Episode 7: Rashida Jones
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Transcript
Time Crisis Episode 7.
Finally a godly number after last week's devilish number.
Today I'm joined in the studio by painter Jake Longstreth
and friend of the show, actress/writer Rashida Jones.
We'll be hearing new music from my friend Lush Life
as well as counting down the hits of 1979 and 2015.
Plus, we'll be digging into one of the greatest albums of all time,
Fleetwood Mac's "Tusk."
This is Time Crisis with Ezra Kainey.
can say. My picture clear, everything seems so easy. And so I dealt to the floor, one of us had to go. Now looks different, I want you to know. One of us is crying, one of us is
lying.
Leave a lonely bed. Staring at the ceiling. Wishing she was somewhere else instead.
And one of us is lonely, one of us is lonely. Waiting for a call. Sorry for ourself, we're a stupid thing.
Shakedown, 1979. Cool kids never have a time.
Like what right above this dream, could I should be?
Two bodies skipping like a stone. Headlights pointing at the dawn. We were sure we'd never see an end to it all.
And I don't even care to shake this in my head. And we're looking down now, just where our love rested us.
I guess I'm guiding the flow to the end of the road.
Jump across the vacant path of water. Then I judge what we have in store.
The more I think the city's slipping tubes down a sea. And we don't even care. As restless as we are.
We feel without hope in the land of a thousand years. A port of silent lamented and a shout to the lights and towns below.
Past the bed of sweet sound. Past the bed of thought. We're gone beneath the sound of love.
Justine never knew the rules. Hungdown with the freaks and fools.
No apologies ever need be made. Are you better than you've begun to see?
And we don't even care to shake this in our mood. And we're looking down now, just where our love rested us.
I guess I'm guiding the flow to the end of the road.
The street heats the urgency of now. As you see there's no one around.
That was the Smashing Pumpkins with 1979. You're listening to Time Crisis, episode 7.
This episode we're going to be talking a lot about 1979 because it's the 36th anniversary of 1979.
I'm joined in the studio today by Jake Longstreth.
What's up?
And Rashida Jones.
Hey.
Rashida, we're very glad to finally have you in person at the Time Crisis studio.
You've been on the show previously but in pre-recorded segments where you're telling music stories about Robin Thicke and Bubbles.
Yeah, it's nice to be here in person.
Yeah, we're glad to finally have you.
This might be the smallest crew we've ever had for Time Crisis.
Mm-hmm.
It's a power trio.
I was going to say. It's a powerful but small collection of people.
Bass, guitar, and drums.
It's all you need. All you need.
And that's all we got.
Well, before we dive too deep into 1979, we're going to be talking about Leewood Mac Tusk from that year and counting down the top five Billboard hits from that year.
Before we talk about 1979, let's talk about the present day.
How's everybody doing?
Great.
Us? I'm great.
Woo!
I moved today.
Where'd you move?
I moved to a new house in Highland Park.
So you live there now?
Yeah.
First night in tonight?
Yeah, first night is tonight.
And the movers were at the old apartment at 830 this morning, did the full load in.
And then four hours later, everything was at the new spot.
This is not to make you feel bad about your first night there, but every time I think of a first night, I think of Poltergeist.
Mm-hmm.
You know, when they're like, "Oh, finally we got out of that crazy house."
And then they go to that -- I think that it's like -- is it like a hotel or is it a second house?
And then there's like worse Poltergeist there.
But you're going to be fine.
Wait, is that like the end of the movie?
Yeah.
I was talking to a friend last night that she was telling a story that she moved into her new house that she had bought.
And the first night at four in the morning, neighbors rooster.
[Rooster crows]
And it's like -- it is like a part -- I actually crashed there one night.
And it's like an inseparable fixture to the house.
It's like this cacophony of rooster.
It's like a hipster chicken coop?
No, it's like Mexican chicken coop next door.
What neighborhood is it?
Lincoln Heights.
Well, this is the classic issue that you get with gentrification is people buy houses and they expect that the neighborhood will conform to them.
Right.
And I'm not accusing your friend of -- I don't know anything about your friend.
But then the rooster starts crowing at 4 a.m.
Maybe those people live there forever.
Maybe the rooster is a -- you know, has lived there with them for a long time.
Who knows?
Maybe they have chickens and they eat the eggs and that's just whatever part of how they live.
And then suddenly you got people like calling the city and being like, "Can you do something about this f**king rooster?"
Well, that person actually has not called the city about the rooster.
And I haven't grilled her as to why.
I do get the sense of like not wanting to stir up things in the neighborhood and cause a ruckus.
But who's to say that the person that vacated the house before they moved there left because they hated the rooster so much?
Who knows?
Yeah, it's possible.
We can't assume just, you know, the people that were there prior also loved the rooster.
But anyway, that's like kind of a brutal first night story.
Why don't we get back into some music?
Not everything we play today is going to be from 1979.
That would be way too limiting.
But we're going to play stuff kind of late '70s, early '80s.
Why not?
And, you know, I think one thing I've noticed about Time Crisis so far is we've been leaning very heavily on the Anglosphere,
the English-speaking countries of the world.
So let's try something a little bit different.
This is "Uma Latheni Nabo" with a song that was first brought to many Western ears on a classic compilation called "The Indestructible Beat of Soweto."
Check it out.
[singing in Swahili]
[singing in Swahili]
Form is emptiness. Emptiness is form.
That was Orchestra Baobab with Bouma Amin, a classic band out of Senegal.
So some of our listeners might realize that I'm still here in Los Angeles.
I'm very lucky to be in LA because I get to have great people like Jake Longstreth and Rashida Jones on the show.
But originally Time Crisis was supposed to be a New York show.
We haven't gotten to check in with Cousin Asher and Despot in a long time.
We will. It's getting a little bit ridiculous.
But I want everybody in New York to know, just because work has taken me to LA,
does not mean that I've given up on the city and I won't be home soon.
So with that in mind, I think we should go over a little bit of New York news.
This is New York News.
So what's going on in New York?
Our producer Colin has pulled a few articles to let us know what's happening in New York.
This is one from Gothamist.
As soon as I read the title of this article, I know we have to talk about it.
It says, "Insufferable Millennials Now Doing Juice Crawls."
Okay, right off the bat, this article has a lot of attitude.
A lot.
I'll read you guys the beginning of this article.
"Millennials like myself spend a lot of time defending accusations that our generation is lazy,
entitled, and hell-bent on bringing down the working man's beer."
I don't know what that means.
"But sometimes the city's young folk participate in something so foolhardy,
even the most staunch millennial defender is forced to throw their own under the bus.
And juice crawls, a hot new trend some insane people seem to enjoy right now,
is one such craze worthy of Gen X burning."
And basically what a juice crawl is is people, adults in their 20s to 30s,
who pay $15 to $50 to spend their evening sampling juices from various shops in Manhattan.
Why is he so mad?
Why is he or she so mad about it?
Yeah.
I feel like there would be less police activity if there's kids crawling through juice
and not through alcohol.
That's the problem.
Right, like alcohol can lead to more violence.
Yeah.
We don't know about juice yet, but I don't think so.
Raw food buzz.
Raw food buzz.
I mean, this is one of those situations where I feel like we all hate the world.
We all in agreement that the world, especially America, is a horrible place.
We are?
The panel agrees.
And I think people have this deep hatred of the world because it is so miserable and unfair.
And naturally, when you have this kind of holistic view that something is horrible,
you want to look to find the specific reasons why.
Here we're talking about juice crawls and saying that's the problem.
That's where people are crossing the line.
That's the heart of the problem, the heart of the problem of everything.
Maybe there's an element of blaming the victims.
Or it's blaming the--maybe to the writer it's indicative of the wealth gap.
Who else is going to do the juice crawl besides--
Like wealthy, entitled people who have a lot of time?
I mean, basically in the '80s, people in their 30s or 20s that were making money were yuppies.
The funny thing about this article is that the writer's stance is actually that of Sarah Palin.
Yeah, I wonder how old the writer is.
She's sort of like, "Oh, real America," as if New York City is not real America.
And he's kind of taking that same stance of like, "Look at these rich New Yorkers doing this stupid juice cleanse."
I think it's like--it feels a little bit nostalgic.
Like, "Oh, what happened in the good old days when people just drank beer after work?
Why are they drinking juice?"
But you're right, it does sort of feel like an older generation criticism of a younger generation.
I don't know.
I mean, it's annoying.
It's a joke, but I feel like it's just a joke, right?
Yeah, it's a joke.
Not really annoying to the writer.
Just a reason to write.
Everything's just a big f*cking joke.
Juice is a joke.
Alcohol is a joke.
Well, excuse me if I'm not laughing.
Here's The Rolling Stones with "Waiting on a Friend."
♪ Girls are passing by ♪
♪ It ain't the latest thing ♪
♪ I'm just standing in a doorway ♪
♪ I'm just trying to make some sense ♪
♪ Out of these girls are passing by ♪
♪ 'Cause they tell a man ♪
♪ I'm not waiting on a lady ♪
♪ I'm just waiting on a friend ♪
♪ Mm, the smile in his heart that creeps ♪
♪ Remember what I said ♪
♪ I'm not waiting on a lady ♪
♪ I'm just waiting on a friend ♪
♪ I'm just waiting on a friend ♪
♪ Just waiting on a friend ♪
♪ I'm just waiting on a friend ♪
♪ I'm just waiting on a friend ♪
, ♪ Don't need a boy ♪
♪ Don't need no booze ♪
♪ Don't need a virgin grace ♪
♪ But I need someone I can cry to ♪
♪ I need someone to protect ♪
♪ Mm, making love and breaking hearts ♪
♪ It is a game for you ♪
♪ I'm not waiting on a lady ♪
♪ I'm just waiting on a friend ♪
♪ I'm just waiting on a friend ♪
♪ I'm just waiting on a friend ♪
♪ I'm just waiting on a friend ♪
♪ I'm just waiting on a friend ♪
♪ Just waiting on a friend ♪
♪ Waiting on a friend ♪
♪ Kissing and running ♪
♪ Kissing and running away ♪
♪ Kissing and running ♪
♪ Kissing and running away ♪
♪ Ooh, senses repressed ♪
♪ Ooh, senses repressed ♪
♪ Ooh, senses repressed ♪
♪ Nothing but hope ♪
♪ Nothing but standing hope ♪
♪ Nothing, nothing, nothing ♪
♪ Nothing will stop you and nothing will stop you ♪
♪ Yeah ♪
♪ No one will harm you ♪
♪ No one will stand in your way ♪
♪ No one will bother you ♪
♪ Nothing will stand in the way ♪
♪ Nothing ♪
♪ There's nothing ♪
- That was a little Rolling Stones rock block.
