 00:31:28.829
Goodfellas. So both versions, the fast and slow,

00:31:28.970 --> 00:31:32.670
receiving their love in the films of the 80s

00:31:32.670 --> 00:31:35.549
and 90s. What's interesting is the fact that

00:31:35.930 --> 00:31:38.970
Both Vito and the Salutations and the Righteous

00:31:38.970 --> 00:31:42.990
Brothers versions are both covers that go in

00:31:42.990 --> 00:31:45.609
completely different directions. One interesting

00:31:45.609 --> 00:31:49.089
thing about that is that Vito and the Salutations

00:31:49.089 --> 00:31:52.650
version was kind of a New York cult thing. It

00:31:52.650 --> 00:31:55.490
didn't get a lot of play. I didn't know anything

00:31:55.490 --> 00:31:58.829
about it until the John and I TV show. And the

00:31:58.829 --> 00:32:02.349
Righteous Brothers version, from my perspective

00:32:02.349 --> 00:32:05.579
growing up in this time, It wasn't a very popular

00:32:05.579 --> 00:32:09.559
song until the movie Ghost, and then it just

00:32:09.559 --> 00:32:12.740
exploded. And I remember seeing the Righteous

00:32:12.740 --> 00:32:15.660
Brothers in concert, and they alluded to that,

00:32:15.740 --> 00:32:19.279
that it was a not well -regarded song until the

00:32:19.279 --> 00:32:23.720
movie Ghost. All right, Jay, following up Unchained

00:32:23.720 --> 00:32:26.309
Melody, where do we go from here? That's a good

00:32:26.309 --> 00:32:29.250
question. I can go in a couple of different directions

00:32:29.250 --> 00:32:32.750
here. I think, though, right about now is usually

00:32:32.750 --> 00:32:35.289
around the time where I point out a significant

00:32:35.289 --> 00:32:40.430
lack of a certain sect of our species. We've

00:32:40.430 --> 00:32:42.869
got a song about a girl, but we don't have any

00:32:42.869 --> 00:32:45.869
girl voices in this mix yet. So let me rectify

00:32:45.869 --> 00:32:52.890
that. And let's travel to 1958. And it's a song

00:32:52.890 --> 00:32:57.420
written by another famous. Songwriter, duo of

00:32:57.420 --> 00:33:00.720
Howard Greenfield and Neil Sedaka. And it is

00:33:00.720 --> 00:33:05.000
a huge hit for Connie Francis, Stupid Cupid.

00:33:05.380 --> 00:33:08.180
I love the pick. There's another Connie Francis

00:33:08.180 --> 00:33:11.359
song that I like, Lipstick on Your Collar. Street

00:33:11.359 --> 00:33:13.539
Corner, we performed both of those songs back

00:33:13.539 --> 00:33:15.980
to back. And I always thought Lipstick was the

00:33:15.980 --> 00:33:19.140
better song. But the audience didn't think so.

00:33:19.180 --> 00:33:21.140
And Stupid Cupid, we ended up dropping Lipstick

00:33:21.140 --> 00:33:23.240
on Your Collar and just doing Stupid Cupid for

00:33:23.240 --> 00:33:26.759
a while. Connie Francis was somewhat of a failure

00:33:26.759 --> 00:33:30.700
with her record label until this song, I think,

00:33:30.720 --> 00:33:33.579
was recorded. And then she just had hit after

00:33:33.579 --> 00:33:39.220
hit after hit and recorded in multi -languages.

00:33:39.660 --> 00:33:43.059
Great song for her. Great song choice, Jay. Reach

00:33:43.059 --> 00:33:46.680
number 14 on the Billboard US Hot 100. And Jay,

00:33:46.819 --> 00:33:49.200
I don't know about you, but growing up with a

00:33:49.200 --> 00:33:53.029
daughter who loved... the princess diaries movies

00:33:53.029 --> 00:33:56.190
in the two thousands. I actually remember Mandy

00:33:56.190 --> 00:34:00.009
Moore's cover being used in the movie. Oh my

00:34:00.009 --> 00:34:02.269
gosh. I had forgotten that Mandy Moore had a

00:34:02.269 --> 00:34:04.349
cover of that. No. And now that you mentioned,

00:34:04.390 --> 00:34:06.630
because so there's a story right there, Bri,

00:34:06.769 --> 00:34:09.469
you remember we were working at, at Westwood

00:34:09.469 --> 00:34:15.150
in early 2001 and Mandy Moore had come into the

00:34:15.150 --> 00:34:17.929
studio and was, and was plugging that very vehicle.

00:34:18.150 --> 00:34:23.159
Very much so. Yes. Well, following up Stupid

00:34:23.159 --> 00:34:27.039
Cupid, I'm going to go with, man, I feel like

00:34:27.039 --> 00:34:30.400
I'm channeling some Gomez tonight from Playlist

00:34:30.400 --> 00:34:33.099
Wars days because when I talked about the Impalas

00:34:33.099 --> 00:34:36.900
before being used in the movie, Stand By Me,

00:34:37.079 --> 00:34:39.960
believe it or not, sorry I ran all the way home

00:34:39.960 --> 00:34:42.880
while used in the movie for the joke like I talked

00:34:42.880 --> 00:34:46.059
about. Wasn't on the actual soundtrack itself.

00:34:46.380 --> 00:34:49.780
And I want to use this point to actually pull

00:34:49.780 --> 00:34:53.500
a song directly from that soundtrack because

00:34:53.500 --> 00:34:57.820
I really genuinely loved that entire soundtrack.

00:34:57.900 --> 00:35:00.579
And this one, the second time this evening, I'm

00:35:00.579 --> 00:35:02.539
going with this songwriting duo. It's again,

00:35:02.579 --> 00:35:05.260
a Jerry Lieber and Mike Stoller song originally

00:35:05.260 --> 00:35:09.070
written in 1958. And I'm going to go with the

00:35:09.070 --> 00:35:12.630
Coasters' Yakety Yak. Don't talk back. It topped

00:35:12.630 --> 00:35:17.070
the US R &B charts for seven weeks and the top

00:35:17.070 --> 00:35:21.809
100 pop list for one week. In 1999, the original

00:35:21.809 --> 00:35:24.849
recording was inducted into the Grammy Hall of

00:35:24.849 --> 00:35:29.449
Fame and the saxophone solo in the song. which

00:35:29.449 --> 00:35:33.449
was performed by the legendary King Curtis, inspired

00:35:33.449 --> 00:35:39.550
the 1963 Boots Randolph song, Yakety Sax, which

00:35:39.550 --> 00:35:44.889
then Chet Atkins reimagined as Yakety Ax as a

00:35:44.889 --> 00:35:48.809
solo artist, and then decades later as a duo

00:35:48.809 --> 00:35:52.940
with Mark Knopfler. And if you're a fan of that

00:35:52.940 --> 00:35:56.440
song and that duet, I highly suggest looking

00:35:56.440 --> 00:36:00.480
up the song dive episode of Mark Knopfler's Guitar

00:36:00.480 --> 00:36:04.360
Heroes Going Home as Guy Fletcher from Dire Straits

00:36:04.360 --> 00:36:07.679
tells the entire story about that duo working

00:36:07.679 --> 00:36:10.860
together. And it's an incredible story that I

00:36:10.860 --> 00:36:12.960
highly recommend you check out. It's over on

00:36:12.960 --> 00:36:16.710
myweeklymixtape .com. And in 1988, if you want

00:36:16.710 --> 00:36:19.150
to really dive deep into that cover song, rabbit

00:36:19.150 --> 00:36:23.150
hole, the two live crew performed the version

00:36:23.150 --> 00:36:26.889
of the song for the twin soundtrack, as well

00:36:26.889 --> 00:36:29.210
as Arnold Schwarzenegger while he was on the

00:36:29.210 --> 00:36:32.349
plane in the movie. I'll leave it up to you to

00:36:32.349 --> 00:36:34.409
decide which version you like more, the two live

00:36:34.409 --> 00:36:37.750
crew or Arnold Schwarzenegger. But regardless,

00:36:38.030 --> 00:36:40.730
Yakety Yak by the Coasters, all time classic.

00:36:42.050 --> 00:36:45.949
You mentioned, so Yakety Sax obviously becoming

00:36:45.949 --> 00:36:48.769
the theme music for the Benny Hill show, which

00:36:48.769 --> 00:36:51.710
was a huge show over across the pond, as they

00:36:51.710 --> 00:36:55.429
say. in merry old England. And that was a favorite

00:36:55.429 --> 00:36:58.510
of my dad's when we were really, really young.

00:36:58.710 --> 00:37:03.889
And we were having sexy parties, Brian. It was

00:37:03.889 --> 00:37:07.050
a lot of fun watching them chase the girls around

00:37:07.050 --> 00:37:10.369
the car as the Yakety Sax played. Atco Records,

00:37:10.489 --> 00:37:14.750
of course, being a huge label for this time period,

00:37:14.829 --> 00:37:17.949
you can't throw a rock without hitting. I think

00:37:17.949 --> 00:37:19.690
you're going to... Come to find this out. You

00:37:19.690 --> 00:37:21.409
can't throw a rock without hanging a Lieber and

00:37:21.409 --> 00:37:25.489
Stoller tune. They were prolific right up through

00:37:25.489 --> 00:37:30.530
the 70s, if I'm not mistaken. And this song is

00:37:30.530 --> 00:37:34.150
just an incredible song. You scoop me. I actually

00:37:34.150 --> 00:37:37.269
had a Long Came Jones, which is a Coasters tune.

00:37:37.570 --> 00:37:42.409
My uncle had this 8 -tracks. Kids, 8 -tracks

00:37:42.409 --> 00:37:45.570
used to be these little, they were like plastic

00:37:45.570 --> 00:37:48.440
carts, but they had thicker tape. And my uncles

00:37:48.440 --> 00:37:51.360
had a bunch of these novelty eight tracks. And

00:37:51.360 --> 00:37:54.139
I was introduced to a whole group of great songs

00:37:54.139 --> 00:37:57.460
like Ray Stevens, The Streak, and Along Came

00:37:57.460 --> 00:38:00.380
Jones was on that, Nervous, Norvus, a whole bunch

00:38:00.380 --> 00:38:02.840
of different songs that also turned into my love

00:38:02.840 --> 00:38:05.579
for Dr. Demento, which is a whole nother show

00:38:05.579 --> 00:38:07.840
that we could get into another time. But yeah,

00:38:07.940 --> 00:38:10.639
you cannot go wrong with The Coasters. Anything

00:38:10.639 --> 00:38:14.300
by The Coasters is well received here. Coasters,

00:38:14.300 --> 00:38:16.760
what a great pick. They also did Charlie Brown.

