WEBVTT

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What is going on? Welcome to my weekly mixtape,

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the show that takes the classic mixtape approach

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to building a modern playlist. I'm your host,

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Brian Colburn, and joining me today is the one

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and only Jay Sweet. Jay, welcome back to the

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show, my friend. Good to be here, man. Looking

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forward to this one. Yeah, this one, I have to

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thank producer Katie for submitting this idea.

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Now, I know people out there are wondering, producer

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Katie, did Brian all of a sudden come up with

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a budget? And now can afford a producer. No producer.

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Katie is also known as my wife, Katie, and she

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gets top priority as she should. So when she

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throws an episode suggestion my way, I am all

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ears. And this one is one that Jay, you and I

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have actually talked about in the past about

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doing for season one. So when she brought it

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up, I thought it was a no brainer that we dive

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into it. That being an eighties dance party episode.

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Oh yeah. Yeah, this is my wheelhouse. So when

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we originally started talking about this, my

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thought immediately went to like when I was a

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DJ at the local roller skating rink, you know,

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when I was in middle school and high school,

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because, you know, that's you know, that's what

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we did. And it's ladies choice and backwards

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skate. And then, of course, into college, I ended

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up working at clubs and didn't stop for a while

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for a little bit. That was a good time. Well,

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mine comes from. The 80s, this is when I was

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basically listening to radio, watching MTV, pretending

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to be a DJ on my mixtapes, going out to arcades.

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This is my, I want to say middle school through

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early high school years. So my college and an

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early adult life. Yes, because I'm such a youngin

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compared to you. I'm significantly older than

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you, 11 billion. In my board shorts. Exactly.

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I was going to say, did they make those in the

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80s? They did. In fact, they didn't call them

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board shorts. Not where I was from anyway, but

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they were just called shorts. They were just

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called shorts. And this is the 70s and the 80s.

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What are you going to do? Parachute pants, right?

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80s fashion strikes again. Well, like I said,

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my wife threw this idea our way and I figured

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what a perfect road to go down now. Most other

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episodes, I am taking the ideas from you, the

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mixtapers. So if you have an idea for a My Weekly

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Mixtape episode that you want to hear, send it

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in to me. I am all ears and eyes. MyWeeklyMixtape

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at gmail .com, at My Weekly Mixtape on all the

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social media haunts. You can also find me via

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the contact page at MyWeeklyMixtape .com. or

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by joining the Mixtaper community at patreon

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.com forward slash myweeklymixtape. Now, Jay,

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several of the Mixtapers there chimed in with

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their 80s dance party must -haves, so it's time

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to show a little love to them. Ben from the Too

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Vague podcast chimed in with the Human League's

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Don't You Want Me. Philip Bergman chimed in with

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Michael Jackson's P .Y .T., Pretty Young Thing,

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to kick it off. And then he said add some Dead

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or Alive after that, Brand new lover. Now, Seeker

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is also going with Dead or Alive, only he's going

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with a different song choice, one that he considers

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a guilty pleasure. You Spin Me Round Like a Record.

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Sure. Chad LaMassa going the hip -hop route,

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chimed in with Young MC's Bust a Move. Sean Goff

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chimed in with Technotronics' Pump Up the Jam,

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saying, and I quote, I mean, come on, the title

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alone. And finally, Tom Hutchinson chimed in

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with Give it to me baby by Rick James saying

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it gets him ready to party every time he hears

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it. So just as a reminder, you can join the mixtaper

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community for free over at patrion .com forward

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slash my weekly mixtape. All right, Mr. Sweet,

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it's up to you to get this eighties dance party

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started on the right foot. Okay. What 45 are

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you dropping the needle on first for us tonight?

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I want to say that Rick James is a solid selection.

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That post -disco funk, right? Yeah. Early 80s

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post -disco funk. That super freak. That's a

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unique sound. We had Parliament. My brain didn't

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go that way. I didn't have Rick on my list on

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this round. But what I am going to start off

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with is one of the most solid ways to kick off

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a mixtape ever. And that's going to be Shannon's

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Let the Music Play, 1983. I mean, the birth of

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freestyle dance can be traced back to this song.

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This was kind of the thing that started out.

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I'm going to get a little nerdy here. The Roland

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TR -808. Yep. So for those of you that don't

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know, the TR -808 is a Roland drum machine. And

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a lot of the dance songs you're familiar with

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utilize that. This one also uses the TB -303

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bass. That's right. So the synth bass sound that

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you get in a lot of 80s dance songs all come

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courtesy of Roland. So thank you, Roland. Hell,

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not to go too deep right off the bat, but if

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you remember the hip hop song, Call Me D -Nice,

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I'm the TR -808. So just call me D -Nice. That's

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a shout out to this. I got to say, man. When

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you think about some of the artists' names in

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the 80s, there's a kind of a gumption that goes

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along with it because a lot of artists said,

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we don't even need a last name. Prince, Madonna,

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Tiffany, Sade, Martika, and Shannon, they just

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said, who needs a last name? The music will speak

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for itself. And in this case, she kind of birthed

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a whole new sound of music. So I think she gets

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the right to use the solo name here. Yeah, listen,

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I'm not going to argue with if that's what, you

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know, you do what your heart tells you. Right.

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And her heart was telling her, you're going to

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write some proto freestyle music and you're going

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to use your first name only. That's it. And it's

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going to rock. So let me set the scene for you.

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Obviously, before lasers and those fancy lights,

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we had those incandescent 25 watt light bulbs

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that were colored in the sticks in the ceiling.

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Right. Yes. And you got the music that's pumping

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in the lights are kind of synchronized ish. before

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computers and algorithms and all that fun stuff.

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And even before DMX lighting techniques, which

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are for those of you are not inside the industry,

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the DMX is, is a, it's a language that the light

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lighting program software uses to communicate

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with all the lights and synchronize everything

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really nice in a club or at a concert venue.

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For example, you'll see that all the time. So

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this is the first major. I mean, you can go into

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from here. You can go into without this. You

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don't get breaking to right. You don't get electric

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boogaloo. So this is the kind of the music that

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really started off that Euro dance. It kind of

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picked up where disco was and it kind of made

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it a little bit more wild. Well, speaking of

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wild, I think I'm going to follow that up with

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a song. I'm going to go all the way to the end

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of the decade. I mean, I'm going to tow the line.

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with a song that I'll tell you right now, 1989

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and 1990 is my musical blind spot. I don't know

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why, Jay, if you tell me an album was released

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in 1989 or 1990, I'll just say yes. Because those

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two years to me completely blend together. And

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there are so many songs that if you said to me,

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this song, came out in 1989 and belongs on an

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80s playlist, I would agree with you. And you

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could say to me, this song came out in 1989,

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but it belongs on a 90s playlist. I would also

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believe you. And this is definitely one of those

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examples. Okay. This album was released in November

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of 1989. And the reason I know that fact is because

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I remember asking for it for Christmas. And I

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have to give a shout out. to Patreon mixtaper

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Sean Goff, because he chimed in with this as

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well. We are going to go with Technotronic featuring

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Ya Kid K's Pump Up the Jam. Nice. This is one

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of those songs that, yes, it is an 80s song.

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It was a summer of 1989 hit, but the album, Pump

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Up the Jam, colon, the album was released right

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before the turn into the new decade. So when

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a lot of 90s dance playlists feature Technotronic,

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that's the reason why. And the other reason I

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think this is an interesting pick to start is

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while it fits and it checks the box for an 80s

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dance song, there's a shelf life to this song.

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And that is thanks to stadiums and sports picking

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it up as a sports and stadium anthem. You remember

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those ESPN jock jam CDs in the nineties. This

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was a feature track on it. And I was playing

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this for my soon to be 17 year old. And she goes,

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dad, that song is played everywhere. And it is

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35 plus years later. And it is still just as

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prominent. I make the case. I submit to you,

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Jay, that pump up the jam. is a timeless dance

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song and definitely deserves to be on this playlist,

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80s or not. You will get no argument from me.

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This song, again, it follows right along the

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lines of that end of the decade freestyle, right?

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It's kind of evolved and it's got a little bit

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more bass to it. We're starting to lean into

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the path of that 90s bass, Miami bass sound,

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right? And this song, it's ubiquitous. You can't

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get away from this song. If you're a sports fanatic,

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if you go to the club still, it brings tremendous

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energy. And that's why it's everywhere. All right.

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So we got let the music play and pump up the

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jam. Where do we go from here? Let's we got a

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nice little kind of freestyle groove going here

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with that feel. And I want to go with Company

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B's Fascinated next. Oh, that's probably a deeper

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cut, but it did hit pop radio and it it was huge

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in clubs. Look at you, Mr. Box Checker, for the

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freestyle movement. Yes. I mean, Shannon, like

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we mentioned earlier, was at the beginning of

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the freestyle sound, but Company B was part of

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freestyle's mainstream acceptance. Because if

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I'm correct here, Fascinated was one of the first

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freestyle songs to make a solid Billboard Top

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40 impact. This song, as far as I remember, was

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unescapable on Z100 New York in 1987. However,

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I have to go with the kind of maybe forgotten

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song, Jay, because like you said, I wonder if

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people are listening right now going, I don't

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know what the hell song he's talking about. Trust

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me, when you go to the episode page at myweeklymixtape

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.com and you click play on it, you're going to

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go, oh, yeah. How did I forget this song? It

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is an absolute banger. And I promise you, if

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you feel like you don't remember it, there's

00:12:10.409 --> 00:12:12.029
a good chance this one's going to clear some

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cobwebs because I can think of a few times over

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the decades this song has come on and people

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have gone, why do I? Oh, my God, I completely

00:12:19.070 --> 00:12:22.409
forgot this one. It's one of those songs. But

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at the end of the day, the vocals on it are absolutely

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incredible, almost veering a rock territory.

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The note she hits in it, she's got some. grit

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to her voice and the song just oozes that late

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80s club feel absolutely and like i said these

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are the kinds of songs that we listen to running

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around that giant oval at the skating rink swallowing

00:12:45.789 --> 00:12:48.389
down uh what did we call them atomic bombs the

00:12:48.389 --> 00:12:50.830
little old style soda machine that you could

00:12:50.830 --> 00:12:53.309
get and we'd mix the the coke and the orange

00:12:53.309 --> 00:12:56.009
and the sprite and the cherry coke and then you

00:12:56.009 --> 00:12:58.190
drop an atomic fireball in there oh i called

00:12:58.190 --> 00:13:00.899
those a graveyard Graveyard. Okay. We call them

00:13:00.899 --> 00:13:04.039
atomic bombs. Okay. All right. Those were many

00:13:04.039 --> 00:13:06.620
a summer and a few weekends in the spring. That

00:13:06.620 --> 00:13:09.279
takes me right back. Well, you said this before,

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Jay, we have been going pretty female heavy so

00:13:11.440 --> 00:13:13.860
far. So I'm going to bring the men into the discussion

00:13:13.860 --> 00:13:16.220
here. Cause there's a lot of great male dance

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songs. And I think I'm going to move the needle

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slightly away from freestyle. And I think I'm

00:13:22.840 --> 00:13:25.120
going to bring some new Jack swing into the fold

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because That was a huge part of the late 80s.

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I'm talking 1988 here. And in 1988, one of the

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songs that was everywhere was Bobby Brown's My

00:13:39.029 --> 00:13:43.009
Prerogative. Nice. Number one hit for a good

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part of the year. Fast forward 20 years later,

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Britney Spears covered it. And I'm wondering,

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I think she covered it more for the message of

00:13:53.870 --> 00:13:57.889
the song. than the actual music itself, because

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I don't consider Britney a new Jack swing artist.