Two songs from their 1981 album,
kind of in the 1979 sphere called "Tattoo You."
That one was heaven.
We still got some more New York news to catch up on.
One of the big news items of the past month
was a story called "Pizza Rat."
And basically it was a video showing a rat
lugging a giant slice of pizza down a staircase
at a Manhattan subway stop.
Appears to be resonating with an audience
of fascinated New Yorkers as #PizzaRat
trends on social media.
I don't think it's really trending anymore,
but a week or two ago, it was.
Why do you think this captivates people,
a rat dragging pizza?
Rashida?
- There's nothing more New York.
A subway, a rat, and pizza?
That's it.
- That's right.
It is very New York.
- That's it.
That's New York in a nutshell.
Also, that rat's a baller, and everybody knows it.
- Because it had a big piece of pizza.
- Full slice.
- Full slice.
- Next up in New York news,
Coachella organizers eyeing Queens Flushing Meadow Park
for Music Fest.
So basically, long story short,
there's gonna be a new, big ol' music festival in New York.
New York is notoriously at a difficult time with festivals.
As a professional musician,
I can tell you some of my stories.
We played All Points West Festival back in the day
at Liberty State Park in New Jersey,
with beautiful view of the city.
The weather was horrendous, and it was fun for us,
and I think the people were there,
but that festival folded, and then in the past few years,
we have Governor's Ball,
which is a great festival on Randall's Island,
which has kind of become New York's premier festival,
but I guess the Coachella organizers
are gonna start their own festival,
and it's causing some controversy
in the live music community,
because Tom Russell of Governor's Ball said,
"New York City is big enough for two music festivals,
"but the proposed timing of this
"sets up an unnecessary rivalry."
So part of the subtext of what Tom Russell's talking about
is that Golden Voice, which started Coachella,
is now owned by AEG, West Coast base, big company,
and Governor's Ball's more of a local New York thing,
so there's some element of a classic
West Coast, East Coast rivalry brewing here.
- What's the scheduling?
Is it like a week or two apart?
- Two weeks apart.
- And it would-- - That's pretty aggressive.
- Yeah, and you have to,
but also there'd be different lineups at each--
- But it'd have to be, right?
- The same band wouldn't play both festivals, right?
They'd have to do blackouts or something, I don't know.
- Yeah, usually festivals, you can't play in the city.
- Yeah. - Too close to it,
which seems fair.
- So if it's different bands--
- I don't know, but that seems kind of aggressive.
Why not just do it in a different season?
- Well, there's only the, I mean--
- What about, when does Governor's Ball?
- They're both in June.
- I'm gonna fix this problem right here.
- Yeah, you could do it right here.
- I'll let you guys. - In September.
- Right. - You know, early September.
- Yeah.
- Well, hold on, guys.
Isn't this just the free market competing?
- Yeah, but I believe in human decency.
There's room for everybody.
There is room for two festivals,
but you have to be slightly decent to each other.
- Yeah, it's pretty Starbucks of them.
- Yeah. - Compassionate.
- No, not-- - Compassionate capitalism.
- Yeah. - No, to set up shop
right across the street
from the cool mom and pop coffee shop.
- Right, but you know, Starbucks' whole thing
is that they have a bit of a hippie-dippie
brand of capitalism.
- I don't see what's hippie or dippie about it.
(laughing)
It seems cutthroat and exacting.
That wraps up New York News,
and now here's Faith Hill with a little lesson on physics,
This Kiss.
♪ I don't want another heartbreak ♪
♪ I don't need another turn to cry, no ♪
♪ I don't wanna learn the hard way ♪
♪ Baby, hello, oh no, goodbye ♪
♪ But you got me like a rocket ♪
♪ Shooting straight across the sky ♪
♪ It's the way you love me ♪
♪ It's a feeling like this ♪
♪ It's centrifugal motion ♪
♪ It's perpetual bliss ♪
♪ It's that pivotal moment ♪
♪ It's a impossible ♪
♪ This kiss, this kiss ♪
♪ Unstoppable, this kiss, this kiss ♪
♪ Cinderella said to Snow White ♪
♪ How does love get so awkward, mister ♪
♪ All I wanted was a white knight ♪
♪ With a good heart, soft touch, nice twist ♪
♪ Ride me off into the sunset ♪
♪ Baby, I'm forever yours ♪
♪ It's the way you love me ♪
♪ It's a feeling like this ♪
♪ It's centrifugal motion ♪
♪ It's perpetual bliss ♪
♪ It's that pivotal moment ♪
♪ It's a unthinkable ♪
♪ This kiss, this kiss ♪
♪ Unthinkable, this kiss, this kiss ♪
♪ You can kiss me in the moonlight ♪
♪ Roll the rooftop under the sky, oh ♪
♪ You can kiss me with the windows open ♪
♪ While the rain comes pouring inside, oh ♪
♪ You can kiss me in sweet slow motion ♪
♪ Let's let everything slide ♪
♪ You got me floating, you got me flying ♪
♪ It's the way you love me ♪
♪ It's a feeling like this ♪
♪ It's centrifugal motion ♪
♪ It's perpetual bliss ♪
♪ It's that pivotal moment ♪
♪ It's a subliminal ♪
♪ This kiss, this kiss ♪
♪ It's criminal, this kiss, this kiss ♪
♪ It's the way you love me, baby ♪
♪ The way you love me ♪
♪ It's the way you love me, darling, yeah ♪
♪ It's the way you love me ♪
♪ It's a feeling like this ♪
♪ It's centrifugal motion ♪
♪ It's perpetual bliss ♪
♪ It's that pivotal moment ♪
♪ It's a subliminal ♪
♪ This kiss, this kiss ♪
♪ It's criminal, this kiss, this kiss ♪
♪ It's the way you love me, baby ♪
♪ The way you love me, baby ♪
♪ It's the way you love me, darling, yeah ♪
- "Time Crisis" with Ezra King.
♪ Be, be, be, be, be, be, be, be, be, be, be, be ♪
♪ Swag ♪
♪ One ♪
- The CEO of Starbucks--
- Howard Schultz.
- Is named Howard Schultz.
- Company was founded in '71 in Seattle, Washington.
Wasn't until about '89 that it really took off, though.
- Jake, why do you know so much about Starbucks?
- I have an interest in the history
of major corporate retail and restaurant chains.
- Like, do you have a sort of like savant knowledge
of when they were founded?
Like, could I ask you about like another--
- You could try, go for it.
- Target.
- Founded in 1962 in Minneapolis, Minnesota.
- Wow, 1962.
- 1962 is a red-letter date in retail history
because Walmart and Target and actually Taco Bell
all started in '62.
- You know, I was just telling Rashida the story
the other day that you told me that Taco Bell,
we always kind of assumed for some reason
that it was called Taco Bell because it's like
the bell is the symbol.
But really, it's named after a man called Bell.
- Yeah, Glenn Bell.
- So what's Glenn Bell's story?
- Glenn Bell was a World War II veteran
who came back to Southern California
and saw the success of McDonald's and Carl's Jr.
was taking off in the burger fast food market.
And he was like, "Well, I can maybe do the same
"kind of model but slightly different vibe with the food."
And he started Taco Bell.
- And didn't he say there's some element of the story
that he was watching Mexican-Americans
have a successful taco stand and he was like,
"Damn, they love tacos."
- I don't remember that part.
- I mean, it's kind of crazy that this white dude
started Taco Bell.
- He did like co-opted a cultural food.
- I don't think enough people know about that.
- And at the time, I don't think people were conscious
of culture being co-opted.
- Right.
- It was just like, "Oh, I'm just gonna do this
"on a corporate level."
- Well, famously, I mean, everybody knows
the McDonald's Brothers story where Ray Kroc was like,
"Hey guys, let me help you out.
"Like, this is a great thing you have."
And like nobody was eating hamburgers at the time.
It wasn't like a thing.
And he was like, "Oh, bye."
And basically just like, I don't know, bought them out,
didn't tell them everything and like made a billion dollars
and they had nothing.
- Yeah, he bought them out and took it corporate.
- They were like a, it was a small, very successful chain
in San Bernardino.
And it was popping off and Kroc was like--
- He's like, "What the hell is this?
"I want a piece of it."
- Yeah, he was like, "We can scale this up."
- Why did so many of these businesses come from California,
do you think?
- I mean, it's sort of like, in a lot of ways,
ground zero for post-war American affluence, you know?
Like all the suburbs are growing, it's like everyone's
moving to LA or Southern California after Second World War
ends and actually, yeah, I mean, if you're thinking about
like why the burger chains, I love how deep we're going
on the burger chains right now.
But I mean, you have to think about the geography too,
like ample room for cattle ranching and ample room
for produce farms.
- And weather, the right weather.
- 'Cause this was back in the era where to start
a hamburger place, you probably needed to be
within 100 miles of some cows maybe.
