WEBVTT 00:00:00.000 --> 00:00:03.120 Hi, this is Jay Sweet, and you're listening to 00:00:03.120 --> 00:00:06.660 My Weekly Mixtape with Brian Colburn. We're about 00:00:06.660 --> 00:00:21.780 to blow your motherf***ing minds. Welcome to 00:00:21.780 --> 00:00:24.519 My Weekly Mixtape, a podcast that takes the classic 00:00:24.519 --> 00:00:27.579 mixtape approach to building a modern playlist. 00:00:27.820 --> 00:00:30.480 I'm your host, Brian Colburn. Joining me tonight 00:00:30.480 --> 00:00:33.179 as guest curator is someone who you might remember 00:00:33.179 --> 00:00:36.659 from episode 10, the 2000s punk rock episode, 00:00:36.719 --> 00:00:40.460 as well as the years we hosted TuneStyle's podcast 00:00:40.460 --> 00:00:44.299 together, Mr. Jay Sweet. Jay, welcome back to 00:00:44.299 --> 00:00:47.020 the show. Hey, Brian, thanks for having me. It's 00:00:47.020 --> 00:00:49.759 great to be back and have just another great 00:00:49.759 --> 00:00:52.320 music conversation with you. Yeah, and this one 00:00:52.320 --> 00:00:56.310 is... Something that came about organically because 00:00:56.310 --> 00:00:58.530 about an hour and a half ago, you and I were 00:00:58.530 --> 00:01:00.789 texting back and forth about our random music 00:01:00.789 --> 00:01:04.010 nerdery like we tend to do. And we were talking 00:01:04.010 --> 00:01:08.049 about songs that we wondered if people knew were 00:01:08.049 --> 00:01:11.269 cover songs or not. Yes, because you blew my 00:01:11.269 --> 00:01:14.329 mind a few episodes back when I was listening. 00:01:14.670 --> 00:01:19.030 You mentioned that Hearts Alone is actually a 00:01:19.030 --> 00:01:24.500 cover, which I had no idea at all. And with that, 00:01:24.540 --> 00:01:27.680 I said, well, gee, that would make a fantastic 00:01:27.680 --> 00:01:30.379 episode. And you responded with why? Yes, it 00:01:30.379 --> 00:01:32.780 would. I said, well, let's take an hour break 00:01:32.780 --> 00:01:35.599 here, have a bite to eat, put together a bank 00:01:35.599 --> 00:01:38.359 of songs and do this. So there has been no social 00:01:38.359 --> 00:01:42.019 media plug for this episode. There has been no 00:01:42.019 --> 00:01:45.519 lead up, no build up. This is as organic as it 00:01:45.519 --> 00:01:48.420 gets. Great. And I'm looking forward to it right 00:01:48.420 --> 00:01:50.079 off the top of our heads like it used to be. 00:01:50.459 --> 00:01:53.969 Yes. Well, before we get started, I want to say 00:01:53.969 --> 00:01:57.510 that this kind of episode songs that you didn't 00:01:57.510 --> 00:02:00.069 know were covers could be a bit of a slippery 00:02:00.069 --> 00:02:04.010 slope because I know for a fact that listeners 00:02:04.010 --> 00:02:07.609 of my weekly mixtape range from the casual music 00:02:07.609 --> 00:02:12.210 fan to full blown music fanatics. So there may 00:02:12.210 --> 00:02:14.650 be some songs tonight that you and I bring up 00:02:14.650 --> 00:02:18.449 that depending on where listeners stand on that 00:02:18.449 --> 00:02:21.810 spectrum. Might not be shocking to you at all, 00:02:21.909 --> 00:02:24.550 but I want the listeners to know that, at least 00:02:24.550 --> 00:02:27.729 on my side, my heart is in the right place with 00:02:27.729 --> 00:02:29.889 songs that I've brought to the table tonight. 00:02:30.389 --> 00:02:33.030 Yeah, same for me. I don't think that there's 00:02:33.030 --> 00:02:36.689 anything, you know, I had no idea that some of 00:02:36.689 --> 00:02:39.210 these were covers to begin with. And I mean, 00:02:39.229 --> 00:02:42.590 I've got a good, what, 40 songs at least. A lot 00:02:42.590 --> 00:02:45.770 of them, you know, you know me, very 80s centric. 00:02:45.770 --> 00:02:49.139 And we can talk about, I mean, look. To be perfectly 00:02:49.139 --> 00:02:53.699 honest, we could talk all day about how the 1950s 00:02:53.699 --> 00:02:56.360 and 60s when rock and roll was new, everyone 00:02:56.360 --> 00:02:58.780 was covering everyone else's songs because there 00:02:58.780 --> 00:03:03.699 was nothing else to do. So we'll just how many 00:03:03.699 --> 00:03:07.919 versions of of rock and Robin can there be? You 00:03:07.919 --> 00:03:12.099 know, right. So Mustang Sally. Right. Well, I 00:03:12.099 --> 00:03:13.919 mean, depending on what cover bands you go see 00:03:13.919 --> 00:03:16.960 on any given Saturday. Somewhere right now, Mustang 00:03:16.960 --> 00:03:21.180 Sally is being played. That's right. Well, let's 00:03:21.180 --> 00:03:23.060 get down to business tonight. As I mentioned 00:03:23.060 --> 00:03:25.520 at the top of the show, Jay and I will be curating 00:03:25.520 --> 00:03:28.840 a songs you didn't know were covers mixtape. 00:03:28.939 --> 00:03:31.080 And we're going to use that old cassette deck 00:03:31.080 --> 00:03:33.680 approach. Jay is my special guest. We'll begin 00:03:33.680 --> 00:03:36.599 side A with his first song choice. And then I'll 00:03:36.599 --> 00:03:39.500 add a song that I feel best follows up that choice. 00:03:39.699 --> 00:03:42.180 We'll then flip flop choosing songs until we've 00:03:42.180 --> 00:03:45.389 mapped out 10 songs for side A. We'll then give 00:03:45.389 --> 00:03:48.009 our mixtape a proverbial flip and we'll map out 00:03:48.009 --> 00:03:50.409 side B. Only this time, I'll kick things off 00:03:50.409 --> 00:03:53.710 with Jay choosing second. Our overall goal for 00:03:53.710 --> 00:03:56.789 the episode is to craft the best songs you didn't 00:03:56.789 --> 00:03:59.789 know were covers mixtape possible through only 00:03:59.789 --> 00:04:02.689 20 songs. At the end of the show, you can take 00:04:02.689 --> 00:04:05.289 our conversation to the next level by visiting 00:04:05.289 --> 00:04:08.990 the episode page at myweeklymixtape .com to give 00:04:08.990 --> 00:04:12.310 our final mixtape a listen via the embedded playlist. 00:04:12.889 --> 00:04:14.870 Finally, if you like what you're hearing on My 00:04:14.870 --> 00:04:17.310 Weekly Mixtape, you can help me out personally 00:04:17.310 --> 00:04:20.250 by either telling a friend about the show, leaving 00:04:20.250 --> 00:04:22.850 a five -star review wherever you're tuning in, 00:04:22.970 --> 00:04:26.769 or becoming a Patreon mixtaper at patreon .com 00:04:26.769 --> 00:04:30.550 forward slash myweeklymixtape. So with that said, 00:04:30.589 --> 00:04:32.730 Jay, I'm officially pressing the record button 00:04:32.730 --> 00:04:35.129 on our mixtape, and the floor is yours. What 00:04:35.129 --> 00:04:39.550 song did you choose to kick off side A? Well, 00:04:39.569 --> 00:04:42.170 I went back and forth on a good way to start. 00:04:42.779 --> 00:04:46.319 because there's a lot to choose from. And I could 00:04:46.319 --> 00:04:48.259 either hit it with my favorites right off the 00:04:48.259 --> 00:04:51.079 rip, or I could sneak into it. And I think I'm 00:04:51.079 --> 00:04:52.959 going to go with that route. We're going to ease 00:04:52.959 --> 00:04:57.160 right on into this with a cover that you probably, 00:04:57.459 --> 00:05:01.100 again, feel free to judge away because we talked 00:05:01.100 --> 00:05:04.120 about when rock and roll was new and different 00:05:04.120 --> 00:05:06.600 people recorded the same song over and over again. 00:05:06.819 --> 00:05:10.370 So what I'm going to start off with is Gladys 00:05:10.370 --> 00:05:12.569 Knight and the Pips heard it through the grapevine, 00:05:12.730 --> 00:05:16.310 which was actually also done by Smokey Robinson 00:05:16.310 --> 00:05:19.689 and the Miracles. They shelved it. This is a 00:05:19.689 --> 00:05:22.110 great story about this song. They shelved that 00:05:22.110 --> 00:05:25.050 song and then Gladys Knight and the Pips released 00:05:25.050 --> 00:05:28.290 their version of it. And then it was, of course, 00:05:28.290 --> 00:05:33.329 picked up by Marvin Gaye and then Creedence Clearwater 00:05:33.329 --> 00:05:36.310 Revival. So we got a little foreplay going on 00:05:36.310 --> 00:05:39.930 there. It's a great song. I am personally a huge 00:05:39.930 --> 00:05:43.189 fan of the Creedence version because I love the 00:05:43.189 --> 00:05:45.509 swamp rock nature that they brought to it. And 00:05:45.509 --> 00:05:49.110 the fact that it goes on for 10 minutes but doesn't 00:05:49.110 --> 00:05:52.089 feel like it does. And that is a true testament 00:05:52.089 --> 00:05:54.790 to Fogerty and what the three of them brought 00:05:54.790 --> 00:05:57.689 together musically. But all of the versions of 00:05:57.689 --> 00:06:02.079 that song are amazing. The California Raisins 00:06:02.079 --> 00:06:05.459 1980 something version that came out with the 00:06:05.459 --> 00:06:07.259 commercial. I had almost forgotten about that. 00:06:07.399 --> 00:06:10.519 The claymation version. There were a lot of kids 00:06:10.519 --> 00:06:13.319 at our age at that time that were saying, wow, 00:06:13.439 --> 00:06:17.660 these raisins even have their own song. That's 00:06:17.660 --> 00:06:21.220 right. But that is a fantastic song and one that, 00:06:21.240 --> 00:06:25.920 yes, if you did not know Gladys Knight, you would 00:06:25.920 --> 00:06:28.180 not know her version was actually a cover because 00:06:28.180 --> 00:06:31.300 hers was the first one to actually. show up on 00:06:31.300 --> 00:06:34.519 the scene, even though the song was written and 00:06:34.519 --> 00:06:37.779 recorded prior to that. That's right. And even 00:06:37.779 --> 00:06:40.779 more so to the fact that it's Smokey Robinson 00:06:40.779 --> 00:06:43.300 and the Miracles who had, or at least the Miracles, 00:06:43.379 --> 00:06:47.939 it was recorded under the Miracles. So it's incredible 00:06:47.939 --> 00:06:51.459 to think that someone iconic like a Smokey Robinson, 00:06:51.480 --> 00:06:54.740 like the Miracles, got kind of trumped by Gladys 00:06:54.740 --> 00:06:57.279 Knight, who's equal iconic in the music genre 00:06:57.279 --> 00:07:01.110 on that song. Definitely. What I'm going to do 00:07:01.110 --> 00:07:05.029 now is follow up that vibe that you're talking 00:07:05.029 --> 00:07:08.670 about, where a song is written and is released 00:07:08.670 --> 00:07:14.089 by a band, and you think that it's their song, 00:07:14.170 --> 00:07:18.949 when actually it is a cover. And the song that 00:07:18.949 --> 00:07:22.629 I'm choosing is going to raise some eyebrows. 