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However, the message of the media giving her

00:14:05.909 --> 00:14:09.950
a break was similar in nature to what Bobby Brown

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went through when I'll just say he exited new

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edition, whether he was kicked out or not, we

00:14:15.690 --> 00:14:19.149
can get, you know, his, his, his departure from

00:14:19.149 --> 00:14:23.250
new edition. Right. My prerogative, I want to

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say it was the second song. that he put out from

00:14:25.960 --> 00:14:27.899
don't be cruel. It might've, I think don't be

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cruel might've been the lead single, but don't

00:14:29.759 --> 00:14:32.039
hold me to that. But this was the one that the

00:14:32.039 --> 00:14:36.000
album exploded and you couldn't escape Bobby

00:14:36.000 --> 00:14:39.919
Brown. He solidified himself as a solo star with

00:14:39.919 --> 00:14:44.139
this song. Absolutely. And this is his, he had

00:14:44.139 --> 00:14:46.659
that little bit of a bad boy image to him. And,

00:14:46.679 --> 00:14:49.580
and that unfortunately plagued him for most of

00:14:49.580 --> 00:14:52.690
his career, but I'll tell you what. the man could

00:14:52.690 --> 00:14:56.009
perform and he could do a song and it's infectious

00:14:56.009 --> 00:14:58.690
and it's a great addition. That's a nice little

00:14:58.690 --> 00:15:02.289
middle of the pack run there. Yeah. That baseline

00:15:02.289 --> 00:15:07.509
to me reminds me in a way, not exactly, but it

00:15:07.509 --> 00:15:11.090
has elements of the Humpty dance where the Humpty

00:15:11.090 --> 00:15:15.830
dance is a do re do re. You have the do, do,

00:15:15.889 --> 00:15:20.009
do, do, do. It's got that swing to it that we've.

00:15:20.350 --> 00:15:22.610
kind of avoided for the first few songs. And

00:15:22.610 --> 00:15:25.730
I feel like this gives you kind of a chance to

00:15:25.730 --> 00:15:28.950
break off in any direction you want now. So it's

00:15:28.950 --> 00:15:35.549
not a complete freestyle mix. You know, like

00:15:35.549 --> 00:15:40.509
I said, my head kind of went here. So I'm kind

00:15:40.509 --> 00:15:43.190
of in that rut. Let me, let me yank that right

00:15:43.190 --> 00:15:47.149
back in because you can't, there's no dance party

00:15:47.149 --> 00:15:51.549
that would be complete without. This song and

00:15:51.549 --> 00:15:54.610
the relevance that it has. Another one of those

00:15:54.610 --> 00:15:57.710
you can't escape it kind of songs. J .J. Fad's

00:15:57.710 --> 00:16:02.129
Supersonic. Oh, yeah. I mean, from from the sporting

00:16:02.129 --> 00:16:05.529
venues all the way up to Fergie Ferg redoing

00:16:05.529 --> 00:16:08.950
the song after her exit from the Black Eyed Peas.

00:16:09.029 --> 00:16:11.710
And again, that's true freestyle right there

00:16:11.710 --> 00:16:15.429
with three females rapping over that beat and

00:16:15.429 --> 00:16:19.360
those instrumentations. Perfect. Having recently

00:16:19.360 --> 00:16:22.940
watched the 2025 Grammy Awards ceremony and seeing

00:16:22.940 --> 00:16:26.159
Salt -N -Pepa get inducted and thinking about

00:16:26.159 --> 00:16:29.840
the way that had it not been for J .J. Fadd,

00:16:30.139 --> 00:16:32.799
Salt -N -Pepa, the door might not have been open

00:16:32.799 --> 00:16:36.399
for them. And Salt -N -Pepa is now in as an artist,

00:16:36.480 --> 00:16:40.879
as a group. And J .J. Fadd kind of paved that

00:16:40.879 --> 00:16:43.720
way. And there's a reason why the Beastie Boys

00:16:43.720 --> 00:16:47.059
referenced them in too many rappers and Eminem.

00:16:47.610 --> 00:16:50.629
does a shout out in rap. God, like these are

00:16:50.629 --> 00:16:53.789
decades later. It all points back to this song.

00:16:53.809 --> 00:16:56.629
So Jay, you're really picking these monumental.

00:16:57.649 --> 00:17:00.730
These are historical tracks you're choosing so

00:17:00.730 --> 00:17:03.529
far in this mix while they're awesome to dance

00:17:03.529 --> 00:17:06.789
to as well. Of course. Of course. I, you know,

00:17:06.789 --> 00:17:10.349
I tried to, like I said, my, my brain immediately

00:17:10.349 --> 00:17:13.650
went to all of the. roller skating rink parties

00:17:13.650 --> 00:17:16.630
that i was part of and or hosted or whatever

00:17:16.630 --> 00:17:19.589
the case may be but it was also the fact that

00:17:19.589 --> 00:17:21.890
you know let's hit the highlights here let's

00:17:21.890 --> 00:17:24.490
really give homage and pay credit where credit

00:17:24.490 --> 00:17:27.289
is due well i think we're gonna have a trifecta

00:17:27.289 --> 00:17:29.950
though because my prerogative and supersonic

00:17:29.950 --> 00:17:33.529
both came out in 1988 so i feel like i gotta

00:17:33.529 --> 00:17:36.970
stay in 1988 for one more song all right because

00:17:36.970 --> 00:17:39.809
and i don't know maybe i'll try to pitch bend

00:17:39.809 --> 00:17:43.049
my voice for the recording When I actually air

00:17:43.049 --> 00:17:46.730
this. But as soon as you hear the words. Right

00:17:46.730 --> 00:17:50.049
about now. You're about to be possessed. By the

00:17:50.049 --> 00:17:56.549
sounds of. MC Rob Bass. And DJ Easy Rock. Hit

00:17:56.549 --> 00:18:00.809
it. It takes two. I don't think I've been to

00:18:00.809 --> 00:18:04.650
a wedding reception. Post 1988. That this song.

00:18:05.109 --> 00:18:09.470
Wasn't played. This song. As far as I'm concerned.

00:18:09.549 --> 00:18:12.410
Is one of the greatest. hip -hop dance tracks

00:18:12.410 --> 00:18:16.730
of all time. There's a timeless energy to this

00:18:16.730 --> 00:18:23.869
song. It feels just as new this year as it did

00:18:23.869 --> 00:18:28.450
in 1988. That is something that is so hard to

00:18:28.450 --> 00:18:32.369
pull off in music. And I'll say this, without

00:18:32.369 --> 00:18:34.490
picking on any of the songs we've talked about

00:18:34.490 --> 00:18:36.130
tonight, there are a few that you could say,

00:18:36.170 --> 00:18:39.509
yes, I pinpoint that to the 1980s. And I'm sure

00:18:39.509 --> 00:18:43.789
someone will make an argument that it takes two

00:18:43.789 --> 00:18:46.750
is definitely an eighties vibe, but I don't know,

00:18:46.789 --> 00:18:49.250
man, you throw that into a nineties hip hop playlist.

00:18:49.690 --> 00:18:51.710
I don't think anybody's going to argue it. You

00:18:51.710 --> 00:18:53.769
throw it into a two thousands hip hop playlist.

00:18:54.150 --> 00:18:56.630
I don't think anybody's going to argue it. It's

00:18:56.630 --> 00:18:59.829
like a fine wine. It pairs well with any era

00:18:59.829 --> 00:19:03.650
of music. Absolutely. I do have a critique of

00:19:03.650 --> 00:19:05.769
the song though. Something I've been mad about

00:19:05.769 --> 00:19:10.259
since 1988. All right. The beep in the song,

00:19:10.299 --> 00:19:13.779
the censorship. I like the whopper. Yes, there

00:19:13.779 --> 00:19:19.579
is no uncensored version anywhere. I hate the

00:19:19.579 --> 00:19:21.940
beef because even if you're in a dance club,

00:19:22.140 --> 00:19:27.500
the lays over the whole song. And in a lot of

00:19:27.500 --> 00:19:30.519
nineties, when cursing and radio edits became

00:19:30.519 --> 00:19:33.920
much more commonplace, they would reverse the

00:19:33.920 --> 00:19:38.190
word. or do the vocal dip where the voice track

00:19:38.190 --> 00:19:42.349
just drops out. Having the beep sit on top of

00:19:42.349 --> 00:19:47.349
the entire song has always pissed me off. I don't

00:19:47.349 --> 00:19:50.130
know why. It's my only critique. I don't get

00:19:50.130 --> 00:19:52.869
negative often, but damn it, Rob Bass, if you're

00:19:52.869 --> 00:19:55.710
listening, drop the uncensored version already.

00:19:55.769 --> 00:19:58.670
It's 2026 now. I think we can handle it. I don't

00:19:58.670 --> 00:20:01.109
know if the Big Mac can, but we can handle it.

00:20:01.410 --> 00:20:03.490
I don't remember. Does the album version have

00:20:03.490 --> 00:20:06.460
the censor too? Yes. Now I should go on record

00:20:06.460 --> 00:20:09.279
and say there is a re -recording where he just

00:20:09.279 --> 00:20:12.339
drops out and doesn't say the word, but it's

00:20:12.339 --> 00:20:15.480
not the original track, the original album cut.

00:20:15.559 --> 00:20:19.079
I have looked for years because I hate it that

00:20:19.079 --> 00:20:21.460
much. And I have not been, I almost want to make

00:20:21.460 --> 00:20:26.220
one myself. That's wild. Cause so maybe, maybe

00:20:26.220 --> 00:20:28.579
there was no intention to, I mean, the whole

00:20:28.579 --> 00:20:32.089
reason that these songs came out. And remember,

00:20:32.269 --> 00:20:36.369
with the PMRC and that, the way that the country

00:20:36.369 --> 00:20:39.809
still kind of laid into its puritanical roots

00:20:39.809 --> 00:20:42.529
a little bit, that very well may have played

00:20:42.529 --> 00:20:47.509
into it. But I seem to remember a few, like when

00:20:47.509 --> 00:20:49.809
I was in radio, when I started working in radio,

00:20:49.950 --> 00:20:52.769
we started doing those backmasket, right? You

00:20:52.769 --> 00:20:54.910
cut the tape and then you flip it around and

00:20:54.910 --> 00:20:58.130
then it's, you know, it reverses the word. Yes.

00:20:58.130 --> 00:21:00.250
And it kept the beat and everything. I would

00:21:00.250 --> 00:21:02.589
have been fine with that censoring of the song.

00:21:02.710 --> 00:21:06.349
Sure. The beep over the track, even if you're

00:21:06.349 --> 00:21:10.950
at like a wedding, that beep, it's jarring. And

00:21:10.950 --> 00:21:14.609
at the time, I guess maybe they didn't know the

00:21:14.609 --> 00:21:18.210
impact that this song would have. Sure. So here

00:21:18.210 --> 00:21:23.109
in 2025, when you can't hear any song, like I'm

00:21:23.109 --> 00:21:25.710
sure there's Kid Bop CDs now that are littered

00:21:25.710 --> 00:21:28.660
with the F -bop. At this point. Well, didn't

00:21:28.660 --> 00:21:31.000
they just do a Sabrina Carpenter tune? I mean,

00:21:31.180 --> 00:21:35.180
that's insane. We sound like we're old men yelling

00:21:35.180 --> 00:21:37.819
at a cloud right now, but damn it. Rob bass,

00:21:37.940 --> 00:21:40.779
take the beep out of the song, but besides that

00:21:40.779 --> 00:21:45.839
point, a timeless dance, hip hop, classic hands

00:21:45.839 --> 00:21:49.319
down, full stop. Here's something we've gone

00:21:49.319 --> 00:21:51.319
onto a tangent about this, but it's worth the

00:21:51.319 --> 00:21:53.759
conversation. When digital undergrounds Humpty

00:21:53.759 --> 00:21:56.900
dance came out. On MTV, didn't they bleep Burger

00:21:56.900 --> 00:21:59.599
King? Now that you mention it, I know there was

00:21:59.599 --> 00:22:02.779
censorship in the video. I'm just not 100 % sure

00:22:02.779 --> 00:22:06.740
if it was Burger King or not now. Maybe I'm misremembering

00:22:06.740 --> 00:22:09.500
it, but I'm almost positive that they bleeped

00:22:09.500 --> 00:22:12.279
out Burger King. I once got busy in a beep beep

00:22:12.279 --> 00:22:15.839
bathroom of all things, right? You would think

00:22:15.839 --> 00:22:17.839
Burger King would like the publicity, right?