- Yeah, I mean, I don't know what the figure would be,
like definitely semi-local.
- You don't?
Jake, what are you doing here?
- I know, yeah, I mean, that's a great question.
In like 1952, are you trucking in frozen beef
from Nebraska to stock?
- I don't think you are.
I think you're keeping it pretty local.
- I bet the early McDonald's were pretty good.
I bet it's maybe similar to what In-N-Out.
- I would do a lot to have like a McDonald's burger,
like when they first launched.
I bet it was like delicious.
- I think In-N-Out would make the argument that that's
what they're doing.
- In-N-Out is the bomb, you know that.
- 'Cause they don't use frozen food,
and they're only in California.
Oh yeah, I guess--
- And they just opened one in Oregon.
They're first in Oregon or something.
- I don't like that.
- Why?
- Well, that's just your opinion, Jake,
and frankly, it's very disrespectful
to the people of Oregon.
Pretty soon we'll be counting down the top five
of this week in 2015 and this week in 1979,
but first, let's get into some more music.
This is Peter Tosh with Steppin' Razor.
♪ If you wanna live ♪
♪ Treat me good ♪
♪ If you wanna live, live ♪
♪ I beg you treat me good ♪
♪ I'm like a walking razor ♪
♪ Don't you watch my size ♪
♪ I'm dangerous ♪
♪ He said I'm dangerous ♪
♪ I'm like a walking razor ♪
♪ Don't you watch my size ♪
♪ I'm dangerous, dangerous ♪
♪ If you are a bully ♪
♪ Treat me good ♪
♪ If you are a bully, a bully ♪
♪ I beg you treat me good ♪
♪ I'm like a stepping razor ♪
♪ Don't you watch my size ♪
♪ I'm dangerous, dangerous ♪
♪ I'm like a stepping razor ♪
♪ Don't you watch my size ♪
♪ I'm dangerous, dangerous ♪
♪ If you are a chucky ♪
♪ Nobody chucky for me ♪
♪ If you are a chucky, chucky ♪
♪ Nobody chucky for me ♪
♪ I'm like a stepping razor ♪
♪ Don't you watch my size ♪
♪ I'm dangerous, dangerous ♪
♪ I'm like a stepping razor ♪
♪ Don't you watch my size ♪
♪ I'm dangerous, dangerous ♪
♪ If you eat, I'm spoiled ♪
♪ I beg you treat me good ♪
♪ Treat me good ♪
♪ If you are a chucky ♪
♪ Don't you watch my size ♪
♪ I'm dangerous, dangerous ♪
♪ If you are a chucky ♪
♪ Nobody chucky for me ♪
♪ I'm like a stepping razor ♪
♪ Don't you watch my size ♪
♪ I'm dangerous, dangerous ♪
♪ If you are a chucky ♪
♪ Don't you watch my size ♪
♪ I'm dangerous, dangerous ♪
♪ If you are a chucky ♪
♪ Don't you watch my size ♪
♪ I'm dangerous, dangerous ♪
♪ If you are a chucky ♪
♪ Don't you watch my size ♪
♪ I'm dangerous, dangerous ♪
♪ If you are a chucky ♪
♪ Don't you watch my size ♪
♪ I'm dangerous, dangerous ♪
♪ If you are a chucky ♪
♪ Don't you watch my size ♪
♪ I'm dangerous, dangerous ♪
♪ If you are a chucky ♪
♪ Don't you watch my size ♪
♪ I'm dangerous, dangerous ♪
♪ If you are a chucky ♪
♪ Don't you watch my size ♪
♪ I'm dangerous, dangerous ♪
♪ If you are a chucky ♪
♪ Don't you watch my size ♪
♪ I'm dangerous, dangerous ♪
♪ If you are a chucky ♪
♪ Don't you watch my size ♪
♪ I'm dangerous, dangerous ♪
♪ If you are a chucky ♪
♪ Don't you watch my size ♪
♪ I'm dangerous, dangerous ♪
♪♪
♪♪
♪♪
♪♪
♪♪
♪♪
♪♪
♪♪
♪♪
♪ Who the old vampires ♪
♪ Who don't like to see you sprawled by ♪
♪ Only like to see you suffer ♪
♪ And I said the vampires ♪
♪ Who the old vampires ♪
♪ Only try to bond creation ♪
♪ With your bloody medication ♪
♪ And I said the vampires ♪
♪ And the fight against awfulness ♪
♪ And the fight against creation ♪
♪ And the fight against everything good ♪
♪ For the younger generation ♪
♪ Who the old vampires ♪
♪ Who want no wickedness at midnight ♪
♪ And who the humble when it's daylight ♪
♪ Who the set-top ♪
♪ Who the old vampires ♪
♪ Only like to see blood running ♪
♪ Make sure you know it's fire burning ♪
♪ And the set-top vampires ♪
♪ And the fight against awfulness ♪
♪ And the fight against creation ♪
♪ And the fight against everything good ♪
♪ For the younger generation ♪
♪ Who the old vampires ♪
♪ Only try to bond creation ♪
♪ So keep the blood of the nation ♪
♪ And the set-top vampires ♪
♪ Who the old vampires ♪
♪ Who drink up the old wine ♪
♪ Have no place for the new wine ♪
♪ And the set-top vampires ♪
♪ And the fight against malady ♪
♪ You fight against integrity ♪
♪ Fight against everything good ♪
♪ For the younger generation ♪
♪ Who the old vampires ♪
♪ Only try to bond creation ♪
♪ With your bloody meditation ♪
♪ And the set-top vampires ♪
♪ Who the old vampires ♪
♪ Do no wickedness at midnight ♪
♪ And who the humble when it's daylight ♪
♪ Who the set-top vampires ♪
♪ Who the old ♪
♪
♪
♪
♪ Who the old vampires ♪
♪ Who no grave and sprinklers ♪
♪ Who no vile barriers ♪
♪ Who no iniquity workers ♪
♪ Who the old vampires ♪
♪ Do no wickedness at midnight ♪
♪ Who no humble when daylight ♪
♪ Who the old ♪
♪ Who no iniquity workers ♪
- Woe to them that are at ease in Zion!
- So we had some great success
with our cultural commentary on The Last Time Crisis
by comparing the top five songs
in two different years on the Billboard charts.
Today we're gonna be comparing the top five
of this week in 1979 with this week in 2015.
So you guys, obviously I was not born yet.
I was a glimmer in my father's eye in 1979.
What was going on with you guys in 1979, Rashida?
- I was killing it.
I was three and I was killing it.
- Where were you?
- I was in LA.
I was in nursery school.
Preschool, wait, is that the same thing?
- Yeah. - Is preschool nursery school?
- They're similar. - Okay.
I was at the Sunshine Preschool.
[laughs]
I was loving life.
I don't know what to say.
Living the dream.
- Wait, did you still live with your parents then?
- Yes.
I moved out when I was four.
- Yeah.
That was your last year.
- That was my last year at home.
Then I started making a living at four.
- Do you have any real memories from 1979?
- I do, but I feel like whatever memories I have
are just like a composite of 1978 to 1982.
- So your father is the world famous music producer,
Quincy Jones, and one of his most famous productions
is Michael Jackson, "Off the Wall."
Is that from 1979?
- It was released in '79, yeah.
I mean, I wasn't old enough to know what was going on yet.
But that's a really good album.
And it's still one of my favorites.
- It's a solid album.
Everybody should go check it out.
- 36 years later.
- So you don't have memories of that coming out?
Do you remember when "Thriller" came out?
- Yes, very well, yes.
And I was there when they were making a lot of those songs too.
'Cause I was old enough to be hanging around.
But yeah, I actually went to the set of when they were
making the "Thriller" video.
- Yeah.
- It was in Griffith Park.
And I was--I guess it must have been like '80.
Did that come out '84?
- Sounds right.
- '83? Maybe '83.
This is terrible.
I'm sorry.
But yeah, I remember we went and visited set.
And we were looking through the storyboards
of the video shoot.
And right as we got to the part when he jumps out
and he's got the teeth and he's turning into a werewolf,
Michael walked into the trailer with those crazy green contacts.
And my sister and I lost our minds.
- He frightened you?
- He frightened me.
- That sounds pretty scary.
Jake, what were you doing in 1979?
- I was two, I guess.
- Where were you living those days?
- Southbury, Connecticut.
- Do you have any memories?
- No.
In a drafty old colonial farmhouse
that my parents had bought in '77.
My dad was working as a regional bank manager
for People's Bank, which was a Connecticut-only bank.
You know, back in the day when there used to be
small regional banks.
His starting salary in '77 was $10,000 a year.
- Wow.
- Yeah.
- Was that good money back then?
- I don't think so.
I mean, I think it was, you know,
$35,000 in today's dollars, I'm guessing.
- Okay, so that's--
- That's okay, yeah, it's decent.
- That's less than the starting salary
of a New York City teacher.
- Okay.
I just pulled that figure out, though.
- We'll fact check that later.
- Yeah, yeah.
- Okay, so 1979, let's get started.
- It's time for the Top 5.
F-f-f-f-f-f-f-five.
- The number five song on the Billboard charts
this week in 1979 was by Earth, Wind & Fire.
It's a song called "After the Love Has Gone."
I'm not sure if I know this one.
You know it?
- I love it.
- You love it?
- I love it, it's great.
- I'm guessing this is a ballad.
- It's a ballad, yeah.
It really soars in the chorus, though.
- Ooh, I love those synths.
- Yeah.
- ♪ For a while ♪
♪ To love was all we could do ♪
♪ We were young and we knew it arrived ♪
♪ For a lie ♪
♪ Deep inside we knew our love was true ♪
♪ For a while ♪
♪ We paid no mind to the past ♪
- Really slow.
- ♪ We knew love would last every night ♪
- I like that, it's so patient.