00:07:22.829 --> 00:07:26.839 I think a couple eyebrows, maybe. It was originally 00:07:26.839 --> 00:07:30.259 written and performed live by Joni Mitchell in 00:07:30.259 --> 00:07:35.439 1969, and it appeared on her album Ladies of 00:07:35.439 --> 00:07:39.480 the Canyon, which came out in April of 1970. 00:07:40.339 --> 00:07:43.720 Now, the reason that this might raise eyebrows 00:07:43.720 --> 00:07:49.560 is because one month earlier, in March of 1970, 00:07:50.180 --> 00:07:53.980 Crosby, Stills, Nash & Young released the Deja 00:07:53.980 --> 00:07:58.490 Vu album. And that album contained the song Woodstock. 00:07:58.689 --> 00:08:03.050 And Woodstock was originally written and performed 00:08:03.050 --> 00:08:06.329 by Joni Mitchell. But because of label shenanigans, 00:08:06.670 --> 00:08:09.930 Crosby, Stills, Nash and Youngs came out one 00:08:09.930 --> 00:08:12.990 month earlier, making the original songwriter 00:08:12.990 --> 00:08:15.850 seem like it's a cover version, which I think 00:08:15.850 --> 00:08:18.949 is hysterical. And this is 1970. This is pre 00:08:18.949 --> 00:08:23.290 -internet. This is pre -MTV. This is radio airplay 00:08:23.290 --> 00:08:26.699 only. We're talking here. Another interesting 00:08:26.699 --> 00:08:29.600 thing about this song that ties it into I Heard 00:08:29.600 --> 00:08:33.419 It to the Grapevine is that in 1970, there were 00:08:33.419 --> 00:08:36.700 four versions of this song that were released. 00:08:36.899 --> 00:08:39.539 The other two versions released in that same 00:08:39.539 --> 00:08:42.820 year, British band Matthews Southern Comfort 00:08:42.820 --> 00:08:48.240 released a version in July. of 1970 after they 00:08:48.240 --> 00:08:50.980 got a huge reception to a live rendition they 00:08:50.980 --> 00:08:54.440 performed on the bbc network so they went and 00:08:54.440 --> 00:08:58.200 tracked a studio single and then the assembled 00:08:58.200 --> 00:09:02.279 multitude recorded an instrumental version of 00:09:02.279 --> 00:09:06.120 the song later in 1970 as one of those do you 00:09:06.120 --> 00:09:07.840 know in like the 70s they would put out these 00:09:07.840 --> 00:09:10.960 instrumental versions of the Beatles and all 00:09:10.960 --> 00:09:13.240 these different albums. This was a bunch of different 00:09:13.240 --> 00:09:17.759 songs. Yeah. And this version has like a James 00:09:17.759 --> 00:09:21.740 Bond feel to it. It's a really wild instrumental 00:09:21.740 --> 00:09:25.200 version, but Woodstock was a single four different 00:09:25.200 --> 00:09:29.720 times in 1970. And if for the people that know 00:09:29.720 --> 00:09:32.659 the Crosby, Stills, Nash and Young version are 00:09:32.659 --> 00:09:35.460 right to assume that they're the first ones because 00:09:35.460 --> 00:09:38.740 it's the first one released when in fact. It 00:09:38.740 --> 00:09:41.320 is a cover song. And you mentioned it was written 00:09:41.320 --> 00:09:44.659 by Joni Mitchell, right? Yes. Yes. And they just 00:09:44.659 --> 00:09:47.259 got they got to the recording first. Again, you 00:09:47.259 --> 00:09:49.600 mentioned record company shenanigans. That's 00:09:49.600 --> 00:09:52.740 going to come up a lot in this episode. Oh, definitely. 00:09:52.980 --> 00:09:55.120 Yeah. And this is one of those things where I 00:09:55.120 --> 00:09:57.519 mean, look, a good song is a good song. And obviously 00:09:57.519 --> 00:10:01.080 there's no denying the power of Joni Mitchell 00:10:01.080 --> 00:10:04.340 songwriting. And everybody knew it. Everybody 00:10:04.340 --> 00:10:07.000 knew she had the magic touch when it came. And 00:10:07.000 --> 00:10:10.490 that is why. People from America and in London 00:10:10.490 --> 00:10:12.149 where everybody was trying to get their hands 00:10:12.149 --> 00:10:15.850 on this song because it spoke to the time. And 00:10:15.850 --> 00:10:18.690 she is one of the premier songwriters of that 00:10:18.690 --> 00:10:22.929 era. Yes. And iconic. Again, we're going to probably 00:10:22.929 --> 00:10:26.149 overuse that word like we usually do. But she's 00:10:26.149 --> 00:10:29.570 an amazing songwriter. And, you know, her contribution 00:10:29.570 --> 00:10:32.789 to the music scene echoes through today, which 00:10:32.789 --> 00:10:37.539 is the longstanding stuff that she's done. All 00:10:37.539 --> 00:10:40.659 the way through Big Yellow Taxi with Counting 00:10:40.659 --> 00:10:43.860 Crows and Vanessa Carlton. Yeah, and a lot of 00:10:43.860 --> 00:10:45.840 people didn't realize that was a cover either. 00:10:47.419 --> 00:10:49.620 That's right. But that might be one where a lot 00:10:49.620 --> 00:10:51.759 of the younger people didn't realize it was a 00:10:51.759 --> 00:10:55.080 cover, whereas our parents at the time immediately 00:10:55.080 --> 00:10:59.840 said, wait a minute. Yeah, and I think that's 00:10:59.840 --> 00:11:01.860 going to be pointed out a lot here is some of 00:11:01.860 --> 00:11:04.139 this stuff is going to be. obvious to people 00:11:04.139 --> 00:11:07.159 of a different generation than it would be to, 00:11:07.259 --> 00:11:10.759 say, my kids. Exactly. Yes, it's definitely a 00:11:10.759 --> 00:11:14.340 generational gap here, whereas certain songs 00:11:14.340 --> 00:11:17.019 that you and I might know as covers because we 00:11:17.019 --> 00:11:19.940 were around for the originals or our parents 00:11:19.940 --> 00:11:22.879 in this instance of Woodstock, younger people 00:11:22.879 --> 00:11:25.299 who maybe are hearing it for the first time might 00:11:25.299 --> 00:11:27.580 have no idea. So I think that's kind of an interesting 00:11:27.580 --> 00:11:31.659 spin on this as well. Excellent point. All right. 00:11:32.190 --> 00:11:35.230 Gladys Knight and the Pips, Crosby, Stills, Nash 00:11:35.230 --> 00:11:37.409 & Young. What do you got for track three, Jay? 00:11:37.970 --> 00:11:41.490 Let's keep going in this little groove that we've 00:11:41.490 --> 00:11:43.970 got going, this 60s, 70s groove that we've got 00:11:43.970 --> 00:11:48.610 going. Heavy metal fans will recognize this next 00:11:48.610 --> 00:11:54.470 song by Judas Priest. Diamonds and Rust was originally 00:11:54.470 --> 00:11:58.450 written by Joan Baez, and it was a song actually 00:11:58.450 --> 00:12:01.799 about her relationship with Bob Dylan. It's a 00:12:01.799 --> 00:12:05.399 great song. And Judas Priest has several because 00:12:05.399 --> 00:12:09.200 you scooped me on the band. I had the Green Manalishi 00:12:09.200 --> 00:12:12.519 on my list, which was originally recorded by 00:12:12.519 --> 00:12:17.059 Fleetwood Mac. But a lot of people knew the Judas 00:12:17.059 --> 00:12:18.820 Priest version was kind of their introduction 00:12:18.820 --> 00:12:23.200 to it. And then there are other versions of Judas 00:12:23.200 --> 00:12:25.000 Priest songs where it's a little more obvious, 00:12:25.019 --> 00:12:28.100 like their cover of Johnny B. Good. Right. And 00:12:28.100 --> 00:12:30.299 this one, I mean. How would you not know? You 00:12:30.299 --> 00:12:32.600 listen to a song like that, Diamonds and Rust, 00:12:32.700 --> 00:12:34.440 and you're like, oh, yeah, this is definitely 00:12:34.440 --> 00:12:37.179 some British metal, British steel. Here we go. 00:12:37.399 --> 00:12:40.080 And yeah, no, that came out of the straight out 00:12:40.080 --> 00:12:43.720 of the 60s with John Baez. All right. Now, coming 00:12:43.720 --> 00:12:46.399 out of Judas Priest. Now, I kind of want to lean 00:12:46.399 --> 00:12:49.740 into that hard rock side you're going with here. 00:12:49.980 --> 00:12:53.539 And I think I'm going to go with one that might 00:12:53.539 --> 00:12:58.230 be a little bit obvious for this episode. But 00:12:58.230 --> 00:13:00.950 I'll be perfectly honest, I didn't know this 00:13:00.950 --> 00:13:04.990 as a kid when I was rocking out to Quiet Riot 00:13:04.990 --> 00:13:09.389 in the early 80s. I had no idea that Come On, 00:13:09.389 --> 00:13:12.809 Feel the Noise was originally recorded by Slade 00:13:12.809 --> 00:13:17.830 in 1973 as a non -album single. So following 00:13:17.830 --> 00:13:21.809 up Judas Priest, Diamonds and Rust, I am going 00:13:21.809 --> 00:13:26.490 with Quiet Riot's Come On, Feel the Noise. anthemic 00:13:26.490 --> 00:13:28.830 songs. And I'll be honest, when I listened to 00:13:28.830 --> 00:13:31.389 the Slade version and I listened to the Quiet 00:13:31.389 --> 00:13:36.549 Riot version, sans Kevin Dubrow's amazing vocals. 