00:22:17.920 --> 00:22:21.160
It was a free promo. No, I seem to remember.

00:22:21.480 --> 00:22:23.420
I'd have to look it up, but. Might have been

00:22:23.420 --> 00:22:25.599
in the single version, too. I don't know. I'd

00:22:25.599 --> 00:22:29.440
have to go back to Syracuse in circa 1990 and

00:22:29.440 --> 00:22:33.920
find WNTQ playing the song. But yeah, it's a

00:22:33.920 --> 00:22:36.839
great pick. It really is. Like you said, tying

00:22:36.839 --> 00:22:38.980
it all back in and putting the train back on

00:22:38.980 --> 00:22:41.339
the track here. It's a transcendent song. It

00:22:41.339 --> 00:22:44.440
goes with every genre because a good dance song

00:22:44.440 --> 00:22:47.619
is a good dance song. So how are you going to

00:22:47.619 --> 00:22:51.359
follow that up, though? Because that is a barn

00:22:51.359 --> 00:22:55.640
burner of a track. It sure is, Brian. Let's stay

00:22:55.640 --> 00:22:58.420
in the pop radio side of things. Let's talk about

00:22:58.420 --> 00:23:03.099
another female trio. Wonderful vocals, great

00:23:03.099 --> 00:23:06.059
harmonies, and some real high energy. And I'm

00:23:06.059 --> 00:23:09.700
talking about Expose. The song is Point of No

00:23:09.700 --> 00:23:13.839
Return. Nice. I honestly thought when you were

00:23:13.839 --> 00:23:15.960
starting to lead into it, I was thinking Bananarama

00:23:15.960 --> 00:23:19.460
for some reason. That would work too. No, but

00:23:19.460 --> 00:23:22.259
yeah, this is another one I discovered. this

00:23:22.259 --> 00:23:25.339
group through my sister who was 18 months younger

00:23:25.339 --> 00:23:28.799
than me. So she was into all of that while I

00:23:28.799 --> 00:23:33.640
was into new wave and different songs. This is

00:23:33.640 --> 00:23:37.279
one of those bands that people don't realize

00:23:37.279 --> 00:23:40.940
the impact they had in the eighties expose. And

00:23:40.940 --> 00:23:43.559
I don't know the exact number, so don't quote

00:23:43.559 --> 00:23:46.759
me on this, but they're up there with the Supremes

00:23:46.759 --> 00:23:52.789
in terms of having the most. Top 10 hits in a

00:23:52.789 --> 00:23:57.410
row for a female group. They did their dance

00:23:57.410 --> 00:24:00.049
stuff, but they also had ballads. If you remember

00:24:00.049 --> 00:24:02.950
Seasons Change. Sure. Was also from this album.

00:24:03.089 --> 00:24:07.809
They were unstoppable in 1987. This album, I

00:24:07.809 --> 00:24:11.569
knew so many people that had it on record and

00:24:11.569 --> 00:24:14.549
cassette. And then I remember when my friends

00:24:14.549 --> 00:24:17.730
started getting CD players in the late 80s, early

00:24:17.730 --> 00:24:24.269
90s. They re -released Exposé's Exposure on CD,

00:24:24.410 --> 00:24:27.869
and it kind of had not a resurgence, but people

00:24:27.869 --> 00:24:29.829
went out and got it because they had to hear

00:24:29.829 --> 00:24:34.230
it on the new sound. The new clean digital, which

00:24:34.230 --> 00:24:36.690
was analog to digital conversion. At that point,

00:24:36.769 --> 00:24:41.869
yeah. Right, right. All right. I'm going to stay

00:24:41.869 --> 00:24:43.630
right in that same vein, but I'm going to stay

00:24:43.630 --> 00:24:47.250
towards the late 80s again with a song that I

00:24:47.250 --> 00:24:51.920
think follows it up. Really, really well. And

00:24:51.920 --> 00:24:56.940
this artist is from Sweden. Sweden? Oh, is it

00:24:56.940 --> 00:25:03.480
the Swedish chef? No. Mork? No. Oh. This song

00:25:03.480 --> 00:25:08.440
has dance, hip hop, pop, all thrown together

00:25:08.440 --> 00:25:12.680
in a blender. And she does it with absolute ease.

00:25:13.220 --> 00:25:15.900
And I'm going to go with Nene Cherry's Buffalo

00:25:15.900 --> 00:25:22.150
Stance. Oh. Beautiful. This song took over radio

00:25:22.150 --> 00:25:27.170
in 1989. I remember being at summer camp, arguing

00:25:27.170 --> 00:25:30.150
with my friends over what we were going to play

00:25:30.150 --> 00:25:34.049
next. Was it going to be Buffalo stance or Metallica's

00:25:34.049 --> 00:25:37.269
one? Because we liked both songs, but it felt

00:25:37.269 --> 00:25:41.890
weird listening to them back to back to back.

00:25:42.150 --> 00:25:44.710
Two great tastes that don't quite taste great

00:25:44.710 --> 00:25:47.490
together. We had a cassette deck outside when

00:25:47.490 --> 00:25:50.509
we were sitting outside having our pizza at lunch.

00:25:50.589 --> 00:25:52.930
And we had both tapes. And we're like, well,

00:25:52.990 --> 00:25:55.289
let's put on Metallica. Then we'll do Buffalo

00:25:55.289 --> 00:25:57.190
Stance. No, we should do Buffalo Stance first.

00:25:57.329 --> 00:25:59.549
I said, you know, but if you do the darker part

00:25:59.549 --> 00:26:02.750
of Metallica going into the heavy part where

00:26:02.750 --> 00:26:05.569
you're amped up, then it'll go into Buffalo Stance.

00:26:05.650 --> 00:26:07.849
So we literally had these arguments in seventh

00:26:07.849 --> 00:26:11.930
grade. Now, this is something that. I learned

00:26:11.930 --> 00:26:14.509
a lot about in this era. I was seventh, eighth

00:26:14.509 --> 00:26:18.390
grade around this time, radio edits versus album

00:26:18.390 --> 00:26:22.130
versions. You had this cassette single. At least

00:26:22.130 --> 00:26:24.150
I had the cassette single for Buffalo stance.

00:26:24.450 --> 00:26:26.890
And that was the version you heard on the radio.

00:26:27.230 --> 00:26:30.250
If you went out and got the raw, like sushi album,

00:26:30.369 --> 00:26:34.150
it was two minutes longer with segments looped.

00:26:34.150 --> 00:26:37.910
And it's a completely different experience. And

00:26:37.910 --> 00:26:41.539
to people that heard the song, 12 million times

00:26:41.539 --> 00:26:43.619
on the radio that could either be a good or a

00:26:43.619 --> 00:26:46.059
bad thing you were getting more of the song but

00:26:46.059 --> 00:26:49.220
it also didn't feel as familiar to this day i

00:26:49.220 --> 00:26:52.819
still have the radio edit on my phone because

00:26:52.819 --> 00:26:56.160
i'm so used to the radio edit version the way

00:26:56.160 --> 00:26:59.779
it starts with the rap at the beginning the version

00:26:59.779 --> 00:27:02.440
on raw like sushi doesn't and it's weird for

00:27:02.440 --> 00:27:06.579
me yeah this is a song that the minute you hear

00:27:07.160 --> 00:27:09.799
buffalo stance you immediately know every word

00:27:09.799 --> 00:27:13.180
to the song and no money man can win my love

00:27:13.180 --> 00:27:15.160
it's sweetness that i'm thinking of the coolest

00:27:15.160 --> 00:27:18.079
thing about nina cherry by the way her brother

00:27:18.079 --> 00:27:22.279
eagle eye cherry of save tonight fame the coolest

00:27:22.279 --> 00:27:26.440
thing about her was she was a package she could

00:27:26.440 --> 00:27:29.859
dance she could sing and she could rap and putting

00:27:29.859 --> 00:27:33.579
all of that together on on that single now again

00:27:33.579 --> 00:27:36.539
growing up in little syracuse new york It's a

00:27:36.539 --> 00:27:40.440
shame that we didn't hear more from her from

00:27:40.440 --> 00:27:44.859
that album on the radio. I thought she was well

00:27:44.859 --> 00:27:48.180
on her way to being bigger than she ended up

00:27:48.180 --> 00:27:50.559
being in terms of radio play. But that record

00:27:50.559 --> 00:27:54.799
is solid. Yeah, she is certainly much more popular

00:27:54.799 --> 00:27:57.640
than the song indicates around the world. But

00:27:57.640 --> 00:27:59.819
in the U .S., she didn't take that trajectory

00:27:59.819 --> 00:28:04.119
as much as you would expect. Exactly. All right.

00:28:04.140 --> 00:28:06.619
Well, look. Let's come out of that and we'll

00:28:06.619 --> 00:28:10.819
talk about this band hit my radar because of

00:28:10.819 --> 00:28:14.519
the fact that they sampled Mr. Spock. Nah, I

00:28:14.519 --> 00:28:16.339
know where you're going. And we're going to talk

00:28:16.339 --> 00:28:20.000
about Information Society or INSOC with What's

00:28:20.000 --> 00:28:23.339
On Your Mind, Pure Energy in parentheses that

00:28:23.339 --> 00:28:26.599
had the beginning. Again, you're talking about

00:28:26.599 --> 00:28:29.519
single versions versus album versions and radio

00:28:29.519 --> 00:28:32.200
edits versus the seven inch club mix and those

00:28:32.200 --> 00:28:35.940
kind of that thing took off. There are no less

00:28:35.940 --> 00:28:38.460
than five versions of this song on any given

00:28:38.460 --> 00:28:41.859
sampler CD. Right. And I think the thing that

00:28:41.859 --> 00:28:45.240
really sticks out to me is the beginning of it's

00:28:45.240 --> 00:28:48.660
McCoy. Right. That says in the beginning, well,

00:28:49.240 --> 00:28:51.119
we're not out of the woods yet or something.

00:28:51.259 --> 00:28:53.180
It's been a while since I've heard that version

00:28:53.180 --> 00:28:55.660
of the song. But and then it goes, I want to

00:28:55.660 --> 00:28:59.660
know what you're thinking. And it's all acapella.

00:28:59.779 --> 00:29:03.579
And then the beat kicks in and it's sick. It's

00:29:03.579 --> 00:29:06.420
kind of proto nine inch nail industrial, right?