- Yeah, so patient.
- ♪ Would invite us to begin the day ♪
- ♪ Something happened along the way ♪
♪ What used to be happy was sad ♪
- Ooh.
- ♪ Something happened along the way ♪
- ♪ And yesterday was all we had ♪
♪ And oh ♪
♪ After the love has gone ♪
♪ How could you leave me out ♪
♪ And not let me stay alive ♪
♪ Oh, oh, oh ♪
♪ After the love has gone ♪
♪ What used to be right is wrong ♪
♪ Can love be so sweet fine? ♪
- I really like the drummer on this track.
- Wonderful song.
So, "Earth, Wind & Fire,"
they don't get called yacht rock, do they?
- No, they don't.
- But when you hear that, there's a lot in common
with what people call yacht rock.
- Yeah, kind of, I mean,
I was thinking about "Holland Oats" a little bit.
- Yeah.
- But also, it's not,
it's more musically sophisticated,
but it has a similar palette to like Christopher Cross.
- Mm-hmm.
- Which is full-on yacht.
- Yeah, similar palette.
- Yeah, harmonically more interesting.
- I bet you, they were all homies, I bet, back in the day.
- "Earth, Wind & Fire" and Christopher Cross.
- And Christopher Cross and Michael McDonald,
they all probably played together, respected each other,
felt like they had the same vibe.
- Did "Earth, Wind & Fire" have sort of like a,
kind of fierce early '70s stuff?
- Yes.
- And then they kind of mellowed out?
- There was a lot of disco.
- Okay.
- I feel like, you know, September.
- I don't know.
- You don't know September?
- I mean, maybe if I heard it.
- ♪ Oh, oh, oh, September ♪
- Oh, yeah, okay.
- ♪ Oh, oh, oh, yeah ♪
- Yeah, yeah, oh, great song.
- Yeah.
- It's called "September," wow.
- You remember.
- You remember, exactly.
- So, the "Earth, Wind & Fire" equivalent this week,
in 2015, is a song we love on this show.
It's "Silento," "Watch Me," "Whip/Nae-Nae."
[hip-hop music]
- ♪ You already know what it is ♪
♪ Silento, Silento, Silento ♪
♪ Gonna do it for me ♪
♪ Now watch me whip, kill it ♪
♪ Now watch me nae-nae, okay ♪
♪ Now watch me whip, whip, watch me nae-nae ♪
♪ Now watch me whip, kill it, watch me nae-nae, okay ♪
♪ Now watch me whip, whip, watch me nae-nae ♪
♪ Now watch me, ooh, watch me, watch me ♪
♪ Ooh, watch me, watch me ♪
- "Silento," holding strong in the top five.
We talked about that track two weeks ago.
It's an interesting comparison.
I mean, some people would say that "Silento,"
maybe, like, that song sounds a little harder
than after "The Love Is Gone," but, you know, who knows?
Maybe six years, "Watch Me Whip"
will sound just very kind of quaint.
- Maybe, but that song has, like,
five built-in dances that go along with it.
I don't think "After The Love Is Gone"
has a dance to it. [laughs]
- Yeah, I don't think-- that's not a dancing song.
- No. - Far from it.
- Hard to even compare those. - It is hard.
- I mean, "The Earth, Wind, and Fire" was like--
that's a real songwriter, sat down,
playing with those key changes, those modulations.
- B-section. - Right.
Just, like, the-- like, hard to sing that stuff.
- Mm-hmm. - And then the--
I don't even know-- who's the artist in the new one?
- "Silento." - Oh, "Silento."
- It's, like, a vibe song.
- Yeah, it's sort of like, get this beat going.
- Well, yeah, it's a dance song.
I mean, but the truth is, there's the equivalence
in the '50s and '60s of dance songs that maybe--
- Absolutely. - That would maybe
uncharitably be called novelty songs,
but they're just great songs that have a dance
that goes with them, and they talk about the dance in the song.
- And "Earth, Wind, and Fire" probably has songs like that.
It's just not that one. - Yeah.
But two great songs, I would say, so far, to draw.
- I like them both very much. - Between '79 and 2015.
Now, this is a guy we were just talking about before.
The number four song on the Billboard charts in 1979
was Michael Jackson's "Don't Stop 'Til You Get Enough."
- ♪ You know, I was, I was wondering ♪
- Just a banger. There's nothing to be said.
- But Rashida, you have to recuse yourself
from this discussion. - Okay.
- ♪ It makes me feel like that ♪
- I don't remember the-- - ♪ It makes me feel like that ♪
- ♪ Whoo! ♪
[upbeat music]
- Those strings are awesome.
♪ ♪
Lot of space in there.
- ♪ Baby ♪
- Very forward-thinking production.
- ♪ Just rise and go ♪ - Yes.
♪ ♪
- I love the guitar playing, that palm muted.
- ♪ Just the first of us ♪
♪ That makes it happen ♪
♪ It makes no questions ♪
♪ Why ♪
♪ Ooh, it's awesome ♪
♪ Most of my, most of my ♪
♪ I'm over it now ♪
♪ Just tell me ♪
♪ Tell you, you know ♪
♪ Keep on with the force, don't ♪
♪ Don't stop 'til you get enough ♪
♪ Keep on with the force, don't ♪
♪ Don't stop 'til you get enough ♪
♪ Keep on with the force, don't ♪
♪ Don't stop 'til you get enough ♪
♪ Keep on with the force, don't ♪
♪ Don't stop 'til you get enough ♪
- Michael Jackson, "Don't Stop 'Til You Get Enough."
Classic song. I would say comparing that
to "Earth, Wind & Fire," that sounds a bit more modern.
- Yeah. - Yeah.
- Especially in the beginning with just the bass
and him talking, like you said, all the space.
- Sorry. Does it sound like I want to talk?
- No, no, yeah. - 'Cause I'm just breathing.
I'm not allowed, right? - No, no. Okay.
- I'm not allowed? Okay. - We changed the rules.
- Way in. - Okay. Okay, go in.
- You probably have the most personal connection to this song.
- I was just gonna say that I know that my dad
would play these songs before he, you know,
finalized the mix. He'd play them on, like,
tiny little speakers because he knew that most people
would be listening to the song, like, in their car
or, you know, with what they had at home,
like, professional, like, you know, speakers.
- Right. - So he wanted it to work
at that level. - Like on a little transistor radio?
- That might be a little small, but yeah,
like, something, you know.
- Did your dad's car, you think, have a cassette deck in 1979?
- Like, our car? He doesn't drive.
- Oh, so your father-- has he ever owned a car?
- Not that he's driven.
- Okay. Interesting. - He doesn't drive.
- So your dad's never driven once in his life?
- No. - Wow. - Yeah, wow.
- So everybody, you should keep in mind, that song was produced by a man
who's never driven once in his life,
so maybe driving's a bit overrated.
[laughter]
The number four counterpart in 2015, this is also fascinating.
We have a lot of interesting match-ups today.
The number four song on the charts in 2015
is Drake with "Hotline Bling."
- ♪ You used to call me all night ♪
♪ You used to, you used to ♪
♪ Yeah ♪
♪ You used to call me on my cell phone ♪
♪ Late night when you need my love ♪
♪ Call me on my cell phone ♪
♪ Late night when you need my love ♪
♪ And I know when that hotline bling ♪
♪ That can only mean one thing ♪
♪ I know when that hotline bling ♪
♪ That can only mean one thing ♪
♪ Ever since I left the city, you ♪
♪ Got a reputation for ♪
- So Drake and Michael Jackson, I mean, you can definitely draw some comparisons
with the production. A lot of space, very tasteful,
definitely not going over the top. In terms of sentiment,
that's an interesting comparison. So Michael Jackson, "Don't Stop Till You Get Enough."
Like, what's that song about? It's basically just saying, "Have fun"?
- "Keep on to the force, don't stop the force."
Is it like, "May the force be with you, force"?
I've never thought about it. - Probably.
- I think it's just like, I think it's just like party time.
- It's a dance song. - Yeah, it's just party time.
- So Michael's song was about Star Wars and just having a good time and partying.
- Yoda. - Just Yoda and stuff.
- Drake's song, "Hotline Bling," is saying when he gets a phone call
from an old flame, he knows it only means one thing.
- Right. - That they want to talk about Star Wars.
So some things never change.
Back to 1979, the number three song, I have a feeling this one's
going to blow our minds. This is by well-known trumpeter Herb Albert.
And it's the song "Rise." I think this song's an instrumental.
- Oh, this song is the bomb. - This is a very L.A. song.
- It is? - Yeah. This is an instrumental, right?
- Yeah. Incredible that this is on the top five.
- This is number three. This is pretty wild.
- There's a lot of similarities between that song and "Don't Stop Till You Get Enough."
The differences, "Don't Stop Till You Get Enough" makes me happy,
and this song depresses me. Isn't there something about it?
It's schmaltzy. It just reminds me of a faded LP in the window
of some weird, sad record store in some bleak part of L.A.
And I don't mean bleak socioeconomically. I just mean sun-baked, weird,
old guys who were born in Brooklyn are just baking in the sun.
- So evocative for you. - Yeah, I don't know.
Isn't there something like-- doesn't that depress you?
- I don't know. - Yeah, that's terrible music.
- But listen, it is kind of famously sampled, right?
- It got a rebirth. - Yeah. And it has a long life,
so you can-- whether it's depressing or not, it stood the test of time in some way.
- A few props to Herb Alpert. He was a founding member of the Tijuana Brass,
also founded A&M Records. He's a music mogul in addition to a musician.
Did you know Herb growing up in L.A.? - I did, yeah.
I grew up with his daughter, Aria, which is like a nice name for a musician.
- Oh, that's a nice name. Aria Alpert? - Yeah. She was very pretty.