00:13:36.929 --> 00:13:40.230 I mean, one of a kind vocal delivery. He had 00:13:40.230 --> 00:13:43.509 the rock voice that so many people just dream 00:13:43.509 --> 00:13:47.029 to be able to nail with such ease. He was such 00:13:47.029 --> 00:13:50.529 a one of a kind talent. The Slade version, there's 00:13:50.529 --> 00:13:54.840 not so much difference in the song. Quiet Riot 00:13:54.840 --> 00:13:57.100 didn't reinvent the wheel with it. They just 00:13:57.100 --> 00:14:00.360 played it as they would play any Quiet Riot song. 00:14:00.620 --> 00:14:03.559 It might have a little bit more oomph and a little 00:14:03.559 --> 00:14:07.220 bit more energy, but the Slade version is heavy 00:14:07.220 --> 00:14:10.279 as hell as well. Absolutely. And I got to tell 00:14:10.279 --> 00:14:11.960 you, so you scooped me, of course, there with 00:14:11.960 --> 00:14:15.080 Quiet Riot. Quiet Riot, for all intents and purposes, 00:14:15.200 --> 00:14:18.419 could be considered a Slade cover band because 00:14:18.419 --> 00:14:21.990 not only was Come On, Feel the Noise. A Slade 00:14:21.990 --> 00:14:24.870 song, but I believe Mama, We're All Crazy Now 00:14:24.870 --> 00:14:27.889 was also a Slade song. And that's the one I had 00:14:27.889 --> 00:14:31.250 on my list. Yeah. I mean, Slade, when you talk 00:14:31.250 --> 00:14:37.590 about underrated rock bands of all time, Slade 00:14:37.590 --> 00:14:42.809 has to be in that conversation. Absolutely. All 00:14:42.809 --> 00:14:45.409 right. So how do I follow? We've made a terrific 00:14:45.409 --> 00:14:49.289 jump here from Gladys Knight to Pips and Joni 00:14:49.289 --> 00:14:52.730 Mitchell to. Diamonds and Rust and now Quiet 00:14:52.730 --> 00:14:55.429 Riot. So let's stay on that heavier side, that 00:14:55.429 --> 00:14:57.429 rock and roll side, and let's talk about how 00:14:57.429 --> 00:15:00.529 much we love rock and roll. As Joan Jett, or 00:15:00.529 --> 00:15:04.330 should I tell you, The Arrows, had once told 00:15:04.330 --> 00:15:09.009 us back in the day. That's, again, I grew up 00:15:09.009 --> 00:15:12.509 in the 80s and, you know, Joan Jett was fierce 00:15:12.509 --> 00:15:15.190 on the scene. She's one of my favorite artists 00:15:15.190 --> 00:15:19.710 of all time. I would never have known that I 00:15:19.710 --> 00:15:22.669 Love Rock and Roll was a cover. I did not know 00:15:22.669 --> 00:15:27.149 that as a kid. My parents did. So I knew that 00:15:27.149 --> 00:15:29.929 little tidbit of information a little younger 00:15:29.929 --> 00:15:33.590 than most. But Joan Jett did a lot of covers 00:15:33.590 --> 00:15:37.110 back in that era. Because if you think of her 00:15:37.110 --> 00:15:41.710 cover of Crimson and Clover. Right. She did Dirty 00:15:41.710 --> 00:15:44.090 Deeds, which the entire album that was from was 00:15:44.090 --> 00:15:46.350 nothing but cover songs. So there were a lot 00:15:46.350 --> 00:15:49.909 of cover songs sprinkled in the mix of Joan Jett 00:15:49.909 --> 00:15:52.309 and the Blackhearts. Obviously the most iconic. 00:15:52.309 --> 00:15:55.830 I love rock and roll. When I listen to the Arrows 00:15:55.830 --> 00:16:00.149 version, I'll be honest, it is probably the closest 00:16:00.149 --> 00:16:05.620 note for note rendition of a cover. That I have 00:16:05.620 --> 00:16:08.100 on my list tonight, because when you listen to 00:16:08.100 --> 00:16:12.240 the Arrows version musically, it sounds very 00:16:12.240 --> 00:16:15.460 similar to what Joan Jett and the Blackhearts 00:16:15.460 --> 00:16:18.759 did. It just doesn't have Joan Jett's growl and 00:16:18.759 --> 00:16:21.600 snarl to it, which is what I think really set 00:16:21.600 --> 00:16:25.639 the two apart. Definitely. And it's more that 00:16:25.639 --> 00:16:28.820 she brought it to life across the pond, as it 00:16:28.820 --> 00:16:32.720 were, and had just brought that intensity that 00:16:32.720 --> 00:16:35.559 Joan brings to it. Every record that she does. 00:16:35.940 --> 00:16:39.059 I am going to continue leaning into this with 00:16:39.059 --> 00:16:42.639 one that I did not know for the longest time 00:16:42.639 --> 00:16:46.860 was a cover song. And it was originally recorded 00:16:46.860 --> 00:16:51.500 by someone called Jake Holmes in 1967 for his 00:16:51.500 --> 00:16:55.860 debut album, The Above Ground Sound of Jake Holmes. 00:16:56.259 --> 00:17:00.919 A year later, a band called the Yardbirds reworked 00:17:00.919 --> 00:17:03.669 the song with a new arrangement. and included 00:17:03.669 --> 00:17:07.809 it on their Yardbirds 68 album, which was produced 00:17:07.809 --> 00:17:11.690 by the one and only Jimmy Page, who then took 00:17:11.690 --> 00:17:16.650 this song, dazed and confused, to Led Zeppelin, 00:17:16.769 --> 00:17:21.630 and the rest is history. Even though Jake Holmes' 00:17:21.789 --> 00:17:25.910 version still has that psychedelic trippiness 00:17:25.910 --> 00:17:30.579 to it, Led Zeppelin's became... the definitive 00:17:30.579 --> 00:17:34.220 version of the song to the fact that people didn't 00:17:34.220 --> 00:17:37.240 even know it was a cover for such a long time. 00:17:37.380 --> 00:17:41.259 Yeah. Until he sued them. Yeah, exactly. It just 00:17:41.259 --> 00:17:45.500 became the version of the song. And that's something 00:17:45.500 --> 00:17:49.059 that when you create a cover that completely 00:17:49.059 --> 00:17:51.500 eclipses the original to the point that people, 00:17:51.559 --> 00:17:55.140 I don't want to say forget, but people, yeah, 00:17:55.259 --> 00:17:56.859 that's the only word I could use that they forget 00:17:56.859 --> 00:17:59.670 the original even existed. And now, granted, 00:17:59.730 --> 00:18:02.230 there's a gray area here because Jake Holmes' 00:18:02.369 --> 00:18:04.849 version has different lyrics, but when you listen 00:18:04.849 --> 00:18:06.950 to the two back -to -back, it's very obvious 00:18:06.950 --> 00:18:10.329 that Led Zeppelin's version is a cover. Yep. 00:18:10.369 --> 00:18:13.349 And when you say to somebody, dazed and confused, 00:18:13.690 --> 00:18:15.869 the first band they say is Led Zeppelin. They 00:18:15.869 --> 00:18:18.390 don't say Jake Holmes. And there's a reason for 00:18:18.390 --> 00:18:20.029 that. And they don't even say the Yardbirds. 00:18:20.450 --> 00:18:23.950 Right. And Yardbirds did have Jimmy Page in it, 00:18:23.990 --> 00:18:27.509 but still, it wasn't... Robert Plant's vocal 00:18:27.509 --> 00:18:29.750 delivery, which again, that separated it from 00:18:29.750 --> 00:18:32.369 the Yardbirds version and separated it from the 00:18:32.369 --> 00:18:35.450 Jay Combs version. And I feel like this one for 00:18:35.450 --> 00:18:38.569 classic hard rock fans might be a little come 00:18:38.569 --> 00:18:42.069 on, Brian and Jay. I know this was a cover, but 00:18:42.069 --> 00:18:45.430 for the casual music fan, they might be surprised 00:18:45.430 --> 00:18:48.269 by this one. So this one I had in my list as 00:18:48.269 --> 00:18:51.390 a possibility to use. But coming out of Quiet 00:18:51.390 --> 00:18:53.670 Riot and Joan Jett, I felt like it was the perfect 00:18:53.670 --> 00:18:57.140 time to squeeze this one in. Awesome. A great 00:18:57.140 --> 00:19:00.559 pick. Let's dial it back into some funky rock 00:19:00.559 --> 00:19:02.920 and roll here. I'm going to talk a little bit 00:19:02.920 --> 00:19:05.140 about something you had touched on a little while 00:19:05.140 --> 00:19:09.859 ago was Fleetwood Mac. And if you had asked me 00:19:09.859 --> 00:19:15.339 a few weeks ago, even, if you say the words Black 00:19:15.339 --> 00:19:19.619 Magic Woman, your thoughts are Carlos Santana. 00:19:20.339 --> 00:19:23.980 That's not true. Originally, Fleetwood Mac recorded 00:19:23.980 --> 00:19:28.210 Black Magic Woman. And then Carlos got his hands 00:19:28.210 --> 00:19:33.369 on it. And oh, boy, I just lost. Who's the vocalist 00:19:33.369 --> 00:19:36.329 for that record? Greg Raleigh from from Jerry 00:19:36.329 --> 00:19:38.569 Raleigh. Yep. From Journey. That's right. So 00:19:38.569 --> 00:19:41.650 Greg Raleigh threw his vocals at it and really 00:19:41.650 --> 00:19:44.230 lit out that really cool pipe organ in the beginning 00:19:44.230 --> 00:19:48.890 of it. And just magic happened. Fleetwood Mac 00:19:48.890 --> 00:19:54.019 was always an amazing band, even in. Their earlier 00:19:54.019 --> 00:19:58.700 era before the next Buckingham phase. And people 00:19:58.700 --> 00:20:01.680 tend to forget that. But that's why bands like 00:20:01.680 --> 00:20:04.660 Judas Priest were covering the Green Manalishi 00:20:04.660 --> 00:20:08.759 and Santana was covering Black Magic Woman. They 00:20:08.759 --> 00:20:13.119 had that magic, whatever you want to call it, 00:20:13.140 --> 00:20:16.960 that lightning in a bottle. No matter who was 00:20:16.960 --> 00:20:19.440 part of Fleetwood Mac, every one of their eras 00:20:19.440 --> 00:20:22.519 was iconic. And I think that is a testament to 00:20:22.519 --> 00:20:24.500 Mick Fleetwood having his finger on the pulse 00:20:24.500 --> 00:20:27.440 of music throughout all the iterations of the 00:20:27.440 --> 00:20:30.839 band, even into the 80s when they dialed into 00:20:30.839 --> 00:20:35.099 the AOR sound for the late 80s Little Lies. They 00:20:35.099 --> 00:20:37.240 knew how to keep their finger on the pulse and 00:20:37.240 --> 00:20:40.039 stay relevant decade after decade after decade. 00:20:40.519 --> 00:20:43.920 And I think while Santana's version is the definitive 00:20:43.920 --> 00:20:48.269 version. Fleetwood Max is still incredible. Absolutely. 