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 podcast co -host, Mr. Jay Sweet.

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Jay, welcome back, man. Hello, sir. We're doing

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this again, aren't we? Unfortunately, we are

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back. Apologies to everybody. Indeed. But tonight,

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we're going to be talking about a topic that,

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and I'm going to go out on a limb here. This

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is a topic you might know something about. Yeah.

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Yeah. This is I think this is the most relatable

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topic that I think you've done on this show because

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everybody works. Of course. And, you know, this

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is kind of it's kind of poetic because it was

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through work that you and I met in radio. Yep.

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So what better way to put together? a work week

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anthems playlist than with somebody you used

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to spend your work weeks with. Yes, sometimes

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10, 12, 14, 92 hours a day. I vividly remember

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the nights that we had to work overnight when

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they turned the clocks back. And that was the

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worst shift that you could land because at 3

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a .m. you had to do that hour a second time.

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So, Jay, what were you looking for? In the work

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week anthem songs that you're bringing to the

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table tonight. Well, a lot of this was for me,

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just songs that kind of I think of that eat me

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going for the crappy, sometimes very stressful

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job that I have in the news business. And, you

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know, I think I mentioned to you a few weeks

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ago, I was watching the movie Idiocracy just

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to prove to myself that it's not that bad. But

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these are, yeah, I picked up a bunch of songs,

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you know, that get you through the day. That's

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pretty much the way that this should work. Yeah.

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And my list kind of came together thinking about

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all the songs that I grew up with that were kind

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of targeted towards the quote unquote working

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man and working woman. And a lot of that, you

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know, I grew up in the 80s, so I'm going to be

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probably going down that road a lot tonight.

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But then outside of it, songs that kind of just.

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are very on the nose about the work week. Some

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of them are the obvious picks. Some of them are

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not so obvious. So I kind of want to see what

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kind of a balance we strike with this mix tonight.

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There was certainly a number of, well, more than

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a number. There was a great deal of careers in

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the 80s and late 70s, right up until probably

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the early 90s that really were built around this

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very topic. A lot of people got some good careers

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out of this, and I'm sure we'll cover a lot of

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that tonight. And I think there are still songs

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that are made about the working stiff. I mean,

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heck, Rick Springfield had a whole album dedicated

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to the working class dogs. In fact, I believe

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he has a radio show now on Sirius XM called Working

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Class DJ, and he gets to host that hour of programming,

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which is great. And just proving the point that.

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The guy should have retired aeons ago, and here

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he is still doing work. Proving everybody wrong

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and still kicking ass doing it, right? 100%,

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yeah. Well, it's never been more appropriate

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to use the next phrase that I use in every Mixtape

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Curation episode, and this time it almost becomes

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a dad joke in and of itself. Let's get down.

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To business. Tonight, as I mentioned at the top

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of the show, Jay and I will be curating a work

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week anthems mixtape and we'll use the old cassette

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deck approach. Jay, as my special guest, will

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begin side A with his first song choice and then

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I'll add a song that I feel best follows up that

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choice. We'll then flip -flop choosing songs

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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. I'll kick

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things off with Jay choosing second. Our overall

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goal for the episode is to craft the best work

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week anthems mixtape possible through only 20

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songs. At the end of the show, you could take

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our conversation to the next level by visiting

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the episode page at myweeklymixtape .com to give

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our final mixtape a listen. via the embedded

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playlist. And if you like what you're hearing

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on the show, you can help me out by either telling

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a friend, leaving the show a five -star review

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wherever you're tuning in, or becoming a Patreon

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mixtaper 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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And a few of the Patreon mixtapers chimed in

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with songs they would use to kick off their workweek

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anthems mixtape, and I want to give a few a shout

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out. Christopher Stile chimed in with Huey Lewis

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in the news a couple days off, calling it a banger

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of a song, along with Loverboys working for the

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weekend. Sherri Thomas chimed in with Donna Summers,

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she works hard for the money. Tom Hutchinson

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chimed in with C .W. McCall's Convoy, saying

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there's nothing better than a Trucker Rebellion

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song to start a mixtape. Chad LaMassa chimed

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in with Johnny Paycheck's Take This Job and Shove

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It. Philip Bergman chimed in with Billy Bragg

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and the blokes Saint Monday. Ben from the Too

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Vague podcast chimed in with Desmond Decker and

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the Aces Israelites and Roy Orbison's Working

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for the Man. Jen Fink chimed in with Rage Against

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the Machines killing in the name of with the.

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Fuck you, I won't do what you tell me, section

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serving as the inspiration for the choice. And

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finally, Seeker chimed in with the Easy Beats

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Friday On My Mind, saying their guitarist George

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Young was the older brother to a pair of Youngs,

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that being Malcolm and Angus of ACDC, along with

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another Easy Beats member, Harry Vanda, who produced

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many of ACDC's albums. Just as a reminder, if

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you want to chime in for future My Weekly Mixtape

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episodes, you can join the Mixtaper family at

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patreon .com forward slash My Weekly Mixtape.

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So, Jay, you've tumbled out of bed and stumbled

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to the kitchen. You've poured yourself a cup

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of ambition and you've yawned and you've stretched.

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And now you're kicking things off for Side A.

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I think that's how it goes. Yeah, I certainly

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am not trying to face the light. Because when

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I go to work, it's three in the morning. It's

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still dark outside. But yeah, no, we're ready

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to rock and roll here, quite literally. I think

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some great picks by the listeners. That is fantastic,

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some of the stuff that they were coming up with.

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I tried to, given the fact that, like I mentioned

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earlier, there are so many careers that were

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made and albums dedicated to and songs that are

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dedicated to The Working Stiff. I tried to know

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that kind of stave off the fact that you and

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I were going to hit a lot of these together,

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a lot of the common ones. And I'm sure we'll

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hit them and we'll talk about them when we get

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there. But for the most part, I wanted to go

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deeper into stuff that you may not know. So I

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kind of delved into the 50s and 60s stuff. I

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went into some yacht rock stuff. The thing that

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I wanted to focus on was not country music, because

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I think the entirety of the country music genre

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is geared towards. working class people. And

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there are some really good country music that

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has, I think Alan Jackson's got song Toby Keith,

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right? Had a tune and there's just a ton of them.

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So rather than dive into it, we could make a

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whole entire country album out of this topic

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right here, but I want to go completely opposite

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of that. And to start off this album, if you're

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ready to rock and roll, I'm going to hit it hard

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and fast with some skid row and slave to the

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grind. Whoa. All right. Why not? I mean, it just

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drives you in to a better mindset of, you know

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what? Yeah, I'm doing something right now. I

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may be menial low man on the totem pole, but

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I'm working and I've got my nose to the grindstone

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and I'm going to get that brass ring and I'm

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going to be an operations manager. That's what

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Sebastian was singing about, wasn't he? I'm pretty

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sure, yeah. I'm not going to lie, dude. I actually

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had Hailstorm's cover of Slave to the Grind in

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my bank of songs, especially after all of the

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brouhaha that went down this past spring when

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Lizzie Hale sat in with Skid Row for four shows.

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Holy Jesus, did she sound amazing with them.

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Lizzie Hale is probably one of the best. taps

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to replace the powerhouse that is sebastian bach

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let's leave the problematic personality type

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out of it but she is the full package like she's

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just amazing on those vocals and i think just

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the other day i went back and i think tiktok

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had it where it was might have been i'll remember

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that she did and that was amazing Yeah, there's

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a bunch of live videos up on YouTube. If you

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just search Skid Row, Lizzy Hale, LZZY, you'll

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see some great footage from those four shows.

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As of now, it's kind of put on hold, but she

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said the doors always open down the road. So

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who knows? I know Hailstorm's got a very busy

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fall. Coming up for them, obviously, they're

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one of the bigger hard rock bands on the planet

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currently. So it might be hard for her to pull

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double duty, but who knows what will happen.

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Love the fact that you went with the original,

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though. And man, I wasn't expecting to go this

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hard right from the beginning. So I think I'm

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going to go with something that kind of is a

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little bit of a nod because Skid Row Singer has

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covered this song. And I'm going to go all the

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way back to 1974. And we're going to bring in

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a pre -Neil Rush. And I'm going to go with Working

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Man from their self -titled album. Back in 1996,

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Sebastian Bach of Skid Row covered Working Man

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with Jake E. Lee, Mike Portnoy. Billy Sheehan,

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former My Weekly Mixtape guest, and Brent Allman

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for the Magna Carta label's Working Man, a tribute

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to Rush compilation. It's a sick, sick cover

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if you haven't heard it. But even the original,

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it's not what you expect when you hear the word

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Rush. It's not the proggy side of Rush. This

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is the Led Zeppelin, blues -based, hard rock

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side of Rush. And this song stayed with the band.

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all throughout their entire career all until

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the last tour they were still playing working

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man one of the few songs they kind of represented

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through all eras of the band and coming out of

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slave to the grind it's still heavy it's still

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hard but i think it gives you a few different

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directions you can go from here that is such

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a great pick and i had it on my list as well

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because again those these are the kind of the

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deeper dives and If you're a huge fan of Rush,

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then you know this stuff. If you're only a fan

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of like Limelight and Tom Sawyer, like a casual

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fan, you may not know the three meal per stuff

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that Geddy Lee and Alex Lifeson put out. And

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Working Man just, it is exactly as you said,

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it drives, it rocks. And it's a great follow

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-up to Slave to the Grind. Love it. And now I'm

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going to throw it back to you. But first, I want

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to mention episode 52, the Ultimate Rush playlist

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with Steve from Something for Nothing, a Rush

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fan cast who's also part of the Pantheon podcast

00:12:15.580 --> 00:12:19.200
network. If you're a Rush fan or if you want

00:12:19.200 --> 00:12:21.379
to learn a little bit more about Rush, Steve

00:12:21.379 --> 00:12:24.220
is a wealth of knowledge. I highly suggest checking

00:12:24.220 --> 00:12:28.919
that episode out. But now, Skid Row, Rush, track

00:12:28.919 --> 00:12:32.059
three. What do we got? I'm going to stay in that

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vein and I'm going to go all the way to the end

00:12:36.679 --> 00:12:42.240
of this band. Sadly, this band's career with

00:12:42.240 --> 00:12:45.360
a few new members and some tweaks and a little

00:12:45.360 --> 00:12:48.700
help from an older member. Let's go to 2012s.

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A different kind of truth. Wow. With beats working.

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Wow. Wolfgang on the bass, little Wolfie. And

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David Lee Roth comes back in on the lead vocals.