00:29:06.519 --> 00:29:09.519
It's got the hammers hitting the anvil. It's

00:29:09.519 --> 00:29:13.559
just really, really well done. I guess kind of

00:29:13.559 --> 00:29:18.259
Euro freestyle. I'd call this synth pop. And

00:29:18.259 --> 00:29:22.059
I feel like you can't do an 80s dance mix without

00:29:22.059 --> 00:29:25.140
acknowledging the stranglehold that synth pop

00:29:25.140 --> 00:29:29.880
had in the late 80s on top 40 radio. And I'm

00:29:29.880 --> 00:29:31.579
going to go out on a limb and say this would

00:29:31.579 --> 00:29:33.599
be the only song we'll talk about tonight that

00:29:33.599 --> 00:29:36.480
features Leonard Nimoy. So as soon as you said

00:29:36.480 --> 00:29:38.140
Spock, I knew exactly where you're going with

00:29:38.140 --> 00:29:43.759
this. This, like Pump Up the Jam, had a life

00:29:43.759 --> 00:29:46.079
in the 90s. Now I'm going to get really nerdy

00:29:46.079 --> 00:29:50.359
on you here, Jay. Okay. Did you own a Sega CD,

00:29:50.500 --> 00:29:54.420
the console that came out after the Sega Genesis?

00:29:55.240 --> 00:29:58.960
No, I didn't. My friend Tim did. Okay, if you

00:29:58.960 --> 00:30:02.640
got a Sega CD, it came with a sampler disc, and

00:30:02.640 --> 00:30:08.700
it was a CDG sampler. So that's CD and graphics,

00:30:08.819 --> 00:30:12.839
similar to the karaoke graphics you'd see on

00:30:12.839 --> 00:30:18.579
a 90s or 2000s karaoke screen. And one of the

00:30:18.579 --> 00:30:23.380
songs on the sampler disc was Information Society's

00:30:23.380 --> 00:30:26.329
What's On Your Mind, Pure Energy. I'm going to

00:30:26.329 --> 00:30:28.910
look this up. I am sure there's a version of

00:30:28.910 --> 00:30:31.170
it living somewhere on YouTube. And if I find

00:30:31.170 --> 00:30:33.710
it, I'm going to embed it on the episode page

00:30:33.710 --> 00:30:39.029
at myweeklymixtape .com. CDNG was a very strange

00:30:39.029 --> 00:30:43.150
phenomenon. I had a copy of Jimi Hendrix's smash

00:30:43.150 --> 00:30:48.470
hits that also had the CDG treatment. And it

00:30:48.470 --> 00:30:51.190
was a situation where you put one of these CDGs

00:30:51.190 --> 00:30:55.059
into a Sega CD player. Only to be treated to

00:30:55.059 --> 00:30:59.240
this very Nintendo 4 -bit, which is actually

00:30:59.240 --> 00:31:01.359
less than the Nintendo Entertainment System,

00:31:01.599 --> 00:31:04.240
but I think it was a total palette of 16 -color

00:31:04.240 --> 00:31:08.960
graphical cartoon that played as the CD music

00:31:08.960 --> 00:31:12.119
was playing. So it was synced up in time. Sometimes

00:31:12.119 --> 00:31:15.160
there was lyrics. Sometimes it was just these

00:31:15.160 --> 00:31:18.220
strange psychedelic graphics. That was more the

00:31:18.220 --> 00:31:21.640
Jimi Hendrix. The theme of the Information Society

00:31:21.640 --> 00:31:25.099
version had the lyrics going across the bottom

00:31:25.099 --> 00:31:27.359
of the screen with some animation going on top.

00:31:27.519 --> 00:31:31.279
It was, man, at the time, it was mind -blowing.

00:31:31.759 --> 00:31:34.740
However, when you compare it to a PlayStation

00:31:34.740 --> 00:31:39.299
5, I mean, it basically was like beep, boop,

00:31:39.299 --> 00:31:41.559
beep, boop, beep, boop in terms of graphics.

00:31:41.839 --> 00:31:45.240
But at the time, it was mind -blowing. It was

00:31:45.240 --> 00:31:48.460
absolutely mind -blowing. And every time I hear

00:31:48.460 --> 00:31:51.809
this song, I remember seeing that on screen for

00:31:51.809 --> 00:31:54.829
the first time on my Sega CD and having my mind

00:31:54.829 --> 00:31:58.250
blown in the 90s. So it kind of lived in two

00:31:58.250 --> 00:32:01.230
decades for me. Well, that's wild. I mean, you

00:32:01.230 --> 00:32:04.069
you brought up synth pop. And I think, you know,

00:32:04.069 --> 00:32:06.710
not that I want to spoil where we might go on

00:32:06.710 --> 00:32:09.670
side two, but you could not. You've got soft

00:32:09.670 --> 00:32:13.049
sell. You've got Depeche Mode, I guess, you know,

00:32:13.049 --> 00:32:16.940
to an extent. Oh, who did? Hold on. Who did?

00:32:17.019 --> 00:32:19.700
Let's make lots of money opportunities. Patch

00:32:19.700 --> 00:32:23.019
up, boys. Yep. Beat me to it. Very much in that

00:32:23.019 --> 00:32:25.680
vein. And there's a lot of that to spread the

00:32:25.680 --> 00:32:28.339
wealth. But Information Society had another song

00:32:28.339 --> 00:32:32.279
called Walking Away. Not as big of a hit song

00:32:32.279 --> 00:32:35.900
as what's on your mind. But boy, again, you couldn't

00:32:35.900 --> 00:32:39.740
go into any club or roller skating rink or dance

00:32:39.740 --> 00:32:42.000
venue of any kind without that song playing.

00:32:42.380 --> 00:32:45.039
Oh, I still have the 1988 self -titled CD and

00:32:45.039 --> 00:32:47.359
it's great all the way through. I mean, seriously,

00:32:47.440 --> 00:32:50.019
if you've never heard the Information Society

00:32:50.019 --> 00:32:53.700
album, do yourself a favor and go back and give

00:32:53.700 --> 00:32:56.759
yourself a little synth pop experience because

00:32:56.759 --> 00:32:59.099
you deserve it. And follow it up with Erasure.

00:33:00.140 --> 00:33:03.079
Well, I'm not going to do that. Oh, okay. You

00:33:03.079 --> 00:33:06.920
started off with an artist that went by a singular

00:33:06.920 --> 00:33:10.220
name. So to close out Side A, I'm going to go

00:33:10.220 --> 00:33:14.700
with an artist. That could be a singular name.

00:33:14.900 --> 00:33:18.980
And I'm sure some would argue should be. Isn't,

00:33:18.980 --> 00:33:23.880
but the album title is. And as soon as I say

00:33:23.880 --> 00:33:26.380
the album title, you're going to know who I'm

00:33:26.380 --> 00:33:28.759
talking about, and you're going to know exactly

00:33:28.759 --> 00:33:31.220
what song I'm about to drop to close outside

00:33:31.220 --> 00:33:37.720
A. From 1987's Whitney. Ooh. Whitney Houston,

00:33:38.140 --> 00:33:42.549
I Want to Dance with Somebody. Nice. Pop anthem.

00:33:43.069 --> 00:33:47.509
You cannot talk 80s dance and not include Whitney,

00:33:47.670 --> 00:33:52.109
one of the greatest singers of all time in the

00:33:52.109 --> 00:33:55.369
R &B pop space. I don't think there's a lot of

00:33:55.369 --> 00:33:58.029
people that would argue that she deserves to

00:33:58.029 --> 00:34:01.730
be in the female vocalist pantheon of singers.

00:34:01.869 --> 00:34:03.529
Maybe there are people that would argue that,

00:34:03.630 --> 00:34:07.269
but I'd be on Team Whitney for this one. We had

00:34:07.269 --> 00:34:10.530
Bobby Brown earlier, her husband. I don't even

00:34:10.530 --> 00:34:13.530
want to get into the later years with the reality

00:34:13.530 --> 00:34:16.829
TV nonsense. This is focused solely on the music.

00:34:16.909 --> 00:34:20.730
This song, undeniable. Every wedding you go to,

00:34:20.829 --> 00:34:24.610
it's played. So much so that if you're out there

00:34:24.610 --> 00:34:26.849
saying you don't like this song, let's say you're

00:34:26.849 --> 00:34:30.230
a, I don't know, metal fan. And you're like,

00:34:30.329 --> 00:34:33.420
oh, I don't like Whitney Houston. Jay, have you

00:34:33.420 --> 00:34:35.880
ever seen the viral video that went out around

00:34:35.880 --> 00:34:41.460
TikTok and on all the social media sites of the

00:34:41.460 --> 00:34:45.099
metal concert where they started moshing to I

00:34:45.099 --> 00:34:49.940
want to dance with somebody? Yes. When the chorus

00:34:49.940 --> 00:34:54.599
hit, not only was everybody moshing, they were

00:34:54.599 --> 00:34:59.159
singing it at the top of their lungs. Unbelievable.

00:34:59.900 --> 00:35:02.719
I will embed that video on the episode page at

00:35:02.719 --> 00:35:04.699
myweeklymixtape .com because if you have not

00:35:04.699 --> 00:35:08.340
seen it, it is awesome and is the reason why

00:35:08.340 --> 00:35:12.039
I'm using it to close out side A because even

00:35:12.039 --> 00:35:16.480
if you're a metal fan, this song works. Absolutely.

00:35:16.500 --> 00:35:19.239
You can't argue. I mean, much like when Kurt

00:35:19.239 --> 00:35:21.460
Cobain said, you know, you've made it as an artist

00:35:21.460 --> 00:35:24.860
when Weird Al covers you, right? You can't deny

00:35:24.860 --> 00:35:28.179
the mark that Whitney Houston has left on the

00:35:28.179 --> 00:35:33.130
music. universe everybody it's again i use the

00:35:33.130 --> 00:35:36.269
word transcends it's she's everywhere everyone

00:35:36.269 --> 00:35:39.670
knows that song everyone knows the now it's the

00:35:39.670 --> 00:35:41.849
newest tiktok trend where they're they're doing

00:35:41.849 --> 00:35:44.190
the i will always love you challenge where you're

00:35:44.190 --> 00:35:46.309
supposed to hit the beat you know when she does

00:35:46.309 --> 00:35:49.030
it it's bananas but that's we're talking about

00:35:49.030 --> 00:35:53.159
30 years 40 years later and it's still An enormous

00:35:53.159 --> 00:35:55.619
song. We talked about how Information Society

00:35:55.619 --> 00:35:59.840
was synth pop. This song is more pop synth, right?

00:36:00.619 --> 00:36:03.659
But it's still got that flavor to it. And it's

00:36:03.659 --> 00:36:06.039
a great dance song, no matter how you slice it.