00:38:17.289 --> 00:38:21.050
A lot of hits. Searching, Ying Yang, The Little

00:38:21.050 --> 00:38:26.130
Egypt. Fluid, fluid membership in this group.

00:38:26.170 --> 00:38:28.969
Kind of like Street Corner and probably any band.

00:38:29.230 --> 00:38:33.110
Did you know, I heard on your last episode of

00:38:33.110 --> 00:38:35.929
The Oldies, you talked about Smokey Joe's Cafe.

00:38:36.610 --> 00:38:40.050
Well, that song was sung by The Robins, which

00:38:40.050 --> 00:38:44.250
were two members of The Coasters. Carl Gardner

00:38:44.250 --> 00:38:47.349
and Billy Guy moved to New York and the other

00:38:47.349 --> 00:38:49.730
guys in the Robins didn't want to move. And they

00:38:49.730 --> 00:38:52.590
became the Coasters, theoretically, because they

00:38:52.590 --> 00:38:55.010
went from East Coast or West Coast to East Coast.

00:38:55.449 --> 00:38:58.590
You know, also there's the Coasters, the Drifters,

00:38:58.690 --> 00:39:01.969
the Platters. A lot of these groups were imitated

00:39:01.969 --> 00:39:07.750
and sold as the real group. And they had no relations

00:39:07.750 --> 00:39:12.039
to these people. And Bowser, John Bauman. testified

00:39:12.039 --> 00:39:14.619
to congress and they actually passed made into

00:39:14.619 --> 00:39:17.579
law passed the bill in the truth and music act

00:39:17.579 --> 00:39:21.599
that you have to have had an actual person or

00:39:21.599 --> 00:39:23.059
somebody had something to do with that group

00:39:23.059 --> 00:39:26.380
at that time that bill's kind of gone by the

00:39:26.380 --> 00:39:29.840
wayside because they've all passed on and some

00:39:29.840 --> 00:39:31.400
of those phony groups are probably still out

00:39:31.400 --> 00:39:34.380
there oh yeah we got you get that all the time

00:39:34.380 --> 00:39:38.000
and prior to that uh that law being signed in

00:39:38.000 --> 00:39:41.019
that you got a lot of groups who were kicking

00:39:41.019 --> 00:39:44.340
around and would fall apart and reform again.

00:39:44.440 --> 00:39:48.579
I think the Detroit Spinners, for example, were

00:39:48.579 --> 00:39:51.340
eventually morphed into the Spinners and you

00:39:51.340 --> 00:39:53.920
went for some doo -wop stuff that the Detroit

00:39:53.920 --> 00:39:57.079
Spinners used to do to work in my way back to

00:39:57.079 --> 00:40:00.440
you cover in the 70s and the early 80s where

00:40:00.440 --> 00:40:02.800
they, you know, it was a completely different

00:40:02.800 --> 00:40:06.150
sound for them. Well, Jimmy, you kicked off Side

00:40:06.150 --> 00:40:08.789
A, but the way our roundtable is working, you

00:40:08.789 --> 00:40:10.869
get to close it as well. What are we closing

00:40:10.869 --> 00:40:16.170
out Side A with? I'm going to go Shaboom, Life

00:40:16.170 --> 00:40:19.570
Could Be a Dream. Now, this is an early duet

00:40:19.570 --> 00:40:24.170
song by the R &B vocal group The Chords. Please,

00:40:24.429 --> 00:40:27.030
please don't confuse it with the exact same song

00:40:27.030 --> 00:40:31.670
done by The Krukuts. This song was written by

00:40:31.670 --> 00:40:34.469
a bunch of guys in 54 in New York City. And the

00:40:34.469 --> 00:40:37.989
origins, there's a really cool YouTube video

00:40:37.989 --> 00:40:43.150
of this. Boom was slang. They'd say, you know,

00:40:43.150 --> 00:40:45.449
come across Jay in the street. Hey, Jay, boom.

00:40:46.150 --> 00:40:49.469
Hey, Brian, how you doing? Boom. And shaboom

00:40:49.469 --> 00:40:54.969
was kind of like a bomb. Boom. And then ding

00:40:54.969 --> 00:40:58.230
dong, lang, lang, lang. There were a lot of churches

00:40:58.230 --> 00:41:00.809
on the street. And they were always going ding

00:41:00.809 --> 00:41:03.860
dong, lang, lang, lang, lang, lang. And then

00:41:03.860 --> 00:41:09.000
the words, whoa, whoa, Bip. Bip was an uncle

00:41:09.000 --> 00:41:13.159
of one of the singers. And Bip was a bit of a

00:41:13.159 --> 00:41:16.519
drinker. And these guys would be rehearsing in

00:41:16.519 --> 00:41:20.539
the hallways of their apartment house. And Bip

00:41:20.539 --> 00:41:24.760
would come into that hallway. And he had an aroma

00:41:24.760 --> 00:41:27.179
problem when he had been drinking. And they go,

00:41:27.340 --> 00:41:36.059
whoa, Bip. And if you compare that to the cleaned

00:41:36.059 --> 00:41:39.739
up versions of the crew cuts of the lyrics, they're

00:41:39.739 --> 00:41:43.320
night and day. The crew cuts, you know, in the

00:41:43.320 --> 00:41:46.679
50s, a lot of Southern radio stations and other

00:41:46.679 --> 00:41:49.420
radio stations didn't want to appeal to what

00:41:49.420 --> 00:41:53.019
they called race music. And the crew cuts from

00:41:53.019 --> 00:41:57.619
Canada covered, they had a lot of hits. I think

00:41:57.619 --> 00:42:00.179
they took this one to number one. And none of

00:42:00.179 --> 00:42:02.360
them were their own. They were all covers. of

00:42:02.360 --> 00:42:06.489
black artists. This song for me, it serves so

00:42:06.489 --> 00:42:09.750
many memories because of one of my favorite shows

00:42:09.750 --> 00:42:11.630
that I've ever performed. And I think I may have

00:42:11.630 --> 00:42:14.289
mentioned it a few times on the various podcasts

00:42:14.289 --> 00:42:17.170
that you and I have done. Brian is forever plaid,

00:42:17.269 --> 00:42:21.190
which featured a quick vignette where one of

00:42:21.190 --> 00:42:23.730
the members of the of the plaids, the four plaids

00:42:23.730 --> 00:42:27.369
starts singing about the juke talking about the

00:42:27.369 --> 00:42:30.010
jukebox that was in the diner that his parents

00:42:30.010 --> 00:42:33.050
used to run when he was a child. And they give

00:42:33.050 --> 00:42:35.309
them. the guys would come by and replace the

00:42:35.309 --> 00:42:38.690
45s and they would hand them down to this character.

00:42:38.789 --> 00:42:41.869
And he puts the 45 record up to his mouth and

00:42:41.869 --> 00:42:46.090
starts singing Shaboom by the Crew Cuts and his

00:42:46.090 --> 00:42:49.369
lips get stuck in the little 45 hole in it. It's

00:42:49.369 --> 00:42:52.369
very funny. It was a great sight gag and we had

00:42:52.369 --> 00:42:54.409
a really, really great time with that. But of

00:42:54.409 --> 00:42:57.909
course, the Crew Cuts version has been all over

00:42:57.909 --> 00:43:00.730
pop culture, most notably in Back to the Future.

00:43:01.159 --> 00:43:03.820
And it's considered the first doo -wop song to

00:43:03.820 --> 00:43:06.739
reach the top 10 on the pop charts. Now, this

00:43:06.739 --> 00:43:09.679
is what I was talking about earlier because the

00:43:09.679 --> 00:43:12.260
Crew Cuts version did hit number one, like Jimmy

00:43:12.260 --> 00:43:16.019
mentioned earlier, in the same year. Can you

00:43:16.019 --> 00:43:21.639
imagine in 2024 if a song by, I don't know, Dua

00:43:21.639 --> 00:43:26.239
Lipa was just covered by Ava Max about a month

00:43:26.239 --> 00:43:28.730
or two later? That's something that happened

00:43:28.730 --> 00:43:31.150
in the fifties all the time. A song would get

00:43:31.150 --> 00:43:33.489
released and then another band would release

00:43:33.489 --> 00:43:36.190
it. And then, and there's sometimes three, four

00:43:36.190 --> 00:43:39.849
or five versions of a song out there as a song

00:43:39.849 --> 00:43:43.130
itself. Rolling stone ranked at number two 15

00:43:43.130 --> 00:43:46.489
on its 500 best songs of all time. And along

00:43:46.489 --> 00:43:49.809
with back to the future, Jay, the song was also

00:43:49.809 --> 00:43:54.409
featured in clue roadhouse. And for the parents

00:43:54.409 --> 00:43:58.380
that are our age, Jay, the 2006, Pixar slash

00:43:58.380 --> 00:44:02.719
Disney classic cars. If you consider it a classic

00:44:02.719 --> 00:44:05.179
or not, that's here nor there, but this song,

00:44:05.300 --> 00:44:07.559
I was going to say, I figured you would with

00:44:07.559 --> 00:44:09.239
a son that would probably watched it all the

00:44:09.239 --> 00:44:11.659
time. I've seen way, I've seen it way too many

00:44:11.659 --> 00:44:13.980
times, even with two girls in the house, but

00:44:13.980 --> 00:44:18.639
this song again, just transcended bands decades.