00:20:48.650 --> 00:20:52.609 All right. So following that up, I'm going to 00:20:52.609 --> 00:20:55.769 bring in a song that kind of has an asterisk 00:20:55.769 --> 00:20:58.849 next to it. Because for all intents and purposes, 00:20:59.250 --> 00:21:02.390 a majority of people didn't know this song had 00:21:02.390 --> 00:21:06.690 an original version until some 27 years after 00:21:06.690 --> 00:21:10.730 its initial quote unquote release. Paul Pena 00:21:10.730 --> 00:21:14.250 wrote and recorded this song for his 1973 album, 00:21:14.410 --> 00:21:17.589 New Train. However, because of a, here we go 00:21:17.589 --> 00:21:21.630 again, dispute between him and his label, New 00:21:21.630 --> 00:21:25.269 Train did not see the light of day in record 00:21:25.269 --> 00:21:30.130 store shelves until the year 2000. However, through 00:21:30.130 --> 00:21:34.069 New Train's producer, Steve Miller heard the 00:21:34.069 --> 00:21:39.200 song and recorded it. in 1975 during his Fly 00:21:39.200 --> 00:21:42.660 Like an Eagle album sessions and eventually released 00:21:42.660 --> 00:21:46.839 it on his 1977 album, Book of Dreams. And that 00:21:46.839 --> 00:21:53.259 song is Jet Airliner. That is so good to hear 00:21:53.259 --> 00:21:56.339 that I didn't even know. Again, that's that riff, 00:21:56.539 --> 00:22:02.420 that guitar riff, that opening. That is iconic 00:22:02.420 --> 00:22:06.349 to me. And that is Steve Miller. But it was written 00:22:06.349 --> 00:22:10.210 by Paul Pena and his version is very similar 00:22:10.210 --> 00:22:13.809 to Steve Miller bands. It still has that bluesy 00:22:13.809 --> 00:22:18.069 rock feel to it. Although lyrically, Steve Miller's 00:22:18.069 --> 00:22:20.910 is a little different. I went and got the new 00:22:20.910 --> 00:22:24.490 Train album and the entire album is incredible. 00:22:24.650 --> 00:22:28.109 And it's one of those lost records that you go 00:22:28.109 --> 00:22:31.009 back and listen and you go, how the hell was 00:22:31.009 --> 00:22:35.279 this guy not more popular? And obviously, the 00:22:35.279 --> 00:22:37.559 scene knew it because Steve Miller would not 00:22:37.559 --> 00:22:40.079 have covered the song if he didn't feel what 00:22:40.079 --> 00:22:43.140 Pena was putting out. And to me, this song is 00:22:43.140 --> 00:22:45.200 one of those examples that when you hear Jet 00:22:45.200 --> 00:22:49.619 Airliner on classic rock radio, you immediately 00:22:49.619 --> 00:22:52.880 go, oh, this is a Steve Miller band song. But 00:22:52.880 --> 00:22:55.920 when I found out that it was a cover and I first 00:22:55.920 --> 00:22:58.759 heard Paul Pena's version, it blew my frigging 00:22:58.759 --> 00:23:01.720 mind. And I'm hoping. It's blowing somebody's 00:23:01.720 --> 00:23:05.160 mind that's listening right now. Oh, 100%. That's 00:23:05.160 --> 00:23:09.240 blowing my mind. Well, all right. So where do 00:23:09.240 --> 00:23:15.000 we go from jet airliner? Hmm. All right. So let's 00:23:15.000 --> 00:23:18.200 do it this way. So let's talk about a little 00:23:18.200 --> 00:23:21.460 movie called Bill and Ted's Bogus Journey. And 00:23:21.460 --> 00:23:23.279 I think just by announcing the title of that 00:23:23.279 --> 00:23:25.119 movie, I think you know exactly where I'm going 00:23:25.119 --> 00:23:31.109 with this. 100%. Now, Kiss is not actually. unknown 00:23:31.109 --> 00:23:35.450 to the cover songs realm either. But this song 00:23:35.450 --> 00:23:39.809 was reworked by originally done by Argent and 00:23:39.809 --> 00:23:44.009 Russ Ballard, which is again, no stranger to 00:23:44.009 --> 00:23:47.230 the Kiss catalog. Russ Ballard's contributions 00:23:47.230 --> 00:23:50.450 to the Kiss catalog are numerous. But it used 00:23:50.450 --> 00:23:52.329 to be the lead singer of a band called Argent, 00:23:52.509 --> 00:23:55.250 which is most well known for their song Hold 00:23:55.250 --> 00:23:58.269 Your Head Up. But if you were to listen to a 00:23:58.269 --> 00:24:03.109 great tune, God gave rock and roll to you. And 00:24:03.109 --> 00:24:05.630 then Kiss redid it as God gave rock and roll 00:24:05.630 --> 00:24:09.279 to you too for the Bill and Ted movie. Which 00:24:09.279 --> 00:24:11.900 I'll be honest, I didn't know that it was a cover 00:24:11.900 --> 00:24:14.619 when Bill and Ted's Bogus Journey came out. I 00:24:14.619 --> 00:24:16.859 learned about it because I was a nerd opening 00:24:16.859 --> 00:24:19.039 up the J cards and reading through the cassette 00:24:19.039 --> 00:24:22.059 liner notes. And I'm like, what's this Russ Ballard 00:24:22.059 --> 00:24:25.200 name next to Paul Stanley and Gene Simmons? What's 00:24:25.200 --> 00:24:28.960 going on here? But I love that song and coming 00:24:28.960 --> 00:24:32.220 out. It's very anthemic. I mean, I could see 00:24:32.220 --> 00:24:34.900 why Kiss did it. And then obviously thinking 00:24:34.900 --> 00:24:37.720 about the movie soundtrack. and thinking about 00:24:37.720 --> 00:24:40.359 Bill and Ted's bogus journey, it really is the 00:24:40.359 --> 00:24:43.839 perfect song for that movie, regardless of who 00:24:43.839 --> 00:24:46.960 wrote it originally. And I absolutely love the 00:24:46.960 --> 00:24:50.599 pick and the close outside a, I am going to go 00:24:50.599 --> 00:24:52.299 with something you mentioned right at the top 00:24:52.299 --> 00:24:55.279 of the show, Jay, you spoiled it at the beginning, 00:24:55.359 --> 00:24:58.279 but for those that don't know, originally recorded 00:24:58.279 --> 00:25:02.740 by I 10 for their 1983 album, taking a cold look. 00:25:02.859 --> 00:25:07.480 I am going with hearts alone. because it is an 00:25:07.480 --> 00:25:10.339 anthemic side closer, and I need to continue 00:25:10.339 --> 00:25:13.539 that energy from God Gave Rock and Roll to you, 00:25:13.640 --> 00:25:17.640 and how else can you do that besides Anne F .N. 00:25:17.640 --> 00:25:21.680 Wilson and her amazing vocals? There is no other 00:25:21.680 --> 00:25:24.000 way, and that's a great way to close out this 00:25:24.000 --> 00:25:28.079 tape for sure. Now, that song was also a double 00:25:28.079 --> 00:25:33.759 cover because after I -10's version, It was also 00:25:33.759 --> 00:25:38.599 recorded prior to Heart by actress Valerie Stevenson 00:25:38.599 --> 00:25:43.359 and actor John Stamos. Yes, Uncle Jesse from 00:25:43.359 --> 00:25:48.519 Full House for the CBS show Dreams. And there 00:25:48.519 --> 00:25:51.859 is a YouTube video that I am going to embed on 00:25:51.859 --> 00:25:55.400 this page on myweeklymixtape .com so you could 00:25:55.400 --> 00:25:59.789 see. John Stamos and Valerie Stevenson doing 00:25:59.789 --> 00:26:02.829 their take on, yes, I'm just going to say it, 00:26:02.869 --> 00:26:07.529 Hart's song alone because Hart made it their 00:26:07.529 --> 00:26:13.490 song. Look, I love I -10 for writing it. I thank 00:26:13.490 --> 00:26:16.329 them for it, but it's Hart's song. It's forever 00:26:16.329 --> 00:26:18.789 Hart's song to me. They could never have brought 00:26:18.789 --> 00:26:22.289 the, again, I spoke of the energy and the intensity 00:26:22.289 --> 00:26:27.240 that artists bring to these covers. And you cannot 00:26:27.240 --> 00:26:31.160 match what Ann Wilson brings to the table in 00:26:31.160 --> 00:26:34.059 any capacity. I mean, to the point where we've 00:26:34.059 --> 00:26:37.420 discussed on several occasions, the tribute to 00:26:37.420 --> 00:26:40.339 Led Zeppelin with Robert Plant and Jimmy Page 00:26:40.339 --> 00:26:43.759 in the audience doing Stairway to Heaven with 00:26:43.759 --> 00:26:47.859 an orchestra and a choir behind her is just mind 00:26:47.859 --> 00:26:50.240 blowing. And it's, you know what? That could 00:26:50.240 --> 00:26:52.759 have been a hard song. What do I know? She's 00:26:52.759 --> 00:26:57.369 amazing. I will say this. truly in my heart of 00:26:57.369 --> 00:27:00.490 hearts think that that version of Stairway to 00:27:00.490 --> 00:27:05.589 Heaven is in my top three greatest cover songs 00:27:05.589 --> 00:27:10.579 of all time. I have to agree with you. I mean, 00:27:10.619 --> 00:27:13.039 every time I watch that video, the hair on my 00:27:13.039 --> 00:27:15.960 arm stands up and you get that lump in your throat 00:27:15.960 --> 00:27:17.960 when the chorus at the end, when she's hitting 00:27:17.960 --> 00:27:20.859 the high notes, you see Robert Plant crying and 00:27:20.859 --> 00:27:22.619 you're sitting there going like, man, who's chopping 00:27:22.619 --> 00:27:25.160 onions around me as I'm watching this on my computer? 00:27:25.359 --> 00:27:27.460 What is this lump in my throat? Like this is 00:27:27.460 --> 00:27:30.460 not, it was just so powerful and it was such 00:27:30.460 --> 00:27:33.740 a moment. And I'm not a huge live performance, 00:27:34.200 --> 00:27:37.059 like, you know, recorded live album. Like I'm 00:27:37.059 --> 00:27:41.619 a studio versions guy. But that version is absolute 00:27:41.619 --> 00:27:44.819 perfection. Period. End of story. And end of 00:27:44.819 --> 00:27:47.359 side one. There you go. And there you have it, 00:27:47.400 --> 00:27:50.819 folks. Side A of our songs you didn't know were 00:27:50.819 --> 00:27:54.000 cover songs. Mixtape, which kicked off with Gladys 00:27:54.000 --> 00:27:56.480 Knight and the Pips. I Heard It Through the Grapevine, 00:27:56.619 --> 00:27:59.019 originally by Smokey Robinson and the Miracles. 