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First of all, what a great album. I would think

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a very underrated album. And sadly, again, we

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lost Eddie way too soon. And, you know, having

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deprived the world of more of that genius. Side

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story, went to Heart and Cheap Trick here in

00:13:20.179 --> 00:13:24.919
Chicago a few months ago. And Nancy came out.

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The rest of the band kind of took a five. And

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Nancy came out with an acoustic guitar and did

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a tribute to Eddie Van Halen. Yep, for Edward.

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Where she started off, yeah, for Edward. Oh my

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gosh. And every hair on my arms right now talking

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about it stood up straight because it was so

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beautiful and so moving. It mixed 316 from For

00:13:49.159 --> 00:13:51.779
Unlawful Carnal Knowledge, Top of the World,

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and Jump. And it's got all those riffs in it.

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And it's so good. So I think that tying it all

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back in to make the point, Different Kind of

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Truth was an amazing album that was a great cap

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to their career. This is the final song on the

00:14:07.909 --> 00:14:11.210
final Van Halen album. Is this Deep Dive Jay

00:14:11.210 --> 00:14:14.409
we're looking at tonight? Because this is a really

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deep pick. I love the fact that you went with

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this because at the end of the day, this is kind

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of Van Halen's exclamation point at the end of

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their career. I'll say this album was a lot better

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than Van Halen three for me. I love the fact

00:14:28.870 --> 00:14:31.289
that they went back into the vault. Wolfgang

00:14:31.289 --> 00:14:34.129
went back and discovered some of the old Van

00:14:34.129 --> 00:14:37.110
Halen songs that tried to reinject that energy

00:14:37.110 --> 00:14:41.610
into Van Halen, similar to the way Rick Rubin.

00:14:42.090 --> 00:14:44.470
did with Metallica and Black Sabbath. He tried

00:14:44.470 --> 00:14:46.769
to get them to tap into the early days to kind

00:14:46.769 --> 00:14:49.210
of put out this album that he was working on

00:14:49.210 --> 00:14:52.129
with them. I like that Wolf did that. And this

00:14:52.129 --> 00:14:54.309
song was originally called Put Out the Lights,

00:14:54.470 --> 00:14:57.009
but David Lee Roth came in and rewrote the lyrics

00:14:57.009 --> 00:14:59.629
and it was re -recorded for this album as Beats

00:14:59.629 --> 00:15:03.370
Workin'. And it's your typical David Lee Roth

00:15:03.370 --> 00:15:07.009
swagger. And I'm very surprised, but we're staying

00:15:07.009 --> 00:15:12.500
in this rock vein here. So I'll see your... End

00:15:12.500 --> 00:15:16.019
of the era catalog. And I'll hit you with a middle

00:15:16.019 --> 00:15:18.899
of the catalog cut. I'm going to go back to 1981

00:15:18.899 --> 00:15:22.299
and this was put out as a single. And fans of

00:15:22.299 --> 00:15:25.279
Vanilla Ice will know this one. Because I'm going

00:15:25.279 --> 00:15:28.879
to go with Queen and David Bowie and Under Pressure.

00:15:29.320 --> 00:15:32.299
Well, not about work in the literal sense, Monday

00:15:32.299 --> 00:15:35.259
to Friday, nine to five, sitting at your desk,

00:15:35.340 --> 00:15:37.259
stumble out of bed. You know what I'm talking

00:15:37.259 --> 00:15:40.440
about. These lyrics, John Deacon has said, deal

00:15:40.440 --> 00:15:43.539
with how pressure can destroy lives, but love

00:15:43.539 --> 00:15:45.860
can be the answer. So it's not a literal thing.

00:15:46.220 --> 00:15:50.259
Plus, coming out of Van Halen, Rush and Skid

00:15:50.259 --> 00:15:53.419
Row, I need to kind of ease us out of the heavy

00:15:53.419 --> 00:15:56.840
and not do a hard pivot. And I think this does

00:15:56.840 --> 00:15:59.419
just that. Don't sell yourself short on that

00:15:59.419 --> 00:16:03.419
point, though, because there are themes in Under

00:16:03.419 --> 00:16:07.200
Pressure that everyone, it kind of points to

00:16:07.200 --> 00:16:09.720
the deeper meaning of it is everybody's caught

00:16:09.720 --> 00:16:11.980
up in this rat race. We're all trying to outdo

00:16:11.980 --> 00:16:14.500
each other, that we're ignoring each other on

00:16:14.500 --> 00:16:17.700
the streets and forgetting about the love for

00:16:17.700 --> 00:16:20.700
our fellow man, which I think is a huge theme.

00:16:21.679 --> 00:16:24.940
really does tie into sure the superficial surface

00:16:24.940 --> 00:16:27.379
version of yeah i'm under all this pressure i've

00:16:27.379 --> 00:16:29.860
got all these deadlines but you've got that underneath

00:16:29.860 --> 00:16:32.539
it all you still got that you know this is the

00:16:32.539 --> 00:16:35.419
daily grind that is taking us away from what

00:16:35.419 --> 00:16:37.779
really matters and that's caring for our fellow

00:16:37.779 --> 00:16:43.220
man hippie jay for a minute well covers brian

00:16:43.220 --> 00:16:45.980
wants to chime in because in 2004 my chemical

00:16:45.980 --> 00:16:48.460
romance in the used covered this song together

00:16:48.460 --> 00:16:51.710
and I'm not going to lie. That emo punk treatment

00:16:51.710 --> 00:16:55.389
on that version was absolutely awesome. I love

00:16:55.389 --> 00:16:58.149
it. It could be one of my top songs from both

00:16:58.149 --> 00:17:01.250
of those bands because that cover was just such

00:17:01.250 --> 00:17:05.349
a uniquely perfect combination to be able to

00:17:05.349 --> 00:17:07.829
bring the Queen and David Bowie into the modern

00:17:07.829 --> 00:17:11.829
era at the time. Oh, I absolutely love MCR. The

00:17:11.829 --> 00:17:14.910
Used is great. And I think that, yeah, that cover

00:17:14.910 --> 00:17:19.109
was a great, great homage. All right. Well, we

00:17:19.109 --> 00:17:21.869
are now up to track five, Jay. Where do we go

00:17:21.869 --> 00:17:25.710
from here? Hmm. Well, we seem to be kind of backing

00:17:25.710 --> 00:17:29.190
off of the drive a little bit. But you know what?

00:17:29.230 --> 00:17:32.490
Let's take a little bit of a slower tack and

00:17:32.490 --> 00:17:34.789
a little bit of a pivot. Go with one of my favorite

00:17:34.789 --> 00:17:37.650
artists of all time. And we're going to go down

00:17:37.650 --> 00:17:41.210
the road, if you will, to Van Morrison's All

00:17:41.210 --> 00:17:44.650
Work and No Play. What a great blues riff, a

00:17:44.650 --> 00:17:46.970
terrific message. And of course, you know, the

00:17:46.970 --> 00:17:49.869
repeating refrain of All Work, No Play makes

00:17:49.869 --> 00:17:53.849
Jack a dull chap. And that theme will be viewed,

00:17:53.950 --> 00:17:59.529
what, 1980? The Shining? Yes. Where Jack Nicholson

00:17:59.529 --> 00:18:02.529
goes to the retreat house and he's in the...

00:18:02.730 --> 00:18:04.849
Going crazy and he's typing over and over on

00:18:04.849 --> 00:18:07.170
the keyboard. All work, no play makes Jack a

00:18:07.170 --> 00:18:10.089
dull boy. So listen to some Van Morrison and

00:18:10.089 --> 00:18:13.769
don't become Jack Nicholson. Good advice from

00:18:13.769 --> 00:18:16.990
Jay Sweet. Right. Man, you are doing deep dive

00:18:16.990 --> 00:18:19.630
Jay tonight. I'm kind of digging this. That whole

00:18:19.630 --> 00:18:25.049
album down the road has a very 50s, 60s. kind

00:18:25.049 --> 00:18:29.130
of soul R &B vibe to it. And he's done that throughout

00:18:29.130 --> 00:18:30.930
the years where he's gone back and kind of done

00:18:30.930 --> 00:18:33.970
these throwback, even as his most recent album,

00:18:34.009 --> 00:18:36.970
at least as of us recording, that was Accentuate

00:18:36.970 --> 00:18:39.130
the Positive, which was basically a bunch of

00:18:39.130 --> 00:18:41.809
rock and roll, R &B and country cover songs that

00:18:41.809 --> 00:18:44.220
he did. But I say that with an asterisk because

00:18:44.220 --> 00:18:47.779
he put out three albums in 2023, one album in

00:18:47.779 --> 00:18:51.880
2022, one album in 2021. Like he has been busy

00:18:51.880 --> 00:18:54.980
lately. But that said, this is a great pick.

00:18:55.180 --> 00:18:58.819
I always laughed at the lyric. I'm just a wild

00:18:58.819 --> 00:19:01.660
and crazy guy because when he sings it, I know

00:19:01.660 --> 00:19:04.960
he's singing it for the lyrics, but I just can't

00:19:04.960 --> 00:19:07.599
not picture Steve Martin and Dan Aykroyd with

00:19:07.599 --> 00:19:10.160
their fingers up in the air. Two wild and crazy

00:19:10.160 --> 00:19:13.880
guys. Yeah, I know, but that's where my mind

00:19:13.880 --> 00:19:16.539
goes. It's great. I love it. Where are you going

00:19:16.539 --> 00:19:20.140
from here? Man, coming out of that, I think I'm

00:19:20.140 --> 00:19:22.960
going to go with one that is an obvious pick,

00:19:23.119 --> 00:19:27.029
but maybe not for everybody. I grew up listening

00:19:27.029 --> 00:19:30.829
to the Z Morning Zoo, New York City radio with

00:19:30.829 --> 00:19:33.769
Scott Shannon. And for those in the New Jersey,

00:19:33.849 --> 00:19:36.190
New York area, you probably remember Mr. Leonard's

00:19:36.190 --> 00:19:39.650
Lime Green Pinto. And every Friday morning, they

00:19:39.650 --> 00:19:42.930
would do the 9 a .m. whistle, meaning the weekend's

00:19:42.930 --> 00:19:45.549
almost here. And that 9 a .m. whistle always

00:19:45.549 --> 00:19:50.630
kicked off with 1983's monster hit from Todd

00:19:50.630 --> 00:19:54.309
Rundgren, Bang on the Drum All Day from 1983's

00:19:54.309 --> 00:19:58.309
the ever popular. tortured artist effect for

00:19:58.309 --> 00:20:02.950
me this was every friday morning of my childhood

00:20:02.950 --> 00:20:09.029
because fun story i used to have 120 minute cassette

00:20:09.029 --> 00:20:11.930
because i loved the z morning zoo growing up

00:20:11.930 --> 00:20:13.829
i used to get the records every year with all

00:20:13.829 --> 00:20:17.069
the comedy bits broken out on vinyl i used to

00:20:17.069 --> 00:20:19.730
love that so what i would do is i'd have the

00:20:19.730 --> 00:20:23.829
radio on with play and record and pause all set

00:20:23.829 --> 00:20:27.019
up in case a parody or a comedy bit was coming

00:20:27.019 --> 00:20:29.259
on, I could record it. And then what I would

00:20:29.259 --> 00:20:31.480
do is I would grab this 120 minute tape because

00:20:31.480 --> 00:20:34.039
each side was an hour. When I left for school,

00:20:34.119 --> 00:20:37.140
I would pop it in and hit record. And always

00:20:37.140 --> 00:20:39.759
at the end of the side, I would always get the

00:20:39.759 --> 00:20:43.779
9 a .m. Friday morning play of Todd Rundgren's

00:20:43.779 --> 00:20:47.740
Bang on the Drum All Day. So that is a very specific

00:20:47.740 --> 00:20:50.380
memory for me, but the song is very much about

00:20:50.380 --> 00:20:52.900
it. But there was simply no way I was getting

00:20:52.900 --> 00:20:54.700
through this episode without talking about this

00:20:54.700 --> 00:20:57.880
one. No, 100%. I just actually went back through

00:20:57.880 --> 00:21:00.720
recently, went back through Todd Rundgren's catalog.