00:44:19.500 --> 00:44:22.380
It's. Just an absolute classic. And what a great

00:44:22.380 --> 00:44:25.980
way to conclude side A of our Golden Oldies and

00:44:25.980 --> 00:44:29.179
Doo -Wop mixtape, which kicked off with The Silhouettes'

00:44:29.280 --> 00:44:32.079
Get a Job, Little Anthony and the Imperials'

00:44:32.199 --> 00:44:35.260
Tears on My Pillow, The Clovers' Love Potion

00:44:35.260 --> 00:44:39.539
No. 9, The Marcells' Blue Moon, Dion's Run Around

00:44:39.539 --> 00:44:43.139
Sue, The Impalas' Sorry I Ran All the Way Home,

00:44:43.440 --> 00:44:47.190
Vito and the Salutations' Unchained Melody, Connie

00:44:47.190 --> 00:44:50.849
Francis' Stupid Cupid, The Coaster's Yakety Yak,

00:44:51.130 --> 00:44:55.110
and The Chord's Shaboom. Head over to myweeklymixtape

00:44:55.110 --> 00:44:57.489
.com to hear all the songs we've discussed in

00:44:57.489 --> 00:45:00.570
this mix through the playlist embedded on the

00:45:00.570 --> 00:45:04.809
episode page. Now, Jay, I'm flipping this 45

00:45:04.809 --> 00:45:08.010
over to side B, if you want to call it a 45,

00:45:08.170 --> 00:45:09.630
because that's what a lot of these songs were

00:45:09.630 --> 00:45:13.010
back in the 50s and 60s. What are you serving

00:45:13.010 --> 00:45:17.199
up for us for track one? Oh. What a great segue

00:45:17.199 --> 00:45:20.380
right there. I do want to say it's very interesting

00:45:20.380 --> 00:45:24.039
that you use the term serving up and kind of

00:45:24.039 --> 00:45:28.539
referencing the buffet or the feast that we are

00:45:28.539 --> 00:45:32.619
currently engaged in here. A lot of, so again,

00:45:32.780 --> 00:45:35.320
in high school and early in my college years

00:45:35.320 --> 00:45:37.159
before I'd gotten hooked up to the radio station,

00:45:37.440 --> 00:45:42.550
I was helping my family friends. manage the heroes

00:45:42.550 --> 00:45:44.429
and legends cafe at the great new york state

00:45:44.429 --> 00:45:47.550
fairgrounds and we would and that that was a

00:45:47.550 --> 00:45:51.949
place that my grandmother's so hold on my grandmother's

00:45:51.949 --> 00:45:56.179
friend's son bought his uncle's cousin's former

00:45:56.179 --> 00:45:59.860
roommate, former roommate. Yes. But he he bought

00:45:59.860 --> 00:46:02.960
this part of the released this part of the center

00:46:02.960 --> 00:46:04.840
of progress building at the great New York state

00:46:04.840 --> 00:46:08.059
fair and turned this into a fifties and sixties

00:46:08.059 --> 00:46:10.800
themed diner with the bright pink and baby blue

00:46:10.800 --> 00:46:14.079
lights. And the floor tiles were marble with

00:46:14.079 --> 00:46:16.559
the black and the white checker pattern. It was

00:46:16.559 --> 00:46:19.780
a great little throwback. And on the music system,

00:46:19.960 --> 00:46:21.780
which I don't think is called music anymore.

00:46:22.320 --> 00:46:26.280
They used to run a whole lot of these doo -wop,

00:46:26.320 --> 00:46:29.860
these great doo -wop songs. And I got to really

00:46:29.860 --> 00:46:33.260
every night would just, while I'm sweeping the

00:46:33.260 --> 00:46:36.039
floors like Goldie in the Back to the Future,

00:46:36.219 --> 00:46:39.440
I'm going to be mayor someday. We would sing

00:46:39.440 --> 00:46:42.119
along into the broom handles and the customers

00:46:42.119 --> 00:46:44.780
would just love it. We had a great time with

00:46:44.780 --> 00:46:47.380
that. And one of my favorite songs that would

00:46:47.380 --> 00:46:55.570
ever play on the system was One summer night

00:46:55.570 --> 00:47:01.869
by the Danaliers. Wow. It's been a while since

00:47:01.869 --> 00:47:07.389
I've sung on a podcast, period. Boom, boom, boom,

00:47:07.750 --> 00:47:12.889
boom. Nice. It's almost like blow harmony, which

00:47:12.889 --> 00:47:16.150
is a real thing. It's not dirty. It's just singing

00:47:16.150 --> 00:47:19.349
while you're expelling air. Who's the group that

00:47:19.349 --> 00:47:26.690
did that a lot? The Moon Glows. But yeah, the

00:47:26.690 --> 00:47:28.769
Dan Lears, One Summer Night. What a great song.

00:47:29.230 --> 00:47:32.010
Just kind of in 58, one of those songs that you

00:47:32.010 --> 00:47:34.929
would fall in love with on the radio as you're

00:47:34.929 --> 00:47:36.789
watching the submarine races with your girl.

00:47:37.010 --> 00:47:40.420
I didn't do that in 58. I was born in 59. But

00:47:40.420 --> 00:47:44.420
I've heard about it. Reach number four on the

00:47:44.420 --> 00:47:47.699
then Billboard U .S. black singles chart and

00:47:47.699 --> 00:47:51.039
number seven on the U .S. bestselling pop singles

00:47:51.039 --> 00:47:54.739
chart. While the song sold over a million copies.

00:47:55.610 --> 00:47:58.869
It was for the second time tonight. This band's

00:47:58.869 --> 00:48:02.449
only hit a one hit wonder. Although in 1961,

00:48:02.909 --> 00:48:05.869
the Diamonds covered the song in that version,

00:48:05.929 --> 00:48:09.909
went on to reach number 22 on the U .S. Billboard

00:48:09.909 --> 00:48:13.809
Hot 100. Once again, songs just getting reused

00:48:13.809 --> 00:48:16.750
and recycled and reshuffled through. They're

00:48:16.750 --> 00:48:19.469
like, well, this was a hit three years ago. Let's

00:48:19.469 --> 00:48:22.360
make it a hit again. And it really. They didn't

00:48:22.360 --> 00:48:24.940
waste any time with Turnaround. They just kept

00:48:24.940 --> 00:48:28.380
recycling these songs. And if it was a hit once,

00:48:28.519 --> 00:48:30.320
there was a good chance it was going to be a

00:48:30.320 --> 00:48:33.280
hit a second time. And I'm going to use that

00:48:33.280 --> 00:48:39.340
as my reasoning for my next pick, because this

00:48:39.340 --> 00:48:42.719
song was a top 10 hit on the Billboard US charts

00:48:42.719 --> 00:48:47.960
twice. The first time. In 1961, it reached number

00:48:47.960 --> 00:48:52.059
four on the Billboard US Hot 100, number 27 on

00:48:52.059 --> 00:48:55.320
the UK singles chart and number 16 in Canada.

00:48:55.380 --> 00:48:59.940
Then the end of 1986 and the beginning of 1987

00:48:59.940 --> 00:49:03.599
because of the movie soundtrack of the same name

00:49:03.599 --> 00:49:05.400
that I've already mentioned twice tonight. I

00:49:05.400 --> 00:49:08.449
don't care. It went back and reached number nine

00:49:08.449 --> 00:49:11.170
on the U .S. Billboard Hot 100 and was a top

00:49:11.170 --> 00:49:15.170
ten hit in eight countries, including West Germany,

00:49:15.329 --> 00:49:18.710
Austria, Norway, Sweden, and Switzerland. And

00:49:18.710 --> 00:49:22.289
it also hit number one on the U .K. singles chart,

00:49:22.489 --> 00:49:25.889
as well as in Ireland and Canada. I'm going with

00:49:25.889 --> 00:49:30.590
Ben E. King's Stand By Me. Third time, I'm going

00:49:30.590 --> 00:49:33.369
back to the Lieber and Stoller Well. However,

00:49:33.469 --> 00:49:37.880
this time... They wrote under the pseudonym Emo

00:49:37.880 --> 00:49:40.739
Glick, so I guess you could put an asterisk on

00:49:40.739 --> 00:49:43.659
that one for me. Now, Jay, you talked about a

00:49:43.659 --> 00:49:46.440
lot of covers of songs happening. There's over

00:49:46.440 --> 00:49:51.380
400 covers of Stand By Me, including Otis Redding,

00:49:51.500 --> 00:49:55.559
Tracy Chapman, Weezer, and Florence and the Machine,

00:49:55.599 --> 00:49:58.960
among many, many, many others. One of the most

00:49:58.960 --> 00:50:02.190
iconic bass lines ever? No question about it.

00:50:02.570 --> 00:50:06.090
You've got Benny King, who also, by the way,

00:50:06.090 --> 00:50:09.789
came from the Drifters, notably was lead singer

00:50:09.789 --> 00:50:13.730
on the song There Goes My Baby. That guy could

00:50:13.730 --> 00:50:17.670
wail. There's no question about the power. When

00:50:17.670 --> 00:50:21.010
you talk about rhythm and blues, Benny King,

00:50:21.250 --> 00:50:24.510
if he is not part of that conversation, you have

00:50:24.510 --> 00:50:27.210
a missed opportunity there for sure. Great singer

00:50:27.210 --> 00:50:29.690
with the Drifters. He was actually with a group

00:50:29.690 --> 00:50:32.449
called the Five Crowns. And back in the day when

00:50:32.449 --> 00:50:34.929
I think it was the Treadwell family owned the

00:50:34.929 --> 00:50:36.969
trademark of the Drifters. They were unhappy

00:50:36.969 --> 00:50:38.929
with those guys. They fired all five of them.

00:50:38.969 --> 00:50:40.889
They said, hey, Five Crowns, you're now the Drifters.

00:50:40.949 --> 00:50:44.050
And that was Benny King and Charlie Thomas, who's

00:50:44.050 --> 00:50:46.050
also in the Hall of Fame with Benny King as the

00:50:46.050 --> 00:50:50.150
Drifters. And Benny King went solo because he

00:50:50.150 --> 00:50:52.869
could make more money that way. And the producers

00:50:52.869 --> 00:50:56.210
would say, you know, you don't need. A baritone

00:50:56.210 --> 00:50:58.570
singer, you can get that sound from a trombone

00:50:58.570 --> 00:51:01.369
and you don't need the second tenor because you

00:51:01.369 --> 00:51:04.650
can get that on the piano or whatever. And they

00:51:04.650 --> 00:51:09.130
had doo -wop sounding instrumental that sounded

00:51:09.130 --> 00:51:12.530
like voices or the same that they would do. All

00:51:12.530 --> 00:51:14.969
right, Jimmy, what are you going to follow up

00:51:14.969 --> 00:51:22.590
Stand By Me with? Oh, I don't know. Oh, you know

00:51:22.590 --> 00:51:25.000
what? You just mentioned this. Here's another

00:51:25.000 --> 00:51:29.019
example of songs that were covered. So here's

00:51:29.019 --> 00:51:32.420
a song, Little Darling. It was written by 16

00:51:32.420 --> 00:51:35.780
-year -old Maurice Williams and the Gladiolas.