00:27:59.539 --> 00:28:02.420 Crosby, Stills, Nash & Young's Woodstock, originally 00:28:02.420 --> 00:28:05.980 by Joni Mitchell. Judas Priest's Diamonds and 00:28:05.980 --> 00:28:09.859 Rust, originally by Joan Baez. Quiet Riots, Come 00:28:09.859 --> 00:28:13.279 On, Feel the Noise, originally by Slade. Joan 00:28:13.279 --> 00:28:15.920 Jett and the Blackhearts, I Love Rock and Roll, 00:28:16.099 --> 00:28:19.660 originally by The Arrows. Led Zeppelin's Dazed 00:28:19.660 --> 00:28:23.559 and Confused, originally by Jake Holmes. Santana's 00:28:23.559 --> 00:28:26.079 Black Magic Woman, originally by Fleetwood Mac. 00:28:26.460 --> 00:28:29.599 Steve Miller Band's Jet Airliner, originally 00:28:29.599 --> 00:28:33.220 by Paul Pena. Kisses God Gave Rock and Roll to 00:28:33.220 --> 00:28:37.039 You Too, originally by Argent. and Hearts Alone, 00:28:37.400 --> 00:28:41.619 originally by I -10. Head over to myweeklymixtape 00:28:41.619 --> 00:28:44.140 .com to hear all of the songs we've discussed 00:28:44.140 --> 00:28:46.779 through the embedded playlist, and that includes 00:28:46.779 --> 00:28:49.819 both the cover songs and the original versions 00:28:49.819 --> 00:28:53.279 that you may have not known were original versions. 00:28:54.259 --> 00:28:58.000 Now, Jay, before we flip this proverbial mixtape 00:28:58.000 --> 00:29:00.759 over to Side B, do you think we've left some 00:29:00.759 --> 00:29:02.759 jaws on the ground with this first batch of 10 00:29:02.759 --> 00:29:06.019 songs? Maybe a couple. Like I said, this is it's 00:29:06.019 --> 00:29:08.819 going to be generational. It's going to be, you 00:29:08.819 --> 00:29:11.519 know, my my parents were young, wouldn't have 00:29:11.519 --> 00:29:14.880 necessarily known that Dazed and Confused. I 00:29:14.880 --> 00:29:17.740 don't even think that my dad knows Dazed and 00:29:17.740 --> 00:29:20.559 Confused is. He's, you know, big band musician 00:29:20.559 --> 00:29:24.319 and was very much into jazz and and big band 00:29:24.319 --> 00:29:27.539 swing. So not very much of a rock and roll fan. 00:29:27.660 --> 00:29:30.480 But he you know, my mom was into all the country 00:29:30.480 --> 00:29:32.859 music and everything else. She was the pop side 00:29:32.859 --> 00:29:36.240 of things for me. So yeah, I mean, but your parents, 00:29:36.259 --> 00:29:38.700 to your point, your parents knew that some of 00:29:38.700 --> 00:29:40.359 these songs were covers and then pointed that 00:29:40.359 --> 00:29:43.400 out to you like the arrows. So it's anybody's 00:29:43.400 --> 00:29:46.160 guess at this point, judge away if you must, 00:29:46.259 --> 00:29:48.539 but some of those caught me off guard. And I 00:29:48.539 --> 00:29:51.759 know that when we get into side two, I'm sure 00:29:51.759 --> 00:29:53.799 there'll be more that you're going to say, how 00:29:53.799 --> 00:29:56.400 did you not know that that was a cover? In fact, 00:29:56.400 --> 00:29:59.319 we can lead into that right now. When I was listening 00:29:59.319 --> 00:30:02.000 to your interview with Billy Gibson. Talking 00:30:02.000 --> 00:30:03.960 about Huey Lewis and the News, Do You Believe 00:30:03.960 --> 00:30:07.720 in Love was a cover. And that is my all -time 00:30:07.720 --> 00:30:09.920 favorite Huey Lewis and the News song. Because 00:30:09.920 --> 00:30:12.259 it's a Huey Lewis and the News song. You had 00:30:12.259 --> 00:30:14.599 no idea about the original, huh? Not a clue. 00:30:15.220 --> 00:30:19.059 Well, then with that, I will take that lead and 00:30:19.059 --> 00:30:22.380 I will start Side B with that song. There you 00:30:22.380 --> 00:30:25.640 go. Because I want people to go back and listen 00:30:25.640 --> 00:30:28.460 to episode 23, the ultimate Huey Lewis and the 00:30:28.460 --> 00:30:31.329 News playlist featuring Bill Gibson. the band's 00:30:31.329 --> 00:30:33.349 drummer. I would rather you hear the story from 00:30:33.349 --> 00:30:36.609 his mouth versus mine, but long story short, 00:30:36.730 --> 00:30:40.130 it was originally recorded by supercharge in 00:30:40.130 --> 00:30:43.670 1979 for their album body rhythm and their lead 00:30:43.670 --> 00:30:47.309 singer. Some guy named Robert John Mutt Lang 00:30:47.309 --> 00:30:50.430 is the one who submitted the track to Huey Lewis 00:30:50.430 --> 00:30:53.190 in the news. And if you know music in the eighties, 00:30:53.190 --> 00:30:57.250 Mutt Lang is all over the decade. Oh, for sure. 00:30:57.329 --> 00:31:02.160 And he knew what a. hit song was, and obviously 00:31:02.160 --> 00:31:07.039 so, because Do You Believe in Love is just that. 00:31:07.240 --> 00:31:10.200 And yes, when I first found out that that was 00:31:10.200 --> 00:31:13.180 a cover, because you cannot find that version 00:31:13.180 --> 00:31:17.480 on Spotify, I was like, are you kidding me? There's 00:31:17.480 --> 00:31:20.539 just no way. There is no way. And it's the same 00:31:20.539 --> 00:31:23.579 thing with Heart and Soul, the other Huey Lewis 00:31:23.579 --> 00:31:26.720 in the News hit, because I had both of the songs 00:31:26.720 --> 00:31:29.380 sitting in my bank, because those are both cover 00:31:29.380 --> 00:31:32.839 songs. And I had no idea. And we talk about both 00:31:32.839 --> 00:31:35.519 of them. So instead of going deeper into Huey 00:31:35.519 --> 00:31:37.819 Lewis in the news, I would rather the mixtapers 00:31:37.819 --> 00:31:40.480 go back and check out episode 23 because it's 00:31:40.480 --> 00:31:42.440 much better coming out of Bill Gibson's mouth 00:31:42.440 --> 00:31:45.980 than it is mine. So kicking off side B Huey Lewis 00:31:45.980 --> 00:31:48.359 in the news. Do you believe in love originally 00:31:48.359 --> 00:31:51.359 by supercharge? Beautiful, beautiful. That was 00:31:51.359 --> 00:31:53.720 a beautiful segue. I set you up nicely for that. 00:31:53.759 --> 00:31:55.680 Yeah, thank you. You lobbed it. And I just, I 00:31:55.680 --> 00:31:57.839 take the swing. That's right. That's how it works. 00:31:57.880 --> 00:31:59.980 That's how it works. Like minds, we share a brain, 00:32:00.059 --> 00:32:03.660 right? Or at least a cell. Yes. Whatever's left 00:32:03.660 --> 00:32:06.839 after the 90s. All right, we started off with 00:32:06.839 --> 00:32:09.759 some Huey Lewis in the news. We're talking about 00:32:09.759 --> 00:32:11.880 believing in love, and let's stay in the love 00:32:11.880 --> 00:32:15.839 vein. Everybody knows a little movie, Ghost, 00:32:15.980 --> 00:32:19.180 with Demi Moore and Patrick Swayze, the late, 00:32:19.220 --> 00:32:23.000 great Patrick Swayze, and that iconic scene where 00:32:23.000 --> 00:32:25.319 we got clay everywhere. And Matt, I'm just going 00:32:25.319 --> 00:32:29.140 to leave it at that. But the song that was playing 00:32:29.140 --> 00:32:32.519 in the background of that scene was Unchained 00:32:32.519 --> 00:32:36.299 Melody by the Righteous Brothers. That was, as 00:32:36.299 --> 00:32:40.000 far as I was aware, and I was a big fan of the 00:32:40.000 --> 00:32:42.819 Righteous Brothers, that was their song. But 00:32:42.819 --> 00:32:46.039 it was in fact not their song. The original, 00:32:46.220 --> 00:32:48.700 again, when I talked about earlier, the rock 00:32:48.700 --> 00:32:51.279 and roll was new and kind of everybody had a 00:32:51.279 --> 00:32:54.019 version of everybody else's song at one point 00:32:54.019 --> 00:32:58.289 or another in the 50s. early 60s. This song was 00:32:58.289 --> 00:33:03.069 originally done by Les Baxter in 1955, and then 00:33:03.069 --> 00:33:06.250 it was covered by three other artists before 00:33:06.250 --> 00:33:10.289 falling into Bill Medley and Bobby Hatfield's 00:33:10.289 --> 00:33:15.089 hands. That song honestly is the Righteous Brothers 00:33:15.089 --> 00:33:18.809 to me. They, like Hearts Alone, made the definitive 00:33:18.809 --> 00:33:21.609 version. But when you go back and listen to the 00:33:21.609 --> 00:33:24.019 others, you go, wow, that, you know. I mean, 00:33:24.039 --> 00:33:26.440 at the end of the day, an amazingly written song 00:33:26.440 --> 00:33:29.559 is an amazingly written song. And Unchained Melody 00:33:29.559 --> 00:33:32.720 might be one of the greatest love songs ever. 00:33:32.859 --> 00:33:37.000 For sure. It's just so timeless. Because think 00:33:37.000 --> 00:33:40.240 about this. Ghost came out. Was that in the late 00:33:40.240 --> 00:33:44.039 80s or early 90s? Good question. I want to say 00:33:44.039 --> 00:33:47.210 early 90s. Actually, I just Googled it while 00:33:47.210 --> 00:33:50.150 you were thinking. It was 1990. See, I am not 00:33:50.150 --> 00:33:52.269 a movie guy, so I do have to cheat when it comes 00:33:52.269 --> 00:33:54.369 to that stuff. So I was kind of right. 