- Did you guys have a rivalry being the daughters of two men
who made appearances on the Top 5 of 1979?
- Yeah, that's all we fought about. No, they were good friends.
- Was your dad friends with Herb? - Yeah. That's how we knew each other.
- No, he was a great man, but I'm sorry. That just reminds me of being a kid,
and you're at home on a Sunday afternoon, and the love boat comes on on a rerun,
and you're just like-- there's something about when you see that stuff.
It just makes you think, "This is what's going to happen to me."
- That you would end up on the love boat? - No, just when you see the love boat,
there's something about-- it's just like this faded relic. It's depressing.
- I felt that way about MASH. I know MASH was considered a great show,
but any time MASH came on, I would get so sad. First of all, that song.
What's it called? - "Suicide is Painless."
- Yeah. - A very depressing song.
- That's just sad. And then it also meant it was time to go to bed,
and I couldn't watch any more TV. - Right. Well, that's never fun.
So let's see how sad the No. 3 song of 2015 is.
Here's "The Weekend" with "Can't Feel My Face."
Will this song be depressing one day? - It could be.
- You think? - Yeah.
- Right now it makes me feel good.
- ♪ I wish it the best of me, the worst is yet to come ♪
♪ But at least we'll both be beautiful and stay forever young ♪
♪ This I know, this I know ♪
♪ She told me don't worry about it ♪
♪ She told me don't worry no more ♪
♪ We both know we can't go without it ♪
♪ She told me you'll never be alone ♪
- Can you feel your face? - Whoo!
- ♪ I can't feel my face when you're not with me ♪
- No, he cannot. He cannot.
- Do you like it? - ♪ I love it ♪
- Oh, you love it. - ♪ I love it ♪
- Really?
- I feel like this song is gonna be depressing to someone that's, like, 12 right now.
- [laughs] - Because--in the future.
- Right. - Because I feel like what you were talking about, Ezra,
of, like, that experience, or, like, MASH, what you were talking about, Rashida,
like, it's like a certain--like, sort of encountering media
at a certain age and then hearing that years later
and it reminding you of, like, weird daytime TV or, like--
- Right. I think that's why there was this whole wave of music
that was called "Chill Wave" that was an important part of the 2000s indie.
And the aesthetic of "Chill Wave"--
and forgive me, any "Chill Wave" artists, if I'm reducing it,
but the general way that it was described, the aesthetic of "Chill Wave"
was kind of like hazy VHS memories.
- Mm. - Like weird cassette tapes.
- Mm-hmm. - And a lot of the samples
kind of sounded like they were taking off something analog.
And there was something about it that was--it was like a rich vein
because it tapped into this weirdly, like, depressing--
these weirdly, like, depressing, evocative memories
of, like, being, like, a kid in the '80s.
- I think if R.L. Pink kind of has that same vibe.
- Yeah, yeah, yeah, totally. That kind of--it's more than just lo-fi.
- Right. - It's specifically this kind of, like,
more--it's like a, you know, like, a broken Teddy Ruxpin.
It's like weird--it's like thrift store.
- Who's an artist that's like that from that time?
- Um, I think, like, some of the classic people
who were called "Chill Wave" and--
I don't want to call them "Chill Wave."
They don't want to be called "Chill Wave."
But at the time, I think a classic example of "Chill Wave"
would be "Washed Out," whose song was used as the theme song
to "Portlandia." - Oh, yeah.
- Oh, this is a good song. - Such a good song.
- This is a great song. But you know, there's something about it
that the production is evoking a weird past.
- Sad. And, yeah, nostalgic, for sure.
- Like, this is kind of that memory of, like, being a kid,
being at somebody else's house,
and they have a broken Teddy Ruxpin.
- And you're tired. - And you're tired.
- And you're, like, tired from the sun.
- My brother and I have an expression called "Eileen's Car,"
which is a reference to our old babysitter, Eileen.
- Yeah. - Who was a great woman,
but we would go to her house after school
'cause our parents were working late.
- Yeah. - And so we'd get in her car
at the bus stop, and it would always--
so this was, like, 1983, '84. - Yeah.
- And just whatever was, like, the soft rock, easy-listening hit,
maybe it was, like, a kind of deeper cut from Michael McDonald.
- Right. - Or, like, kind of, like,
kind of bad Phil Collins. - Mm.
- So that sort of palette, that emotional register,
when we encounter that, we're like,
"Dude, it was so 'Eileen's Car.'" - Right.
- It's the feeling? It's not the song.
It's the feeling. - No, no, it's more--
it's usually more specific to, like, a musical palette,
like a tonal palette. - Right, right.
- Sometimes it's also the feeling. - Right, I mean, maybe that sounds
like one of those things. I think everybody has an "Eileen's Car"
in their life, and I think that's one of those things
that maybe starts out, you're talking to your brother
in "Eileen's Car," you're first talking about the music,
but who knows, maybe 30 years, you and Dave,
both in your 60s. - Yeah.
- You know, you'll be, who knows, standing in post-apocalyptic L.A.,
and you'll find something in the dirt or a gust of wind
or the light will hit something a certain way,
and you guys look at each other and just be like, "Eileen's Car," man.
There won't even be music anymore.
- That's just, like, so novelistic.
- That's the end of the novel called "Eileen's Car."
- Just, like, this very specific coded exchange
between people that have been brothers for, like, 60 years,
you know, and it's impossible to access
if you're outside of it or something.
- Jake looked-- - It's heavy.
- Jake looked straight ahead at the remains...
- Of smoldering Wendy's. - Jake looked ahead
at the smoldering Wendy's in the distance
of what used to be Sherman Oaks, California.
Without raising his head, he whispered,
"Eileen's Car," and then died.
- I think Dave has to nod, and then Jake does.
Dave just nodded. - Dave nodded.
And walked away and didn't look back
until his brother collapsed and died.
- Or his final words, "Eileen's Car."
- "Eileen's Car."
Or Dave comes to your cabin.
Dave finds you in your weird cabin,
and you've been dead for, like, six months,
and it's just, like, a skeleton in a sleeping bag.
- Damn, son. - And he kind of looks around,
and he, like, can't find anything,
except then he, like, rolls over the sleeping bag
with the skeleton in it
and just carved into the floor of the wood cabin.
"Eileen's Car."
And then he kneels and dies.
Let's get back to the hits of 1979.
Number two on the charts in 1979,
I'm not familiar with this song,
or this artist, I don't think.
Robert John with "Sad Eyes."
Anybody know this right off the bat?
- No. - Let's see if the music helps.
[soft music]
- 1979 was my speed.
- You like these--these little sad songs?
- Yeah.
[soft music]
♪ ♪
- Any memories of getting driven
to the Sunshine Nursery School?
1979, Los Angeles? - Not yet. Not yet.
- Dude, sing.
Wait, could this possibly be an instrumental?
- No, I--he's just letting it breathe, man.
- 35 seconds deep. - The space.
There was space in 1979. - Where's the vocals, man?
Robert.
- ♪ Looks like it's over ♪
- Ooh, I like his voice. All right.
Good things come to those who wait.
- ♪ She's coming home today ♪
♪ ♪
♪ We had a good thing ♪
♪ I miss you, sweet love ♪
♪ Why must you look at me that way? ♪
♪ ♪
♪ It's over ♪
♪ I'll stay ♪
- Ooh, this sounds like "Chill Wave."
- Kind of. - This feels like
it was sort of, like, left over from, like, the '70s.
Like, it was, like, the last moment of the '70s.
- Yeah. - You know? Like, the mid-'70s.
- I mean, so far, I gotta say-- - I really like this.
- I like it, too. - That, uh, Michael Jackson
is the freshest-sounding thing on the list.
- Thank you, indirectly, for my family.
- Yeah, this, "The Herb," "The Earth, Wind, and Fire."
If I heard those three songs on loop over and over again,
as much as they all have to offer...
- Be like, people were sad in '87. - I would be sad.
- Yeah. - I'm really feeling that one, anyway.
- I mean, it's--yeah, it's cool.
It's cool, but I don't know.
So let's compare "Sad Eyes" by Robert John
to this week's number two song,
"Justin Bieber, What Do You Mean?"
[soft music]
- Number two songs tend to be a little melancholy.
- "Sad Eyes, What Do You Mean?" - Mm-hmm.
♪ ♪
- I like this song.
- ♪ What do you mean? ♪
♪ Oh, oh, oh ♪
♪ When you nod your head yes ♪
♪ But you wanna say no ♪
♪ What do you mean? ♪
♪ Hey, yeah ♪
♪ When you don't want me to move ♪
♪ But you tell me to go ♪
♪ What do you mean? ♪
♪ Oh, what do you mean? ♪
♪ Since you're running out of time ♪
♪ What do you mean? ♪
♪ Oh, oh, oh ♪
♪ What do you mean? ♪
- Again, people in the '79
were feeling chord changes. - Mm-hmm.
- This--another one of these songs
where they just, like, kind of have that beat going.
- 2015 is about vibes.
- Yeah, so sort of like, we have--let's not change.
- Right. - Well, yeah.
- And I think-- - And they dynamically step it up and down.
- Do you think there's-- - But harmonically, it's the same chords.
- No, I think that's what always happens with musical styles.
Like, there's a reaction to kind of this, like,
Baroque stuff with lots of little details and stuff,
and then eventually that stuff starts to sound soggy.
Like, overloaded, and then eventually you just wanna hear...
[imitates beat] - Mm-hmm.
- And there's something, like, really refreshing about--
- Yeah. - About the Bieber song. It sounds very fresh.
- Was there a moment--was there, like, a turning point?
I feel like everybody sort of embraced dance music.
- They did? - Well, no, I mean--
I mean, pop stars, like, really big pop stars were like...
- Right. - "We're doing dance songs.