00:21:01.140 --> 00:21:04.880
And Bang on the Drum was my first exposure to

00:21:04.880 --> 00:21:08.539
Todd Rundgren. And even though I think my mom

00:21:08.539 --> 00:21:12.160
was a big Carole King fan and I saw The Light

00:21:12.160 --> 00:21:15.259
and Hello It's Me, which were very Carole King

00:21:15.259 --> 00:21:19.869
inspired kind of songs. When I heard bang the

00:21:19.869 --> 00:21:22.450
drum and what's the lyric about? I went to the

00:21:22.450 --> 00:21:25.670
shed and I banged the drum so hard. Like it was

00:21:25.670 --> 00:21:29.170
the boss's head. I thought to myself, what a

00:21:29.170 --> 00:21:31.410
terrible existence. Like who wants to live that

00:21:31.410 --> 00:21:33.829
kind of life where you want to beat on your boss's

00:21:33.829 --> 00:21:36.029
head? Don't you want a good book? And then I,

00:21:36.069 --> 00:21:38.470
you know, became old enough to work and realized,

00:21:38.630 --> 00:21:41.069
Oh no, they're all like that. And now I am like

00:21:41.069 --> 00:21:44.000
that. So I know a bunch of my guys. and gals

00:21:44.000 --> 00:21:46.799
downstairs want to bang on my head a couple of

00:21:46.799 --> 00:21:51.940
times. What a fantastic song, and it's hoppy,

00:21:52.000 --> 00:21:55.460
and it's not like anything else you get from

00:21:55.460 --> 00:21:59.680
Run Grit. But that being said, that's patently

00:21:59.680 --> 00:22:03.799
Run Grit, because every album is different. He

00:22:03.799 --> 00:22:08.009
has beats in his career. Including 2005 when

00:22:08.009 --> 00:22:10.710
he joined up with Elliot Easton and Greg Hawks

00:22:10.710 --> 00:22:13.049
and they formed the new cars. Oh, that's right.

00:22:13.769 --> 00:22:16.589
And he was singing all the leads. That was a

00:22:16.589 --> 00:22:20.089
great little run. I'm so sad I never got to see

00:22:20.089 --> 00:22:22.910
it. And I'm kind of hoping because Todd and Greg

00:22:22.910 --> 00:22:24.970
and Elliot are still alive that maybe they'll

00:22:24.970 --> 00:22:27.710
do kind of a tribute to Rick and Benjamin and

00:22:27.710 --> 00:22:31.349
do another new cars run. Oh, yeah. I understand

00:22:31.349 --> 00:22:34.089
that Todd's voice is different than Ben and Rick,

00:22:34.150 --> 00:22:37.599
but. It's not that far off. And it was convincing.

00:22:37.619 --> 00:22:41.019
And they did a song not tonight together that

00:22:41.019 --> 00:22:45.299
I rank as could be as good as anything in the

00:22:45.299 --> 00:22:48.019
cars catalog. Oh, that's awesome. Yeah. Well,

00:22:48.279 --> 00:22:50.319
here's hoping maybe they'll, maybe they'll pull

00:22:50.319 --> 00:22:52.200
together a couple of summers or something, or

00:22:52.200 --> 00:22:54.559
they'll, they'll show up in these one -offs,

00:22:54.559 --> 00:22:57.480
you know, kind of things. That'd be a PNC bank

00:22:57.480 --> 00:22:59.579
art center in a heartbeat. I'd go see that with

00:22:59.579 --> 00:23:03.480
take my money. Was it Todd Rundgren that was

00:23:03.480 --> 00:23:05.799
performing with them at the Hall of Fame induction

00:23:05.799 --> 00:23:07.920
or no? Well, Rick was still alive. It was Rick.

00:23:08.039 --> 00:23:10.920
Okay. Yeah, yeah, yeah. Okay. All right. Well,

00:23:11.079 --> 00:23:14.519
let's see. We're talking about 1983 here. Let's

00:23:14.519 --> 00:23:18.240
stay in the 80s. And some of you will recognize

00:23:18.240 --> 00:23:22.140
this song from the most recent Allstate insurance

00:23:22.140 --> 00:23:27.619
commercials featuring a beautiful 1950 or 49

00:23:27.619 --> 00:23:32.460
car with a hood. ornaments singing, I've got

00:23:32.460 --> 00:23:35.019
the brains, you've got the brawn, let's make

00:23:35.019 --> 00:23:38.480
lots of money. And that's Pet Shop Boys' Opportunities.

00:23:38.700 --> 00:23:41.799
If you hadn't grown up in the 80s, that was one

00:23:41.799 --> 00:23:43.920
of the most popular songs by the Pet Shop Boys.

00:23:44.180 --> 00:23:47.619
And I think that song speaks perfectly for corporate

00:23:47.619 --> 00:23:51.059
America. I couldn't agree more. And I'm going

00:23:51.059 --> 00:23:54.319
to make a confession right now. The Allstate

00:23:54.319 --> 00:23:57.099
commercial, I actually had to look up the song

00:23:57.099 --> 00:23:59.680
the first time I heard it. For some reason, the

00:23:59.680 --> 00:24:02.359
Pet Shop Boys were a blind spot for me in the

00:24:02.359 --> 00:24:05.920
80s. I don't know why, but I'm confessing some

00:24:05.920 --> 00:24:08.400
deep, dark secrets here tonight on the show.

00:24:08.700 --> 00:24:10.819
I had to look that one up when I first saw that

00:24:10.819 --> 00:24:12.819
commercial. I'm like, why do I know this? How

00:24:12.819 --> 00:24:15.460
do I know this? And I shazammed it and went,

00:24:15.619 --> 00:24:18.460
ah, it's the Pet Shop Boys, blind spot. Yeah,

00:24:18.539 --> 00:24:21.400
I don't know why, but it's a great song. Yeah,

00:24:21.420 --> 00:24:23.720
Pet Shop Boys kicked some serious hiney in the

00:24:23.720 --> 00:24:27.930
80s with West End Girls. And what have I done

00:24:27.930 --> 00:24:30.089
to deserve this? One of my favorites with Dusty

00:24:30.089 --> 00:24:32.789
Springfield, another great song. And this one

00:24:32.789 --> 00:24:34.710
was kind of, it was a minor hit for them, but

00:24:34.710 --> 00:24:37.269
it was such a great riff. So you're going what?

00:24:37.410 --> 00:24:40.190
85, 86 for that song. I believe that's correct.

00:24:40.329 --> 00:24:43.230
Yes. Okay. Well, I was in 83 for Todd Rundgren.

00:24:43.289 --> 00:24:45.869
So I'm going to go back to 83. I'm going to kind

00:24:45.869 --> 00:24:48.450
of pull this tug of war we're doing here. And

00:24:48.450 --> 00:24:52.809
I'm going to go with a song that again is probably

00:24:52.809 --> 00:24:57.539
on the nose, but. when you think about female

00:24:57.539 --> 00:25:02.779
singers, this is one that I think deservedly

00:25:02.779 --> 00:25:06.160
could be one of the biggest, I will say one of

00:25:06.160 --> 00:25:09.099
the, if not the biggest voice of the disco era

00:25:09.099 --> 00:25:12.140
and then into the eighties as well. And I'm going

00:25:12.140 --> 00:25:15.640
to go with Donna summer. Now it's not my favorite

00:25:15.640 --> 00:25:19.730
song by her. That would go to hot stuff. Or Bad

00:25:19.730 --> 00:25:21.609
Girls. I just love that whole album, actually.

00:25:21.690 --> 00:25:24.470
Oh, you're not picking Bad Girls? No. That's

00:25:24.470 --> 00:25:27.490
a song about working. Technically, right? It

00:25:27.490 --> 00:25:31.609
would fit the theme. But no, I'm not. I am going

00:25:31.609 --> 00:25:34.309
to go with 1983's She Works Hard for the Money.

00:25:34.529 --> 00:25:37.150
Shout out to Patreon mixtape or Sherry Thomas,

00:25:37.269 --> 00:25:39.970
who chimed in with this one as well. Like I said,

00:25:40.109 --> 00:25:43.250
Donna Summer's voice. I mean, is she the queen

00:25:43.250 --> 00:25:46.190
of disco? Maybe. I think you can make a good

00:25:46.190 --> 00:25:48.640
argument for that. I mean, between Last Dance

00:25:48.640 --> 00:25:52.559
and Hot Stuff and Bad Girls and and then this

00:25:52.559 --> 00:25:56.819
was a little bit more pop for her. But when you

00:25:56.819 --> 00:26:00.660
think about those 80s songs about the work week,

00:26:00.900 --> 00:26:04.819
this was always on the radio on a Friday. Absolutely.

00:26:04.960 --> 00:26:07.740
And it just it's that's kind of what got ingrained

00:26:07.740 --> 00:26:09.779
into my head when I was always listening to radio.

00:26:10.059 --> 00:26:12.599
Those songs that they always played around either

00:26:12.599 --> 00:26:17.309
9 a .m. or 5 p .m. on a Friday. And that's kind

00:26:17.309 --> 00:26:19.349
of where my mind was going with this playlist,

00:26:19.569 --> 00:26:21.769
kind of keeping it in that. Hooray, it's the

00:26:21.769 --> 00:26:25.410
weekend vibe. That song will always remind me

00:26:25.410 --> 00:26:29.930
of my mom because of the it was that song came

00:26:29.930 --> 00:26:32.950
out right around the time where my parents split

00:26:32.950 --> 00:26:36.849
up and my mom had four kids. Most of us, I think,

00:26:36.849 --> 00:26:39.869
were under 10 at that point because I'm the oldest.