00:36:06.480 --> 00:36:09.880
Well, there you go, folks. Side A of the ultimate

00:36:09.880 --> 00:36:12.840
80s dance party, which kicked off with Shannon's

00:36:12.840 --> 00:36:16.079
Let the Music Play, followed up by Technotronic

00:36:16.079 --> 00:36:19.320
featuring Ya Kid K's Pump Up the Jam, Company

00:36:19.320 --> 00:36:22.880
B's Fascinated, Bobby Brown's My Prerogative,

00:36:23.079 --> 00:36:28.059
JJ Fad's Supersonic, Rob Basin, DJ Easy Rocks,

00:36:28.059 --> 00:36:32.260
It Takes Two, Exposé's Point of No Return, Nene

00:36:32.260 --> 00:36:35.900
Cherry's Buffalo Stance, Information Society's

00:36:35.900 --> 00:36:38.760
What's On Your Mind, Pure Energy, and Whitney

00:36:38.760 --> 00:36:42.239
Houston's I Wanna Dance With Somebody. Head over

00:36:42.239 --> 00:36:45.199
to myweeklymixtape .com to hear all the songs

00:36:45.199 --> 00:36:48.489
we've discussed in this mix. through the playlist

00:36:48.489 --> 00:36:53.409
embedded on the episode page. And now Jay, I'm

00:36:53.409 --> 00:36:58.070
going to kick off side B of our 20 song eighties

00:36:58.070 --> 00:37:02.090
dance party playlist. And on side a, you brought

00:37:02.090 --> 00:37:05.050
up JJ fads, supersonic. And I said, that song

00:37:05.050 --> 00:37:08.610
helped pave the way. And maybe because it's still

00:37:08.610 --> 00:37:11.670
fresh on my mind from their rock and roll hall

00:37:11.670 --> 00:37:15.730
of fame induction. I feel like to kick off side

00:37:15.730 --> 00:37:19.199
B. We have to give some love to Salt -N -Pepa's

00:37:19.199 --> 00:37:24.599
Push It. Yes. This song is an 80s dance anthem,

00:37:24.820 --> 00:37:29.639
1986's Hot, Cool, and Vicious. DJ Spinderella,

00:37:29.800 --> 00:37:33.780
and she said it herself, she is the first female

00:37:33.780 --> 00:37:36.400
DJ to be inducted into the Rock and Roll Hall

00:37:36.400 --> 00:37:39.000
of Fame. Now, I know there's somebody out there

00:37:39.000 --> 00:37:41.539
that's listening that's thinking Salt -N -Pepa

00:37:41.539 --> 00:37:44.239
aren't rock and roll. And I'm here to challenge

00:37:44.239 --> 00:37:48.280
that in every aspect of the argument. Rock and

00:37:48.280 --> 00:37:52.960
roll is not always a sound. I feel that rock

00:37:52.960 --> 00:37:56.480
and roll is a state of mind and a state of being.

00:37:56.940 --> 00:38:01.559
It is the entire package. And Saul and Peppa

00:38:01.559 --> 00:38:07.480
are that. They were trailblazers, trendsetters,

00:38:07.599 --> 00:38:10.679
influencers before there was a such thing on

00:38:10.679 --> 00:38:14.679
social media. And they put out one of the most

00:38:14.679 --> 00:38:17.199
infectious dance songs of the eighties and then

00:38:17.199 --> 00:38:20.840
followed it up in the nineties by staying just

00:38:20.840 --> 00:38:23.760
as relevant with the changing tides of dance

00:38:23.760 --> 00:38:27.119
music. Shoop. What a man within Vogue. Let's

00:38:27.119 --> 00:38:31.059
talk about sex. They knew how to follow the trends

00:38:31.059 --> 00:38:34.139
of music and stay ahead of the game. They deserve

00:38:34.139 --> 00:38:37.079
to be on this playlist and they deserve to kick

00:38:37.079 --> 00:38:40.980
off side B. I cannot. Agree with you more. It's

00:38:40.980 --> 00:38:43.820
just not metaphysically possible. We have to

00:38:43.820 --> 00:38:46.860
go back and you look at what rock and roll was

00:38:46.860 --> 00:38:49.760
to all of you. And again, I don't want to belabor

00:38:49.760 --> 00:38:51.900
the point, but it's to all anybody who thinks

00:38:51.900 --> 00:38:55.380
that rock and roll does not encompass R &B and

00:38:55.380 --> 00:38:58.900
hip hop. Look, rock and roll was a counterculture.

00:38:59.260 --> 00:39:02.619
And then it splintered into, you know, you had

00:39:02.619 --> 00:39:05.260
doo -wop and you had R &B and you had soul. And

00:39:05.260 --> 00:39:10.059
then it splintered further in all of those. genres

00:39:10.059 --> 00:39:15.300
are counterculture to an extent. So they absolutely

00:39:15.300 --> 00:39:17.760
belong in the whole theme. Although I will say

00:39:17.760 --> 00:39:20.039
there's a lot of bands that I feel like still

00:39:20.039 --> 00:39:22.019
need to get there just do. But that's another

00:39:22.019 --> 00:39:25.199
conversation for another time, Jay. Yeah, definitely.

00:39:25.440 --> 00:39:28.280
Definitely. All right. You can't put a dance

00:39:28.280 --> 00:39:31.739
mix party mix out without including this guy

00:39:31.739 --> 00:39:36.019
who kind of closed out the 80s in terms of high

00:39:36.019 --> 00:39:39.840
energy and great rap. And I believe that Chad

00:39:39.840 --> 00:39:42.199
LaMassa chimed in with this gentleman. And that's

00:39:42.199 --> 00:39:46.820
Young MC with Bust a Move. Yes. Yes. I love it.

00:39:46.980 --> 00:39:50.960
I liked Principal's Office, by the way, was his

00:39:50.960 --> 00:39:53.579
follow up hit. And it was a little bit one of

00:39:53.579 --> 00:39:55.300
those parents don't understand kind of songs.

00:39:55.440 --> 00:39:58.360
But Bust a Move has got some infectious energy.

00:39:58.579 --> 00:40:02.440
And both of those songs, fun fact, feature the

00:40:02.440 --> 00:40:05.179
one and only Flea from the Red Hot Chili Peppers

00:40:05.179 --> 00:40:08.670
on bass. Well, I learned something today. You

00:40:08.670 --> 00:40:11.789
didn't know that? I did not. Oh, well, this is

00:40:11.789 --> 00:40:14.269
what you get when you sit there and you open

00:40:14.269 --> 00:40:16.710
up the J cards as you're listening to the tape

00:40:16.710 --> 00:40:21.130
over and over and over again. I had known at

00:40:21.130 --> 00:40:23.750
the time Mother's Milk from the Red Hot Chili

00:40:23.750 --> 00:40:26.409
Peppers, but that was it. So I'm like, oh, this

00:40:26.409 --> 00:40:30.090
guy Flea, who I also read was in the Red Hot

00:40:30.090 --> 00:40:33.250
Chili Peppers, plays bass on this song. Flea

00:40:33.250 --> 00:40:35.150
was everywhere. Alanis Morissette's Who Ought

00:40:35.150 --> 00:40:37.829
to Know. Yeah, yeah. I mean. If you're going

00:40:37.829 --> 00:40:40.289
to put a funky -ass bass line on your track,

00:40:40.590 --> 00:40:43.670
why not? He was also Needles in the Back to the

00:40:43.670 --> 00:40:47.010
Future series. That he was. And this was a song,

00:40:47.050 --> 00:40:49.989
believe it or not, both Bust a Move and Principal's

00:40:49.989 --> 00:40:53.929
Office that, as far as I'm concerned, in my personal

00:40:53.929 --> 00:40:57.929
life, were intergenerational. And I say that

00:40:57.929 --> 00:41:03.090
because my father friggin' loved Stone Cold Ryman.

00:41:03.309 --> 00:41:06.630
Nice. From I Come Off. principal's office, bust

00:41:06.630 --> 00:41:11.090
a move, fastest rhyme. My dad loved this tape.

00:41:11.610 --> 00:41:13.949
I played it all the time. And when he, when I

00:41:13.949 --> 00:41:16.090
would make him mix tapes, cause he worked on

00:41:16.090 --> 00:41:18.550
the road. So he was in his car all the time.

00:41:18.590 --> 00:41:21.369
He'd be like, Hey, throw principal's office on

00:41:21.369 --> 00:41:23.889
it for me or throw bust a move on it for me.

00:41:23.909 --> 00:41:26.389
Or I come off. Cause this was getting to the

00:41:26.389 --> 00:41:28.730
point where I was starting to splinter from what

00:41:28.730 --> 00:41:31.639
my parents listened to. But there were certain

00:41:31.639 --> 00:41:34.519
albums around this time. Aerosmith's Pump was

00:41:34.519 --> 00:41:37.139
another one where my father and I connected.

00:41:37.360 --> 00:41:40.579
And it was like a generational cross of music.

00:41:41.679 --> 00:41:44.619
Nirvana, all the way up through Heart Shaped

00:41:44.619 --> 00:41:47.500
Box, there was still that cross. And then it

00:41:47.500 --> 00:41:49.860
really started to splinter throughout the 90s

00:41:49.860 --> 00:41:52.860
where he kind of like, as I call it, tapped out

00:41:52.860 --> 00:41:57.159
of music at that point. But this album, he loved

00:41:57.159 --> 00:42:00.349
it. He knew every word to bust a move. This played

00:42:00.349 --> 00:42:03.530
at our wedding. This was a must have on the dance

00:42:03.530 --> 00:42:06.710
floor. And I'm sure I'm not alone. A lot of weddings

00:42:06.710 --> 00:42:10.090
probably rock this song. Absolutely. But now

00:42:10.090 --> 00:42:14.170
I only have one aching need, and that is to get

00:42:14.170 --> 00:42:16.869
some kind of footage of your father singing every

00:42:16.869 --> 00:42:20.570
word to principal's office by a young MC. I wish

00:42:20.570 --> 00:42:22.329
I had it, man. It was so much fun. We lived in

00:42:22.329 --> 00:42:24.130
a time where there were no cell phones, man.

00:42:24.230 --> 00:42:26.190
You couldn't just whip out a phone and video

00:42:26.190 --> 00:42:29.750
somebody. And some of it, it's good. It's a good

00:42:29.750 --> 00:42:31.489
thing that most of it, it's a good thing that

00:42:31.489 --> 00:42:33.710
that's the case. But for this, I would have loved

00:42:33.710 --> 00:42:36.070
to have seen that. I will say this. I do have

00:42:36.070 --> 00:42:39.389
one of the karaoke cassettes from Wildwood of

00:42:39.389 --> 00:42:42.050
my father and his friend doing Beastie Boys Fight

00:42:42.050 --> 00:42:44.320
for Your Right to Party. Awesome. And when they

00:42:44.320 --> 00:42:47.239
were done, you could literally hear the crowd

00:42:47.239 --> 00:42:49.159
that gathered because they used to air it live

00:42:49.159 --> 00:42:52.159
on the boardwalk while people were singing. And

00:42:52.159 --> 00:42:55.780
they played the song and they aired it on the

00:42:55.780 --> 00:42:58.340
speakers outside the booth. At the end of the

00:42:58.340 --> 00:43:00.780
recording, you can hear people cheering because

00:43:00.780 --> 00:43:03.500
my dad and his buddy knocked it out of the park.

00:43:03.860 --> 00:43:09.019
Very cool. All right. We're on side B and I feel

00:43:09.019 --> 00:43:12.110
like. You checked off, you were Mr. Box Checker

00:43:12.110 --> 00:43:15.510
on Side A with like important historical songs.

00:43:15.789 --> 00:43:18.610
And I feel like there's certain artists, I got

00:43:18.610 --> 00:43:20.369
Whitney Houston in there, but there's some other

00:43:20.369 --> 00:43:23.190
artists that I feel like we are going to catch

00:43:23.190 --> 00:43:26.030
so much hell and so much flack if we don't include

00:43:26.030 --> 00:43:30.090
them. So let's go with an obvious one here because

00:43:30.090 --> 00:43:32.929
you can't talk 80s dance without talking Madonna.

00:43:33.349 --> 00:43:40.409
I just don't know. express yourself holiday,

00:43:40.750 --> 00:43:45.050
lucky star into the groove, open your heart.

00:43:45.110 --> 00:43:47.789
That's a little bit more on the pop radio side

00:43:47.789 --> 00:43:51.849
of things, but I'm going to go back to some earlier

00:43:51.849 --> 00:43:54.809
Madonna and go off of 84 is like a virgin and

00:43:54.809 --> 00:43:58.230
let's go address you up. Nice. It's got a little

00:43:58.230 --> 00:44:02.880
bit more of a punkier pop spirit to it. So much

00:44:02.880 --> 00:44:06.099
so that real big fish and Zoloft, the rock and

00:44:06.099 --> 00:44:08.440
roll destroyer covered it decades later. And

00:44:08.440 --> 00:44:13.420
it worked as a punk rock song. So I feel like

00:44:13.420 --> 00:44:15.920
I don't want to bring rock into this playlist

00:44:15.920 --> 00:44:19.260
in terms, especially of like the rock sound.