1990, 00:33:54.650 --> 00:33:56.849 depending on who you ask, could still be the 00:33:56.849 --> 00:34:01.349 end of the 1980s. But again, that is several 00:34:01.349 --> 00:34:05.009 decades after the original, and it still felt 00:34:05.009 --> 00:34:09.329 real in the 90s. Absolutely. Think about this. 00:34:09.710 --> 00:34:12.329 Boys to Men did their version of In the Still 00:34:12.329 --> 00:34:15.099 of the Night. originally by the five satins and 00:34:15.099 --> 00:34:17.960 it's still because of unchained melody there 00:34:17.960 --> 00:34:21.920 was that kind of era where in the early 90s old 00:34:21.920 --> 00:34:24.760 doo -wop felt modern again it kind of did that 00:34:24.760 --> 00:34:29.039 full circle movement where the old sound sounded 00:34:29.039 --> 00:34:32.619 fresh and new again so to me unchained melody 00:34:32.619 --> 00:34:36.280 did that because of the use and ghost and pivoting 00:34:36.280 --> 00:34:38.739 out of that i just want to go with this next 00:34:38.739 --> 00:34:44.239 song it's a total 180 I'm just blowing the playlist 00:34:44.239 --> 00:34:47.480 up here, but I have to be honest. This is one 00:34:47.480 --> 00:34:51.840 that I recently learned was a cover song. And 00:34:51.840 --> 00:34:56.800 the only tie that it can have to Unchained Melody 00:34:56.800 --> 00:34:59.139 and Do You Believe in Love is that it involves 00:34:59.139 --> 00:35:02.159 love in some sort. That's the only tie because 00:35:02.159 --> 00:35:04.539 I'm going into a completely different genre here 00:35:04.539 --> 00:35:08.619 and one that we haven't touched on yet for the 00:35:08.619 --> 00:35:12.900 most part. And that is country music. In 1991, 00:35:13.039 --> 00:35:17.340 a band called the Marcy Brothers wrote and released 00:35:17.340 --> 00:35:21.320 a song called Don't Tell My Heart. And it didn't 00:35:21.320 --> 00:35:25.239 really go anywhere. And then a year later, a 00:35:25.239 --> 00:35:29.000 man with a purpose and a mullet changed the face 00:35:29.000 --> 00:35:33.500 of country radio and took achy, breaky heart 00:35:33.500 --> 00:35:37.659 to the top of every chart there ever was. Billy 00:35:37.659 --> 00:35:41.679 Ray Cyrus, achy, breaky heart. is a cover song 00:35:41.679 --> 00:35:45.719 originally recorded as Don't Tell My Heart by 00:35:45.719 --> 00:35:49.400 the Marcy Brothers. What tie does that have to 00:35:49.400 --> 00:35:52.000 Huey Lewis and the News, Do You Believe in Love, 00:35:52.159 --> 00:35:54.260 and the Righteous Brothers' Unchained Melody? 00:35:54.659 --> 00:35:58.650 None. This one shocked me that it was a cover. 00:35:58.730 --> 00:36:00.949 So I'm hoping it's shocking somebody listening 00:36:00.949 --> 00:36:04.190 right now. Well, I got to tell you, I worked 00:36:04.190 --> 00:36:07.349 in country radio right around the time that that 00:36:07.349 --> 00:36:10.150 song was climbing its way up the charts. And 00:36:10.150 --> 00:36:13.849 so I knew that that one was a cover, but I had 00:36:13.849 --> 00:36:17.010 never heard the original. So all I knew because 00:36:17.010 --> 00:36:19.389 country music and I don't get along very well. 00:36:19.909 --> 00:36:22.329 I don't think there's any other way to put that. 00:36:22.369 --> 00:36:27.059 We're not friends. Um, but I did, I did a quick 00:36:27.059 --> 00:36:29.360 stint for those of you who knew me and from way 00:36:29.360 --> 00:36:32.139 back, know that I worked in country radio at 00:36:32.139 --> 00:36:35.119 country 108 in Syracuse, New York, right around 00:36:35.119 --> 00:36:38.099 the time with Garth Brooks blew up and Martina 00:36:38.099 --> 00:36:41.340 McBride and Faith Hill and Billy Ray Cyrus was, 00:36:41.340 --> 00:36:42.980 was another one of those artists. And I'll tell 00:36:42.980 --> 00:36:45.900 you what, I kind of dog on country music, but 00:36:45.900 --> 00:36:48.920 there are a few songs out that are, have been 00:36:48.920 --> 00:36:50.860 released that are out there. Then I'm like, you 00:36:50.860 --> 00:36:52.679 know what? That is a good song. And I'm sorry. 00:36:52.760 --> 00:36:54.559 A good song is a good song. We've said it all 00:36:54.559 --> 00:36:58.440 since our tune styles days. Words by heart is 00:36:58.440 --> 00:37:02.059 probably one of those. Oh yeah. Just take you 00:37:02.059 --> 00:37:05.539 back to high school. And I remember I found the 00:37:05.539 --> 00:37:08.480 letter that you wrote me that broke my heart. 00:37:08.639 --> 00:37:11.539 And you slipped it in my letterman's jacket. 00:37:11.639 --> 00:37:16.239 You know, but let me go back. And since it's 00:37:16.239 --> 00:37:19.320 my turn to pick the next song here, I'm going 00:37:19.320 --> 00:37:21.849 to go ahead. And stay in the country music vein, 00:37:21.949 --> 00:37:23.949 believe it or not. And actually, we could talk 00:37:23.949 --> 00:37:26.409 about All For One being a John Michael Montgomery 00:37:26.409 --> 00:37:30.269 cover band for the most part. But one of my favorite 00:37:30.269 --> 00:37:33.170 songs growing up because of my mom was a song 00:37:33.170 --> 00:37:35.789 by Juice Newton called Angel of the Morning. 00:37:36.110 --> 00:37:40.050 And it had such a beautiful melody and just the 00:37:40.050 --> 00:37:43.070 haunting music behind it, the way the arrangement 00:37:43.070 --> 00:37:46.250 was behind it. But that went on to be covered 00:37:46.250 --> 00:37:48.309 by Chrissy Hinton, The Pretenders. And I think 00:37:48.309 --> 00:37:50.730 it featured on Friends, did it not? Let's just 00:37:50.730 --> 00:37:53.389 say my wife being the biggest Friends fan that 00:37:53.389 --> 00:37:55.489 I know personally would be very upset with me 00:37:55.489 --> 00:37:58.510 if I didn't give that a resounding yes. So yeah. 00:37:58.889 --> 00:38:01.650 There you go. Well, it was originally recorded 00:38:01.650 --> 00:38:06.130 by Evie Sands in 1967, and I had no idea who 00:38:06.130 --> 00:38:09.250 Evie Sands even was. I grew up with the Juice 00:38:09.250 --> 00:38:12.010 Newton version, and that version is my version 00:38:12.010 --> 00:38:16.909 because my mom. So I had no idea, and I went 00:38:16.909 --> 00:38:19.440 back and thought, oh, all right. Evie Sands 1967 00:38:19.440 --> 00:38:23.320 and it is a beautiful it's still just it's a 00:38:23.320 --> 00:38:25.420 gorgeous song it's one of my favorite songs and 00:38:25.420 --> 00:38:28.820 then obviously you have to fast forward a few 00:38:28.820 --> 00:38:33.340 years because Shaggy had Angel which lifted that 00:38:33.340 --> 00:38:36.260 same melody that's right for his reggae version 00:38:36.260 --> 00:38:39.199 that song again just kept coming back and back 00:38:39.199 --> 00:38:42.239 that's right why because it's so damn addictive 00:38:42.239 --> 00:38:44.800 and if you think about if you listen to that 00:38:44.800 --> 00:38:49.849 song the bass line Fits in perfectly with The 00:38:49.849 --> 00:38:53.769 Joker by Steve Miller Band. That's right. And 00:38:53.769 --> 00:38:56.590 Leaving Las Vegas by Sheryl Crow. And that is 00:38:56.590 --> 00:38:59.550 why Blues Traveler used to cover that song and 00:38:59.550 --> 00:39:02.349 mash them all together because of the way they 00:39:02.349 --> 00:39:05.010 flow so nicely into each other. You're kidding. 00:39:05.389 --> 00:39:08.949 Yes. Yes, they did. I got a funny story about 00:39:08.949 --> 00:39:11.510 that. So this is actually how I found out that 00:39:11.510 --> 00:39:14.389 Unchained Melody was a cover with the Righteous 00:39:14.389 --> 00:39:16.960 Brothers version was a cover. I was working with 00:39:16.960 --> 00:39:20.360 a band called Street Corner, fronted by the amazing 00:39:20.360 --> 00:39:23.480 Jimmy Mitchell in Syracuse, New York, and just 00:39:23.480 --> 00:39:27.800 a five -piece acapella doo -wop group. And they 00:39:27.800 --> 00:39:30.059 sat and they did the whole finger -snapping, 00:39:30.179 --> 00:39:32.760 toe -tapping, and doo -wop thing with the hoo 00:39:32.760 --> 00:39:35.800 -ahs and the vocal harmonies behind it in five 00:39:35.800 --> 00:39:38.599 -part harmony. It was beautiful. And when I would 00:39:38.599 --> 00:39:40.739 show in for one of the singers, every once in 00:39:40.739 --> 00:39:42.260 a while I'd come out from behind the soundboard. 00:39:42.679 --> 00:39:44.920 and kind of became the honorary sixth member 00:39:44.920 --> 00:39:48.719 of Street Corner 5. Then they started doing Angel 00:39:48.719 --> 00:39:53.780 by Shaggy, and then Rift into Joker by Steve 00:39:53.780 --> 00:39:56.659 Miller, and then Rift into Leaving Las Vegas 00:39:56.659 --> 00:39:59.960 by Sheryl Crow. I can't believe that Blues Traveler 00:39:59.960 --> 00:40:02.639 did that. That's funny. Yeah, it's an awesome, 00:40:02.719 --> 00:40:04.940 awesome tune. And obviously, look, you're going 00:40:04.940 --> 00:40:08.539 G, C, D for a chord progression. They're not 00:40:08.539 --> 00:40:10.739 rewriting the book, but it's just such a perfect 00:40:10.739 --> 00:40:14.309 progression. Oh, for sure. Following up Juice 00:40:14.309 --> 00:40:17.150 Newton, I want to go with another female artist 00:40:17.150 --> 00:40:20.750 here. So I'm going to go with a song that was 00:40:20.750 --> 00:40:24.730 originally recorded in 1993 by a Danish singer 00:40:24.730 --> 00:40:29.429 named Liz Sorensen. And the song was called Brant, 00:40:29.570 --> 00:40:34.449 which is Danish for burnt. Then a year later, 00:40:34.550 --> 00:40:37.530 two of the original songwriters, Scott Cutler 00:40:37.530 --> 00:40:40.929 and Annie Previn, recorded another version of 00:40:40.929 --> 00:40:45.170 this song. In 1994. With their band Edna Swap. 00:40:45.570 --> 00:40:50.329 And then in 1996. American Norwegian singer. 