00:51:36.000 --> 00:51:40.719
And if you've seen the PBS special, the Diamonds

00:51:40.719 --> 00:51:46.219
sang this song with Maurice playing piano and

00:51:46.219 --> 00:51:50.300
then came out and did a verse with them. I actually

00:51:50.300 --> 00:51:54.019
like the Diamonds version better, but... I think

00:51:54.019 --> 00:51:56.480
I'm a little, might be a little tainted here.

00:51:57.219 --> 00:52:00.860
When we were at Street Corner, somehow when we

00:52:00.860 --> 00:52:03.039
wanted to get noticed, we would go out and just

00:52:03.039 --> 00:52:08.119
show up at places and sing. And WSCN in Syracuse,

00:52:08.199 --> 00:52:11.440
Jay mentioned that on the last program we did,

00:52:11.539 --> 00:52:14.380
had all these shows at the Waymark Theater in

00:52:14.380 --> 00:52:17.119
Syracuse. So one year we went and we just kind

00:52:17.119 --> 00:52:19.340
of showed up and were singing as they were standing

00:52:19.340 --> 00:52:22.090
in line. And then we weaseled our way into the

00:52:22.090 --> 00:52:25.030
box office and we saw a cop looking at us, kind

00:52:25.030 --> 00:52:28.389
of funny. And he walked up to us and we thought

00:52:28.389 --> 00:52:30.449
we're going to get thrown out. And he said, you

00:52:30.449 --> 00:52:33.429
guys do any Dion? So we were invited back the

00:52:33.429 --> 00:52:36.269
next year by the radio station to do the after

00:52:36.269 --> 00:52:41.090
party. And down the stairs is my sixth grade

00:52:41.090 --> 00:52:45.150
through high school classmate, Wendy Kay, who

00:52:45.150 --> 00:52:50.960
was the manager for David Somerville. of the

00:52:50.960 --> 00:52:55.059
diamonds and he was doing his act solo we were

00:52:55.059 --> 00:52:57.039
singing in the still of the night and this man

00:52:57.039 --> 00:53:00.500
in his tuxedo walked over stood next to us and

00:53:00.500 --> 00:53:07.079
started singing the bass line it was cool wow

00:53:07.079 --> 00:53:11.039
that is an amazing story you mentioned maurice

00:53:11.039 --> 00:53:14.400
williams who went on to be with the zodiacs as

00:53:14.400 --> 00:53:17.659
well and featured in the dirty dancing soundtrack

00:53:18.239 --> 00:53:21.199
And Little Darling, what a fun song with the

00:53:21.199 --> 00:53:25.800
percussion and the vocalizations of the... It

00:53:25.800 --> 00:53:31.039
was so much fun to listen to this stuff. And

00:53:31.039 --> 00:53:34.840
you can't go wrong with, again, the American

00:53:34.840 --> 00:53:37.800
Graffiti soundtrack. Of course, you know, we're

00:53:37.800 --> 00:53:40.800
going to keep going back to these 80s and 90s

00:53:40.800 --> 00:53:43.579
soundtracks. And I'm probably going to do it

00:53:43.579 --> 00:53:47.230
again tonight. No, I don't care. Yeah, you have

00:53:47.230 --> 00:53:49.730
to. I mean, the Diamonds version went on to reach

00:53:49.730 --> 00:53:52.190
number two on the U .S. Billboard Hot 100, number

00:53:52.190 --> 00:53:55.329
11 in Canada. So probably the more known version.

00:53:55.570 --> 00:53:58.130
But again, you had mentioned Maurice Williams

00:53:58.130 --> 00:54:01.349
and the Zodiacs who did Stay, which was on Dirty

00:54:01.349 --> 00:54:04.449
Dancing. I mean, all of these songs for at least

00:54:04.449 --> 00:54:08.349
my generation was learned through the pop culture

00:54:08.349 --> 00:54:11.269
of the 80s, going back and revisiting them. And

00:54:11.269 --> 00:54:13.469
it also helped, like I mentioned on volume one,

00:54:13.489 --> 00:54:16.219
that my... Father was in a car club and we used

00:54:16.219 --> 00:54:18.719
to go to all of these car shows all the time.

00:54:18.920 --> 00:54:21.360
Led East and all the different swap meets that

00:54:21.360 --> 00:54:23.960
had a lot of different bands playing and a lot

00:54:23.960 --> 00:54:26.340
of different vendors selling cassettes that were

00:54:26.340 --> 00:54:29.340
comprised of nothing but 50s and 60s music. So

00:54:29.340 --> 00:54:32.699
I really got my education through that. And Little

00:54:32.699 --> 00:54:34.420
Darling was always one of those songs that I

00:54:34.420 --> 00:54:38.400
thought was a standout doo -wop track. I loved

00:54:38.400 --> 00:54:41.219
some of the vocalization, just how they would

00:54:41.219 --> 00:54:46.130
take one word. And just stretch it out. And just

00:54:46.130 --> 00:54:49.130
holding the notes and kind of building it in

00:54:49.130 --> 00:54:52.329
this almost rhythmic, percussive, like you said,

00:54:52.329 --> 00:54:55.429
Jay, pattern in the song. And Little Darling

00:54:55.429 --> 00:54:58.090
was one of those ones that, I mean, what the

00:54:58.090 --> 00:55:00.710
hell is a bump bump shawady wady? I don't know,

00:55:00.730 --> 00:55:04.070
but I was invested in that shawady wady every

00:55:04.070 --> 00:55:06.550
time I heard that song. And with that, Jay, I'm

00:55:06.550 --> 00:55:08.769
throwing it back to you to bump bump shawady

00:55:08.769 --> 00:55:12.369
wady into track four. All right. We can peel

00:55:12.369 --> 00:55:15.050
off of the American Graffiti soundtrack again.

00:55:17.090 --> 00:55:19.750
You know, I'm going to take an artist that was

00:55:19.750 --> 00:55:22.090
featured on that soundtrack, but I'm not going

00:55:22.090 --> 00:55:24.809
to go with the song that was featured in American

00:55:24.809 --> 00:55:28.110
Graffiti with it. I'm going to go with The Crests.

00:55:28.230 --> 00:55:32.329
And obviously, Sixteen Candles was probably one

00:55:32.329 --> 00:55:34.889
of their most notable songs, if not the most

00:55:34.889 --> 00:55:38.409
notable Crest song. Immediate flashbacks to my

00:55:38.409 --> 00:55:41.630
sophomore year or freshman year of high school,

00:55:41.690 --> 00:55:46.070
where this girl that I absolutely had the worst

00:55:46.070 --> 00:55:50.550
crush on ever. was turning 16 that year. And

00:55:50.550 --> 00:55:54.010
I called her up and played 16 Candles over the

00:55:54.010 --> 00:55:56.889
phone for her birthday. And she ended up with

00:55:56.889 --> 00:55:59.889
the quarterback of the football team. Because

00:55:59.889 --> 00:56:03.550
of course, how do you not? But The Crests also

00:56:03.550 --> 00:56:08.250
had a song that I absolutely love the way that

00:56:08.250 --> 00:56:10.670
this song is arranged and the vocal harmonies

00:56:10.670 --> 00:56:13.929
in this is called My Juanita. Well, Jay, you

00:56:13.929 --> 00:56:16.389
know, we used to do that song and it was on the

00:56:16.389 --> 00:56:19.750
doo -wop box set. But it wasn't the original

00:56:19.750 --> 00:56:23.929
recording. It was with the Brooklyn Bridge. Now,

00:56:24.070 --> 00:56:27.409
Johnny Maestro, after the crests had split up,

00:56:27.590 --> 00:56:31.349
I'd mentioned the Dion song, the Del Satins.

00:56:31.650 --> 00:56:35.210
Johnny Maestro joined the Del Satins, and they

00:56:35.210 --> 00:56:40.750
would do shows. And in 68, his manager, Betty

00:56:40.750 --> 00:56:44.429
Sperber, she did like a Battle of the Bands thing.

00:56:44.969 --> 00:56:47.809
And there was a horn band called the Rhythm Method,

00:56:48.010 --> 00:56:52.070
I think. And somebody said, well, let's get the

00:56:52.070 --> 00:56:56.570
Del Satins and merge them with the Rhythm Method.

00:56:56.969 --> 00:57:00.349
And somebody said, oh, yeah, that'll be easy

00:57:00.349 --> 00:57:03.329
to sell as the Brooklyn Bridge. So they became

00:57:03.329 --> 00:57:06.949
the Brooklyn Bridge. No kidding. Yeah. And it

00:57:06.949 --> 00:57:09.110
was with the Brooklyn Bridge during a live performance.

00:57:10.059 --> 00:57:12.920
that they would sing that song, the first verse

00:57:12.920 --> 00:57:15.579
and the first chorus acapella, and then kick

00:57:15.579 --> 00:57:17.960
up with the sax solo and then finish the song.

00:57:18.559 --> 00:57:22.739
And it was a very cool rocking number. And like

00:57:22.739 --> 00:57:25.800
I said, Street Corner did that a lot. And as

00:57:25.800 --> 00:57:29.460
we did it, totally acapella. Now, Jay, this song

00:57:29.460 --> 00:57:32.119
came out in 1956. And while it didn't chart,

00:57:32.460 --> 00:57:35.559
this was one of the songs that helped the crests

00:57:35.559 --> 00:57:38.360
get discovered while they were singing. In the

00:57:38.360 --> 00:57:41.360
New York city subways. So to me, that was like

00:57:41.360 --> 00:57:43.980
an important part of their history. I'm surprised

00:57:43.980 --> 00:57:46.139
you didn't go with 16 candles. Cause there would

00:57:46.139 --> 00:57:48.860
have been another movie reference, regardless

00:57:48.860 --> 00:57:51.239
if it was on the soundtrack or not, because who

00:57:51.239 --> 00:57:53.820
can forget the John Hughes classic from the eighties.