00:26:40.029 --> 00:26:43.670
And so just knowing what my mom went through.

00:26:44.160 --> 00:26:47.279
To make ends meet and to make sure that we stayed

00:26:47.279 --> 00:26:51.579
alive was that song just, it really reminds me

00:26:51.579 --> 00:26:54.259
of my mom. And she did work hard for the money.

00:26:54.579 --> 00:26:57.779
And, you know, I love you, mom. You're the best.

00:26:58.059 --> 00:27:02.380
And so, you know, there was a, let me take a

00:27:02.380 --> 00:27:05.700
hard right here. There was a documentary movie

00:27:05.700 --> 00:27:09.299
that came out on Casablanca Records that highlighted

00:27:09.299 --> 00:27:14.460
her career. Sure, some liberties were taken up,

00:27:14.460 --> 00:27:16.500
you know, of course, because on all these documentaries,

00:27:16.720 --> 00:27:20.960
liberties are taken. But the story of where she

00:27:20.960 --> 00:27:25.140
was in Germany performing these dive bars to

00:27:25.140 --> 00:27:27.140
stay alive with her daughter, I believe at the

00:27:27.140 --> 00:27:31.440
time, and then that she was discovered and holy

00:27:31.440 --> 00:27:35.380
cats. And then she come out of that record, if

00:27:35.380 --> 00:27:39.420
I'm not mistaken. And what was it? Love to love

00:27:39.420 --> 00:27:43.069
you, right? Where she's. literally moaning sexually

00:27:43.069 --> 00:27:47.109
through the whole song. And she became like a

00:27:47.109 --> 00:27:50.589
really, like she went back to her devout Christian

00:27:50.589 --> 00:27:54.569
roots and did a couple of gospel records after

00:27:54.569 --> 00:27:57.089
all the pop stuff was done. It was like, I don't

00:27:57.089 --> 00:27:58.930
want to talk about bad girls. I want to talk

00:27:58.930 --> 00:28:01.730
because, you know, an important part of her career.

00:28:02.210 --> 00:28:05.950
But she said, I just, I felt over sexualized

00:28:05.950 --> 00:28:08.779
and I felt like I was part of the machine. So

00:28:08.779 --> 00:28:11.519
again, that double meaning for, for the song

00:28:11.519 --> 00:28:14.339
for you, she really got caught up in that grind

00:28:14.339 --> 00:28:17.640
as well. Yeah. Well, all right. We got the ladies

00:28:17.640 --> 00:28:19.960
making an appearance here and I'm, I'm enjoying

00:28:19.960 --> 00:28:25.599
that. There was, here's another woman who was

00:28:25.599 --> 00:28:30.059
in the same era, 1981, I believe this song came

00:28:30.059 --> 00:28:34.339
out and she did almost the exact opposite of

00:28:34.339 --> 00:28:36.539
what Donna Summer did when we're talking about.

00:28:37.079 --> 00:28:40.759
Before she was kind of discovered, but she was

00:28:40.759 --> 00:28:43.220
kind of brought in by Prince. And we're talking

00:28:43.220 --> 00:28:45.599
about Sheena Easton here. And she wrote a song

00:28:45.599 --> 00:28:48.720
called Morning Train in parentheses nine to five

00:28:48.720 --> 00:28:51.859
to not be confused with the Dolly Parton nine

00:28:51.859 --> 00:28:54.839
to five that had come out the year prior to the

00:28:54.839 --> 00:28:58.559
movie of the same name. So this song and then

00:28:58.559 --> 00:29:00.859
right after the song, I think she connected up

00:29:00.859 --> 00:29:04.920
with Prince and then did a whole bunch of rather.

00:29:05.640 --> 00:29:09.119
sexually aggressive songs i was gonna say morning

00:29:09.119 --> 00:29:11.900
train nine to five is probably more bubble gum

00:29:11.900 --> 00:29:16.559
than anything she did ever past that yeah and

00:29:16.559 --> 00:29:18.400
it's a great song and the fact that they had

00:29:18.400 --> 00:29:22.220
to parenthesize nine to five just to kind of

00:29:22.220 --> 00:29:26.099
distinguish itself from dolly's version which

00:29:26.099 --> 00:29:28.700
still hasn't come up tonight and i'm kind of

00:29:28.700 --> 00:29:34.140
surprised about that i could follow you up with

00:29:34.140 --> 00:29:38.579
that and do a nine to five back to back but ending

00:29:38.579 --> 00:29:42.319
aside there was a story that i was told on episode

00:29:42.319 --> 00:29:46.519
23 of this show and that episode was the ultimate

00:29:46.519 --> 00:29:49.079
huey lewis in the news playlist with bill gibson

00:29:49.079 --> 00:29:52.200
and he tells such a great story about this song

00:29:52.200 --> 00:29:54.700
that i don't want to spoil it now even though

00:29:54.700 --> 00:29:57.839
i spoiled the fact that this song is going to

00:29:57.839 --> 00:30:03.319
make that episode's playlist i digress From 1982's

00:30:03.319 --> 00:30:06.140
Picture This, I'm going with Working for a Livin'.

00:30:06.140 --> 00:30:08.519
I do want to give a shout out, though, to Patreon

00:30:08.519 --> 00:30:10.920
mixtaper Christopher Stile, who chimed in a couple

00:30:10.920 --> 00:30:15.720
days off. I love that one as well. However, coming

00:30:15.720 --> 00:30:18.559
out of this kind of early 80s thing we've got

00:30:18.559 --> 00:30:21.480
going, from Todd Rundgren, maybe a bop up to

00:30:21.480 --> 00:30:26.039
86, back to 83 to 81, I'm kind of going to stay

00:30:26.039 --> 00:30:29.700
in that area. At the end of the day, Working

00:30:29.700 --> 00:30:32.619
for a Living was the song the band closed all

00:30:32.619 --> 00:30:34.539
of their shows with because that was kind of

00:30:34.539 --> 00:30:37.119
the theme of the band. But I'm not going to go

00:30:37.119 --> 00:30:40.019
any deeper than that. However, there is a great

00:30:40.019 --> 00:30:43.700
cover of this song by Garth Brooks, and it features

00:30:43.700 --> 00:30:47.420
Huey Lewis on the track as well. It's on one

00:30:47.420 --> 00:30:53.140
of the 5 ,347 Garth Brooks compilation albums.

00:30:53.220 --> 00:30:56.839
I think it's the Ultimate, Super Deluxe, Limited,

00:30:57.019 --> 00:31:01.150
Rare, Out of Print. analog to digital Dolby Atmos

00:31:01.150 --> 00:31:05.670
greatest super duper tippy top hits album. I

00:31:05.670 --> 00:31:08.410
mean, I love Garth Brooks. Don't get me wrong.

00:31:08.529 --> 00:31:12.170
He has more compilations out between the books.

00:31:12.210 --> 00:31:15.170
And when he re -releases the album box sets and

00:31:15.170 --> 00:31:17.670
he adds extra tracks here, and then he does other

00:31:17.670 --> 00:31:21.390
box sets. He has more compilations of his albums

00:31:21.390 --> 00:31:24.390
than actual albums at this point, but no hating

00:31:24.390 --> 00:31:27.410
on Garth. Closing out Side A, Huey Lewis and

00:31:27.410 --> 00:31:30.349
the News, Working for a Livin'. Love it. Yeah,

00:31:30.430 --> 00:31:33.769
that was one of the first Huey Lewis songs. I

00:31:33.769 --> 00:31:36.470
think for me it was Do You Believe in Love, which

00:31:36.470 --> 00:31:39.789
was a cover, which I also learned from episode

00:31:39.789 --> 00:31:42.589
23. And then Working for a Livin' and Couple

00:31:42.589 --> 00:31:44.650
Days Off, which is, again, that's another great

00:31:44.650 --> 00:31:47.769
song too. You talk about a working man's band.

00:31:47.990 --> 00:31:50.369
That's Huey Lewis and the News. And yes, it's

00:31:50.369 --> 00:31:54.119
on the nose, but they're so great. I love this

00:31:54.119 --> 00:31:57.759
group so much and I'm so glad that other mixtapers

00:31:57.759 --> 00:31:59.220
chimed in with it because I was like, all right,

00:31:59.259 --> 00:32:01.660
awesome. Like, you know, you're justified. Yeah,

00:32:01.740 --> 00:32:05.059
yeah, definitely. So there we go, folks. Side

00:32:05.059 --> 00:32:07.960
A of our ultimate work week anthems playlist,

00:32:08.160 --> 00:32:10.779
which kicked off with Skid Row's Slave to the

00:32:10.779 --> 00:32:14.799
Grind. Rush's Working Man, Van Halen's Beats

00:32:14.799 --> 00:32:18.000
Workin', Queen with David Bowie's Under Pressure,

00:32:18.319 --> 00:32:22.140
Van Morrison's All Work and No Play, Todd Rundgren's

00:32:22.140 --> 00:32:25.640
Bang on the Drum All Day, Pet Shop Boy's Opportunities

00:32:25.640 --> 00:32:28.759
Let's Make Lots of Money, Donna Summer's She

00:32:28.759 --> 00:32:31.559
Works Hard for the Money, Sheena Easton's Morning

00:32:31.559 --> 00:32:35.079
Train 9 to 5, and Huey Lewis and the News Working

00:32:35.079 --> 00:32:38.420
for a Livin'. Head over to myweeklymixtape .com

00:32:38.420 --> 00:32:40.880
to hear all the songs we've discussed in this

00:32:40.880 --> 00:32:44.319
mix through the playlist embedded on the episode

00:32:44.319 --> 00:32:49.140
page. And now, Jay, I get to kick off side B

00:32:49.140 --> 00:32:53.539
of our ultimate workweek anthems playlist. And

00:32:53.539 --> 00:32:56.500
I am going to just go for it and go with the

00:32:56.500 --> 00:32:58.779
song that I am sure everybody's been wondering.