We're just doing it." Like, every single kind of pop star
was like, "We're just all gonna go work with whatever,
like, hot producer, and make--"
I kind of feel like, for me, I was more aware of it
when--was that Rihanna-Drake song?
- "Say My Name"? - Mm-mm. What's it called?
- Um... - Is it called "Take Care"?
No. Is it--what's it called? - Oh.
- ♪ I'll take care of you ♪
Yeah, with the, uh... - Yeah, that was the first one.
- The Gil Scott and her ensemble. - Yeah, I was like, "Huh.
That's, like, a new feeling from them."
- Well, the truth is, pop music's always--
unless it's a ballad-- I think it's always had a bit of dancey-ness.
Like, you're supposed to be able to dance to most pop music.
But I think also a lot of pop people looked around
the same way that, like, when rock was, like, weirdly big,
a lot of pop music kind of would take some of the textures
- of rock music. - Mm-hmm.
I think, you know, a lot of pop people look around,
and they see how big, like, European dance music has become,
and they say, like, "Wow, some of the biggest pop stars in the world
can't sell as many tickets as this, like, Dutch DJ
who is not even a household name."
So maybe there's something to what that Dutch DJ's doing.
Are you guys ready for the number one songs of 1979 and 2015?
- Yes. - Mm-hmm.
This is a big one. I don't know how I'm gonna feel hearing this song.
I haven't heard it in a long time.
This is the number one song of this week in 1979.
It's The Knack with "My Sharona."
I don't know if I like this song or not.
I mean, it's like, I have no opinion on it.
I've heard it so many times.
[playing in fast-paced rhythm]
♪ Oh, my little pretty one, my pretty one ♪
♪ When you gonna give me some ♪
♪ My Sharona ♪
♪ Will you make my motor run, my motor run ♪
♪ And come and offer the light ♪
♪ Never gonna stop, give it up, such a dirty mind ♪
♪ I always get it up for the touch of the undertone ♪
♪ My, my, my, my, yeah, whoa ♪
♪ My, my, my, my Sharona ♪
♪ Come a little closer, I'll be your hug ♪
♪ Close enough to look in my eye ♪
♪ Keep it in a mystery, kiss me ♪
♪ Running down the length of my thigh ♪
♪ Sharona ♪
♪ Never gonna stop, give it up, such a dirty mind ♪
♪ I always get it up for the touch of the undertone ♪
♪ My, my, my, my, yeah, whoa ♪
♪ My, my, my, my Sharona ♪
♪ Yeah ♪
[cheers and applause]
[playing in bright rock rhythm]
♪ ♪
Good solo.
"The Knack" with "My Sharona."
Do you guys remember that song?
Of course. Absolutely.
That's a classic. I feel like that's everywhere.
Do you know anything about Sharona?
Mm-mm.
Sharona is, like, an L.A. girl.
Uh-huh.
And she is now a real estate agent, and I met her.
My friend was looking for houses,
and Sharona showed us around the house.
Really? Yeah.
And how did you know it was her?
She was like, "I know you're gonna ask, yeah, I'm that Sharona."
I think that my friend told me before we went,
but it's like, she should be proud.
That's just like local lore.
Everybody knows that Sharona is a real estate agent.
Rosanna is Rosanna Arquette. Toto.
Oh. I didn't know that.
I've never met anybody with the name Sharona.
Yeah, right. I have.
[laughs]
Was she a real estate agent?
Yes.
Do you know what her last name is?
I don't.
Hold on, I want to find out.
But I was like, it's so funny, because I saw her,
and I was just imagining what her life was like in, like, 1978.
Right.
You know?
How old do you think she was?
She was probably, like, 16, 18.
Yeah.
So it's like, kind of, new wave, punk rock, L.A. scene.
Yeah.
So Sharona's last name is Alperin.
Sharona Alperin.
And she specializes in West L.A. real estate.
And guess what her website is?
www.mysharona.com
Is there a DOB on that?
[laughs]
Let's find out.
Or Sharona Alperin.
About Sharona.
Just keeping that information closely guarded.
Okay.
So Sharona was only 17 when she was immortalized in the
Knack's 1979 hit single "My Sharona."
So that means she was born in 1962.
Same year as Obama.
Oh, yeah, same year as Target.
She was born the same year as Target.
And Taco Bell.
And Taco Bell, and what was the other one?
Walmart.
Wow.
Big year.
Huge year.
Oh, God.
So that song, yeah, I mean, it's not the greatest.
It was sort of a novelty song for the Knack,
because they were sort of like a power pop band.
Like punk rock, power pop, new wave, whatever.
Just whatever was happening at that time.
And that was their, like, I kind of think,
deliberately bad novelty song.
Just trying to be a little silly.
Yeah.
That's the only rock song that was on the top five in 1979.
Wow.
So maybe all this talk of rock's dead,
maybe rock died a long time ago.
Although it is number one.
Let's see how "My Sharona" stacks up to this week's number one.
"The Weekend with the Hills."
Wow, this song is huge.
Huge.
This is like, I feel like this is the theme song of "Time Crisis."
Yeah, kind of.
Oh, my God.
Doing this show is really becoming like this surreal hellscape nightmare.
Not because the songs are bad,
but just because I hear them over and over again.
And also for the listeners at home, I'm going to talk over "The Weekend."
I hope he doesn't mind.
We've listened to it so many times.
You also have to imagine that we're all here in a windowless room,
somewhere in the bowels of Hollywood,
listening to these songs over and over again.
Everybody's a little slap happy.
We're going mental.
Can you sing it?
Because it's nice when you sing it.
I love it when Ezra sings it.
[singing]
Let me try to sing this for real.
The truth is I haven't sang very much in the past year.
A lot of people forget that I'm a professional musician.
What?
Nobody forgets that.
They all forgot that I was a professional musician.
I've been doing such a good job hosting this radio show.
Did you know that renowned radio host Ezra Keenan used to have a band?
Also plays sometimes?
But the truth is I haven't sang that much.
I've been starting to sing more.
I'm not going to say why, but I've been trying to sing a little more.
Why is it secretive?
Picking up a mic because I'm an artist, Jake.
I'm a professional musical artist.
So in your attempt to maintain a sense of mystery about yourself,
you decided to do a radio show.
That's right.
You came on to run Interference for me.
He also can hide behind a persona.
I can hide behind a persona.
Everything that you hear coming out of my mouth that you don't like
is, of course, a persona.
Anyway, I haven't sang in a long time,
and as I'm starting to sing more again, you realize it's not easy.
Perhaps my voice is growing richer with age.
I don't know.
But anyway, I thought maybe I would try to really sing this song.
It's a difficult song.
I don't have the same kind of range as Abel.
And I know a lot of times when I sing it, I sing it in kind of a jokey way.
Let me try to sing it for real.
[Singing]
See, I don't know where to break.
I don't know where to, like, go into falsetto.
He has a crazy falsetto.
Yes, he has a crazy voice.
I don't have a voice like The Weeknd.
You have a lovely voice.
Oh, thank you.
Thank you very much.
But let me try it again.
[Singing]
What's the next line?
Isn't it "Call"?
[Singing]
I really want to get it right because who knows how many times we'll get to listen to this.
This will be a special five-hour edition of Time Crisis.
[Singing]
That was great.
I got to work on it.
Thank you, thank you.
Listen, a lot of people -- there are people who are just naturally gifted singers.
And they don't need to warm up.
They don't need to ease back in.
But you know what?
I'm putting it all out there because I'm trying to maintain my professional musician status.
So I got to keep singing.
You know what one of my favorite Protestant hymns is?
What is going on, Dad?
It's a song that I believe was written in the 18th century in England.
But it still finds its way into churches and worship music today.
And it's called "How Can I Keep From Singing?"
It's a beautiful song.
Enya famously covered it.
Maybe that's the version I should play.
You could find a lot of boys' choirs singing it and blah, blah, blah.
But basically, it's a very kind of mystical Christian song.
And the lyrics are about how you kind of feel this vibe about how incredible the world is that the Lord created.
And the chorus basically goes, "How can I keep from singing?"
So why don't we check that out?
That's a nice palate cleanser after the top five.
Here's Enya with "How Can I Keep From Singing?"
And this one's dedicated to me, a professional singer, because I've got to keep singing.
You just dedicated a song to yourself.
My life goes on in endless song
Above our hearts' lamentation
I hear the reel, though far off in
Thou art hell's a new creation
Through all the tumult and the strife
I hear its music ringing
It sounds an echo in my soul
How can I keep from singing?
What though the tempest loudly roars
I hear the trumpet liveth
And though the darkness round me close
Songs in the night it giveth
No storm can shake my inmost calm
Why to that rock I'm clinging
Since love is Lord of heaven and earth
How can I keep from singing?
[harmonizing]
When tyrants tremble in their fear
And hear the herald angel ring
When friends rejoice, both far and near
How can I keep from singing?
In prison cell and on jain vial
Our thoughts to them are winging
When friends by shame are undefiled
How can I keep from singing?
[harmonizing]
That was Enya with her version of
How Can I Keep From Singing.
I have to apologize to the author, Robert Lowry.
I implied that he was British earlier.
He was born in Philadelphia March 12, 1826,
and he wrote a beautiful hymn
that people are still singing today.
And that wraps up our exploration
of the 1979 Top 5 and the 2015 Top 5.
So what did you guys think?
Is there a winner?
I don't know.
It feels like 1979 had some pretty
like melodic stuff going on there,
like some pretty cool musical, you know, diversity.
Colin, the producer, made the point
that there was a huge range of music in the '79.
Right, very true.
Whereas 2015, pretty homogenized,
to take it back to the start.
Well, homogenized in the sense,
in terms of, I guess, genre.
A lot of, like, I guess you could say that--
And production.
Silento, Drake, The Weeknd, Bieber are all singers.