00:57:53.860 --> 00:57:55.980
And then while we're talking cover songs, obviously

00:57:55.980 --> 00:57:59.079
the stray cats cover of the song from that original

00:57:59.079 --> 00:58:02.960
soundtrack, but musically coming out of little

00:58:02.960 --> 00:58:05.659
darling, my Juanita makes perfect sense here.

00:58:06.250 --> 00:58:08.630
And I think to follow that up, I'm going to go

00:58:08.630 --> 00:58:13.610
with another song that was featured on a 1980s

00:58:13.610 --> 00:58:16.710
soundtrack. Although for everybody who's cringing,

00:58:16.969 --> 00:58:20.670
I'm not going to pull something from the Stand

00:58:20.670 --> 00:58:23.190
By Me or American Graffiti soundtrack this time.

00:58:23.510 --> 00:58:27.489
No, no. I'm going to pull something that immediately

00:58:27.489 --> 00:58:30.090
people are going to think of the number one hit

00:58:30.090 --> 00:58:34.510
cover from the wildly popular 1987 movie of the

00:58:34.510 --> 00:58:37.610
same name. which starred Lou Diamond Phillips.

00:58:38.030 --> 00:58:42.269
Ooh. Because Los Lobos' cover of the song La

00:58:42.269 --> 00:58:45.409
Bamba was not only number one in the US, it was

00:58:45.409 --> 00:58:48.510
number one in over a dozen countries, including

00:58:48.510 --> 00:58:51.250
the UK, Canada, Australia, France, and Spain.

00:58:51.329 --> 00:58:55.469
But we're not here to talk about Los Lobos. Jay,

00:58:55.630 --> 00:58:58.730
in another wait, that's a cover song example.

00:58:59.030 --> 00:59:01.909
And no, I'm not talking about Los Lobos. I'm

00:59:01.909 --> 00:59:04.909
talking about Richie Valens 1958 version of the

00:59:04.909 --> 00:59:09.230
song La Bamba here. La Bamba, Richie Valens version

00:59:09.230 --> 00:59:13.789
is a cover as well because the original was recorded

00:59:13.789 --> 00:59:20.949
in either 1938 or 1939 by Alvaro Hernandez Ortiz

00:59:20.949 --> 00:59:25.630
under the name El Girocho. And I apologize if

00:59:25.630 --> 00:59:28.849
I butchered the pronunciation there. But Valens'

00:59:28.909 --> 00:59:31.530
version went on to reach number 22 on the Billboard

00:59:31.530 --> 00:59:35.090
US Hot 100, number 49 on the UK Singles Chart,

00:59:35.269 --> 00:59:38.429
number 89 in Australia, and was a number one

00:59:38.429 --> 00:59:41.550
hit in Canada. Valens' version ranked number

00:59:41.550 --> 00:59:45.369
35 on Rolling Stone Magazine's list of the 500

00:59:45.369 --> 00:59:49.050
greatest songs of all time. And while it's more

00:59:49.050 --> 00:59:51.469
than likely because of the Los Lobos version,

00:59:52.199 --> 00:59:55.219
The song lives in the Weird Al parody songbook

00:59:55.219 --> 00:59:58.500
as well, because on the Even Worse album, we

00:59:58.500 --> 01:00:03.739
got lasagna. That's right. So we have to talk

01:00:03.739 --> 01:00:05.699
about Richie Valens in this list. I feel like

01:00:05.699 --> 01:00:10.539
just an iconic song that I don't know how I didn't

01:00:10.539 --> 01:00:13.280
squeeze it into volume one. I had to find a way

01:00:13.280 --> 01:00:16.059
to squeeze it in here and coming out of my Juanita.

01:00:16.059 --> 01:00:18.500
I think it's a perfect fit. I agree with you

01:00:18.500 --> 01:00:22.119
wholeheartedly. Richie Valens obviously had,

01:00:22.219 --> 01:00:25.760
this was a song, if I'm not mistaken, and Jimmy,

01:00:25.820 --> 01:00:27.980
you might know a little bit better than I would,

01:00:28.059 --> 01:00:31.340
the record company did not want him to do this

01:00:31.340 --> 01:00:34.300
song because it is considered more of a traditional

01:00:34.300 --> 01:00:36.739
Mexican folk song, correct? It was a Mexican

01:00:36.739 --> 01:00:39.179
folk song. In fact, you can't, you go to Mexico

01:00:39.179 --> 01:00:41.139
now, you're going to hear that song all over

01:00:41.139 --> 01:00:43.559
from the mariachi bands walking the street. And

01:00:43.559 --> 01:00:47.059
Richie had some beautiful songs, of course, Oh

01:00:47.059 --> 01:00:51.260
Donna, which was a wonderful song. And then,

01:00:51.300 --> 01:00:54.420
unfortunately, as his career was just taking

01:00:54.420 --> 01:00:58.480
off, no pun intended, the plane that he was taking

01:00:58.480 --> 01:01:02.400
also unfortunately crashed in a storm and ended

01:01:02.400 --> 01:01:05.739
his life and his career abruptly. Who knows what

01:01:05.739 --> 01:01:09.780
might have been as he just was an unstoppable

01:01:09.780 --> 01:01:14.239
force in 1958. Mom, Let's Go was another hit

01:01:14.239 --> 01:01:19.280
of his. 17 years old and probably physically

01:01:19.280 --> 01:01:24.300
the most mismatched actor playing a role because

01:01:24.300 --> 01:01:27.539
Richie Valens was a pretty big guy and Lou Diamond

01:01:27.539 --> 01:01:31.800
Phillips, not so much. And you mentioned Los

01:01:31.800 --> 01:01:35.659
Lobos. They were actually in the film as the

01:01:35.659 --> 01:01:39.599
mariachi band. And I believe that they recorded

01:01:39.599 --> 01:01:43.079
the song for the movie. because they couldn't

01:01:43.079 --> 01:01:47.219
get a quality from the original 57 cut of Ritchie

01:01:47.219 --> 01:01:50.260
Valens. I don't know if it was 57, but the original

01:01:50.260 --> 01:01:54.440
cut wasn't good enough. So us Lobos remade it.

01:01:54.500 --> 01:01:58.900
And that's why it was very faithful to the Ritchie

01:01:58.900 --> 01:02:01.860
Valens version for that reason. And Brian, we

01:02:01.860 --> 01:02:04.219
talked about last time we talked about Brian

01:02:04.219 --> 01:02:06.940
Setzer's cover of of Summertime Blues, which

01:02:06.940 --> 01:02:10.300
was another fantastic song. And the La Bamba

01:02:10.300 --> 01:02:14.320
soundtrack, the movie soundtrack is loaded with

01:02:14.320 --> 01:02:18.380
some really, really great covers. I mean, how

01:02:18.380 --> 01:02:22.519
many times can we say the 80s really knew how

01:02:22.519 --> 01:02:25.139
to go back to the 50s? Well, and they did it

01:02:25.139 --> 01:02:28.719
time and time again. And it was always successful

01:02:28.719 --> 01:02:32.760
in one way or another. And for very, very, very

01:02:32.760 --> 01:02:35.960
good reasons. Jimmy, what are you going to follow

01:02:35.960 --> 01:02:42.119
up La Bamba with? I'm tempted to go Buddy Holly,

01:02:42.340 --> 01:02:44.880
but I'm going to fight it off. I was also tempted

01:02:44.880 --> 01:02:47.139
to go Brooklyn Bridge, but I think that would

01:02:47.139 --> 01:02:52.320
violate some rules. So this is just a fantastic

01:02:52.320 --> 01:02:55.960
love song of a young man getting ready to go

01:02:55.960 --> 01:02:59.420
out on a date in the 50s. It's by a group called

01:02:59.420 --> 01:03:03.320
the Jive Five. It's not their more popular song,

01:03:03.500 --> 01:03:07.739
My True Story, which was a hit. But what time

01:03:07.739 --> 01:03:10.639
is it? And this is another song that I first

01:03:10.639 --> 01:03:13.440
heard and fell in love with on the Shaanana TV

01:03:13.440 --> 01:03:18.300
show. And it's got, you know, the church chimes.

01:03:19.800 --> 01:03:25.860
Listen to the clock. And it's just getting ready

01:03:25.860 --> 01:03:28.380
for a date. What time is it? It's six o 'clock.

01:03:28.889 --> 01:03:33.090
Better hurry up and put my tie on. Just a wonderful,

01:03:33.250 --> 01:03:37.210
wonderful song to listen to and slow dance with

01:03:37.210 --> 01:03:40.309
your honey too. Oh, and another thing with the

01:03:40.309 --> 01:03:44.909
Jive 5, they've got a five -second hit that you

01:03:44.909 --> 01:03:47.909
guys have probably heard, but they were the creators

01:03:47.909 --> 01:03:54.869
and the performers of Nickelodeon. I didn't know

01:03:54.869 --> 01:03:59.500
that. I didn't either. But yeah, the Jive 5 originally

01:03:59.500 --> 01:04:03.519
started in 1954 as the Genies. Eugene Pitt, Jerome

01:04:03.519 --> 01:04:06.199
Hanna, Richard Harris, Thurman Proffitt, also

01:04:06.199 --> 01:04:08.840
known as Billy Proffitt at the time, and Norman

01:04:08.840 --> 01:04:11.599
Johnson. They renamed themselves the Jive 5 and

01:04:11.599 --> 01:04:14.559
found chart success in 1961 with My True Story.

01:04:15.380 --> 01:04:18.320
Beltone Records reached number three. Right,

01:04:18.420 --> 01:04:22.030
Brian, on the top Hot 100? Yes, My True Story

01:04:22.030 --> 01:04:25.030
reached number three. And What Time Is It reached

01:04:25.030 --> 01:04:28.730
number 67. They had 10 hit songs between 1961

01:04:28.730 --> 01:04:34.250
and 1968. And then fast forward almost four decades

01:04:34.250 --> 01:04:38.929
later to 2006, It's Christmas hit number 157

01:04:38.929 --> 01:04:42.690
on the U .S. charts as well. So one of these

01:04:42.690 --> 01:04:45.179
bands that I feel like. I don't know, didn't

01:04:45.179 --> 01:04:48.119
get as much due as they should. And I had no

01:04:48.119 --> 01:04:50.019
idea about the Nickelodeon thing. That just blew

01:04:50.019 --> 01:04:53.739
my mind. That's wild. I love that. He obviously

01:04:53.739 --> 01:04:56.940
stayed in the business and they were very popular

01:04:56.940 --> 01:05:00.280
on the oldie circuit. They're on the PBS specials.