00:44:19.519 --> 00:44:21.900
I know I just went on a spiel about the rock

00:44:21.900 --> 00:44:25.039
and roll hall of fame. Sure. But Madonna is the

00:44:25.039 --> 00:44:28.139
rock and roll attitude and you feel it on dress

00:44:28.139 --> 00:44:30.659
you up. It's, it's a, I don't want to say heavier.

00:44:31.280 --> 00:44:35.159
But this song's got a bit of a edge to it that

00:44:35.159 --> 00:44:37.380
I feel like coming out of Push It and Bust a

00:44:37.380 --> 00:44:41.500
Move holds up. And I love her vocals on the chorus.

00:44:41.659 --> 00:44:45.159
There's just such a almost Joan Jett -type rasp

00:44:45.159 --> 00:44:47.760
when she's singing it. It works so well. The

00:44:47.760 --> 00:44:51.360
song is just so much fun. So there are so many

00:44:51.360 --> 00:44:53.420
Madonna songs I can include here, and I'm sure

00:44:53.420 --> 00:44:55.559
there's going to be some Madonna fans out there

00:44:55.559 --> 00:44:57.840
that are like, why didn't you go with Express

00:44:57.840 --> 00:45:01.280
Yourself? given the vibe we've had so far and,

00:45:01.300 --> 00:45:04.639
and you're right. An amazing song, but I just,

00:45:04.659 --> 00:45:07.239
that's nineties, isn't it? No, it was 89 on the,

00:45:07.239 --> 00:45:11.400
like a prayer album, but like technotronics pump

00:45:11.400 --> 00:45:15.860
up the jam. It had life in 1990. So it gets put

00:45:15.860 --> 00:45:18.940
on both decades when it comes to playlists, but

00:45:18.940 --> 00:45:20.900
I don't know. I'm just feeling dressy up today.

00:45:21.619 --> 00:45:23.900
Nice. Oh, I like it. I'm not going to argue with

00:45:23.900 --> 00:45:27.900
it. Madonna has long since cemented her position

00:45:27.900 --> 00:45:32.739
as the the queen of pop and unmitigated, just

00:45:32.739 --> 00:45:37.420
able to, again, reinvent herself for all styles

00:45:37.420 --> 00:45:40.960
of pop music and how that how the changing trends

00:45:40.960 --> 00:45:43.239
were and how she was able to stay on top of all

00:45:43.239 --> 00:45:45.019
that. She's the undisputed queen. There's no

00:45:45.019 --> 00:45:47.539
question about it. dress you up as a great tune

00:45:47.539 --> 00:45:50.739
has great energy high energy and then he's guaranteed

00:45:50.739 --> 00:45:54.119
to get everybody dancing so um i know i've set

00:45:54.119 --> 00:45:56.460
the bar kind of tough for you now because that's

00:45:56.460 --> 00:46:04.400
like yeah like how do we um all right um let's

00:46:04.400 --> 00:46:08.119
go into this later on 80s trends of of where

00:46:08.119 --> 00:46:11.579
dance music kind of was going and this is kind

00:46:11.579 --> 00:46:15.059
of like one of those I can't call it a boy band,

00:46:15.239 --> 00:46:22.340
but it was a group. Well, it's the Jets. Wow.

00:46:23.059 --> 00:46:28.199
Let's go with all over him. Oh, wait, no. No,

00:46:28.320 --> 00:46:32.960
I'm going with Crush On You. Yeah, let's go with

00:46:32.960 --> 00:46:34.460
Crush On You, because I could have gone with,

00:46:34.579 --> 00:46:37.659
what was the other? Now I can't even think of

00:46:37.659 --> 00:46:39.179
the name of it, but it was the one where he's

00:46:39.179 --> 00:46:41.880
singing about the girl calls him all the time

00:46:41.880 --> 00:46:44.380
to go over and fix all her stuff. The theme to

00:46:44.380 --> 00:46:51.320
Chip and Dale's Rescue Rangers? Maybe. Could

00:46:51.320 --> 00:46:54.079
have been. No, it's Crush on You is one of those

00:46:54.079 --> 00:46:56.760
great high energy tunes. And again, it's one

00:46:56.760 --> 00:46:59.480
of those where these guys just one hit after

00:46:59.480 --> 00:47:02.400
another. And for a little while, you couldn't

00:47:02.400 --> 00:47:05.909
get away from this album. No. if you were younger

00:47:05.909 --> 00:47:09.710
in the eighties and you watch Nickelodeon, Nickelodeon

00:47:09.710 --> 00:47:13.909
latched onto the jets with the Nick rocks show.

00:47:13.989 --> 00:47:16.329
If you remember that, if not, I might've cleared

00:47:16.329 --> 00:47:19.530
some cobwebs off your brain. They were all in

00:47:19.530 --> 00:47:22.409
on the jets. Yeah. Rocket to you was the song

00:47:22.409 --> 00:47:25.550
I was thinking of. Okay. Okay. Yeah. That was

00:47:25.550 --> 00:47:29.230
definitely a, uh, coming out of Madonna, but.

00:47:30.389 --> 00:47:32.889
Yeah, undeniable. I honestly, when you said group,

00:47:33.010 --> 00:47:35.369
I assumed you were going to go new kids on the

00:47:35.369 --> 00:47:38.630
block. But then when you said a mixed group,

00:47:38.710 --> 00:47:41.869
I knew that wasn't the case. I could easily make

00:47:41.869 --> 00:47:44.449
a case following up the Jets crush on you with

00:47:44.449 --> 00:47:48.449
you got the right stuff. But I know I can't do

00:47:48.449 --> 00:47:51.909
that dance. I can't either. I can't do any dance.

00:47:52.030 --> 00:47:54.010
Let's just be honest. I think the reason my wife

00:47:54.010 --> 00:47:56.050
picked this is because she knows how terrible

00:47:56.050 --> 00:47:59.699
of a dancer I am. But I also have artists that

00:47:59.699 --> 00:48:03.579
I'm like, if we don't get to them, I got to be

00:48:03.579 --> 00:48:06.980
obvious here, dude. And we got to go with another

00:48:06.980 --> 00:48:09.699
artist that if you don't include it on an 80s

00:48:09.699 --> 00:48:13.300
dance mix, like what are we doing here? And that's

00:48:13.300 --> 00:48:16.480
Michael Jackson. Oh, you've got to. I mean, you've

00:48:16.480 --> 00:48:18.739
got to. Philip Bergman chimed in with Pretty

00:48:18.739 --> 00:48:21.840
Young Thing. You could go with Billie Jean. You

00:48:21.840 --> 00:48:25.329
can go with Beat It, Smooth Criminal. want to

00:48:25.329 --> 00:48:27.530
be starting something, but we're almost halfway

00:48:27.530 --> 00:48:31.090
through side B. So that seems oddly placed and

00:48:31.090 --> 00:48:34.829
anticlimactic. Had I started side B with want

00:48:34.829 --> 00:48:36.570
to be starting something instead of push it,

00:48:36.610 --> 00:48:40.750
it might've made more sense, but I'm just going

00:48:40.750 --> 00:48:44.570
to go with the title track. 1982 thriller. Beautiful.

00:48:44.670 --> 00:48:49.170
I mean, that song is a, I know it's universally

00:48:49.170 --> 00:48:52.789
tied to Halloween because of the Vincent price

00:48:52.789 --> 00:48:57.960
segment. But when I think of 80s dance, I know

00:48:57.960 --> 00:49:00.739
we're talking roller rinks and dancing on the.

00:49:00.820 --> 00:49:03.739
But in my mind, one of the first dances I think

00:49:03.739 --> 00:49:09.460
of is either the moonwalk or the thriller dance.

00:49:09.679 --> 00:49:12.619
The post graveyard scene, of course. Both of

00:49:12.619 --> 00:49:16.159
them are in my mind. They're equally as iconic

00:49:16.159 --> 00:49:20.940
on the 80s music spectrum. Now I'm going to,

00:49:20.940 --> 00:49:24.039
I'll throw a poll up on the episode page. I want

00:49:24.039 --> 00:49:28.059
to know if you're listening, which of the two

00:49:28.059 --> 00:49:33.780
do you feel is more iconic in the history of

00:49:33.780 --> 00:49:37.460
music, the moonwalk or the dance and thriller?

00:49:38.079 --> 00:49:42.519
Ooh, I think I'm going with moonwalk just for

00:49:42.519 --> 00:49:44.760
the, the nostalgia feeling, but I'll tell you

00:49:44.760 --> 00:49:48.360
what, that world premiere video. We were allowed

00:49:48.360 --> 00:49:52.199
to watch and stay up late and wait for that video

00:49:52.199 --> 00:49:55.820
to drop when it premiered on MTV in 1982. And

00:49:55.820 --> 00:49:59.260
we had nightmares for weeks. Yes, that was an

00:49:59.260 --> 00:50:02.920
event. That video, John Landis, by the way, American

00:50:02.920 --> 00:50:05.840
Werewolf in London, where a lot of the special

00:50:05.840 --> 00:50:08.159
effects were taken from. He directed that video.

00:50:08.519 --> 00:50:11.480
And I mean, that video was a movie. It was a

00:50:11.480 --> 00:50:14.019
movie in and of itself. And it was complete.

00:50:14.539 --> 00:50:17.539
complete with this gorgeous choreography that,

00:50:17.579 --> 00:50:19.500
you know, all these zombies and monsters and

00:50:19.500 --> 00:50:22.440
ghouls were doing in this alleyway. It's just

00:50:22.440 --> 00:50:27.119
so well done. The choreography is stellar. Oh,

00:50:27.239 --> 00:50:29.920
and I got chills from that. I mean, listen, 1982,

00:50:30.079 --> 00:50:34.760
those effects where he transforms into the wolf.

00:50:35.179 --> 00:50:37.239
I don't want to spoil nothing. If you haven't

00:50:37.239 --> 00:50:39.260
seen it, you should see it by now. Like I would

00:50:39.260 --> 00:50:41.639
imagine that everybody has. But by this point,

00:50:41.699 --> 00:50:44.760
man. the whole special effects with the ears

00:50:44.760 --> 00:50:47.599
and the hair growing up out of his skin. And

00:50:47.599 --> 00:50:50.400
they showed the making of after the video. So

00:50:50.400 --> 00:50:53.260
after we were too busy crying, scared out of

00:50:53.260 --> 00:50:56.000
our gourd, we got to see how it was made. That

00:50:56.000 --> 00:50:57.960
kind of helped me sleep a little better knowing

00:50:57.960 --> 00:51:00.940
it really wasn't real. Absolutely. Absolutely.

00:51:01.019 --> 00:51:05.599
What a, I mean, listen, Michael Jackson is musically

00:51:05.599 --> 00:51:08.900
not touchable. He could sing, he could dance.

00:51:09.099 --> 00:51:13.079
He was there. He just had his finger right on

00:51:13.079 --> 00:51:15.440
the pulse of the music industry where it needed

00:51:15.440 --> 00:51:18.500
to be. And Thriller is a perfect album. You can't

00:51:18.500 --> 00:51:21.880
go wrong. Every song on that was a hit. PYT is

00:51:21.880 --> 00:51:24.880
an amazing song, by the way. Great choice. But

00:51:24.880 --> 00:51:27.739
I think very on the nose to include Thriller.