I think Drake is also a rapper.
Silento's also a rapper.
I mean, yeah, in terms of like,
I know what you mean, in terms of production,
they could all fit kind of pretty well
on an album together.
Can I just make an annoying statement
that there's no women in both of those Top 5s?
Well, hold on a second.
Let me run the numbers on that.
Yeah, you might be right.
I think I am.
The 1979 Top 5 have no women, but there's one Jones.
That's true.
The 2015 Top 5 have no women and no Joneses.
So I'm gonna go for 1979.
Yeah, that's right, no women either.
I feel like last week, Ezra,
when it was 2015 versus '85,
2015 kind of cleaned up.
Yeah, it did.
And it was like, '85 was super stiff, as I remember.
Right, much stronger showing from 1979.
Yeah, this time I'm gonna lean towards '79.
Maybe I'm growing a little tired of the 2015 songs
and I think just the palette.
It's like spacey, like monotonous a little bit,
not a ton of chord changes.
You know, one thing you could say,
1979, even though the Herb Alpert song
was extraordinarily depressing,
and "Earth, Wind, and Fire After the Love is Gone"
is obviously kind of a sad song.
But incredible.
The songs like "My Sharona," "Don't Stop 'Til You Get Enough"
are kind of positive.
If you look at the current top five,
the two weekend songs are both kind of like dark
and maybe have a tone of something really dark behind them.
"What Do You Mean" by Justin Bieber
is about being confused
and you can't tell what's going on in a relationship.
"Hotline Bling" by Drake
is also a little bit about alienation.
The only one that's legitimately happy is "Watch Me Whip."
And actually, at the end of the day, dancing is neutral.
No, dancing's positive.
Is dancing positive?
You could make an argument that all those songs occur in one night,
that it starts with "Watch Me Whip" and they're having fun,
and then she calls, and it's like, "Oh, it's only one thing."
And then the Hills, he goes over to her house,
and then he's like, "Wait a second, I can't feel my face
'cause I'm on drugs."
And then he's like, "Wait, what do you mean?
What are we doing here?"
Right.
And then they have sex, and it's 5.30 in the morning,
and he's like, "I think I'm just gonna go to Denny's
and go home."
And she's like, "What is this, weekend?"
Right, and then she listens to "Rise" by Herb Alpert when he leaves.
And then it's 1979.
And that was our two top fives.
[laughter]
I'm gonna take this moment to debut a song by a good friend of mine
by the name of Lush Life.
I didn't know him in 1979, but I knew him very well
starting around 1998.
I know him primarily as Raj, my friend Raj Haldar
from Glenridge, New Jersey.
We went to high school together, a very influential figure in my life.
Taught me a lot about music, a lot of nights driving around
in his Honda Accord, listening to Tribe Called Quest,
The Roots, who were his favorite group of all time,
very big into '90s hip-hop, among other things.
A very accomplished DJ and rapper.
And Raj sent us one of his new songs,
which we have the honor of debuting right now.
So here is my good friend Lush Life with his new song "Body Double."
That was Lush Life with "Body Double,"
debuted here on Time Crisis.
A song from 2015, but now we're going to get back into 1979,
because it's time to finally talk Tusk,
a Fleetwood Mac album from that year
that Jake is going to talk to us about
and lead a roundtable discussion about.
Absolutely.
Okay, so Tusk, who's it by?
We know it's from 1979.
Who's it by? Is it by a band, a solo artist, a duo?
A band called Fleetwood Mac.
Okay.
To talk about Tusk properly, I feel like we need to go back to 1977.
Are you sure? Not 1962?
Let's really set the stage.
Exactly. What was Lindsey Buckingham doing in '62?
1776, a brave group of patriots fighting against the Mad King George.
Okay.
Fleetwood Mac released the album "Rumors" February 4, 1977,
which is actually the day after I was born.
Oh, my God.
And "Rumors," as we probably all know,
really kind of set the--like is a classic example still today
of a hugely successful, commercially-oriented rock and roll pop album.
Mm-hmm.
Chock full of singles.
There's like five or six singles off of "Rumors"
that you're going to hear on the radio still today.
"Dreams," "You Can Go Your Own Way," "You Make Loving Fun," "Don't Stop."
Huge.
Yeah, it's huge.
That comes out February '77, and then Tusk comes out October of '79.
And a lot of the talk in the media at that point was that
it had cost a million dollars to record,
which was at that--
And back in the '70s, a million dollars was a lot of money.
That's right. Not like today.
Not like today. Right.
And a million dollars to record Tusk was actually the most ever spent
up until that point for an album.
Before Axl Rose destroyed it with "Chinese Democracy."
Right, when he spent $45 million.
No, I had no idea.
The album came out. It retailed for $16.
Wow.
Which, I did a little math, that's $52 in today's--
Wait, why?
Isn't that crazy?
Is it a double album?
Double album.
That's psycho.
Yeah.
And there was a lot of heat on this record.
I mean, Lindsey Buckingham famously rented out Dodger Stadium
and recorded the USC marching band there in an empty stadium
because it was the right--
For the title track, Tusk.
Yeah, yeah.
It comes out--
It's reeking of rock and roll hubris, of spinal tap level,
of ridiculous excess in terms of money, insane logistics
with Dodger Stadium, building--
Cocaine?
Absolutely.
And so people are ready for this record to come out.
And then when it comes out, everyone's, I think, kind of confused
because it's a very understated, stark album that,
in terms of the sugary pop aesthetic that they had developed
so much for "Rumors," they really kind of pumped the brakes on that
with this record.
"Rumors" had sold 20 million copies.
Tusk sells 2 million copies.
So in the short run, in terms of pure commercial success, it was a flop.
A 90% loss.
Yeah.
There's two singles off of Tusk, neither of which topped the charts,
and neither of which you're going to hear on the radio still today.
And yet Tusk is my favorite Fleetwood Mac album.
And I think a lot of people love Tusk.
Maybe let's start with Tusk, the title track,
because this maybe is the best-known song.
This and then a song called "Sarah," which is a long Stevie Nicks song.
Let's check out Tusk, title track from the 1979 album from Fleetwood Mac.
# Why don't you ask him if he's gonna stay?
# Why don't you tell me what's going on?
# Why don't you tell me who's on the phone?
# Why don't you ask him what's going wrong?
# Why don't you ask him and let's talk some more?
# Don't say that you love me.
# Just tell me that you love me.
# Don't say that you love me.
# Don't show me that you... #
This is real Savage Life.
# Don't show me that you love me.
# Don't show me that you love me.
Fleetwood Mac with Tusk. Fascinating song.
Probably my least favorite song on that record.
That's the one with the marching band.
Yeah, that's the marching band one.
To me that's sort of novelty. It's just like...
That's my least favorite song on the album.
Probably "Save Me a Place," Buckingham's song.
I mean, he recorded a bunch of these songs that are sort of these like...
They're like the most elegantly engineered basement tapes ever.
Let's listen to "That's Enough for Me" and then "Save Me a Place."
All right, let's check it out.
# Every night that you make me smile
# It's the same old way it used to be
# And that's enough for me
# Every time that you say you'll come
# It's the same old thing that used to be
♪ And it's enough for me ♪
♪ Yeah, yeah, yeah, yeah, yeah ♪
♪ Yeah, oh, oh, oh, oh, oh ♪
♪ Oh, oh, oh, oh, oh, oh, yeah ♪
♪ Yeah, yeah, yeah, yeah, yeah, yeah ♪
♪ Oh, oh, oh, oh, oh, oh, yeah ♪
♪ Ooh, ooh, ooh ♪
♪ Every night that they woke up ♪
♪ It's the same old way it used to be ♪
♪ And it's enough for me ♪
♪ And it's enough for me ♪
♪ And it's enough for me ♪
♪ Don't know why I have to worry ♪
♪ Don't know why I can't wait ♪
♪ Turn me off, turn me out ♪
♪ But don't turn me away ♪
♪ Save me a place ♪
♪ I'll come running if you love me today ♪
♪ Love me today ♪
♪ Don't know why I have to go ♪
♪ I don't know why I can't stay ♪
♪ I guess I want to be alone ♪
♪ And I guess I need to be amazed ♪
♪ Save me a place ♪
♪ I'll come running if you love me today ♪
♪ I'll come running if you love me today ♪
♪ Love me today ♪
- "Good Mac with Tusk."
Those are two tracks sung by Lindsey Buckingham.
The person who maybe was straining against expectations
the most in the band at the time.
One story that I heard about the making of this album,
you're talking about Lindsey reacting to punk.
And I think you see this in a lot of artists' careers,
these older artists who see something new coming
and it drives them crazy one way or another.
They have to react to it.
- Yeah, they can't.
And maybe Stevie Nicks is just a more peaceful person.
Certainly their personas would suggest
that Stevie Nicks is more of a peaceful person.
She just does what she does.
And Lindsey's more of somebody who's maybe
got his finger on the pulse a little bit more.
And so the story that I heard is that
Lindsey comes in the studio,
maybe he'd just been listening to some punk and new wave,
and he sees the kind of yacht rock type engineers
in the studio, these guys with kind of like
beards and long hair, probably wearing Hawaiian shirts
or something, like fresh off the yacht.
And Lindsey comes in with a buzz cut.
I'm taking a lot of creative license with this story.
Lindsey comes in with just a full shaved head
and a t-shirt and just sees these guys.
And they're just like, "Hey Lindsey, what's up man?"
And he's like, "Man, you gotta shave that beard.
"You gotta cut that long hair and ditch the Hawaiian shirts
"man, because you look like losers."
And I think that was a lot of the tension in the studio
and was like, he felt like,
"Am I the only one who can see it?"
Punk rock is mopping the floor with us.
These young people are doing something cool and interesting
and I'm surrounded by these Hawaiian shirt wearing losers.