00:32:59.450 --> 00:33:02.809
why we haven't played it yet. It is the song

00:33:02.809 --> 00:33:06.990
that kicked off the 5 p .m. hour on Z100 every

00:33:06.990 --> 00:33:10.009
Friday, and I'm sure it still does. I live just

00:33:10.009 --> 00:33:13.730
outside of the New York radio territory that

00:33:13.730 --> 00:33:16.890
I can't actually get it, but I am sure Friday

00:33:16.890 --> 00:33:20.130
night at 5 o 'clock, you are hearing the opening

00:33:20.130 --> 00:33:23.309
to Loverboys Working for the Weekend from 1981's

00:33:23.309 --> 00:33:26.970
Get Lucky, one of Canada's finest from the 80s,

00:33:26.970 --> 00:33:31.329
and shockingly, Shockingly, this surprised me.

00:33:31.450 --> 00:33:34.730
It only hit number 29 on the Billboard US Hot

00:33:34.730 --> 00:33:39.589
100. I just assumed it was a top 10 hit given

00:33:39.589 --> 00:33:42.950
the popularity and its staying power and its

00:33:42.950 --> 00:33:45.769
longevity. But yeah, it's not even a top 20 hit

00:33:45.769 --> 00:33:48.730
for them. But I got to see them this summer for

00:33:48.730 --> 00:33:50.910
the first time when they opened for Sammy Hagar

00:33:50.910 --> 00:33:54.670
on the Best of All Worlds Tour at PNC Bank Arts

00:33:54.670 --> 00:33:57.859
Center. And let me tell you. Mike Reno and the

00:33:57.859 --> 00:34:01.839
boys still bring it live. Now, while it's over,

00:34:01.960 --> 00:34:03.700
it's always going to be my favorite lover boy

00:34:03.700 --> 00:34:06.099
tune, but working for the weekend always puts

00:34:06.099 --> 00:34:09.480
a smile on my face. That's a song I cannot not

00:34:09.480 --> 00:34:13.260
think of Zoolander whenever I hear it. That scene

00:34:13.260 --> 00:34:16.780
in the mine is just the most hysterical thing.

00:34:16.880 --> 00:34:19.000
But you mentioned the longevity of this song

00:34:19.000 --> 00:34:22.719
and the roots that it has ensnared in the entire

00:34:22.719 --> 00:34:26.809
lexicon of pop culture. And the longevity that

00:34:26.809 --> 00:34:29.510
it's given it, they're deep. Those are some deep,

00:34:29.650 --> 00:34:34.590
deep roots. And it is absolutely just a great

00:34:34.590 --> 00:34:39.210
work song. So I grew up, of course, in Syracuse,

00:34:39.210 --> 00:34:41.809
New York, which is just a little outside of New

00:34:41.809 --> 00:34:45.489
York City, four and a half hours. It's not just

00:34:45.489 --> 00:34:49.110
on the outer edges. On the outskirts. But our

00:34:49.110 --> 00:34:54.989
Y94 FM was the adult contemporary station. At

00:34:54.989 --> 00:34:57.650
5 o 'clock, they did the 5 o 'clock Friday thing.

00:34:57.849 --> 00:35:00.369
And there's still a good friend of mine, Rich

00:35:00.369 --> 00:35:05.469
Lauber, who became the guy. He was my boss for

00:35:05.469 --> 00:35:09.289
a minute. He was the operations guy for the cluster

00:35:09.289 --> 00:35:13.630
before I left and before I met you. And he was

00:35:13.630 --> 00:35:17.139
the afternoon drive jock. who got to blow the

00:35:17.139 --> 00:35:20.800
five o 'clock whistle. And this song was in the

00:35:20.800 --> 00:35:24.039
working for the weekend was in the clips, right?

00:35:24.119 --> 00:35:26.960
The cold open, if you will, that he would play

00:35:26.960 --> 00:35:30.340
before the five o 'clock Friday. Like it was

00:35:30.340 --> 00:35:32.659
so good. You know, when I was growing up and

00:35:32.659 --> 00:35:35.900
having that cutting my teeth and radio and, and

00:35:35.900 --> 00:35:38.500
hearing that song for sure. All right. Well,

00:35:38.559 --> 00:35:40.820
what are you going to follow up working for the

00:35:40.820 --> 00:35:44.639
weekend with? Because I have no better place

00:35:44.639 --> 00:35:48.480
at this moment. to do this song and it absolutely

00:35:48.480 --> 00:35:52.159
must be put in here because this is roller skating

00:35:52.159 --> 00:35:56.539
101 at its finest when i was growing up this

00:35:56.539 --> 00:35:59.119
is another one of those songs that epitomizes

00:35:59.119 --> 00:36:02.380
working stiffs right and what are we talking

00:36:02.380 --> 00:36:08.860
like 1984 or 1985 that this song came out or

00:36:08.860 --> 00:36:11.260
might have been later but i'm fairly sure it

00:36:11.260 --> 00:36:14.570
was right in that area with johnny kemp's just

00:36:14.570 --> 00:36:18.949
got paid and if you if you think about it i just

00:36:18.949 --> 00:36:21.070
got paid it's friday night there's money in my

00:36:21.070 --> 00:36:24.309
pocket and i'm feeling right so yeah that's what

00:36:24.309 --> 00:36:27.090
it in that sums it all up that's what makes the

00:36:27.090 --> 00:36:29.389
work week worth it dude that came out you want

00:36:29.389 --> 00:36:34.250
to laugh 1987 what was i was gonna say 87 i i

00:36:34.250 --> 00:36:36.710
had a feeling because Everything came out in

00:36:36.710 --> 00:36:40.650
1987. Come on. Yeah, exactly. But those were

00:36:40.650 --> 00:36:43.469
that was the years that I was at the local skating

00:36:43.469 --> 00:36:46.250
rink with my friends after school every day.

00:36:46.610 --> 00:36:49.170
We're going to go to the skating place and listen

00:36:49.170 --> 00:36:52.750
to Samantha Fox and Johnny Temp while we're backwards

00:36:52.750 --> 00:36:54.829
skating. Yeah. I mean, you want to talk about

00:36:54.829 --> 00:36:57.130
you mentioned sexualized singer before Samantha

00:36:57.130 --> 00:37:00.710
Fox. That was like. Well, she was a page six

00:37:00.710 --> 00:37:03.570
girl in England. So. There you have it. Page

00:37:03.570 --> 00:37:06.329
six, right? That's the big... It's not page three.

00:37:06.429 --> 00:37:11.690
There's the hell you don't. I have no idea what

00:37:11.690 --> 00:37:14.510
you're talking about. Sure. Just like you're

00:37:14.510 --> 00:37:17.349
going to probably admit that you don't know that

00:37:17.349 --> 00:37:20.750
there's an NSYNC cover of Just Got Paid on No

00:37:20.750 --> 00:37:23.550
Strings Attached. Oh, no, I absolutely know that.

00:37:23.750 --> 00:37:25.429
And I'm going to say I'm sure there's a lot of

00:37:25.429 --> 00:37:28.389
people listening that are in their 20s and 30s

00:37:28.389 --> 00:37:30.090
that are screaming, why didn't we go with the

00:37:30.090 --> 00:37:32.750
NSYNC version instead? So you probably have some

00:37:32.750 --> 00:37:36.610
explaining to do, Mr. Sweet. Well, so there is.

00:37:36.630 --> 00:37:39.769
There's a bunch of songs that were kind of more

00:37:39.769 --> 00:37:42.170
modernized. I think we kind of got into this

00:37:42.170 --> 00:37:44.670
a little bit. Britney Spears has a song called

00:37:44.670 --> 00:37:48.489
Work B. I don't want to cuss. Rihanna has a song

00:37:48.489 --> 00:37:50.389
called Work, Work, Work, Work, Work, where she

00:37:50.389 --> 00:37:53.929
repeats the song, I think, 72 times. For 62 times

00:37:53.929 --> 00:37:56.329
in the science, it's some ridiculous amount.

00:37:57.170 --> 00:38:00.590
It's like Bart Simpson on the chalkboard. That's

00:38:00.590 --> 00:38:03.929
right. The intro to the deep cut there. But I

00:38:03.929 --> 00:38:06.309
wanted to stay with the originals that really

00:38:06.309 --> 00:38:09.230
kind of invoked those memories for, again, the

00:38:09.230 --> 00:38:12.889
80s kind of saw, it was the decade of decadence.

00:38:12.889 --> 00:38:15.889
It was the decade of excess. And the 80s encapsulated

00:38:15.889 --> 00:38:20.719
that ideal of working. for the next big thing

00:38:20.719 --> 00:38:23.539
and really, really grinding it out to get what

00:38:23.539 --> 00:38:27.280
you want out of life. And we still had hope in

00:38:27.280 --> 00:38:30.480
the 80s that we could actually do that. Now I'm

00:38:30.480 --> 00:38:32.420
fully aware that I'm not going to retire. They're

00:38:32.420 --> 00:38:34.579
going to pull my dead carcass out of my office.

00:38:34.739 --> 00:38:40.099
So what am I going to do? Oh, man. Well, we just

00:38:40.099 --> 00:38:43.699
had two songs that celebrate the joyous coming

00:38:43.699 --> 00:38:47.000
of 5 p .m. on a Friday. I'm going to do a hard

00:38:47.000 --> 00:38:49.880
pivot here. Maybe not so much musically, but

00:38:49.880 --> 00:38:52.719
in mindset. I'm only going to go back two years

00:38:52.719 --> 00:38:56.260
to 1986's Different Light. And I'm going to go

00:38:56.260 --> 00:38:59.639
with one of my favorite 80s songs, maybe, ever.

00:39:00.280 --> 00:39:02.739
And I'm going to go with the Bangles' Manic Monday.

00:39:03.719 --> 00:39:07.320
Prince's musical masterpiece with Susanna Hoff's

00:39:07.320 --> 00:39:11.159
hypnotic voice. I've always, always loved this

00:39:11.159 --> 00:39:15.139
song. And it was something that, on morning radio,

00:39:15.849 --> 00:39:20.369
7 .38 a .m. every Monday. This got played like

00:39:20.369 --> 00:39:24.610
clockwork, and I didn't care as much as I hated

00:39:24.610 --> 00:39:27.969
Mondays, just like Garfield. I love this song.

00:39:28.269 --> 00:39:31.269
Reliant K does a great cover of it on the Punk

00:39:31.269 --> 00:39:34.769
Goes 80s compilation, as well as Billy Joe Armstrong

00:39:34.769 --> 00:39:38.869
from Green Day in 2020 on his No Fun Mondays

00:39:38.869 --> 00:39:41.849
album. He did a cover of the song with Susannah

00:39:41.849 --> 00:39:45.210
Hoffs guesting on the track. Could be one of

00:39:45.210 --> 00:39:47.730
my favorite songs ever. Like, I just love this

00:39:47.730 --> 00:39:50.110
song. There's something, it's a perfect pop song.