00:40:50.489 --> 00:40:53.550 Trine Rain. Recorded a version of this song. 00:40:54.070 --> 00:40:56.929 None of those three versions. Really hit big. 00:40:57.130 --> 00:41:00.309 But obviously. Somebody out there knew that this 00:41:00.309 --> 00:41:04.369 song. Was destined to be massive. And finally 00:41:04.369 --> 00:41:08.530 in 1997. Natalie Imbruglia. Released her version 00:41:08.530 --> 00:41:12.340 of the song. Which became the de facto. go -to 00:41:12.340 --> 00:41:16.019 version of torn. It took an Italian Australian 00:41:16.019 --> 00:41:19.000 to figure out how to make that song pop. Yeah. 00:41:19.099 --> 00:41:22.199 And that song exploded. And that was all you 00:41:22.199 --> 00:41:26.119 heard on radio for all of 1997. And if you want 00:41:26.119 --> 00:41:29.119 another laugh, head over to my weekly mixtape 00:41:29.119 --> 00:41:31.340 .com because I put, I'm going to post a comedy 00:41:31.340 --> 00:41:35.260 skit by David Armand, along with Natalie and 00:41:35.260 --> 00:41:38.239 Brulia. David Armand is the comedian who takes 00:41:38.239 --> 00:41:41.699 songs. And he mimes them with his hands and facial 00:41:41.699 --> 00:41:47.019 expressions. And it is hysterically funny. And 00:41:47.019 --> 00:41:49.760 Natalie Imbruglia is singing the song live as 00:41:49.760 --> 00:41:53.320 he's performing it, kind of mimicking whatever's 00:41:53.320 --> 00:41:55.579 happening in the song he's doing with his hands 00:41:55.579 --> 00:41:58.800 and facial expressions. I do the song No Justice 00:41:58.800 --> 00:42:00.980 by explaining it, but the video is absolutely 00:42:00.980 --> 00:42:04.480 hysterical. I've never seen this video, but I'm 00:42:04.480 --> 00:42:07.099 seeing it in my head unfold as you're saying 00:42:07.099 --> 00:42:09.340 it. And it's funny. I'm going to check that out 00:42:09.340 --> 00:42:12.179 for sure. Definitely. So Natalie Imbruglia is 00:42:12.179 --> 00:42:15.719 torn following up Angel of the Morning. All right. 00:42:15.739 --> 00:42:18.320 Well, let's stay in Italy then. Not that Natalie 00:42:18.320 --> 00:42:21.340 was in Italy, but she was Italian in Australia. 00:42:21.579 --> 00:42:24.239 Very weird. What are you going to do? A little 00:42:24.239 --> 00:42:27.920 song by a young lady who unfortunately once again 00:42:27.920 --> 00:42:30.880 left us too soon. Miss Laura Branigan had a very 00:42:30.880 --> 00:42:34.280 famous song called Gloria, which was originally 00:42:34.280 --> 00:42:38.489 an Italian song. So it took. Laura Branigan to 00:42:38.489 --> 00:42:40.889 translate that song into English, originally 00:42:40.889 --> 00:42:46.610 by Umberto Tozzi and Giancarlo Bagazzi. Terrible 00:42:46.610 --> 00:42:50.010 Italian. It's terrible. It was translated into 00:42:50.010 --> 00:42:52.829 English by Jonathan King, and in 1982, Ms. Branigan 00:42:52.829 --> 00:42:57.170 recorded that song, and it just went up to number 00:42:57.170 --> 00:43:01.710 two on the charts. Two. Two. Making it, you know, 00:43:01.710 --> 00:43:04.269 the worldwide sensation that it is. And I'll 00:43:04.269 --> 00:43:06.510 tell you again. How I found out that that was 00:43:06.510 --> 00:43:09.869 a cover was we're eating at our favorite place, 00:43:09.969 --> 00:43:12.929 Paisano's on Mulberry Street in New York City. 00:43:13.070 --> 00:43:16.510 And I'm hearing this familiar melody coming through 00:43:16.510 --> 00:43:19.110 the speakers in the kitchen. And I thought to 00:43:19.110 --> 00:43:21.909 myself, oh, that's cool. Somebody Italian covered 00:43:21.909 --> 00:43:26.710 Laura Branigan's song. And no, no, I had it the 00:43:26.710 --> 00:43:29.769 other way around. So very, very cool. Very interesting. 00:43:29.869 --> 00:43:32.409 And the original, if you don't speak Italian, 00:43:32.670 --> 00:43:35.610 the original has a poetry to it. that a lot of 00:43:35.610 --> 00:43:39.269 the romance language kind of contains that doesn't 00:43:39.269 --> 00:43:41.550 necessarily translate when you translate it to 00:43:41.550 --> 00:43:44.210 an English language or a Germanic language like 00:43:44.210 --> 00:43:48.190 English, but it flows so beautifully in the native 00:43:48.190 --> 00:43:52.110 tongue. All right. Well, coming out of Laura 00:43:52.110 --> 00:43:54.570 Branigan, I'm going to stay in the 80s, I think, 00:43:54.610 --> 00:44:00.210 and go with another massive, massive hit. But 00:44:00.210 --> 00:44:03.909 the original was a song by a different name. 00:44:04.429 --> 00:44:07.510 and it was more of a rock song. The original 00:44:07.510 --> 00:44:10.949 song was called Kitty, and the band was called 00:44:10.949 --> 00:44:14.570 Racy, and they recorded the song for their 1979 00:44:14.570 --> 00:44:20.130 album Smash and Grab. However, it took Tony Basil 00:44:20.130 --> 00:44:24.090 adding in the Oh Mickey You're So Fine chants 00:44:24.090 --> 00:44:28.510 and changing the name of the song to Mickey to 00:44:28.510 --> 00:44:31.969 make it the worldwide smash that it is, Tony 00:44:31.969 --> 00:44:36.139 Basil's Mickey. is a cover song. Changed some 00:44:36.139 --> 00:44:38.059 of the lyrics a little bit, but when you go back 00:44:38.059 --> 00:44:41.480 and listen to Racy's version, you really have 00:44:41.480 --> 00:44:44.219 to question how the hell the original wasn't 00:44:44.219 --> 00:44:47.780 a hit because it's just as infectious. I just 00:44:47.780 --> 00:44:50.539 don't think... Actually, you know, scratch that. 00:44:50.639 --> 00:44:55.119 I think I know why Racy's wasn't massively popular 00:44:55.119 --> 00:44:58.619 and Tony Basil's was. And it's three letters. 00:44:58.880 --> 00:45:03.070 MTV. Well, sure. Right place, right time. Exactly. 00:45:03.070 --> 00:45:06.909 Because the original song to me is just as good. 00:45:06.969 --> 00:45:10.070 But there wasn't that video, that iconic early 00:45:10.070 --> 00:45:13.489 MTV video. And I think that's why this song kind 00:45:13.489 --> 00:45:17.630 of gets overlooked as a cover song. So, again, 00:45:17.789 --> 00:45:21.230 I don't know if this one is a holy crap. That's 00:45:21.230 --> 00:45:24.329 a cover moment. But when I first heard the original, 00:45:24.489 --> 00:45:28.250 I'm going, when did a rock band do a version 00:45:28.250 --> 00:45:31.230 of Mickey? And then like the nerd I am, I. Did 00:45:31.230 --> 00:45:33.909 some research and found out Mickey was the cover 00:45:33.909 --> 00:45:37.610 version. That's pretty cool. And so Tony Basil 00:45:37.610 --> 00:45:40.630 was kind of Paula Abdul before Paula Abdul, right? 00:45:40.670 --> 00:45:43.510 She was a choreographer. Yeah, she was a dancer. 00:45:43.710 --> 00:45:46.349 And I remember that. And then she had that one 00:45:46.349 --> 00:45:49.849 hit. And then she did a movie once bitten with 00:45:49.849 --> 00:45:52.969 Jim Carrey, right? Yes, yes. But the thing is, 00:45:53.050 --> 00:45:55.429 I think when people go back and hear the original 00:45:55.429 --> 00:45:58.809 without the chanting, I feel like they're going 00:45:58.809 --> 00:46:01.340 to be like something's missing. But it's actually, 00:46:01.380 --> 00:46:04.880 at its core, like we've talked about throughout 00:46:04.880 --> 00:46:08.480 the night, a fantastic song. Oh, yeah, absolutely. 00:46:08.880 --> 00:46:12.139 Especially for pop music. Because, look, if it 00:46:12.139 --> 00:46:15.340 wasn't for Mickey, Weird Al Yankovic doesn't 00:46:15.340 --> 00:46:18.519 have Ricky on his first album, which kind of 00:46:18.519 --> 00:46:20.320 helped propel him as, too, because his music 00:46:20.320 --> 00:46:23.599 video, again, got airplay. I mean, it wasn't 00:46:23.599 --> 00:46:26.820 to the level of Eat It, but still, this is kind 00:46:26.820 --> 00:46:29.219 of where... He knew that there was something 00:46:29.219 --> 00:46:31.320 about the song or else he wouldn't have parodied 00:46:31.320 --> 00:46:34.039 it. That's right. And speaking of Eat It, let's 00:46:34.039 --> 00:46:36.920 go ahead and stay in the 80s and talk about the 00:46:36.920 --> 00:46:41.500 cover of that wholly original song that Michael 00:46:41.500 --> 00:46:47.360 Jackson did a parody of called Beat It. For those 00:46:47.360 --> 00:46:50.480 of you who haven't seen Weird Al's documentary 00:46:50.480 --> 00:46:54.360 movie, you wouldn't get that joke. But for us 00:46:54.360 --> 00:46:57.719 true Weird Al nerds, that one killed. Yeah, go 00:46:57.719 --> 00:47:00.619 watch Weird. It was nominated, rightly so, for 00:47:00.619 --> 00:47:03.900 many, many awards, deservingly so. Daniel Radcliffe 00:47:03.900 --> 00:47:08.699 is amazing. Rainn Wilson as Dr. Demento. So funny. 00:47:08.940 --> 00:47:11.300 So many good points of that movie. But in all 00:47:11.300 --> 00:47:13.920 honesty, let me stay in the 80s. And I talked 00:47:13.920 --> 00:47:15.860 a little bit about off the top about how it went 00:47:15.860 --> 00:47:18.880 back and forth between The Gladys Knight and 00:47:18.880 --> 00:47:21.519 The Pips and one of my favorite artists of all 00:47:21.519 --> 00:47:24.860 time ever, hands down. I'm going to insert that 00:47:24.860 --> 00:47:27.860 here because. A group called The Spinners were 00:47:27.860 --> 00:47:30.900 popular yacht rock staples, right? The Spinners 00:47:30.900 --> 00:47:34.179 had a great song called Working My Way Back to 00:47:34.179 --> 00:47:38.079 You, Forgive Me Girl. And that song originally 00:47:38.079 --> 00:47:41.280 was by Frankie Valli and the Four Seasons. Yes. 00:47:41.480 --> 00:47:43.920 And not a lot of people knew that. It was a kind 00:47:43.920 --> 00:47:46.960 of a mashup, like the Nylons Kiss Him Goodbye 00:47:46.960 --> 00:47:51.099 when they did that song in 87. It's a great song. 00:47:51.690 --> 00:47:54.710 That was one that I knew was a cover growing 00:47:54.710 --> 00:47:57.090 up because my parents used to take me to car 00:47:57.090 --> 00:48:00.369 shows all the time growing up. Yep. So at the 00:48:00.369 --> 00:48:02.929 car shows, it was all the older muscle cars and 00:48:02.929 --> 00:48:05.309 they always had doo -wop and fifties music and 00:48:05.309 --> 00:48:09.849 sixties music playing. So I heard a lot of Frankie 00:48:09.849 --> 00:48:12.710 Valley in the four seasons. So when I heard the 00:48:12.710 --> 00:48:15.489 spinners version, I was able to put two and two 00:48:15.489 --> 00:48:18.510 together at a younger age, but had I not been. 00:48:19.199 --> 00:48:21.599 kind of introduced to that scene, if you will, 00:48:21.760 --> 00:48:24.940 I would have never