People are laughing at us, man.
- Absolutely, I mean, I think that first song--
- And bless his heart.
- Yeah, no, I think it's great.
I mean, that song, that's enough for me.
To me, that reminds me of like a Buddy Holly song,
which to me, Buddy Holly is like proto-punk.
- Minimalist, raw.
- Urgent, fast.
- So this morning I was reading reviews of Tusk
and I found one from December of '79 in Rolling Stone,
written by this guy, Stephen Holden,
who I think now is a film critic for the New York Times.
- The biggest.
- Really interesting review.
And he was writing about how he saw Tusk
as an example of the sort of lush California pop aesthetic
that started with Phil Spector and Brian Wilson
straight through the Eagles and into Rumors,
how that had run its course.
And then after Rumors, a band like Fleetwood Mac
saw no other way, but then to kind of like pump the brakes
and go a different direction.
- Right.
- And so that ties in actually to your funny,
like, Lindsey Buckingham biopic scene.
- Right.
- Of him seeing the like studio professionals that were--
- Literally the human equivalent of that kind of lush,
slightly overblown California aesthetic
that you're talking about, which is, you know,
the California cliche, and we all know,
we all spend a lot of time here, it's not true,
but the cliche of California is that life's easy, man.
Sun's always shining.
I can wear a Hawaiian shirt, who cares?
I can grow my hair long.
So in some ways, these engineers with their big beards
and long hair and Hawaiian shirts
were the human equivalent of that kind of lush aesthetic
that you're talking about.
So it's understandable that Lindsey
would react to them viscerally.
He wasn't just fighting those guys, he was fighting an idea.
- So to me, it's interesting.
I mean, it's like, they're like the biggest band
in the world, they're spending all kinds of money,
huge expectations.
In one sense, there's a lot of hubris with Tusk,
but in the other sense, there's a lot of experimentation.
It's like a weird mix between like glossiness
and like roughness and like perfection and imperfection,
and it's like deliberately imperfect.
It's a, you know, 'cause like Rumors was like airtight.
- Right.
- This is their Yeezus, kind of.
- I think you kind of have to do that as an artist, right?
You do this thing, you do it really well, it's airtight,
and then the next thing you do
is you have to break that open, even if it's not pretty,
even if people are disappointed,
even if you lose some people, you have to do that.
- Absolutely, and I think in the long run,
it proves to be a wise path.
- Yeah, it didn't, I mean, it doesn't take away
from how anybody feels about Fleetwood Mac,
it probably only adds value.
- But it took away from them at the time.
- But now I'm saying.
- Right.
- Looking back. - But at the time,
it must have been harsh.
- Yeah, it must have felt not great.
- Well, imagine that you're Lindsey.
You walked into that room.
You shamed those guys with long hair.
You kind of put his reputation on the line a bit,
and then this album, it's not like Tusk connected
with the punk rockers, did it?
- No, I mean, I don't think, maybe it probably is, too.
- I mean, yeah, like, come on,
you're like some dude with a mohawk.
You would never give Fleetwood Mac a chance ever.
- Yeah, no, it's weird, soft rock.
- So he went for something,
and maybe he didn't really end up with a pop audience
or with the edgy punk audience.
- Right.
- But you know what he ended up with 30 years later?
A very dedicated audience.
- Absolutely.
- How should we wrap things up for Tusk?
- Let's do "Honey High," which is a Christine McVie song.
- Oh, this song's so good.
- Really sweet song.
Love it, great recording.
(soft music)
♪ Honey, honey, honey ♪
(soft music)
♪ Who could be sweeter than you ♪
♪ Honey, honey, honey ♪
♪ And a sweet little pumpkin I do ♪
♪ My heart is going to talk to you ♪
♪ You are sweeter than wine ♪
♪ Don't you take the love that I bring ♪
♪ 'Cause I'm far away from home ♪
(soft music)
♪ Baby, all I'm trying to tell you ♪
♪ Lord, I really love you, love you, love you ♪
(soft music)
♪ Honey, honey, honey high ♪
♪ Honey, honey, honey high ♪
♪ Honey, honey, honey high ♪
♪ Oh, I'm far away from home ♪
♪ Honey, honey, honey high ♪
♪ Oh, I'm far away from home ♪
♪ Honey, honey, honey high ♪
♪ Oh, I'm far away from home ♪
♪ Honey, honey, honey high ♪
- That was "Honey High" from the Fluid and Mack album, Tusk.
Jake, thank you so much for breaking down
this wonderful album for us.
Rashida, you said you weren't very familiar
with that album.
Have you been converted?
- Yeah, I like it.
I realized I knew the song "Tusk" and I really like it.
And I like "Honey High," it's great.
- You're listening to "Time Crisis" on Beat One.
- Let's get into some more music.
Hearing "Honey High" made me think of a band
that some people compared to Fluid and Mack,
I think because of Stevie Nicks.
And this is a song by a band we all know, Haim,
produced by a friend of the show, Ariel Rechshied.
This is their song with a similar name, "Honey and I."
And this is one of my favorite Haim songs.
Let's get into that.
Oh, same chord regression.
♪ Good night ♪
♪ I know there's nothing good in goodbye ♪
♪ But you lead me to no other line, no other line ♪
♪ As wide ♪
♪ When you walked through that door ♪
♪ You made your way across the floor ♪
♪ All the little girls had a try that turns, try that turns ♪
♪ But oh, no, no, no, see I'm not afraid no more ♪
♪ To turn you away, no more ♪
♪ To turn you away, to turn you away ♪
♪ 'Cause my honey and I ♪
♪ My honey and I ♪
♪ Honey and I ♪
♪ Honey and I ♪
♪ Do, do, do just the thing ♪
♪ My honey and I ♪
♪ My honey and I ♪
♪ Honey and I ♪
♪ Honey and I ♪
♪ Do, do, do just the thing ♪
♪ Oh, no, no, no, no ♪
♪ I don't love you just because ♪
♪ Love wasn't what I thought it once was ♪
♪ But I thought it once was ♪
♪ Telling each other everything ♪
♪ Thinking I'd be your wedding ring ♪
♪ So now, oh now I know ♪
♪ And now I see ♪
♪ I'm not afraid no more ♪
♪ No, no, no, no, no, no ♪
♪ So why are you always trying to stay at home ♪
♪ Why are you staying there ♪
So I'll keep you playing with my honey.
It was made to be played with my honey and I.
My honey and I, honey and I, honey and I, honey and I.
Do you just to find me?
Honey and I. My honey and I, honey and I, honey and I.
Do you just to find me?
Honey and I. My honey and I, honey and I, honey and I.
My, my, my honey and I. My, my, my honey and I.
Oh, no, no, no, see I'm not afraid, no, no, no.
Oh, to turn you away, to turn you away 'cause my.
Oh, no, no, no, oh, oh.
Do you just to find me?
Honey and I. My honey and I, honey and I, honey and I.
Do you just to find me?
Do you just to find me?
Wow, Time Crisis 7.
This one was a real time crisis, I would say.
We counted down the hits of 1979, 2015.
Jake took us through Tusk.
We've been joined in the studio by Rashida Jones.
Thank you so much.
Thanks for having me. It was so fun.
And educational.
And you taught us quite a bit, too.
We all learned.
We all learned from each other on this rare power trio edition of Time Crisis.
I hope everybody's enjoying their Sunday.
I hope you're using it as a time for quiet reflection.
Maybe get some exercise.
You haven't moved that much this week.
Maybe you got an office job.
Maybe it's time to move those feet.
But don't be too hard on yourself.
You want to have a little dessert.
It is Sunday after all.
We'll be right back in the same place in two weeks with Time Crisis 8.
Taking us out of here is the British group Underworld with a big hit from the '90s, Born Slippy.
(triumphant music)
(dramatic music)
♪ Dark boy, dark boy ♪
♪ Dirty no man's a boy ♪
♪ In the doorway, boy ♪
♪ She was a lipstick, boy ♪
♪ She was a beautiful boy ♪
♪ And tears, boy ♪
♪ And all in your inner space, boy ♪
♪ You had hand girls, boy ♪
♪ And steel, boy ♪
♪ You had chemicals, boy ♪
♪ I was so close to you, boy ♪
♪ And you just grow, boy ♪
♪ She said, "Come on, come on" ♪
♪ But she smiled at you, boy ♪
(dramatic music)
♪ Dark boy, dark boy ♪
♪ Dirty no man's a boy ♪
♪ In the doorway, boy ♪
♪ She was a lipstick, boy ♪
♪ She was a beautiful boy ♪
♪ And tears, boy ♪
♪ And all in your inner space, boy ♪
♪ You had hand girls, boy ♪
♪ And steel, boy ♪
♪ You had chemicals, boy ♪
♪ I was so close to you, boy ♪
♪ And you just grow, boy ♪
♪ She said, "Come on, come on" ♪
♪ But she smiled at you, boy ♪
(dramatic music)
♪ Let your feelings slip, boy ♪
♪ Whatever your mask, boy ♪
♪ Random blonde, boy ♪
♪ Your identity, random blonde, boy ♪
♪ Blonde country, blonde identity ♪
♪ You are my joy, boy ♪
♪ Your real voice speaks to me, boy ♪
♪ Got 13, I'm cranking, boy ♪
♪ You go quick, boy ♪
♪ Big, big time, boy ♪
♪ Acid, bad boy ♪
♪ Babes and babes and babes and babes and babes ♪
♪ And I never let my red boy feel like my tan, boy ♪
♪ You get ready like an angel, you get real ♪
♪ You got a moment about to slow down ♪
♪ You're not a good emotion ♪
♪ You're being a dirty one, you're for my lifetime ♪
♪ On your telephone line, you're starting to come in ♪
♪ On your telephone line, you don't wanna be on, yeah ♪
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