00:39:50.670 --> 00:39:53.429
Absolutely. And I had forgotten the Reliant K

00:39:53.429 --> 00:39:55.909
version. Punk Goes 80 is a great album. I had

00:39:55.909 --> 00:39:57.449
forgotten all about that until you mentioned

00:39:57.449 --> 00:40:00.690
it. And again, you could have gone in any different

00:40:00.690 --> 00:40:03.570
direction with the Monday Blues. There's I Don't

00:40:03.570 --> 00:40:06.190
Like Mondays by the Boomtown Rats. I mean, I

00:40:06.190 --> 00:40:08.570
could go there if I wanted to follow it up, but

00:40:08.570 --> 00:40:11.469
I don't. Fleetwood Mac's Monday Morning. Monday

00:40:11.469 --> 00:40:15.670
Morning. Yep. Monday, Monday. by uh mama's in

00:40:15.670 --> 00:40:17.829
the why did i just mama's a papa's i don't know

00:40:17.829 --> 00:40:20.550
why i just blanked on that actually i do it's

00:40:20.550 --> 00:40:23.150
because i'm old and if i can remember songs like

00:40:23.150 --> 00:40:25.710
monday monday then i can totally and then there's

00:40:25.710 --> 00:40:28.409
oh i just had i just had a moment there blue

00:40:28.409 --> 00:40:31.690
monday new order new order how does it feel how

00:40:31.690 --> 00:40:34.250
does it feel and then they uh was it muse that

00:40:34.250 --> 00:40:38.130
that redid that nope that was orgy no orgy that's

00:40:38.130 --> 00:40:40.610
it from the not another teen movie soundtrack

00:40:40.610 --> 00:40:45.210
and candy ass the album yep So all that tangent

00:40:45.210 --> 00:40:49.010
aside, let's go to, all right. On that case of

00:40:49.010 --> 00:40:52.630
the Mondays tangent aside. That's right. Let's

00:40:52.630 --> 00:40:55.849
stay in the, in the, oh, you know, work sucks.

00:40:55.849 --> 00:40:59.190
I know kind of vein, which we've skirted around

00:40:59.190 --> 00:41:01.409
it long enough, Brian. I think we need to bring

00:41:01.409 --> 00:41:04.630
Dolly into the mix. So let's go with Dolly Parton's

00:41:04.630 --> 00:41:07.369
nine to five. Well, I mentioned it earlier when

00:41:07.369 --> 00:41:09.510
we were talking about Chena Easton, this song

00:41:09.510 --> 00:41:12.730
came out in 1980 and it was the theme of the.

00:41:13.420 --> 00:41:16.420
movie of the same name with Lily Tomlin Jane

00:41:16.420 --> 00:41:19.179
Fonda and Dolly Parton as well as Dabney Coleman

00:41:19.179 --> 00:41:24.440
and that movie was hysterical would not probably

00:41:24.440 --> 00:41:27.280
hold up well I can't even say that because recently

00:41:27.280 --> 00:41:30.360
they did a relatively recently they did a Broadway

00:41:30.360 --> 00:41:33.239
musical of that which starred Allison Janney

00:41:33.239 --> 00:41:36.059
from you know the comedic actress wonderful actress

00:41:36.059 --> 00:41:39.219
a national treasure and a sheer delight that

00:41:39.219 --> 00:41:42.199
uh she's she's very very good but yeah this i

00:41:42.199 --> 00:41:46.860
mean this song is the ultimate summation of working

00:41:46.860 --> 00:41:50.380
for the man yeah and now we went from deep dive

00:41:50.380 --> 00:41:54.559
jay to pathological liar jay because uh jay at

00:41:54.559 --> 00:41:56.300
the beginning of the episode said you weren't

00:41:56.300 --> 00:41:59.559
gonna do any country songs that's true this was

00:41:59.559 --> 00:42:01.579
this was a crossover though so i'm gonna give

00:42:01.579 --> 00:42:03.579
you a technicality i'm gonna give you an asterisk

00:42:03.579 --> 00:42:07.059
on this one Because it was a pop hit as well

00:42:07.059 --> 00:42:10.139
as it was a country hit. However, I get to drop

00:42:10.139 --> 00:42:13.199
a cover song here. And people are either going

00:42:13.199 --> 00:42:15.400
to drive off the road angry that I'm bringing

00:42:15.400 --> 00:42:18.260
this up, but I don't care. The Chipmunks covered

00:42:18.260 --> 00:42:21.699
this song on the Chipmunks Go Hollywood LP that

00:42:21.699 --> 00:42:24.360
I used to rock out to when I was three and four

00:42:24.360 --> 00:42:26.820
and five years old. I don't think for the early

00:42:26.820 --> 00:42:29.500
80s or the mid 80s, there wasn't a song that

00:42:29.500 --> 00:42:31.500
the Chipmunks didn't cover. No, there wasn't.

00:42:31.500 --> 00:42:33.539
And I loved every one of them. That translated

00:42:33.539 --> 00:42:38.699
to the movie, the CGI movie with Jason Lee, where

00:42:38.699 --> 00:42:41.159
they covered a lot of more modern songs, too.

00:42:41.639 --> 00:42:43.699
And I'm not going to lie, I enjoyed the movies,

00:42:43.780 --> 00:42:47.039
too. Every one of them. Every one of them. Gorsher.

00:42:47.559 --> 00:42:50.519
Well, you finally gave me an in, because when

00:42:50.519 --> 00:42:52.719
you said, I'm not going to go country at all,

00:42:52.940 --> 00:42:54.940
I was like, well, damn, how am I going to sneak

00:42:54.940 --> 00:42:58.269
this in here? But now you've opened the door.

00:42:58.389 --> 00:43:00.429
So now I'm going to run right through it with

00:43:00.429 --> 00:43:02.989
a shout out to Patreon mixtaper Chad LaMassa,

00:43:03.110 --> 00:43:06.150
who also chimed in with this one. Written by

00:43:06.150 --> 00:43:09.690
country legend David Allen Coe, but made famous

00:43:09.690 --> 00:43:14.070
by Johnny Paycheck from 1977. His massive single,

00:43:14.289 --> 00:43:18.090
Take This Job and Shove It. The views expressed

00:43:18.090 --> 00:43:21.030
in Johnny Paycheck's Take This Job and Shove

00:43:21.030 --> 00:43:23.570
It are those of Johnny Paycheck and David Allen

00:43:23.570 --> 00:43:26.590
Co. and do not reflect the views or positions

00:43:26.590 --> 00:43:29.969
of Brian Colburn, My Weekly Mixtape, and Jay

00:43:29.969 --> 00:43:32.869
Sweet. I mean, maybe you, Jay, but I figured

00:43:32.869 --> 00:43:35.289
I'd give you an out if you wanted it. Yeah, we

00:43:35.289 --> 00:43:37.570
can't not talk about Take This Job and Shove

00:43:37.570 --> 00:43:41.110
It. It's anytime someone's frustrated, this song

00:43:41.110 --> 00:43:43.730
pops into your head. And I'm not saying that.

00:43:44.429 --> 00:43:48.389
I ever think it now, but it has in the past popped

00:43:48.389 --> 00:43:51.929
in my head. I got to tell you, I didn't know

00:43:51.929 --> 00:43:54.789
until right now today. I learned that David Allen

00:43:54.789 --> 00:43:57.269
co wrote this song. Oh, you didn't know that.

00:43:57.530 --> 00:44:01.070
Nope. And yet it makes so much sense. I mean,

00:44:01.070 --> 00:44:05.010
the lyrics, the song about, uh, got this boss

00:44:05.010 --> 00:44:07.289
who has a brand new flat top haircut and Lord,

00:44:07.369 --> 00:44:11.409
he thinks he's cool. But this was, uh, this was,

00:44:11.429 --> 00:44:15.300
uh, used as a theme song. To the 1981 film of

00:44:15.300 --> 00:44:18.280
the same name, which I remember because when

00:44:18.280 --> 00:44:22.420
everybody on my block got cable and we all got

00:44:22.420 --> 00:44:27.780
HBO, my buddy Derek had HBO and we would go up

00:44:27.780 --> 00:44:29.739
to his place when his parents weren't really

00:44:29.739 --> 00:44:31.940
paying attention to us. And we go in the basement

00:44:31.940 --> 00:44:35.760
and watch HBO movies like Super Fuzz and take

00:44:35.760 --> 00:44:39.380
this job and shove it with Porky's and Revenge

00:44:39.380 --> 00:44:40.440
of the Nerds and stuff like that. I was going

00:44:40.440 --> 00:44:43.519
to say, yeah. not exactly appropriate for eight

00:44:43.519 --> 00:44:45.179
and nine year olds, but here we were anyway.

00:44:45.500 --> 00:44:48.260
Animal house, Caddyshack. Yep. Yep. Sure. Before

00:44:48.260 --> 00:44:51.199
the PG 13 rating even came out. So there's been

00:44:51.199 --> 00:44:54.019
so many times that I've gone to show our kids

00:44:54.019 --> 00:44:57.420
movies and we'll be watching them. And my wife

00:44:57.420 --> 00:44:59.940
will turn to me and she'll be like, the hell

00:44:59.940 --> 00:45:03.179
is this rated? And I said, PG. And she just stops

00:45:03.179 --> 00:45:05.449
the movie. She goes, what year? I'm like, it

00:45:05.449 --> 00:45:07.429
came out when I was a kid, like 86. She's like,

00:45:07.449 --> 00:45:11.710
Brian, PG in the 80s is not PG now. There's a

00:45:11.710 --> 00:45:18.929
big. No, not at all. Goonies is PG. Yeah. And

00:45:18.929 --> 00:45:20.809
the scene with the guy in the freezer with the

00:45:20.809 --> 00:45:23.050
bullet in the head. I'm like, I saw this in the

00:45:23.050 --> 00:45:25.789
theaters. This is what a PG movie is, right?