01:05:00.380 --> 01:05:04.199
Gene Pitt, he passed a few years ago, but he

01:05:04.199 --> 01:05:07.519
was in the industry till the day he died. All

01:05:07.519 --> 01:05:09.800
right, Jay, with that, we are back to you for

01:05:09.800 --> 01:05:13.000
track seven. Well, I think it would be a shame

01:05:13.000 --> 01:05:16.440
if we did not pull up this next artist. I cannot

01:05:16.440 --> 01:05:20.619
let an entire mixtape go without hearing the

01:05:20.619 --> 01:05:24.219
dulcet, wonderful, soulful tones of Sam Cooke.

01:05:24.420 --> 01:05:26.880
And I think coming out of a song of What Time

01:05:26.880 --> 01:05:29.820
Is It? I think we should go into What a Wonderful

01:05:29.820 --> 01:05:35.380
World. Oh, you scoop me. Don't know much biology.

01:05:36.260 --> 01:05:39.980
Don't know much history. Don't know much trigonometry.

01:05:40.559 --> 01:05:43.139
don't know much of anything really i'm empty

01:05:43.139 --> 01:05:46.860
up here in my head a funny thing about this song

01:05:46.860 --> 01:05:49.539
uh misunderstood lyrics there's an oldies band

01:05:49.539 --> 01:05:52.260
very popular from these parts i won't use their

01:05:52.260 --> 01:05:55.239
name but there's the one lyric don't know what

01:05:55.239 --> 01:05:57.579
a slide rule is for do you guys know what a slide

01:05:57.579 --> 01:06:00.780
rule is because these guys saying don't know

01:06:00.780 --> 01:06:03.820
what a slide ruler is for because they had no

01:06:03.820 --> 01:06:07.300
idea that a slide rule if you were old like me

01:06:07.900 --> 01:06:11.780
And in the eighth grade in science class, and

01:06:11.780 --> 01:06:14.480
you'll have to look this up on the internet,

01:06:14.539 --> 01:06:17.619
but the slide rule was basically like an analog

01:06:17.619 --> 01:06:21.519
calculator. It was a ruler and it slid and it

01:06:21.519 --> 01:06:25.280
had gadgets and clear plastic on it. And you

01:06:25.280 --> 01:06:28.239
could... do your multiplication and division

01:06:28.239 --> 01:06:32.039
and you could do cosines and tangents and mathematical

01:06:32.039 --> 01:06:35.019
symbols that I don't even understand. Oh my God.

01:06:35.039 --> 01:06:39.840
Core memory unlocked. And it's a lyric that is

01:06:39.840 --> 01:06:42.739
not understood by anybody who's younger than

01:06:42.739 --> 01:06:46.099
me. I absolutely remember the slide ruler that

01:06:46.099 --> 01:06:48.940
had that little piece that you would slide along.

01:06:49.059 --> 01:06:51.619
I had one of those and you just unlocked a memory

01:06:51.619 --> 01:06:55.820
from my childhood. Jesus. Oh my God. The closest

01:06:55.820 --> 01:06:59.440
thing I think that I can relate to that is the

01:06:59.440 --> 01:07:02.340
old scales at your doctor's office, right? That

01:07:02.340 --> 01:07:05.900
you would slide the weight down the, it's a similar.

01:07:06.320 --> 01:07:13.099
Mine was going up. Well, Jay, I have to go with

01:07:13.099 --> 01:07:15.519
another movie reference here. I know, even though

01:07:15.519 --> 01:07:18.880
in 1960, the song reached number 12 on the US

01:07:18.880 --> 01:07:21.840
Billboard Hot 100, number 27 on the UK singles

01:07:21.840 --> 01:07:25.809
chart. I can't think of this song and not picture

01:07:25.809 --> 01:07:30.909
John Belushi stacking food onto his tray in Animal

01:07:30.909 --> 01:07:33.889
House right before the food fight. Every time

01:07:33.889 --> 01:07:38.510
I hear this song, I hear, I'm a zit. I'm a zit.

01:07:38.510 --> 01:07:43.230
Get it? I absolutely love the song and I'm not

01:07:43.230 --> 01:07:45.730
going to lie. I was introduced to it because

01:07:45.730 --> 01:07:48.610
of Animal House. Sam Cooke had a couple of songs

01:07:48.610 --> 01:07:51.000
on that soundtrack as well. Yeah, I mean, that's,

01:07:51.000 --> 01:07:53.599
once again, another soundtrack that borrowed

01:07:53.599 --> 01:07:58.039
heavily from the 50s and 60s. I was in college

01:07:58.039 --> 01:08:01.320
when that movie came out. And unfortunately for

01:08:01.320 --> 01:08:03.380
this one kid, he decided having a food fight

01:08:03.380 --> 01:08:05.619
would be really cool. And he had a food fight

01:08:05.619 --> 01:08:09.199
and got kicked out of school. Oh, no. Yeah. Soon

01:08:09.199 --> 01:08:15.250
he dealt high. Well. To follow that up, I am

01:08:15.250 --> 01:08:17.609
actually going to jump on something you said,

01:08:17.729 --> 01:08:20.529
Jimmy, because you floated a name out there before

01:08:20.529 --> 01:08:24.010
and you didn't go with it. And I'm not going

01:08:24.010 --> 01:08:26.409
to miss the shot because I only have a couple

01:08:26.409 --> 01:08:29.409
songs left. Buddy Holly, we got to get him in

01:08:29.409 --> 01:08:32.050
here. And I'm going to go with a song that was

01:08:32.050 --> 01:08:35.949
originally recorded by Buddy Holly and the Tree

01:08:35.949 --> 01:08:41.350
Tunes in 1956 and then re -recorded a year later.

01:08:42.109 --> 01:08:46.069
By Buddy Holly and the Crickets in 1957. That'll

01:08:46.069 --> 01:08:49.189
be the day. Reach number one on the Billboard

01:08:49.189 --> 01:08:52.930
US Hot 100 and the UK Singles Chart. This song

01:08:52.930 --> 01:08:55.270
was recorded by a bunch of other artists and

01:08:55.270 --> 01:08:59.609
bands, such as Linda Ronstadt, whose incredible

01:08:59.609 --> 01:09:03.590
version of the song reached number 11 on the

01:09:03.590 --> 01:09:07.189
US Billboard Hot 100, as well as this group called

01:09:07.189 --> 01:09:10.119
The Quarrymen. Who would eventually go on to

01:09:10.119 --> 01:09:11.920
be known as some group called The Beatles. I

01:09:11.920 --> 01:09:13.880
don't know. Maybe you heard of them. But Buddy

01:09:13.880 --> 01:09:16.859
Holly is one of those artists that did so much

01:09:16.859 --> 01:09:21.180
for music in such a short period of time and

01:09:21.180 --> 01:09:26.060
was such a major influence on the state of rock

01:09:26.060 --> 01:09:30.590
and roll even now to this day. That I don't think

01:09:30.590 --> 01:09:33.350
we could go, Jay, through two volumes of golden

01:09:33.350 --> 01:09:36.569
oldies and not talk about the incredible contributions

01:09:36.569 --> 01:09:39.949
he made to the world of music, period. No, absolutely

01:09:39.949 --> 01:09:42.869
not. And again, Buddy Holly was on that plane

01:09:42.869 --> 01:09:45.710
with the Big Bopper and with Richie Valance.

01:09:45.930 --> 01:09:48.850
And you mentioned the tree tunes. He had the

01:09:48.850 --> 01:09:52.829
crickets and he did his own thing, which is just

01:09:52.829 --> 01:09:56.829
a testament to how much the guy could put out.

01:09:57.149 --> 01:10:01.659
Oddly enough, so. Buddy Holly reference again,

01:10:01.939 --> 01:10:04.359
all over pop culture. And remember a little show

01:10:04.359 --> 01:10:07.619
called quantum leap with Scott Bakula. They did

01:10:07.619 --> 01:10:10.600
an episode where Sam leaped back in and, and

01:10:10.600 --> 01:10:13.880
Buddy Holly was the farm hand and he was writing

01:10:13.880 --> 01:10:18.560
Peggy Sue about a pig. And he called it. Hey

01:10:18.560 --> 01:10:23.770
buddy, try Peggy Sue. That's right. Dean Stockwell,

01:10:23.949 --> 01:10:27.329
Scott Bakula. I don't remember the young actor

01:10:27.329 --> 01:10:29.489
who was playing young Buddy Holly at that point.

01:10:29.550 --> 01:10:34.369
What a great show. Great pick. You gotta love

01:10:34.369 --> 01:10:37.010
That'll Be the Day. Again, featured prominently

01:10:37.010 --> 01:10:40.170
on the American Graffiti soundtrack and all over

01:10:40.170 --> 01:10:44.029
pop culture. Great choice. Two things. With Buddy

01:10:44.029 --> 01:10:47.829
Holly and Richie Valens and the big bopper that

01:10:47.829 --> 01:10:49.529
died in the plane crash. Do you know who else

01:10:49.529 --> 01:10:54.390
was on that tour? who decided not to buy a seat

01:10:54.390 --> 01:10:57.909
on that plane. And it was because it would have

01:10:57.909 --> 01:11:01.750
cost him around $56. And that was about a month's

01:11:01.750 --> 01:11:03.770
rent for his parents' apartment in the Bronx.

01:11:04.229 --> 01:11:07.310
And that's Dion, who was on tour with the Belmonts.

01:11:07.310 --> 01:11:09.430
Oh, no kidding. He was on that tour. I knew that

01:11:09.430 --> 01:11:13.670
story. And Dion has a wonderful interview. It's

01:11:13.670 --> 01:11:15.590
lengthy, it's detailed, but it's fascinating.