known. Oh, for sure. And like 00:48:24.940 --> 00:48:27.659 I said, I grew up on Frankie Valli and the Four 00:48:27.659 --> 00:48:30.519 Seasons. Frankie Valli has one of those voices 00:48:30.519 --> 00:48:34.039 for me that I could only hope someday that I 00:48:34.039 --> 00:48:36.940 could have imitated. And still to this day, I'm 00:48:36.940 --> 00:48:40.760 just that, just close, just that close. But I 00:48:40.760 --> 00:48:43.300 knew, of course, because I had known Frankie 00:48:43.300 --> 00:48:46.780 Valli and the Four Seasons. To your point, go 00:48:46.780 --> 00:48:49.730 to car shows, state fair. Got to meet Frankie 00:48:49.730 --> 00:48:52.190 Valli in the Four Seasons was amazing. Got to 00:48:52.190 --> 00:48:54.349 introduce him to one of the state fairgrounds 00:48:54.349 --> 00:48:56.449 in New York State. We got to introduce him on 00:48:56.449 --> 00:49:00.389 the Cole Muffler Court at the time. And it was 00:49:00.389 --> 00:49:03.550 a dream come true to just to meet him. And this 00:49:03.550 --> 00:49:07.130 was before Jersey Boys, before The Sopranos, 00:49:07.130 --> 00:49:10.289 when he just gets whacked in the worst way. But 00:49:10.289 --> 00:49:13.429 yeah, he is one of my all -time favorites. And 00:49:13.429 --> 00:49:17.090 that group shaped my musical influence. Having 00:49:17.090 --> 00:49:19.389 heard that through my dad's cover band, The Professors, 00:49:19.389 --> 00:49:23.690 when I was little, they would do that in Runaround 00:49:23.690 --> 00:49:26.889 Sioux. So I knew all that doo -wop stuff from 00:49:26.889 --> 00:49:29.969 that. And that's how I got to where I am in my 00:49:29.969 --> 00:49:34.469 musical career now. Awesome. Awesome. I am struggling. 00:49:34.590 --> 00:49:38.989 I have one song left and I have three songs I'm 00:49:38.989 --> 00:49:42.090 literally staring at on my screen. But I want 00:49:42.090 --> 00:49:45.590 to go with one that might actually surprise people. 00:49:46.780 --> 00:49:50.099 Might. And because we've been kind of swaying 00:49:50.099 --> 00:49:53.320 around the 80s here, I feel like musically this 00:49:53.320 --> 00:49:56.320 is going to fit. So this song was originally 00:49:56.320 --> 00:50:02.820 recorded by Gloria Jones in 1965 as the B -side 00:50:02.820 --> 00:50:07.019 to her single, My Bad Boy's Coming Home. The 00:50:07.019 --> 00:50:10.440 single was a commercial flop, which means the 00:50:10.440 --> 00:50:14.260 B -side was a commercial flop. But then fast 00:50:14.260 --> 00:50:19.219 forward to the 80s. and Soft Cell covered that 00:50:19.219 --> 00:50:22.579 B -side and turned it into an international smash, 00:50:23.059 --> 00:50:27.239 Tainted Love. Until recently, I was not aware 00:50:27.239 --> 00:50:29.119 that Tainted Love was a cover. I thought that 00:50:29.119 --> 00:50:33.780 was Soft Cell's original. So, wow. Yeah, I feel 00:50:33.780 --> 00:50:38.000 like that's one that, because the cover was not 00:50:38.000 --> 00:50:41.400 a massive hit and a B -side, when you go back 00:50:41.400 --> 00:50:45.039 and listen to Gloria Jones' version, oh my God, 00:50:45.119 --> 00:50:50.670 it's like, Motown, and you hear the song and 00:50:50.670 --> 00:50:55.769 you think to yourself, this really works as a 00:50:55.769 --> 00:51:01.650 soul song. So it made me respect Soft Cell's 00:51:01.650 --> 00:51:04.090 rendition of it even more because they really 00:51:04.090 --> 00:51:07.389 changed the musical landscape of that song because 00:51:07.389 --> 00:51:10.369 the two sound like they're from completely different 00:51:10.369 --> 00:51:13.909 cinematic universes, musically speaking. Sure. 00:51:14.360 --> 00:51:17.099 but yet it's the same song. That's incredible. 00:51:17.360 --> 00:51:20.900 And again, Soft Cell with Late 1981 with synth 00:51:20.900 --> 00:51:24.320 pop coming into play and really taking that Motown 00:51:24.320 --> 00:51:27.480 sound, again, right place, right time. I think 00:51:27.480 --> 00:51:31.179 that Soft Cell capitalized on that new wave synth, 00:51:31.340 --> 00:51:34.380 second wave British Invasion kind of stuff and 00:51:34.380 --> 00:51:36.860 really sold it, really, really helped with the 00:51:36.860 --> 00:51:40.880 launch of MTV. Well, Jay, I now get to pass it 00:51:40.880 --> 00:51:44.849 to you. to close us out for the night. And this 00:51:44.849 --> 00:51:46.409 is going to be tough because we've been sitting 00:51:46.409 --> 00:51:48.949 in the 80s, but I still have a ton of songs on 00:51:48.949 --> 00:51:51.869 my list here. I do, too. There's a volume, too, 00:51:51.929 --> 00:51:54.690 just waiting in the wings for this one. Here 00:51:54.690 --> 00:51:58.070 we are, up to number one on our final countdown. 00:51:58.989 --> 00:52:01.329 This song is going to, I'm telling you, my jaw 00:52:01.329 --> 00:52:03.889 hit the floor when I found this out. The Greatest 00:52:03.889 --> 00:52:07.889 Love of All by Whitney Houston, covered by Mr. 00:52:08.010 --> 00:52:13.789 Randy Watson and Cesar Tapley. was actually a 00:52:13.789 --> 00:52:19.090 cover of a George Benson song. Believe it or 00:52:19.090 --> 00:52:22.789 not. See, when you said Whitney Houston, I figured 00:52:22.789 --> 00:52:25.869 you were going for I Will Always Love You, the 00:52:25.869 --> 00:52:29.190 cover of Dolly Parton's smash country hit because 00:52:29.190 --> 00:52:32.309 of your little knowledge of country music. But 00:52:32.309 --> 00:52:34.969 that is a good pick because I have not heard 00:52:34.969 --> 00:52:38.630 George Benson's original, I will not lie. And 00:52:38.630 --> 00:52:42.360 it's very different. That Whitney putting her 00:52:42.360 --> 00:52:47.340 stamp on it, that is exactly what made it the 00:52:47.340 --> 00:52:50.059 iconic song that it is to the point where it 00:52:50.059 --> 00:52:52.940 was lampooned in pop culture all over the place. 00:52:53.139 --> 00:52:57.300 Yeah, I was going to say, there is a reason when 00:52:57.300 --> 00:52:59.139 Whitney Houston puts her stamp on something, 00:52:59.260 --> 00:53:01.800 she just takes it. She's like, it's mine. Because 00:53:01.800 --> 00:53:04.920 Dolly Parton is one of the most recognizable 00:53:04.920 --> 00:53:09.619 voices. In music history, is that a stretch to 00:53:09.619 --> 00:53:14.300 say? Not at all. And Whitney took her song, which 00:53:14.300 --> 00:53:18.280 I Will Always Love You, was a hit twice on country 00:53:18.280 --> 00:53:22.099 radio for Dolly Parton in the 70s and in the 00:53:22.099 --> 00:53:24.179 80s because of the re -recording for the Best 00:53:24.179 --> 00:53:27.639 Little Whorehouse in Texas soundtrack. And yet, 00:53:27.699 --> 00:53:30.579 when that song came out, I don't remember a single 00:53:30.579 --> 00:53:32.940 person in the 90s telling me, hey, did you ever 00:53:32.940 --> 00:53:35.079 hear the Dolly Parton version? It was just, did 00:53:35.079 --> 00:53:37.920 you hear the new Whitney Houston song? And that 00:53:37.920 --> 00:53:42.960 was what she did to songs that she sang very 00:53:42.960 --> 00:53:46.500 much the way when Ann Wilson sings a song, she 00:53:46.500 --> 00:53:49.960 makes it her own. Whitney does her thing and 00:53:49.960 --> 00:53:53.340 makes it her own. So I think a perfect bookend 00:53:53.340 --> 00:53:57.059 to close out side two of the ultimate songs. 00:53:57.179 --> 00:53:59.440 You did not know where covers playlist, which 00:53:59.440 --> 00:54:02.320 kicked off with Huey Lewis in the news. Do you 00:54:02.320 --> 00:54:05.360 believe in love originally by supercharge? The 00:54:05.360 --> 00:54:07.940 Righteous Brothers' Unchained Melody, originally 00:54:07.940 --> 00:54:12.099 by Les Baxter. Billy Ray Cyrus' Achy Breaky Heart, 00:54:12.320 --> 00:54:15.500 originally by the Marcy Brothers. Juice Newton's 00:54:15.500 --> 00:54:18.380 Angel of the Morning, originally by Evie Sands. 00:54:18.920 --> 00:54:22.619 Natalie Imbruglia's Torn, originally by the songwriters 00:54:22.619 --> 00:54:26.539 in Edna Swap. Laura Branigan's Gloria, originally 00:54:26.539 --> 00:54:31.780 by Giancarlo Bagazzi and Umberto Tosi. Tony Basil's 00:54:31.780 --> 00:54:35.369 Mickey, originally by Racy. The Spinners' Working 00:54:35.369 --> 00:54:38.150 My Way Back to You, originally by Frankie Valli 00:54:38.150 --> 00:54:41.269 and the Four Seasons. Soft Cell's Tainted Love, 00:54:41.429 --> 00:54:44.710 originally by Gloria Jones. And Whitney Houston's 00:54:44.710 --> 00:54:47.989 The Greatest Love of All, originally by George 00:54:47.989 --> 00:54:51.610 Benson. Remember to head to myweeklymixtape .com 00:54:51.610 --> 00:54:54.170 to hear all the songs we've discussed in this 00:54:54.170 --> 00:54:57.030 mix through the embedded playlist. And that includes 00:54:57.030 --> 00:55:00.110 both the cover songs and the original versions 00:55:00.110 --> 00:55:03.619 that you may have not known were. original versions. 00:55:04.219 --> 00:55:06.980 Jay Sweet, as always, this has been a blast. 00:55:07.239 --> 00:55:09.139 Thank you for joining me on the show, and I'm 00:55:09.139 --> 00:55:12.079 looking forward to our next episode together. 00:55:12.400 --> 00:55:32.760 Thanks for having me back, Brian. leaving the 00:55:32.760 --> 00:55:34.780 show a five -star review wherever you're tuning 00:55:34.780 --> 00:55:37.920 in, or becoming a Patreon mixtaper at patreon 00:55:37.920 --> 00:55:41.800 .com forward slash myweeklymixtape. That's all 00:55:41.800 --> 00:55:43.639 for this week. Thanks again for listening. Until 00:55:43.639 --> 00:55:45.420 next time, enjoy the tunes.