00:45:25.949 --> 00:45:30.050
You know, like big old dumb dad there. But you've

00:45:30.050 --> 00:45:33.690
got an open road here. We can go out of Johnny

00:45:33.690 --> 00:45:36.750
Paycheck. And we can talk about taking this job

00:45:36.750 --> 00:45:39.909
and shoving it. And what happens after you tell

00:45:39.909 --> 00:45:42.769
somebody to take this job and shove it is more

00:45:42.769 --> 00:45:45.269
than likely you're going to get fired and you're

00:45:45.269 --> 00:45:48.989
going to need to get a job, which leads us down

00:45:48.989 --> 00:45:55.190
to the American graffiti soundtrack, which by

00:45:55.190 --> 00:45:57.829
the silhouettes. And that's one of the most,

00:45:57.869 --> 00:46:00.849
probably one of the most famous songs off of

00:46:00.849 --> 00:46:04.449
that record. Dude, that was an. every 1980s movie

00:46:04.449 --> 00:46:09.389
i remember it being in trading places good morning

00:46:09.389 --> 00:46:13.510
vietnam and stand by me and then on top of that

00:46:13.510 --> 00:46:15.829
obviously american graffiti and i'm sure there's

00:46:15.829 --> 00:46:17.670
other ones anytime they went back to the 50s

00:46:17.670 --> 00:46:20.250
they went to this song that's a weird thing about

00:46:20.250 --> 00:46:22.929
this song i've always wondered this and i want

00:46:22.929 --> 00:46:25.929
to know if i'm the only one the bass voice in

00:46:25.929 --> 00:46:30.820
this song The guy that's going, is he louder

00:46:30.820 --> 00:46:33.260
in the mix than everybody else? Like he really

00:46:33.260 --> 00:46:36.440
protrudes out of that song, doesn't he? It seems

00:46:36.440 --> 00:46:39.519
like it. And here, so here's a theory. And he

00:46:39.519 --> 00:46:42.619
was closer to the microphone. Yeah, exactly.

00:46:43.199 --> 00:46:45.900
My theory is this. And someday you and I have

00:46:45.900 --> 00:46:47.900
talked about the, you know, doing the greatest

00:46:47.900 --> 00:46:51.239
oldies mixtape with a good friend of mine from

00:46:51.239 --> 00:46:55.739
Syracuse, who is a veritable. fountain of knowledge

00:46:55.739 --> 00:46:58.860
for all things doo -wop. Jimmy Mitchell, I'm

00:46:58.860 --> 00:47:00.820
going to shout him out on the show today, but

00:47:00.820 --> 00:47:03.199
he would probably be able to shed more light

00:47:03.199 --> 00:47:05.960
on this. But my theory, and as somebody who has

00:47:05.960 --> 00:47:08.219
been in a band and who has worked in a recording

00:47:08.219 --> 00:47:11.199
studio and has worked with audio for a very long

00:47:11.199 --> 00:47:15.420
time, is that when they made the transition from

00:47:15.420 --> 00:47:20.960
mono to stereo, they fiddled with stuff. So the

00:47:20.960 --> 00:47:26.949
more modern of the recordings that we hear are

00:47:26.949 --> 00:47:29.750
the stereo tracks instead of the original mono

00:47:29.750 --> 00:47:33.889
because stereo didn't exist in the 1950s. A lot

00:47:33.889 --> 00:47:36.610
of this stuff was done in mono. So that's just

00:47:36.610 --> 00:47:38.769
a working theory. I could be completely wrong.

00:47:38.989 --> 00:47:41.349
Well, I want to ask Jay, how the hell did this

00:47:41.349 --> 00:47:43.789
not make our golden oldies and doo -wop mixtape

00:47:43.789 --> 00:47:46.150
back on episode 51? This seems like it would

00:47:46.150 --> 00:47:48.280
have been a shoo -in. We should put a pin in

00:47:48.280 --> 00:47:50.679
this one for volume two, for sure. Absolutely.

00:47:50.719 --> 00:47:52.760
But we talked about it at the end of the show.

00:47:52.860 --> 00:47:56.860
There are so many great oldies songs that you

00:47:56.860 --> 00:48:00.539
can't possibly get them in. If you take the entirety

00:48:00.539 --> 00:48:04.260
of the American Graffiti soundtrack and more

00:48:04.260 --> 00:48:08.280
American Graffiti, which were songs in and inspired

00:48:08.280 --> 00:48:12.699
by the movie, those are the perfect oldies mixtapes.

00:48:12.699 --> 00:48:15.500
They're just perfect. So that's probably why.

00:48:15.949 --> 00:48:18.690
Yeah, we did promise people a volume two on that

00:48:18.690 --> 00:48:20.710
one. So we have to get to that sooner or later.

00:48:20.829 --> 00:48:24.130
So what I'll do until that point is follow your

00:48:24.130 --> 00:48:26.349
oldie up with another oldie, kind of keep in

00:48:26.349 --> 00:48:29.869
this vein. And you went with a song that was

00:48:29.869 --> 00:48:32.949
in a lot of movies. And I'll go with an oldie

00:48:32.949 --> 00:48:36.429
that was in one movie at that time. And I'm going

00:48:36.429 --> 00:48:39.800
to go back to 1964. And let's just bring the

00:48:39.800 --> 00:48:42.300
legends into this. The Beatles, A Hard Day's

00:48:42.300 --> 00:48:44.699
Night. I've been working like a dog. It's been

00:48:44.699 --> 00:48:47.119
a hard day's night. I should be sleeping like

00:48:47.119 --> 00:48:50.079
a log. But when I get home to you, I find the

00:48:50.079 --> 00:48:52.820
things that you do will make me feel all right.

00:48:53.159 --> 00:48:56.320
This is kind of like Drake -level lyrics in 1964,

00:48:56.800 --> 00:49:00.699
if you think about it, man. Were the Stones and

00:49:00.699 --> 00:49:04.099
the Beatles in the middle of a beef writing diss

00:49:04.099 --> 00:49:08.199
tracks to each other? Man, I'll say this. Billy

00:49:08.199 --> 00:49:11.159
Joel has an extremely fun live version on the

00:49:11.159 --> 00:49:14.179
Complete Hits Collection, which was the 73 to

00:49:14.179 --> 00:49:17.440
97 box set. If you like covers, Billy Joel's

00:49:17.440 --> 00:49:21.340
is awesome. Very cool. The Beatles had a couple

00:49:21.340 --> 00:49:24.440
of great songs that, again, pointed out the plight

00:49:24.440 --> 00:49:26.699
of the working man. We had Hard Day's Night,

00:49:26.840 --> 00:49:28.900
and then we had Eight Days a Week, which was

00:49:28.900 --> 00:49:30.679
another one of those songs that would have fit

00:49:30.679 --> 00:49:34.420
perfectly into this slot. And maybe Help. Oh,

00:49:34.420 --> 00:49:37.280
yeah. And then you could go back to the Rolling

00:49:37.280 --> 00:49:39.280
Stones with Mother's Little Helper. I don't know.

00:49:41.099 --> 00:49:43.659
Or if you said take this job and shove it, you

00:49:43.659 --> 00:49:47.340
could follow it up with it's all over now. That's

00:49:47.340 --> 00:49:50.139
right. Well, listen, I'm going to come out of

00:49:50.139 --> 00:49:52.119
a hard day's night. Let's jam ourselves right

00:49:52.119 --> 00:49:56.400
back into the 70s. And we've kind of needed to

00:49:56.400 --> 00:50:00.039
get here another one of these great anthems for

00:50:00.039 --> 00:50:04.380
the Blue Collar Man by Styx. I was about to say,

00:50:04.420 --> 00:50:06.849
dude. I was going to ask you to kind of like

00:50:06.849 --> 00:50:09.269
turn in your sticks fan club card if we weren't

00:50:09.269 --> 00:50:12.849
going here soon. Well, we had the pleasure of

00:50:12.849 --> 00:50:15.190
talking with Lawrence Gowan of sticks back in

00:50:15.190 --> 00:50:18.650
our tune styles days. And then he joined me on

00:50:18.650 --> 00:50:21.469
episode 25 for my weekly mixtape. So if there's

00:50:21.469 --> 00:50:23.469
any sticks fans in the house listening tonight,

00:50:23.650 --> 00:50:26.610
go back and check that episode out. I knew this

00:50:26.610 --> 00:50:28.710
one was coming up and I knew you were picking

00:50:28.710 --> 00:50:31.809
this one. So I had it in my bank and next to

00:50:31.809 --> 00:50:34.960
it. I literally have parentheses. Jay's definitely

00:50:34.960 --> 00:50:38.179
picking this one. Don't bother taking many notes.

00:50:39.860 --> 00:50:42.500
Listen, if you're living in Chicago, you might

00:50:42.500 --> 00:50:44.440
as well have a really good knowledge of Chicago

00:50:44.440 --> 00:50:47.659
bands. And yeah, I think I've got a pretty good

00:50:47.659 --> 00:50:51.760
repertoire here. In fact, it's funny. If I'm

00:50:51.760 --> 00:50:54.760
not mistaken, Billy Corgan lives not too far

00:50:54.760 --> 00:50:58.260
away from my apartment, which is awesome. I'm

00:50:58.260 --> 00:51:00.980
going to swing up and say hi. I'm sure I won't

00:51:00.980 --> 00:51:03.739
get shot at all. No, but if you don't, and after

00:51:03.739 --> 00:51:05.739
you're done with the restraining order and getting

00:51:05.739 --> 00:51:08.000
arrested and stuff, if you can ask him to come

00:51:08.000 --> 00:51:10.340
on for the ultimate Smashing Pumpkins episode,

00:51:10.559 --> 00:51:13.559
that'd be cool. So come on, throw a good word

00:51:13.559 --> 00:51:15.460
in there. Actually, no. Take one for the team.

00:51:15.659 --> 00:51:17.559
But if you're getting a restraining order, I

00:51:17.559 --> 00:51:19.199
don't want you asking him because that's going

00:51:19.199 --> 00:51:22.539
to put it on me too. Reflect badly on my weekly

00:51:22.539 --> 00:51:24.119
mixtape, which we don't want. Yeah, so we don't

00:51:24.119 --> 00:51:26.300
want that. So try to do it in a happenstance,

00:51:26.300 --> 00:51:28.320
like run into him at the music store or something.

00:51:28.980 --> 00:51:31.789
Okay. Okay, good. That's doable. All right. So

00:51:31.789 --> 00:51:34.289
ready? Three, two, one break. Okay, good. Now

00:51:34.289 --> 00:51:36.550
you're going to go do that. And I am going to

00:51:36.550 --> 00:51:40.510
follow you up by staying in the 70s and going

00:51:40.510 --> 00:51:44.090
with one of my favorite songs growing up and

00:51:44.090 --> 00:51:48.550
one of my favorite working songs ever. And it's

00:51:48.550 --> 00:51:51.650
also a song that could be used kind of about

00:51:51.650 --> 00:51:55.369
work or about life in general. Yes, the lyrics

00:51:55.369 --> 00:51:59.619
are much more on the nose about work, but. Sometimes

00:51:59.619 --> 00:52:02.019
we're just taking care of business. Bachman Turner

00:52:02.019 --> 00:52:05.960
Overdrive from their 1973 album Bachman Turner

00:52:05.960 --> 00:52:09.639
Overdrive 2. One of my favorite songs growing

00:52:09.639 --> 00:52:12.500
up. My parents had this album and as much as

00:52:12.500 --> 00:52:15.840
I love songs like Blown and Welcome Home, Bachman

00:52:15.840 --> 00:52:18.760
Turner Overdrive are incredible. But Taking Care

00:52:18.760 --> 00:52:21.380
of Business was the song for me as a kid. Every

00:52:21.380 --> 00:52:23.719
time they put it on and that riff started, I

00:52:23.719 --> 00:52:26.019
was stomping around the living room to this one.