01:11:16.170 --> 01:11:18.050
But anyway, we're talking about Buddy Holly.

01:11:18.520 --> 01:11:20.880
He was a solo rock and roll, and he wrote so

01:11:20.880 --> 01:11:24.539
many songs, great hits. Who knows what he would

01:11:24.539 --> 01:11:27.720
have done had he lived? For sure. That was a

01:11:27.720 --> 01:11:30.859
great choice. Well, we are at that point, gentlemen.

01:11:30.939 --> 01:11:35.199
We are down to one song pick each to close out

01:11:35.199 --> 01:11:38.979
volume two. Jimmy, what is your last song choice

01:11:38.979 --> 01:11:45.319
of the evening? Oh, you know, I'm going to go.

01:11:46.010 --> 01:11:48.170
With a Jerry Lee Lewis song, but this really

01:11:48.170 --> 01:11:51.529
isn't about Jerry Lee Lewis. A whole lot of shaking

01:11:51.529 --> 01:11:55.550
going on. Nice. About the time that I was researching

01:11:55.550 --> 01:11:57.710
and deciding these songs that I wanted to do

01:11:57.710 --> 01:12:00.930
for this set list on September 5th, Screamin'

01:12:00.930 --> 01:12:04.350
Scott Simon of Sha Na Na, who was not with the

01:12:04.350 --> 01:12:06.510
band in Woodstock, but he was with the band for

01:12:06.510 --> 01:12:09.989
50 years. And he passed away at the age of 75

01:12:09.989 --> 01:12:14.859
of sinus cancer. He was the kind of rock and

01:12:14.859 --> 01:12:18.180
roll piano player that Jerry Lee Lewis called

01:12:18.180 --> 01:12:20.500
the best rock piano player in rock and roll.

01:12:20.699 --> 01:12:23.739
And he would play with his arm and with his feet

01:12:23.739 --> 01:12:28.300
and his elbows. And when he saw that he was a

01:12:28.300 --> 01:12:31.640
Columbia student and he was graduating and Shanana's

01:12:31.640 --> 01:12:35.020
piano player, Joe Whitkin, was going on to med

01:12:35.020 --> 01:12:36.960
school because most of these guys in Shanana,

01:12:37.260 --> 01:12:40.199
all but about five of them, they eventually went

01:12:40.199 --> 01:12:43.659
on. to grad school. They became lawyers and became

01:12:43.659 --> 01:12:47.739
a rabbi. They were theologians. They were professors.

01:12:48.119 --> 01:12:51.119
And some of these guys, John Bauman joined the,

01:12:51.140 --> 01:12:54.279
Bowser joined the band because he was going into

01:12:54.279 --> 01:12:57.960
music as a career. And Scott Simon played a whole

01:12:57.960 --> 01:13:01.100
lot of shaking going on with the rest of the

01:13:01.100 --> 01:13:04.739
band. And he just blew those guys away. He became

01:13:04.739 --> 01:13:07.659
a managing partner with them. He took care of

01:13:07.659 --> 01:13:12.220
all the details on the road. And, you know, the

01:13:12.220 --> 01:13:15.560
Shanana fans, there's maybe, oh God, there's

01:13:15.560 --> 01:13:18.479
got to be seven or eight dozen of us. But, you

01:13:18.479 --> 01:13:21.619
know, this is how important it is. He had his

01:13:21.619 --> 01:13:25.880
obituary in the New York Times. Wow. And I mean,

01:13:25.979 --> 01:13:31.319
when you talk about that boogie woogie rock pianists,

01:13:31.520 --> 01:13:34.899
the conversation just, it's almost like a niche.

01:13:35.180 --> 01:13:37.119
You've got your Jerry Lee Lewis, you've got your

01:13:37.119 --> 01:13:40.710
screaming Scott Simons. And it invokes a whole

01:13:40.710 --> 01:13:46.069
genre of emotion, if you will. And I'll tell

01:13:46.069 --> 01:13:50.010
you, Jerry Lee Lewis, for the controversy and

01:13:50.010 --> 01:13:52.829
all of the behind -the -scenes stuff that was

01:13:52.829 --> 01:13:56.430
going on, I remember reading a book that a good

01:13:56.430 --> 01:13:59.229
friend of mine had recommended, gosh, eons ago.

01:13:59.329 --> 01:14:03.590
But it was about a rockabilly musician who could

01:14:03.590 --> 01:14:06.840
just... bang out on that piano, kind of a cross

01:14:06.840 --> 01:14:10.180
between an Elvis and a Jerry Lee Lewis. And when

01:14:10.180 --> 01:14:13.859
you read the descriptions and you hear, you can

01:14:13.859 --> 01:14:17.119
hear Jerry Lee playing in the background and

01:14:17.119 --> 01:14:20.460
making the piano sing. It's an amazing pick.

01:14:20.619 --> 01:14:23.399
Love the story behind that. Excellent, Jimmy.

01:14:23.539 --> 01:14:27.840
Excellent. Originally recorded in 1955 by Big

01:14:27.840 --> 01:14:31.600
Mabel, the killer's version. No, not. The Killers

01:14:31.600 --> 01:14:34.420
like the band now. Jerry Lee Lewis, that The

01:14:34.420 --> 01:14:36.520
Killer. Jerry Lee Lewis was The Killer. Yes,

01:14:36.659 --> 01:14:40.279
1957. His version reached number three on the

01:14:40.279 --> 01:14:43.560
U .S. Billboard Hot 100 as well as, and I think

01:14:43.560 --> 01:14:46.420
this part's extremely important and interesting

01:14:46.420 --> 01:14:50.260
here. It reached number one on both the R &B

01:14:50.260 --> 01:14:55.520
as well as country charts. Some records we're

01:14:55.520 --> 01:14:58.819
talking about here. R &B and country charts,

01:14:58.979 --> 01:15:02.539
this song had a massive crossover appeal. I mean,

01:15:02.539 --> 01:15:04.920
that is literally two completely different musical

01:15:04.920 --> 01:15:07.979
demographics straight to number one. It also

01:15:07.979 --> 01:15:10.939
hit number eight on the UK singles chart. And

01:15:10.939 --> 01:15:13.659
in 1999, the song was inducted into the Grammy

01:15:13.659 --> 01:15:17.279
Hall of Fame. And in 2004, Rolling Stone ranked

01:15:17.279 --> 01:15:20.640
it the 61st greatest song of all time. And in

01:15:20.640 --> 01:15:24.449
2005. The library of Congress selected it for

01:15:24.449 --> 01:15:27.270
permanent preservation in the national recording

01:15:27.270 --> 01:15:30.199
registry. Obviously, I've talked about movies

01:15:30.199 --> 01:15:33.239
and 80s movies all night tonight. I'll just throw

01:15:33.239 --> 01:15:36.039
out there Dennis Quaid in the 1989 film Great

01:15:36.039 --> 01:15:38.899
Balls of Fire. Oh, yeah. That one was another

01:15:38.899 --> 01:15:41.479
time where a soundtrack was all dedicated to

01:15:41.479 --> 01:15:44.319
that sound and style. And Jerry Lee Lewis went

01:15:44.319 --> 01:15:46.720
and re -recorded all of those songs for the soundtrack.

01:15:47.159 --> 01:15:50.039
And they all, again, started getting radio airplay

01:15:50.039 --> 01:15:52.960
once again in the late 80s, which I thought was

01:15:52.960 --> 01:15:56.119
amazing. You know that Jerry Lee Lewis had a

01:15:56.119 --> 01:15:58.439
famous cousin who's also a piano player? More

01:15:58.439 --> 01:16:01.300
of a country guy. Mickey Gilley. Really? I'm

01:16:01.300 --> 01:16:04.260
kidding. Yeah. I didn't know the relation. Look

01:16:04.260 --> 01:16:07.159
on YouTube. There's some talk of that and them

01:16:07.159 --> 01:16:09.739
playing together. Wow. And Mickey Gilley was

01:16:09.739 --> 01:16:14.180
on the Shannon Ott TV show. Oh. Well, Mr. Sweet,

01:16:14.359 --> 01:16:17.300
it's your last pick of the night. All right,

01:16:17.300 --> 01:16:19.319
let's keep this piano rock going. And we're going

01:16:19.319 --> 01:16:22.630
to go with a little Richard Wayne Penniman. also

01:16:22.630 --> 01:16:24.390
known as Little Richard. Now I'm going to go

01:16:24.390 --> 01:16:30.670
with Tutti Frutti. Nice. Did you know when they

01:16:30.670 --> 01:16:35.149
approached him about recording that song, he's

01:16:35.149 --> 01:16:38.310
like, we can't do that. It's a dirty song. But

01:16:38.310 --> 01:16:44.289
the lyrics were Tutti Frutti, good booty. Get

01:16:44.289 --> 01:16:48.430
it, Gracie? Slides easy. So he cleaned that up

01:16:48.430 --> 01:16:53.229
to record, and that became a hit. And then it

01:16:53.229 --> 01:16:56.529
was ultimately, you know, this is the mid 50s,

01:16:56.529 --> 01:16:59.710
like 50s are talking about the homogenization

01:16:59.710 --> 01:17:03.949
of rock and roll. It was done by Pat Boone, who

01:17:03.949 --> 01:17:07.229
cleaned up the lyrics even more. And there's

01:17:07.229 --> 01:17:09.590
a TV appearance on YouTube where he's wearing

01:17:09.590 --> 01:17:12.829
his sport coat slung over his shoulder so he

01:17:12.829 --> 01:17:17.600
could look cool. Song was inducted into the Grammy

01:17:17.600 --> 01:17:20.960
Hall of Fame in 1998, and Rolling Stone magazine

01:17:20.960 --> 01:17:25.579
declared the refrain, and I quote, the most inspired

01:17:25.579 --> 01:17:30.359
rock lyrics ever recorded. In 2007, Mojo ranked

01:17:30.359 --> 01:17:33.939
Tutti Frutti number one on the top 100 records

01:17:33.939 --> 01:17:37.239
that changed the world, calling the song the

01:17:37.239 --> 01:17:41.039
sound of the birth of rock and roll. And since

01:17:41.039 --> 01:17:44.039
I'm Mr. Moviefone tonight, I'm going to go with

01:17:44.039 --> 01:17:47.050
a real deep. Terrible pick here. And if you know

01:17:47.050 --> 01:17:49.609
this movie, you're going to either cheer with

01:17:49.609 --> 01:17:54.729
me or cringe with me. 1988's Hot to Trot with

01:17:54.729 --> 01:17:58.949
Bobcat Goldwaite and John Candy as the voice

01:17:58.949 --> 01:18:03.409
of Don the Talking Horse. Brian, there's another

01:18:03.409 --> 01:18:06.350
actor in there that brings this full circle.