00:51:28.039 --> 00:51:30.280
And I'll say this for anybody who's thinking,

00:51:30.380 --> 00:51:32.539
well, that's a Halloween song. It's not really

00:51:32.539 --> 00:51:35.659
a party song. I know the movie hasn't aged well

00:51:35.659 --> 00:51:38.789
for a lot of people. But think back to the Lambda

00:51:38.789 --> 00:51:41.949
Lambda Lambda and Omega Moo party in Revenge

00:51:41.949 --> 00:51:44.849
of the Nerds. Sure. When they break out the wonder

00:51:44.849 --> 00:51:47.750
joints, what's the song that's playing? Michael

00:51:47.750 --> 00:51:51.050
Jackson's Thriller. Thriller. It works as a party

00:51:51.050 --> 00:51:53.949
song. I'll stand by that. Well, look, if you're

00:51:53.949 --> 00:51:56.289
going to call it a Halloween song, okay, where

00:51:56.289 --> 00:51:59.769
are you playing it? At a Halloween party. That's

00:51:59.769 --> 00:52:01.909
where you're playing it. So it's a party song.

00:52:02.510 --> 00:52:04.650
Brian, what a great pick, man. That was a great

00:52:04.650 --> 00:52:07.460
pick. How do I come out of that? Again, I'm setting

00:52:07.460 --> 00:52:09.400
you up here. I'm really sorry, man. I'm just.

00:52:10.599 --> 00:52:14.800
Well, you know, let's do this. We went through

00:52:14.800 --> 00:52:17.579
with through Thriller and Thriller is a wild

00:52:17.579 --> 00:52:22.019
song with a wild video. Let's stay in the pop

00:52:22.019 --> 00:52:26.539
dance version of this mixtape. And I'm going

00:52:26.539 --> 00:52:29.360
to go with Escape Club's Wild Wild West. Oh,

00:52:29.539 --> 00:52:34.639
yeah. That's a fantastic song. That it is. My

00:52:34.639 --> 00:52:38.099
old cover band used to play it. Such a fun. I

00:52:38.099 --> 00:52:40.519
loved when that came up because that baseline,

00:52:40.659 --> 00:52:43.079
because the drums start and you really don't

00:52:43.079 --> 00:52:44.559
know what it is. But then when you hit that,

00:52:44.579 --> 00:52:51.400
people would go absolutely nuts. And it's again,

00:52:51.559 --> 00:52:55.360
one of those radio edit album version, two completely

00:52:55.360 --> 00:52:58.300
different experiences because the whole reggae

00:52:58.300 --> 00:53:02.440
sequence is doubled on the album. So I have both

00:53:02.440 --> 00:53:04.599
versions on my playlist. Depends on what mood

00:53:04.599 --> 00:53:07.940
I'm in. Such a great song. And another one of

00:53:07.940 --> 00:53:10.460
those, I think I picked it up first on a compilation

00:53:10.460 --> 00:53:16.079
CD, the Pop 88, whatever it was, Pop 80s. It

00:53:16.079 --> 00:53:20.539
had a bottle cap as the picture of the CD liner.

00:53:20.719 --> 00:53:23.420
It was really, really cool to kind of have that.

00:53:23.559 --> 00:53:26.820
And that song is, you know, Escape Club is another

00:53:26.820 --> 00:53:29.699
one of those groups that. I think they kind of

00:53:29.699 --> 00:53:31.460
suffered with the change of the times a little

00:53:31.460 --> 00:53:36.159
bit. They did have a great ballad in 1991 or

00:53:36.159 --> 00:53:39.699
92 called I'll Be There. And it was a that's

00:53:39.699 --> 00:53:41.440
a great song. It's a longer one. I think it's

00:53:41.440 --> 00:53:43.800
over five minutes, but it's a nice it's a great

00:53:43.800 --> 00:53:48.260
song. And their lead singer is fantastic. Oh,

00:53:48.300 --> 00:53:50.139
they also had Shake for the Sheik was a great

00:53:50.139 --> 00:53:52.440
follow up to Wild Wild West. Yeah, the whole

00:53:52.440 --> 00:53:56.219
album is great. Yep, absolutely. All right, your

00:53:56.219 --> 00:54:01.150
turn. All right. I've got other artists that

00:54:01.150 --> 00:54:04.730
I need to include or else it's just, this one's

00:54:04.730 --> 00:54:07.050
tough though, because this can lean me very easily

00:54:07.050 --> 00:54:11.230
into rock because I, I mean, as far as I'm concerned,

00:54:11.369 --> 00:54:15.210
I did the episode back around Thanksgiving about

00:54:15.210 --> 00:54:18.369
my father. And I talked about how I would get

00:54:18.369 --> 00:54:21.190
up and go crazy to let's go crazy from purple

00:54:21.190 --> 00:54:24.110
rain. And part of me wants to go there because

00:54:24.110 --> 00:54:27.949
we're thinking Prince and Prince, you can't,

00:54:28.139 --> 00:54:31.099
have a dance playlist, but the guitar solo at

00:54:31.099 --> 00:54:32.900
the end really does take it a little bit more

00:54:32.900 --> 00:54:36.639
rock leaning. And I want to highlight the dancier

00:54:36.639 --> 00:54:40.239
side of Prince. And I think the only way to do

00:54:40.239 --> 00:54:44.760
that is to say 15 bucks, little man, and go with

00:54:44.760 --> 00:54:49.340
Morris day and the mother in time and jungle

00:54:49.340 --> 00:54:53.659
love. Speaking of which this episode should have

00:54:53.659 --> 00:54:57.309
had a third guest. However, you were too busy

00:54:57.309 --> 00:55:00.349
taking selfies with silent Bob, recreating your

00:55:00.349 --> 00:55:03.590
own J. Hey, look, it's the new J and silent Bob.

00:55:04.690 --> 00:55:06.849
That's right, dude. And I'm going to put them

00:55:06.849 --> 00:55:09.429
on the episode page at my weekly mixtape .com.

00:55:09.489 --> 00:55:11.409
So everybody can see them, but come on, man.

00:55:11.469 --> 00:55:14.230
Wow. Oh, you got to meet Kevin Smith, which is

00:55:14.230 --> 00:55:17.050
absolutely awesome. But the times jungle love

00:55:17.050 --> 00:55:19.650
following up while, while West just musically,

00:55:19.730 --> 00:55:23.849
it feels good. It works. It works a lot. I, you

00:55:23.849 --> 00:55:27.539
know, so I missed, Muse. He was, they were both

00:55:27.539 --> 00:55:32.460
here for chronic con in Chicago. And, um, they

00:55:32.460 --> 00:55:34.800
both came into the station to do an interview,

00:55:34.880 --> 00:55:36.719
to promote the show, to promote the convention.

00:55:37.159 --> 00:55:40.719
And I think Muse was feeling a little tired and

00:55:40.719 --> 00:55:42.980
he had left to kind of go back to the hotel room.

00:55:43.119 --> 00:55:46.440
And he, he said, I guess it was before I happened.

00:55:46.480 --> 00:55:48.920
One of my TDs, one of my, one of my technical

00:55:48.920 --> 00:55:51.079
directors happened to run into the both of them.

00:55:51.119 --> 00:55:55.000
And he said to, uh, he said, Muse said to Kevin,

00:55:55.789 --> 00:55:57.710
You got this right. I'm going to go. And he just

00:55:57.710 --> 00:56:00.849
left. So I got to meet him afterwards. I had

00:56:00.849 --> 00:56:02.829
to do a double take while I'm walking down the

00:56:02.829 --> 00:56:05.349
hall and he's standing in the green room. He's

00:56:05.349 --> 00:56:07.190
standing in the doorway at the green room, just,

00:56:07.250 --> 00:56:11.570
you know, hanging out. And so, you know, he used

00:56:11.570 --> 00:56:14.090
to be a bigger dude. Oh, yeah. He lost a lot

00:56:14.090 --> 00:56:15.750
of weight since the heart attack. Absolutely.

00:56:15.889 --> 00:56:19.469
And I haven't seen him in person since ever.

00:56:19.789 --> 00:56:22.590
So this would be my first time. So I'm like.

00:56:23.079 --> 00:56:25.420
I'm looking and I'm walking past. I'm on my way

00:56:25.420 --> 00:56:29.000
down to the director's office to find my directors.

00:56:29.260 --> 00:56:32.539
And I walk by and I have my head because there's

00:56:32.539 --> 00:56:34.000
a gaggle of people just hanging out the green

00:56:34.000 --> 00:56:36.139
room. And I've got my head kind of cocked to

00:56:36.139 --> 00:56:38.840
the left a little bit. And I see him and I'm

00:56:38.840 --> 00:56:41.139
walking and I just got the stupid grin on my

00:56:41.139 --> 00:56:44.030
face like, hey, everything's fine. It's a. thursday

00:56:44.030 --> 00:56:45.789
whatever the hell they are in your board shorts

00:56:45.789 --> 00:56:49.849
just i'm here in my board and next thing i like

00:56:49.849 --> 00:56:54.090
it took me a full four seconds for my brain to

00:56:54.090 --> 00:56:58.190
process hey that was kevin smith i was like wait

00:56:58.190 --> 00:57:00.789
a minute. And he did the whole double take thing

00:57:00.789 --> 00:57:03.469
to me. It was hilarious. And we had a, we had

00:57:03.469 --> 00:57:05.570
a great, like five minute conversation. He gave

00:57:05.570 --> 00:57:07.610
me a big hog at the end. He's like, thanks for

00:57:07.610 --> 00:57:10.369
being a fan man without you guys. Uh, you know,

00:57:10.369 --> 00:57:13.329
I'm nothing. And I was like, no, you have all

00:57:13.329 --> 00:57:15.630
the talent. And you didn't ask him to come on

00:57:15.630 --> 00:57:18.389
the show. I, you know, I could have, I should

00:57:18.389 --> 00:57:21.710
have next time. Okay. Next time we're going to

00:57:21.710 --> 00:57:24.269
have to make it happen, but back to jungle love

00:57:24.269 --> 00:57:28.539
Prince. Besides the vocals, Prince plays every

00:57:28.539 --> 00:57:31.519
single instrument on this track. When I talk

00:57:31.519 --> 00:57:34.239
about Mammoth and Wolf Van Halen, why I'm such

00:57:34.239 --> 00:57:36.539
a fan of his music, he plays everything on the

00:57:36.539 --> 00:57:39.139
album. Prince was doing this back in the 80s.

00:57:39.420 --> 00:57:42.380
Listen to Jungle Love. That is just Prince laid

00:57:42.380 --> 00:57:44.559
over Prince laid over Prince laid over Prince.

00:57:44.940 --> 00:57:47.960
And if you got the Originals album that came

00:57:47.960 --> 00:57:50.940
out, I want to say around 2019, it's a Prince

00:57:50.940 --> 00:57:53.719
album. There's the version with his vocals on

00:57:53.719 --> 00:57:56.619
it, if you've never heard that. Jungle Love is

00:57:56.619 --> 00:58:00.780
just one of those songs that it's perfect. How

00:58:00.780 --> 00:58:02.599
do you not feel good when you hear that song?

00:58:02.840 --> 00:58:06.599
It instantly makes you smile. Yep, absolutely.

00:58:08.199 --> 00:58:14.500
All right. Well, let's get back into the club

00:58:14.500 --> 00:58:18.639
synth pop, kind of the synthier sounds. And I

00:58:18.639 --> 00:58:22.019
believe that another one of your faithful Patreon

00:58:22.019 --> 00:58:25.239
listeners suggested this group, maybe two. I

00:58:25.239 --> 00:58:27.440
believe Philip Bergman was one of them that came

00:58:27.440 --> 00:58:30.760
up with dead or alive. And I'm going to go with

00:58:30.760 --> 00:58:34.860
brand new lover. Ah, because as much as I do

00:58:34.860 --> 00:58:38.039
like spin me around, that's the one secret shows.