00:52:26.599 --> 00:52:29.059
And I just love the track. And then in 1988,

00:52:29.500 --> 00:52:32.900
a band called Big Mouth. I want to know if anybody

00:52:32.900 --> 00:52:36.559
has ever heard of this group before. They played

00:52:36.559 --> 00:52:38.739
their videos, I want to say, a little bit on

00:52:38.739 --> 00:52:42.539
MTV and a little bit on Nickelodeon. I really

00:52:42.539 --> 00:52:45.579
want to say Nickelodeon. Nick Rocks? It might

00:52:45.579 --> 00:52:47.420
have been Nick Rocks. And it was kind of this

00:52:47.420 --> 00:52:51.239
rap -rock combination that was kind of going

00:52:51.239 --> 00:52:55.199
after the Beastie Boys' License to Ill Success.

00:52:56.159 --> 00:52:59.300
And they do a cover of Taking Care of Business.

00:52:59.780 --> 00:53:03.099
But it's pretty much the original song, except

00:53:03.099 --> 00:53:07.059
they don't sing it. He just kind of talks the

00:53:07.059 --> 00:53:10.920
lyrics, but he's not he's rapping it. But it

00:53:10.920 --> 00:53:14.940
doesn't kind of flow like a rap song. Whereas

00:53:14.940 --> 00:53:18.940
Randy Bachman would sing, you get up every morning

00:53:18.940 --> 00:53:22.000
with the long clock. This guy's going, you get

00:53:22.000 --> 00:53:24.900
up every morning with the long clock warning.

00:53:25.059 --> 00:53:29.659
Take the eight. And he talks it. He's speak singing

00:53:29.659 --> 00:53:33.340
it. Yeah. So I'm going to embed this over on

00:53:33.340 --> 00:53:35.800
the episode page at myweeklymixtape .com if you

00:53:35.800 --> 00:53:37.460
haven't heard this cover, because I think everybody

00:53:37.460 --> 00:53:41.360
needs to hear it just once. But I mean, the original

00:53:41.360 --> 00:53:44.019
is a damn classic. And sadly, it's my last pick

00:53:44.019 --> 00:53:46.500
of the night. So I feel like it's a great way

00:53:46.500 --> 00:53:49.119
to wrap a little bow around the songs I've chosen,

00:53:49.119 --> 00:53:51.280
because taking care of business is what we've

00:53:51.280 --> 00:53:53.989
been doing for the last hour here. That's right.

00:53:54.110 --> 00:53:56.769
That's right. Well, all right. So that means

00:53:56.769 --> 00:53:59.190
I get to close out the record? Yeah, you have

00:53:59.190 --> 00:54:02.829
the good fortune of putting the cherry on top

00:54:02.829 --> 00:54:07.349
of our Workweek Anthems playlist. Oh, what a

00:54:07.349 --> 00:54:10.929
cherry it will be. Brian, I am very disappointed

00:54:10.929 --> 00:54:14.710
that it's taken us this long to come to the greatest

00:54:14.710 --> 00:54:20.590
song about working that was ever composed. I

00:54:20.590 --> 00:54:24.239
mean, of all time. Of all time. But I think we've

00:54:24.239 --> 00:54:27.619
saved the best for last year. And I'm going to

00:54:27.619 --> 00:54:32.360
rip out from 1986's Polka Party. Yes! Dog Eat

00:54:32.360 --> 00:54:37.400
Dog by Weird Al Yankovic. Yes! That is me best

00:54:37.400 --> 00:54:40.280
song. I can bend paperclips into the shape of

00:54:40.280 --> 00:54:48.639
small animals. Oh my God. Yes, yes, yes. And

00:54:48.639 --> 00:54:52.280
I got my coffee mug with my name right on it

00:54:52.280 --> 00:54:55.400
in big bold letters. So everyone knows it's mine.

00:54:55.679 --> 00:54:58.440
And don't even touch it because it doesn't belong

00:54:58.440 --> 00:55:01.519
to you. I'm watching you. So don't get funny.

00:55:01.760 --> 00:55:05.960
Oh, my God. I love it. I love it. I'm kind of

00:55:05.960 --> 00:55:09.719
kicking myself right now. I didn't even think

00:55:09.719 --> 00:55:13.969
about this one. So thank you. And I also certainly

00:55:13.969 --> 00:55:15.789
don't want to make the guy feel bad, but I got

00:55:15.789 --> 00:55:17.989
to give a shout out to Patreon mixtaper, Philip

00:55:17.989 --> 00:55:20.190
Bergman. He chimed in with some great songs,

00:55:20.349 --> 00:55:23.550
but he joined me for the ultimate Weird Al playlist

00:55:23.550 --> 00:55:27.110
on episode 56. And he didn't chime in with this

00:55:27.110 --> 00:55:32.110
one either. So bravo. Oh, dude, slow golf clap,

00:55:32.210 --> 00:55:35.750
man. I love it. Thank you. And I'm sure Philip

00:55:35.750 --> 00:55:38.449
is thanking you as well right now, but we haven't

00:55:38.449 --> 00:55:40.630
mentioned board shorts. So board shorts. There

00:55:40.630 --> 00:55:43.380
you go. There we go. It is. I mean, this is a

00:55:43.380 --> 00:55:47.500
Weird Al penned original in the style of, right?

00:55:47.619 --> 00:55:50.340
And it's in the style of the Talking Heads. It's

00:55:50.340 --> 00:55:53.440
kind of a direct riff off of Once in a Lifetime

00:55:53.440 --> 00:55:56.760
where they're doing the, where's my liquid paper?

00:55:57.340 --> 00:56:01.159
It's so great. Wait a minute. Is the Talking

00:56:01.159 --> 00:56:03.000
Heads now on the show? Does David Byrne show

00:56:03.000 --> 00:56:06.179
up? Oh, I love some David Byrne. I love me some

00:56:06.179 --> 00:56:09.079
David Byrne. Yeah, but you've got, you know,

00:56:09.099 --> 00:56:12.030
you can. maybe find yourself behind the wheel

00:56:12.030 --> 00:56:14.090
of a large automobile. And this was very much

00:56:14.090 --> 00:56:16.989
what Weird Al was going for when he did the style

00:56:16.989 --> 00:56:20.869
parody of Doggy Dog. Dude, let's be honest. Some

00:56:20.869 --> 00:56:23.369
of Weird Al's style parodies are better than

00:56:23.369 --> 00:56:26.969
what he's parodying. Yes. Like, let's just be

00:56:26.969 --> 00:56:28.769
honest. And we talked about this on that Weird

00:56:28.769 --> 00:56:31.929
Al Yankovic episode. Dare to be Stupid is a Devo

00:56:31.929 --> 00:56:34.380
song that Devo just didn't write. Oh yeah, Mark

00:56:34.380 --> 00:56:37.559
Mothersbaugh even said, I hate him for having

00:56:37.559 --> 00:56:40.780
written a better Devo song than I could. And

00:56:40.780 --> 00:56:44.400
Doggy Dog is a talking head song that David Byrne

00:56:44.400 --> 00:56:46.920
didn't write. I love it. What a great way to

00:56:46.920 --> 00:56:49.719
close it out. I aim to please, sir. Well, there

00:56:49.719 --> 00:56:53.059
you have it, folks. Side B of our ultimate workweek

00:56:53.059 --> 00:56:55.460
anthems playlist, which kicked off with Loverboys

00:56:55.460 --> 00:56:58.219
working for the weekend, Johnny Kemp's Just Got

00:56:58.219 --> 00:57:01.760
Paid, The Bangles' Manic Monday, Dolly Parton's

00:57:01.760 --> 00:57:05.159
9 to 5, Johnny Paycheck's Take This Job and Shove

00:57:05.159 --> 00:57:07.880
It, The Silhouettes' Get a Job, The Beatles'

00:57:08.119 --> 00:57:11.760
A Hard Day's Night, Styx's Blue Collar Man, Bachman

00:57:11.760 --> 00:57:14.219
Turner Overdrive's Taking Care of Business, and

00:57:14.219 --> 00:57:18.320
Weird Al Yankovic's Dog Eat. dog. Head over to

00:57:18.320 --> 00:57:21.079
myweeklymixtape .com to hear all the songs we've

00:57:21.079 --> 00:57:24.239
discussed in this mix through the playlist embedded

00:57:24.239 --> 00:57:28.239
on the episode page. Jay, as always, my friend,

00:57:28.340 --> 00:57:31.039
it is a pleasure having you on and look forward

00:57:31.039 --> 00:57:35.360
to your next stint over here on My Weekly Mixtape.

00:57:35.460 --> 00:57:37.900
Always a blast, man. Thanks for having me, man.

00:57:38.019 --> 00:57:40.639
It wasn't work at all. And now I'm going to go

00:57:40.639 --> 00:57:42.480
to bed because I have to go to work in the morning.

00:57:43.360 --> 00:57:45.480
Well, you go do that. And I am going to remind

00:57:45.480 --> 00:57:47.860
the My Weekly Mixtape listeners that you can

00:57:47.860 --> 00:57:50.340
find My Weekly Mixtape on almost all the social

00:57:50.340 --> 00:57:53.619
media haunts at My Weekly Mixtape. You can also

00:57:53.619 --> 00:57:56.179
head to MyWeeklyMixtape .com to check out the

00:57:56.179 --> 00:57:59.400
full catalog of My Weekly Mixtape episodes. And

00:57:59.400 --> 00:58:01.320
finally, if you like what you're hearing on the

00:58:01.320 --> 00:58:03.440
show, you can help me out by either telling a

00:58:03.440 --> 00:58:05.639
friend, leaving the show a five -star review

00:58:05.639 --> 00:58:08.659
wherever you're tuning in, or becoming a Patreon

00:58:08.659 --> 00:58:12.599
mixtaper at Patreon .com forward slash. my weekly

00:58:12.599 --> 00:58:15.260
mixtape. There you can enjoy ad -free episodes

00:58:15.260 --> 00:58:18.159
of the show, become a future guest, and so much

00:58:18.159 --> 00:58:21.139
more. That's all for this work week. Thanks again

00:58:21.139 --> 00:58:23.739
for listening, and until next time, enjoy the

00:58:23.739 --> 00:58:24.000
tunes.