01:18:06.770 --> 01:18:12.069
John Jaco Marcellino of Sha Na Na. was one with

01:18:12.069 --> 01:18:14.329
Dabney Coleman, one of the bad guys trying to

01:18:14.329 --> 01:18:17.449
get this horse. Wow. So you both know the movie

01:18:17.449 --> 01:18:21.229
too. Only because of Jocko. All right, Brian,

01:18:21.329 --> 01:18:23.770
bring us home. I'm going to bring us home now

01:18:23.770 --> 01:18:25.689
and I'm going to go with, guess what? Another

01:18:25.689 --> 01:18:29.270
1980s movie reference because Jay, we went through

01:18:29.270 --> 01:18:32.649
volume one and we've gotten all the way through

01:18:32.649 --> 01:18:36.329
volume two and we haven't talked any Chuck Berry.

01:18:36.850 --> 01:18:41.100
So written and recorded. By Chuck Berry in 1958,

01:18:41.279 --> 01:18:43.460
although you might have to credit his cousin

01:18:43.460 --> 01:18:47.060
Marvin for the assist. See if you get that reference.

01:18:47.760 --> 01:18:51.880
Believe it or not. Oh, Marvin Berry. Johnny B.

01:18:52.260 --> 01:18:55.500
Good. Believe it or not, this song only reached

01:18:55.500 --> 01:18:58.300
number eight on the U .S. Billboard Hot 100 and

01:18:58.300 --> 01:19:01.779
was not a number one hit for Chuck Berry. And

01:19:01.779 --> 01:19:06.119
it ranked higher, number seven to be exact. on

01:19:06.119 --> 01:19:08.899
Rolling Stone's list of the 500 greatest songs

01:19:08.899 --> 01:19:12.380
of all time. So I guess that more than made up

01:19:12.380 --> 01:19:15.439
with it. But for our generation, Marty McFly,

01:19:15.520 --> 01:19:18.359
like you said, Jimmy, and the Starlighters covered

01:19:18.359 --> 01:19:22.159
the song on the 1985 Back to the Future soundtrack.

01:19:22.640 --> 01:19:25.819
And then in 1988, Jay, we're going to raise up

01:19:25.819 --> 01:19:29.399
our metal horns for this one. Judas Priest famously,

01:19:29.779 --> 01:19:32.359
or infamously, depending on how you want to look

01:19:32.359 --> 01:19:35.920
at it, covered the song as the title track, to

01:19:35.920 --> 01:19:39.199
the movie of the same name as well as their Ram

01:19:39.199 --> 01:19:42.899
It Down LP. Do you remember Judas Priest's cover

01:19:42.899 --> 01:19:45.699
of Johnny Be Good? I don't, but I'm going to

01:19:45.699 --> 01:19:48.060
go back and listen to it now. It opens up with

01:19:48.060 --> 01:19:51.659
a Rob Halford scream that will send shivers down

01:19:51.659 --> 01:19:54.699
your spine. It is not the Johnny Be Good you

01:19:54.699 --> 01:19:57.619
are familiar with. So much so that it came on

01:19:57.619 --> 01:19:59.960
shuffle in the car and Katie, my wife, turned

01:19:59.960 --> 01:20:02.119
to me and she goes, the hell are you listening

01:20:02.119 --> 01:20:07.279
to? Well, to that, I can only say maybe she's

01:20:07.279 --> 01:20:09.000
not ready for that, but her kids are going to

01:20:09.000 --> 01:20:16.159
love it. Chuck Berry is another one of the artists

01:20:16.159 --> 01:20:20.279
that you cannot have a conversation about classic.

01:20:20.420 --> 01:20:23.640
And I say classic. before I say rock, but it's

01:20:23.640 --> 01:20:26.779
not classic rock. It's that classic rock and

01:20:26.779 --> 01:20:29.260
roll. You can't have a conversation about that

01:20:29.260 --> 01:20:31.899
without including Chuck Berry, one of the pioneers

01:20:31.899 --> 01:20:35.939
of guitar rock and a very prolific songwriter,

01:20:36.039 --> 01:20:39.479
had some great songs throughout his entire career.

01:20:40.060 --> 01:20:43.500
And Cleveland, Ohio, if I'm not mistaken, right,

01:20:43.579 --> 01:20:47.199
is where he hails from. I'm not sure you could

01:20:47.199 --> 01:20:49.159
be right. Yeah, I have no idea. I'm going to

01:20:49.159 --> 01:20:51.670
have to look that up. But for now, Jimmy. A couple

01:20:51.670 --> 01:20:54.010
of things with this song. It was on a Lost Tapes

01:20:54.010 --> 01:20:58.210
recording of Chuck Berry, Johnny B. Goode. And

01:20:58.210 --> 01:21:01.689
they started out and you hear him go, stop, wait,

01:21:02.189 --> 01:21:05.869
wait. You and the piano, you're playing a role

01:21:05.869 --> 01:21:08.270
of Beethoven. Stay away from that. Stay away

01:21:08.270 --> 01:21:11.090
from that. It's basically the same song. And

01:21:11.090 --> 01:21:14.770
another story, I mentioned my friend, Wendy Kay,

01:21:14.949 --> 01:21:19.489
who is a... She deals in oldies acts. So for

01:21:19.489 --> 01:21:21.550
our high school reunions, she books the bands.

01:21:21.909 --> 01:21:24.850
So at one reunion, Terry Silvestri of the Howies

01:21:24.850 --> 01:21:27.069
was there with their band, The Criers, and Danny

01:21:27.069 --> 01:21:30.829
Lane from Paul McCartney and Wings. And I was

01:21:30.829 --> 01:21:33.090
allowed to go up and I started singing a song,

01:21:33.229 --> 01:21:37.930
Johnny B. Goode. And I went up on the second

01:21:37.930 --> 01:21:42.239
half of the first verse. And on the video, you

01:21:42.239 --> 01:21:44.319
can see the bass player is looking at me. He's

01:21:44.319 --> 01:21:46.319
getting ready to sing. And he figured out where

01:21:46.319 --> 01:21:48.500
I was. And when you go up on the lyrics, you

01:21:48.500 --> 01:21:53.180
just start making sound. And then I finished

01:21:53.180 --> 01:21:55.180
the verse and went into it. And then up to the

01:21:55.180 --> 01:21:58.800
stage comes Danny Lane playing guitar along with

01:21:58.800 --> 01:22:01.539
me. And then as soon as that's over, he goes,

01:22:01.720 --> 01:22:04.779
man, that was great. What else do you know? And

01:22:04.779 --> 01:22:07.100
we did what I say. And we both sang it together.

01:22:07.659 --> 01:22:11.760
Ray Charles classic. Yeah. very soon but with

01:22:11.760 --> 01:22:14.340
chuck berry johnny be good you can't you can't

01:22:14.340 --> 01:22:17.170
close the tape better than that No, and I couldn't

01:22:17.170 --> 01:22:19.170
have been any further from the truth with Cleveland,

01:22:19.329 --> 01:22:23.409
Ohio. He was born in St. Louis, Missouri. There's

01:22:23.409 --> 01:22:25.350
probably people screaming and yelling at the

01:22:25.350 --> 01:22:28.310
radio. Who needs facts, Jay? That's why I bring

01:22:28.310 --> 01:22:31.909
you on the show. You can find me at Jay Sweet

01:22:31.909 --> 01:22:35.569
on Facebook. You can bring it. He's in that building

01:22:35.569 --> 01:22:38.989
in Cleveland, Ohio now. That he is. That he is.

01:22:39.170 --> 01:22:43.050
But yeah, what a great way to end a record. Well,

01:22:43.090 --> 01:22:46.090
there you have it, mixtapers. Side B of our golden

01:22:46.090 --> 01:22:49.210
oldies and doo -wop mixtape, Volume 2, which

01:22:49.210 --> 01:22:51.649
consists of the Dan Lears' One Summer Night,

01:22:52.010 --> 01:22:55.630
Benny King's Stand By Me, the Diamonds or the

01:22:55.630 --> 01:22:59.090
Gladiolas' Little Darlin', the Crest's My Juanita,

01:22:59.310 --> 01:23:02.949
Richie Vallon's La Bamba, the Jive 5, What Time

01:23:02.949 --> 01:23:06.449
Is It?, Sam Cooke's What a Wonderful World, Buddy

01:23:06.449 --> 01:23:09.210
Holly's That'll Be the Day, Jerry Lee Lewis'

01:23:09.409 --> 01:23:12.310
Whole Lotta Shakin' Goin' On, Little Richard's

01:23:12.310 --> 01:23:15.590
Tutti Frutti, and Chuck Berry's Johnny Be Good.

01:23:15.789 --> 01:23:18.609
Head over to MyWeeklyMixtape .com to hear all

01:23:18.609 --> 01:23:21.090
the songs we've discussed in this mix through

01:23:21.090 --> 01:23:25.010
the playlist embedded on the episode page. Well,

01:23:25.029 --> 01:23:28.750
gentlemen, this has been an extremely fun discussion

01:23:28.750 --> 01:23:31.729
tonight. Thank you both for joining me on My

01:23:31.729 --> 01:23:34.449
Weekly Mixtape. It's been a pleasure. Honored

01:23:34.449 --> 01:23:37.039
to be here. So glad you asked me. Thank you.

01:23:37.300 --> 01:23:39.779
And remember listeners, you can find my weekly

01:23:39.779 --> 01:23:42.159
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01:23:42.159 --> 01:23:45.479
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01:23:45.479 --> 01:23:48.199
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01:23:48.199 --> 01:23:51.300
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01:24:13.659 --> 01:24:16.260
again for listening, and until next time, enjoy

01:24:16.260 --> 01:24:16.819
the tunes.