00:58:38.179 --> 00:58:41.699
Yep. Yeah. Seeker had that. And I love that song.

00:58:41.699 --> 00:58:44.059
And that song is great, especially since, you

00:58:44.059 --> 00:58:46.460
know, the wedding singer kind of revitalize that

00:58:46.460 --> 00:58:48.659
song. I think brand new lover kind of speaks

00:58:48.659 --> 00:58:51.460
more to that dancey kind of frenetic energy feel.

00:58:52.059 --> 00:58:55.619
OK, that's fair. I personally am a spin me around

00:58:55.619 --> 00:58:57.940
like a record guy because I remember in the late

00:58:57.940 --> 00:59:02.099
90s, early 2000s, Dope did their industrial cover

00:59:02.099 --> 00:59:05.440
of it that took off on that scene. So that still

00:59:05.440 --> 00:59:07.179
kind of hangs in my head. And you mentioned the

00:59:07.179 --> 00:59:10.599
wedding singer movie. But Brand New Lover is

00:59:10.599 --> 00:59:14.239
just as infectious of a song. 86 is mad, bad

00:59:14.239 --> 00:59:17.360
and dangerous to know is a great album. These

00:59:17.360 --> 00:59:21.320
guys are underrated when it comes to. the impact,

00:59:21.460 --> 00:59:24.760
at least in the U S that they had on dance music.

00:59:24.840 --> 00:59:27.480
And I'm glad that they were included in this

00:59:27.480 --> 00:59:29.880
mix tonight because they definitely deserve to

00:59:29.880 --> 00:59:32.619
be a part of the discussion. Yep, for sure. And

00:59:32.619 --> 00:59:35.239
again, it's, it's one of those with the repeated

00:59:35.239 --> 00:59:39.639
loop tracks and the, the real heavy synthy drum

00:59:39.639 --> 00:59:44.980
feel just, it works perfectly. Well, we each

00:59:44.980 --> 00:59:48.739
have one song left. And I think there's no denying

00:59:48.739 --> 00:59:51.380
that we've covered a lot of bases here when it

00:59:51.380 --> 00:59:54.579
comes to 80s dance. And there's a lot of artists

00:59:54.579 --> 00:59:57.940
and a lot of songs that I feel like we are staring

00:59:57.940 --> 01:00:00.300
down the barrel of a volume two for this, Jay.

01:00:00.460 --> 01:00:02.420
I don't think there's any way of escaping it.

01:00:02.679 --> 01:00:05.219
Yeah, I've still got at least 20 songs on my

01:00:05.219 --> 01:00:08.539
list. But I feel like there's one song that just

01:00:08.539 --> 01:00:11.460
keeps bubbling up to the surface that if we don't

01:00:11.460 --> 01:00:18.550
include it, is it really an 80s dance mix? Yeah,

01:00:18.550 --> 01:00:21.289
I'm going to Rick Roll this bitch. Rick Astley

01:00:21.289 --> 01:00:24.130
never going to give you up from 1987's Whenever

01:00:24.130 --> 01:00:27.650
You Needed Somebody. The Rick Roll became a thing

01:00:27.650 --> 01:00:31.469
because the song is just so damn catchy and so

01:00:31.469 --> 01:00:34.510
damn infectious. When Rick Astley joined the

01:00:34.510 --> 01:00:38.610
Foo Fighters on stage and the entire arena started

01:00:38.610 --> 01:00:41.989
going nuts, people want to hate on the song and

01:00:41.989 --> 01:00:45.289
use it as a joke. But deep down inside, there's

01:00:45.289 --> 01:00:48.860
a love behind. Never going to give you up. And

01:00:48.860 --> 01:00:52.380
we have to include, if nothing more, as a historical

01:00:52.380 --> 01:00:56.719
moment, you could not escape this song in 1987.

01:00:57.800 --> 01:01:01.019
Absolutely. It was a dance anthem, a pop anthem,

01:01:01.059 --> 01:01:03.920
and you still can't escape it now. It has to

01:01:03.920 --> 01:01:06.619
be in the discussion. Whether you feel it belongs

01:01:06.619 --> 01:01:10.239
or not, it's up to you. But I think it's worthy

01:01:10.239 --> 01:01:13.820
of a spot here tonight. Don't lie and say you

01:01:13.820 --> 01:01:15.579
don't like this song. Don't do it. It's like

01:01:15.579 --> 01:01:18.300
Nickelback. It's like people who hate on Nickelback.

01:01:18.320 --> 01:01:21.619
You know every word. Stop. Don't lie. Don't lie

01:01:21.619 --> 01:01:24.059
and say you don't like this song. I mean, listen,

01:01:24.219 --> 01:01:27.800
pop culture all over the place. One of my favorite

01:01:27.800 --> 01:01:30.280
Family Guy episodes that we've talked about a

01:01:30.280 --> 01:01:33.039
million times on the show and on TuneStyles is

01:01:33.039 --> 01:01:35.980
the one where Norm Macdonald's death keeps doing

01:01:35.980 --> 01:01:39.320
the back to the future thing. And at the end,

01:01:39.320 --> 01:01:44.820
it's Brian playing the keytar. Rick Astley has

01:01:44.820 --> 01:01:50.570
recut. I think he remixed the song. And before

01:01:50.570 --> 01:01:54.969
that, there was a choir in London or in England

01:01:54.969 --> 01:01:59.210
that was doing a choral version of Never Gonna

01:01:59.210 --> 01:02:03.210
Give You Up. So this song is high A column. Let's

01:02:03.210 --> 01:02:05.670
go. I guess you can at me if you really, really,

01:02:05.730 --> 01:02:08.190
really hate the song, but it's going to be so

01:02:08.190 --> 01:02:10.269
loud. I probably won't hear you because I am

01:02:10.269 --> 01:02:14.110
just rocking out. And also, I will say this,

01:02:14.130 --> 01:02:16.539
though. It does make my. My kids kind of squirm

01:02:16.539 --> 01:02:18.420
a little bit, which makes it even more special

01:02:18.420 --> 01:02:20.280
for me when I put it on. So cringy. It's great.

01:02:23.019 --> 01:02:26.260
Death. That's great. I love it. I love it. That's

01:02:26.260 --> 01:02:28.659
a great pick. Well, you got to get the festivity

01:02:28.659 --> 01:02:31.539
started tonight. So now you got to wrap this

01:02:31.539 --> 01:02:35.420
up in a bow. Well, no pressure, Brian. No pressure

01:02:35.420 --> 01:02:40.099
at all. But what better way to close out an 80s

01:02:40.099 --> 01:02:43.219
dance party than by killing the prime minister

01:02:43.219 --> 01:02:46.650
of Malaysia. Let's go with Frankie goes to Hollywood

01:02:46.650 --> 01:02:50.090
and relax because that's a great thing to do

01:02:50.090 --> 01:02:52.269
at the end of an 80s dance party is to relax.

01:02:52.909 --> 01:02:55.809
Oh, my God. What a great song. 84 is welcome

01:02:55.809 --> 01:02:58.929
to the Pleasure Dome. Unescapable everywhere.

01:02:59.449 --> 01:03:02.090
And just like a lot of the songs we talked about

01:03:02.090 --> 01:03:05.309
tonight, lived a double life, had a second life

01:03:05.309 --> 01:03:08.989
in the 90s. Think about the reference on Friends.

01:03:09.510 --> 01:03:11.670
That's right. The Frankie goes to Hollywood shirt

01:03:11.670 --> 01:03:14.690
with the relax with Ross and Rachel. Think about

01:03:14.690 --> 01:03:18.510
Bloodhound Gang sampling it and calling it out

01:03:18.510 --> 01:03:21.869
in Mope, which was the follow -up to the Bad

01:03:21.869 --> 01:03:24.929
Touch single. They have a video for it. This

01:03:24.929 --> 01:03:29.289
song has taken on a life of its own over and

01:03:29.289 --> 01:03:31.829
over again, similar to Rick Astley's Never Gonna

01:03:31.829 --> 01:03:35.449
Give You Up. And, oh yeah, it's just so much

01:03:35.449 --> 01:03:37.949
fun. And this is a song that I think you can

01:03:37.949 --> 01:03:40.909
pinpoint to the 80s, but in all the best ways.

01:03:41.659 --> 01:03:44.579
Yeah, you've got that slamming synth bass solo,

01:03:44.820 --> 01:03:49.619
just high, high energy and questionable lyrical

01:03:49.619 --> 01:03:55.340
content. OK, sure. For the time. Sure. For now,

01:03:55.420 --> 01:03:58.699
absolutely. No, not so much. But yeah, I think

01:03:58.699 --> 01:04:01.340
this is the perfect close. Well, I'll leave it

01:04:01.340 --> 01:04:03.619
up to the mixtapers to fully decide. But there

01:04:03.619 --> 01:04:07.300
you have it. Side B of the ultimate 80s dance

01:04:07.300 --> 01:04:10.150
music playlist, which kicked off. with Salt -N

01:04:10.150 --> 01:04:13.389
-Pepa's Push It, followed up by Young MC's Bust

01:04:13.389 --> 01:04:17.010
a Move, Madonna's Dress You Up, The Jets' Crush

01:04:17.010 --> 01:04:20.750
on You, Michael Jackson's Thriller, Escape Club's

01:04:20.750 --> 01:04:24.349
Wild Wild West, The Times' Jungle Love, Dead

01:04:24.349 --> 01:04:27.550
or Alive's Brand New Lover, Rick Astley's Never

01:04:27.550 --> 01:04:30.309
Gonna Give You Up, and Frankie Goes to Hollywood

01:04:30.309 --> 01:04:34.070
Relax. Head over to myweeklymixtape .com to hear

01:04:34.070 --> 01:04:37.969
all 20 songs we've discussed in this mix. through

01:04:37.969 --> 01:04:42.269
the playlist embedded on the episode page. Jay,

01:04:42.469 --> 01:04:44.789
as always a pleasure, my friend, thank you so

01:04:44.789 --> 01:04:47.469
much for joining me and look forward to definitely

01:04:47.469 --> 01:04:50.469
volume two -ing this one down the road. Yeah,

01:04:50.489 --> 01:04:52.449
man. Name the time and the place. We'll be there.

01:04:52.750 --> 01:04:55.389
And to those listening, if you have a topic you

01:04:55.389 --> 01:04:57.650
want to submit for a future My Weekly Mixtape

01:04:57.650 --> 01:05:02.369
episode, email me myweeklymixtape at gmail .com.

01:05:02.489 --> 01:05:18.679
You can also find me at myweeklymixtape. on some

01:05:18.679 --> 01:05:24.750
extra stuff. I appreciate you listening. If you

01:05:24.750 --> 01:05:28.269
listen on Apple, Spotify, or YouTube, please

01:05:28.269 --> 01:05:31.309
drop a like or a five -star review. Let other

01:05:31.309 --> 01:05:34.050
people know about the show. Continue to spread

01:05:34.050 --> 01:05:37.050
the word and help me keep this conversation going.

01:05:37.389 --> 01:05:40.530
My name is Brian Colburn. This has been my weekly

01:05:40.530 --> 01:05:42.929
mixtape, and I'll see you next time. But until

01:05:42.929 --> 01:05:46.550
then, enjoy cranking up this ultimate 80s dance

01:05:46.550 --> 01:05:48.610
party playlist. See you next time.